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the kodokan judo institute

The History of Judo

The Kodokan was founded in 1882 by the late Prof. Kano who
himself had established Judo. Judo was derived from Jujitsu
which had many names and schools. Jujitsu is an art for ither
attacking others or defending oneself with nothing but one's
own body. Prof. Kano adopted the superlative parts of all the
Jujitsu schools, got rid of precarious parts, and established
the new Kodokan Judo based on his own insight and
arrangement. It started with only nine disciples and a twelve-mat dojo.

The Kodokan Judo was recognized in a few years to be excellent since its students
overwhelmed the Jujitsu athletes at the Police Bujitsu Contest. This really was the first
step for its future rapid progress.
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Prof. Kano promoted judo as a physical exercise from a wide national point of view.
Proceeding with the organization of the Kodokan and enacting the regulations of Judo,

he became the first Asian member of the International Olympic Committee in 1909 and
worked for the spread of Judo world-wide.

Judo became an official event in the Olympic Games of 1964, backed by Judo fans and
sport promoters all over the world. It is now a very popular sport almost anywhere in
the world.

"Judo", which is now exercised in many countries of the world, is the very Kodokan
Judo, created in 1882 by Prof. Jigoro Kano. It is clearly stated in the Article 1 of
International Judo Federation (IJF) statutes, "IJF recognizes 'Judo' which was created
by Jigoro Kano."

What is Judo?
Judo is loved by all generations. You can see people of all ages from six to over eighty
years, and people of all professions, nationalities and sexes enjoying Judo at the
Kodokan. They all have their own purposes. Some of them want to be strong, some
want to be healthy, some want to strengthen their mind, some want to appreciate the
pleasant feeling after perspiring, some want to be able to defend themselves, some
want to become instructors of Judo, and some are already devoted to training others.

Why is Judo attracting people of all ages and people with so many different purposes?

Prof. Kano created Judo from Jujutsu as the means to learn the great principle of
humanity, not only to learn Waza. He named the training institution "Kodokan". The
word "Kodo" means to learn, prove and practice the principle.

The fact that Prof. Kano named Judo "Kodokan Judo" shows us how he made much of
the principle and made it a principal objective of life to learn. Prof. Kano himself said
that the purpose of Judo is to strengthen body by practicing attack and defense, to
complete the personality by training the mind, and finally to devote oneself to society.

The photograph above is a calligraphy by Prof. Kano, which shows the principle and
ideal of Judo :

"Maximum-efficiency" and "Mutual welfare and benefit."

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The Principles of Waza

Waza is based on the fundamental principle of Judo, that is, "Maximum Efficient Use of
Mind and Body". The theories of Tsukuri and Kake are expressing the principle from
Waza's viewpoint.

Tsukuri is made up of Kuzushi which means to destroy your opponent's posture or

balance, and "holding yourself ready" to make your attack easier.

To actually apply your contemplated technique, when his posture has already been
broken by Tsukuri, is called Kake.

Tsukuri and Kake can also be called technical principles of Judo. While you are
practicing Tsukuri and Kake, both depend upon the fundamental principle of "Mutual
welfare and benefit" and "Maximum efficiency," you can understand and master the
principle which can be applied to all phases of human life.

You proceed from Waza to Way by practicing Judo.

KATA AND RANDORI

There are two principal ways of practicing Judo : Kata and Randori. Kata, which
literally means "form," is practiced following a formal system of prearranged exercise,
while Randori, meaning "free exercise" is practiced freely. Kata of Judo is the best way
of defense and attack in various cases, being theoretically systematized. In the
Kodokan, the following are the eight main Katas adopted :
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NAGE-NO-KATA (Forms of Throwing)

Three representative techniques are chosen from each of five Nagewazas.

KATAME-NO-KATA (Forms of Grappling or Holding)

Five model techniques are chosen from each of three Katamewazas.

KIME-NO-KATA (Forms of Decision)

This is to learn the most valuable techniques in an actual fight. They consist of
the techniques in a kneeling position and in a standing position.

JU-NO-KATA (Forms of Gentleness)

The ways of attack and defense are arranged in very gentle and expressive
movements.

THE KODOKAN GOSHIN-JUTSU (Forms of Self-Defense)

The modern technique of Self-Defense consists of empty-handed techniques

and techniques with weapons.

ITSUTSU-NO-KATA (Forms of "Five")

These forms are incomplete though they should have been included in the
parts of the great Judo system by Prof. Kano.

KOSHIKI-NO-KATA (Antique forms)

Prof. Kano revised and adopted these forms so as to show the substance of
Judo.

SEIRYOKU-ZEN 'YO-KOKUMIN-TAIIKU-NO-KATA

This is the form of National Physical Education.

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Kodokan Judo / Nage Waza

Daigo Toshiro 9dan Kodokan

1 Seoi-nage (hand technique)

2 Ippon-seoi-nage (hand technique)

3 Seoi-otoshi (hand technique)

4 Tai-otoshi (hand technique)

5 Sukui-nage (hand technique)

6 Obi-otoshi (hand technique)

7 Morote-gari (hand technique)

8 Uchi-mata-sukashi (hand technique)

9 Uki-otoshi (hand technique)

10 Kata-guruma (hand technique)

11 Sumi-otoshi (hand technique)

12 Kuchiki-taoshi (hand technique)

13 Kibisu-gaeshi (hand technique)

14 Kouchi-gaeshi (hand technique)

15 Yama-arashi (hand technique)

Nage Waza by Daigo sensei (Japanese only) are available at Kodokan Internet Shop.$B!!(J
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1. SEOI-NAGE (hand technique)

Seoi-nage is accomplished by making your opponent off balance by pulling in a straight

forward motion, or a right or a left forward motion, then pick up your opponent's body
on your back and throw over the shoulder.

Generally Morote-Seoi-nage (two hands Seoi-nage or Eri-seoi) is called Seoi-nage.

Technically tori grips with his two hands.

Techniques of Seoi-nage

Tori & Uke hold each other in a natural right-handed posture. Tori pulls the Uke
straight forward while stepping back slightly to pull the Uke off balance. The Tori then
places his right foot in front of Uke's right foot, starts to lift the Uke with both hands.

The Tori bends both knees, spins on his right foot while dropping his hip and placing
his left foot in front of Uke's left foot. The Tori and Uke are now back to front. The Tori
bends his right elbow and places it in the Uke's right arm pit, then pulls the Uke's right
arm down and locks it against Tori's body. While keeping close contact to Uke's chest,
lifts Uke up (picture 1).

Tori lifts Uke with both hands and bends his body forward, while straightening both
knees throws Uke over his right shoulder. With Tori's right arm acting as a shaft, Uke's
body will spin and fall (picture 2).
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Techniques of practical applications.

1. Tori grips the Uke's right sleeve with the left hand and grips the right
collar by inserting his fingers inside the collar-- then throw over the shoulder
(picture 3). This is generally called Kataeri-seoi.

2. Tori takes a deep step along the outside of Uke's right leg with his right
foot. While sliding in a lifting motion against Uke's right knee with the back of
his right leg, Tori throws over the shoulder (picture 4).

*This is a practical application of Seoi-nage technique and not a Tai-otoshi technique.

When Tori picks up the Uke, Tori twists his body to the left and pulls his opponent into
a roll to his right. This technique was once categorized as Yokosutemi-waza and named
Seoi-makikomi but now considered as one of the Seoi-nage techniques.

2. IPPON-SEOI-NAGE (hand technique)

Techniques of Ippon-seoi-nage

Ippon-seoi-nage is similar to Morote-seoi-nage. To off-balance Uke, Tori pulls straight

forward. As the Tori spins, he slides his right arm up under the Uke's right armpit. He
locks Uke's arm against his body, then throw over the shoulder (picture 1).
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There are some differences to Morote-seoi-nage in the usage of hands.

Techniques of practical applications

(1) Tori uses his right hand to hold Uke's left arm and pushes it under Uke's right
armpit creating a crossed arm motion thereby controlling the opponents arms (picture
2).

(2) When Tori picks up Uke in a throwing position, he shifts his right arm to twist
inside and places his hand on Uke's hip--then throw (picture 3).

(3) Tori takes a deep step to the outside of Uke's right leg with his right foot and while
sliding Uke's right knee up, throws Uke (picture 4).
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(4) When Tori picks up Uke, Tori drops his body and rolls his opponent in for a throw.

*This technique is similar to Uchi-makikomi but the difference will be explained in the
Uchi-makomi section.

3. SEOI-OTOSHI (hand technique)

Seoi-otoshi is accomplished by making your opponent off balance by pulling in a

straight forward motion or a right forward motion. Then, pick up Uke's body on your
back and continue pulling to throw over the shoulder as you drop your one knee or
both knees on to the mat.

(Type 1)

Drop one knee on the mat, pull Uke straight down, then throw over the
shoulder (Seoi-otoshi)

Tori and Uke hold each other in right handed posture.Tori pulls Uke straight forward to
make him off balance while stepping back slightly with the right foot, then place the
same foot in front of Uke's right foot. Tori bends both knee and uses the tip of his right
foot to spin left while he places his right arm under the Uke's right arm pit. He, then,
pulls Uke's right arm and lock it against Uke's chest. Then, Uke is lifted up in the
Ippon-seoi-nage position .Tori stretches his right leg to the inside of Uke's right foot
and gradually lowers his body and places his right knee on the mat. Then the throw is
completed by pulling both hands straight down at once and throwing (picture 1).
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In Koshiki-no-kata, Ura Number 6 Yuki-ore is similar to this technique. When

Uke tries to hold the Tori from behind, Tori drops his right knee on the mat and
throws the Uke over the shoulder.

Techniques of practical application

1. Tori takes the Ippon-seoi-nage position, then, places his leg against the
outside of Uke's right leg. He, then, drops his right knee and throws over the
shoulder (picture 2).

Tori, from the Morote-seoi-nage position steps his right leg inside (or outside)
of Uke's right leg. He, then, drops his right knee on the mat and throws (picture
3,4).

(Type 2)

Drop both knees on the mat, pull Uke straight down, then throw over the
shoulder (Seoi-otoshi)

Tori pulls the Uke straight forward to make him off balance, then, quickly steps
into the Morote-seoi-nage position. At the same time, Tori drops both knees on
to the mat and throw straight over the shoulder (picture 5).
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Techniques of practical application

Tori drops both knees on to the mat, then, throws from the Ippon-seoi-nage positon
(picture 6)

(Type 3)

Difference between Seoi-otoshi and Seoi-nage

These two techniques are alike, especially in the lifting position. However, the
difference is in the throwing concept.

Seoi-nage : lift up the opponent and throw

Seoi-otoshi : pull down and throw (at this time, one knee or both knees must touch on
the mat)

Although the knee or knees touch the mat at one time during the process of the throw,
if at the actual execution of the throw, the knee or knees are not touching, the throw is
considered to be Seoi-nage.

It is very difficult to define these techniques in the split second of execution. It is

necessary to segregate these techniques.

4. TAI-OTOSHI (hand technique)

Tai-otoshi is making Uke off balance in a right forward position (or left forward
position). Then, Tori spins his body to the left (or right) by stretching his right leg (or
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left) in front of Uke's right (or left) foot. Tori, then, pulls down Uke's body forward over
his stretched leg for a throw.

(Type 1)

When Uke steps back, Tori steps forward to put Uke into a floating position, then
executes a Tai-otoshi.

Tori & Uke hold each other in a natural right-handed posture.

As Tori steps back, he pulls Uke forward and stops by pressing down on Uke's body.
Uke tries to stop with his right foot, but since his body is off balance in a forward
position, he will try to pull his right foot back to his normal posture.

At this moment, Tori will lower the pressure in both hands and push Uke with his left
hand. Uke reacts by bringing his right foot back and tries to return his body to a
straight position.

At the moment when Uke's right foot steps back slightly more than his left foot, Tori
steps his right foot in between Uke's legs. Tori, then, pulls his left foot and twists his
body half way to the left, while he pulls the left hand in a upward motion and pushes
up with his right hand. Since Uke cannot shift his weight on his right foot, he ends up
on his tiptoe in a floating position.

Tori spins his body by stepping his left foot further back, then, lowers his body and
stretches his right leg in front of Uke's right ankle in a cross position.

At this time, Tori should open both legs widely and bend his left knee with the right leg
stretched to lock into the throwing position (picture 1).

Tori lifts up Uke with right hand and pulls down his left hand, and concentrates all his
power into his hands, hip and legs to execute the throw, down forward. Uke falls in a
big circular motion with his right toe as the point of rotation .

This Tai-otoshi is the most commonly used.

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Techniques of practical applications.

1. Two motion Tai-otoshi.

Tori uses his right foot to swing up Uke's left leg lightly outward to break his
balance in a right forward position. Then, the throw is executed as previously
explained (picture 2).

The purpose of Tori's right foot movement is to try to break Uke's balance to a right
forward position. Therefore, it is not a combination technique from Ouchi-gari to Tai-
otoshi.

2. Dodging Uke's Uchi-mata to change into Tai-otoshi.

Tori dodges Uke's left Uchi-mata by stepping back his right foot. The moment
Uke loses his balance into a right forward position, Tori steps his right foot
forward in front of Uke's right foot in a cross position to throw down (picture 3).

In the event Tori dodges Uke's Uchi-mata to throw Uke, it is called Uchi-mata-sukashi.

(Type 2)

Tori grabs Uke's right collar and right sleeve to execute Tai-otoshi.

Tori grabs Uke's right collar with his right hand with four (or five) fingers placed inside,
and the left hand grabs Uke's right sleeve (or right collar below the right hand) .
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Tori steps back slightly with his left foot and turns his body half way and moves to
Uke's left side to cause Uke to lose his balance to his right forward. Tori steps in front
of Uke's right foot to cross position and Tori grabs Uke's collar and pushes up against
Uke's chest, then, pulls down and throws.

This is a different way of using hands compared to (type 1).

This techniques is similar to Seoi-nage (type 2) (Kata-eri-seoi) but the usage of the
right hand is different.

Tai-otoshi: Tori tucks right fingers between Uke's collar and chest and throws Uke
without body contact.

Kata-eri-seoi: Tori places his right elbow under Uke's armpit and picks up Uke and
throws (picture 4).

(Type 3)

Crossing Uke's both hand to execute Tai-otoshi.

Tori is in left handed position and Uke is in right handed position. Tori grips Uke's collar
in the back with his left hand (Uke's right hand grips Tori's left front collar). Tori grips
the edge of Uke's right sleeve (Uke's left hand is free) and pulls downward with both
hands to bend Uke's body forward.

Resisting this position, Uke steps left foot forward as he pushes Tori's left wrist to
straightened up to return to the original posture.

A second before Uke's resisting movement, Tori pulls the left foot back and steps his
right foot forward to become a right handed posture. By releasing his left hand grip,
Tori quickly grabs the edge of Uke's left sleeve with the same hand. Tori steps back
with his left foot while twisting his body to the left and by pulling both hands
downward crosses Uke's arms.
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At this time, Tori puts his right shoulder under Uke's left armpit (or puts his right
shoulder against Uke's left elbow) and stretches his foot across Uke's right foot
(picture 5).

Then, Tori pulls his left hand across his hip and stretches his right hand straight
forward and by twisting his body to the left pulls Uke down into a throw.

This technique is rarely used in a competition. This type of Tai-otoshi was created from
grappling fight.

The key point of this technique is how to cross Uke's arms during grappling fight.

Techniques of practical applications.

Tori & Uke hold each other in normal position. Uke tries to grip Tori's left sleeve with
both hands to push away. At this point, Tori grabs the inside of Uke's left sleeve with
his left hand.

Tori's right hand grabs Uke's right sleeve by reaching under his left arm. As Tori pulls
both of his hands, he crosses Uke's arm for control. Tori, then, twists his body to the
left and places his right foot in front Uke, and pulls down to throw (picture 6).

5. SUKUI-NAGE (hand technique)

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Sukui-nage is accomplished by making Uke off balance by grabbing Uke around his
legs from the side with both hands and using a scooping motion to drop Uke backward
or by Tori putting his one hand between Uke's legs and holding his hip to scoop up and
drop. Similar techniques to the above can also be used.

(Type 1)

Hold Uke's body from the side by using both hands to hold Uke's thighs and scoops up
and drop (Sukui-nage)

Tori and Uke hold each other in right natural posture.

Tori steps back his foot, right, left, right, then stops to make Uke off balance to
forward by pulling. At this time, Tori takes a left defensive posture and pulls down
Uke's body with both hands.

When Tori pulls, Uke steps forward left, right, left to keep his balance. To resist Tori's
pull, Uke tries to pull back to regain his posture.

At this moment, Tori reduces his strength of pull and Uke steps his left foot back to
straighten up.

A moment before Uke's move, Tori drops his body and steps in with his right foot to
the outside of Uke's right foot. At the same time, Tori slides in his left hand along
Uke's stomach.

Then, using the right foot as a shaft, Tori turns his body to his right to place himself
behind Uke's body. Stepping his left foot behind Uke's heel,

Tori drops his hip and holds Uke's left thigh with the left hand.Releasing his right hand
grip, Tori holds Uke's right thigh and completes his hold on Uke's lower body.

Tori raising his body, pulls Uke's body with both hands to make Uke off balance
backward. At this time, Tori puts his left front hip against Uke's right buttock closely
(place Uke's buttock onto Tori's left thigh) (picture 1).
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Tori pushes his hip out and bends backward and scoops up Uke's legs with both hands,
twists his body to the left and drops Uke down backward .

This is the most commonly used basic Sukui-nage techniques from the old era. There
is a similar technique to this Sukui-nage.

Tori uses the same movement as Type 1. Going behind Uke's back, stepping in his left
foot behind Uke's heel closely, holding Uke's body close (at this time Tori's left hand is
stretched under Uke's armpit deeply and pushes up) and sacrifice his own body
backward to throw Uke down.

The concept of this technique (sacrificing your body backward) is the same as Yoko-
sutemi waza. Therefore, this is not Sukui-nage but is known as Tani-otoshi.

If Tori throw from standing position, it is called Suku-inage .

Techniques of practical applications

1. Forestall Uke's Harai-goshi to execute Sukui-nage

When Uke tries Haraigoshi, he steps his right foot in front of Tori's feet and
turns his body half way to the left. At that moment, Tori moves (like Type 1) by
going behind Uke's body and holding Uke's both thighs, then, scoops up and
drops.

When Uke steps in front of Tori as previously stated, it is the best opportunity
to execute this technique. Tori needs keen perception to catch this chance.

2. When Tori and Uke tries for their grip, Tori pushes Uke's hands upward
and executes Sukui-nage

When Tori holds up Uke's wrists and waits for the chance to attack, Uke tries to
push Tori back by stepping his right forward.

At this moment, Tori pushes Uke's both hands upward causing Uke to float and lose his
balance. Tori, then, steps his right foot behind Uke and holds his legs and (as in Type
1) scoops up and drops.

(Type 2)

Tori sticks his left hand behind Uke's leg and hold Uke's body and scoops up (Sukui-
nage).

Both hold each other in natural posture.

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Uke changes his grip to the collar behind Tori's head and steps right foot forward to
become an extreme right handed posture to attempt a technique.

Tori drops his hip, steps his left foot behind Uke's body, sticks his left hand behind
Uke's legs and hold Uke's hip.

As Tori pulls his right hand close to his body and pushes his hip forward to lean
backward, he turns his body to his right and scoops up and drops (picture 2).

If Uke resists too hard when Tori picks him up, Tori sometimes scoops up Uke and
throws forward.

Techniques of practical application

1 From Uke's Uchi-mata to Sukui-nage

When Uke pulls down Tori's body with both hands, Tori tries to straighten up his body.
Then, Uke tries to execute his Uchi-mata.

When Uke swings up his right leg, Tori drops his hip to defend and sticks his left
hand between Uke's leg from behind. He, then, holds his hip and pulls his right
hand for close body-contact and control (picture 3).

He scoops up Uke's lower body upward as he pulls his right hand down and throws Uke
toward the direction of his head instead of backward.

There is another Sukui-nage such as the following.

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As Tori is scooping up Uke's body, he turns his body to his right and puts Uke on his
left hip and throws.

Since this technique is based on (scooping up) motions, Kodokan Waza Study Group
Department segregated this as Sukui-nage.

2 From Uke's Harai-goshi to Sukui-nage

When Uke tries Harai-goshi to sweep Tori's body, Tori drops his hip to defend, sticks
his left hand between Uke's legs from behind, hold Uke's hip and scoop up with a large
motion and throws down.

Tori can change to Sukui-nage from Hane-goshi, Tsurikomi-goshi and other

techniques (techniques which places Tori's back to opponent).

3 From Uke's Osoto-gari to Sukui-nage

Uke tries right Osoto-gari when Tori is stepping back. The moment Uke attempts
Osoto-gari, Tori steps his right foot way back to take a left defensive posture. Tori
twists his body to his right and goes behind and sticks his left hand between Uke's legs
to hold his hip. He, then, scoops up with a large motion and drops .

4 Dodge Uke's Uchi-mata to Sukui-nage

The moment Uke's goes into a Uchi-mata, Tori steps back his left foot to dodge. Since
Tori dodges Uke's leg, Uke's leg is left floating and loses his balance forward. At this
moment, Tori sticks his left hand between Uke's legs from behind to hold. He, then,
scoops up to throw down. In many cases, since Uke is already unbalanced to forward,
Tori scoops up Uke onto his left hip and throws down (picture 4).

(Type 3)

Tori sticks his right hand between Uke's legs from the front to hold Uke's body and
scoops up for Sukui-nage

Hold each other in right natural posture.

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Tori steps back his right foot to bring Uke forward to unbalance. Uke steps his left foot
forward to stop and tries to step back his left foot to regain original balanced position.

The moment Uke steps back his left foot, Tori drops his hip and steps in his left foot
deeply and takes left defensive posture. With close body contact to Uke's right side,
stick right hand between Uke's leg from the front and hold his hip.

Tori pulls his left hand down and scoops up Uke's lower body with right hand and
throws Uke down backward (picture 5).

Techniques of practical application

1. Change from Uke's Osoto-gari to Sukui-nage

The moment Uke tried right Osotogari, Tori steps back his right foot deeply to
take a left defensive posture. Tori sticks his right hand between Uke's legs from
the front and hold Uke's hip. He pulls down his left hand and scoops up and
throws Uke backward.

2. From Kata-guruma to Sukui-nage

When Tori pulls Uke's body to execute right Kataguruma, Uke leans his body
backward to defend. At this moment, Tori faces Uke. Then, Tori steps his left
foot to the outside of Uke's right foot and pulls his right foot close to the other
foot to become left defensive posture. He, then, scoops up Uke's hip with his
right hand and throws backward.

Sometimes, Tori sticks his head under Uke's right arm pit and raises his body to
pick up and, then, scoops up with his right hand to throw backward (picture 6).
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If Tori throws Uke's lifted body to his left, or forward, or backward, it is called Kata-
guruma.

(Type 4)

Grabbing Tori's belt in the back and trouser to scoop up (Sukui-nage)

When Uke bends his body forward for defense, Tori grabs Uke's belt over Uke's body to
pull closer. Tori grabs Uke's right trouser around his knee with his left hand. While he
is pulling up Uke's body, he sticks his right knee between Uke's legs. He, then, scoops
Uke up with his knee and twist his body to the right and throws Uke backward.

If Tori make Uke off balance toward the direction of Uke's left foot and throws by
twisting, instead of scooping up, it is called Uki-otoshi.

This technique, at this time, is introduced independently as Sukui-nage.

The techniques of (Type 1) are originally used in the old style of Jujitsu and Kodokan
categorizes it as Sukui-nage, but we hardly see these techniques used in randori
practice these days.

The reason for this is because the style has changed from the defensive Jujitsu posture
to Kodokan Judo, which is based on natural posture. Probably because of this, it is
difficult for Tori to go behind Uke and grab both legs.

But, in contrast to (Type 1), techniques of (Type 2) and (Type 3) are widely used in
randori practice even nowadays.

Before Kodokan Waza Study Group Department discussed and studied these
techniques, people called it Te-uchi-mata or Te-guruma or Butsudan-gaeshi or Kin-
tsukami, etc. On October 1955, Kodokan officially named this technique as Sukui-
nage.

6. OBI-OTOSHI (hand techniques)

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Obi-otoshi is accomplished by grabbing Uke's belt in the front with Tori's right hand (or
left hand) and as he continues to pull, Tori steps behind Tori's right (or left). Tori holds
Uke's hip from Uke's right side (or left side) and scoops up and drops. All similar to this
is considered Obi-otoshi.

(Type 1)

Tori grabs Uke's belt in the front with his right hand and continues to pull. Tori sticks
his left hand under Uke's left armpit to hold Uke's hip (Obi-otoshi).

Hold each other in right natural posture. Tori steps back his right foot. At the same
time Tori grabs Uke's belt in the front with the right hand facing upward (with four
finger inserted upward) (picture 1).

Tori pulls Uke close to his body to place Uke in a floating position. Then Tori steps back
his left foot and pulls his left hand to make Uke off balance to his right front forward
and stop. At this time, Tori moves his left foot back as he places his right foot in front
of Uke's right foot. This right foot movement is very important because it is necessary
to step his left foot in behind Uke.

Uke resists Tori's pull by stretching his arms stiffly and bending his body backwards.
He continues to resist by stepping the left foot, right foot forward. Since Uke's belt in
the front is pulled by Tori, Uke bends his body backward for defense .

At this moment, Tori pulls Uke to his right side without loosening his right grip. Sweeps
away Uke's right hand with his left hand (the hand gripping Tori's left collar). Tori
slides his left hand over Uke's stomach and using his right foot as a shaft, he steps his
left foot between Uke's legs

Tori puts his left hand behind Uke's left hip to hold Uke's lower body to make him off
balance backwards. Since Uke bends his body backwards, his weight goes to his heels
to lose his balance.
 24

At this time, Tori places his left foot behind Uke's left heel and puts right foot near the
outside of Uke's right heel. Bend both knees and drop his hip to take a well-balanced
position. Tori slides his left-hand down over Uke's right chest to his hip to hold Uke's
upper body. Tori puts left hip against Uke's right hip and pull hands tight for close body
contact (picture 2, 3).

Tori, using his front hip, pushes Uke's hip upward while holding Uke and scoops
upward with his left hand and by twisting his body to the left and throws down. Uke's
body falls to Tori's left backward (picture 4).

The key point of this technique is to pull Uke's belt in the front tight and make Uke
bend his body backward to make him off balance. Therefore, Tori keeps pulling his
right hand tight and controls Uke for close body contact. If Tori loosens his right hand
pull, Uke will step his right foot back to make some distance from Tori and returns to a
secure position. Therefore, Tori will miss his opportunity for Obi-otoshi.

So, if Tori controls Uke's legs to prevent movement (lower body) and only allows Uke's
upper body to bend backward, control can be achieved.

When Tori grabs Uke's belt in the front, there are two ways to insert his fingers.
1.Gyaku-insert four fingers upward. 2. Jun-insert four fingers downward.

In order to pull Uke's body upward into floating position, it is more efficient to use
gyaku grip. However, in some cases jun grip can also be efficient. The right hand grip
has a great advantage because of the strength of the pull.
 25

However, it can be easily detected and blocked by Uke. Therefore, Tori must take
some advantageous movement. Such as, pulling Uke's front belt quickly, stepping
quickly behind Uke, and holding Uke's body by one hand and using his hip to scoop up
Uke's body. Using this movement in sequence in split second is most important.

You can apply this technique to the following. When Uke grabs Tori behind the neck
with his right hand and pulls Tori close to this body, and steps his right foot between
Tori's legs to turn his body half way to execute Haraigoshi.

At this moment, Tori steps his left foot behind Uke's right side, drops his hip and stick
his left hand over Uke's stomach, and holds Uke's left hip. Then, grabs Uke's belt in
the front with his right hand and pull close to control Uke's upper body (picture 13,
14). Scoops up Uke, like Type 1 and throws down. If, Tori sacrifices his body backward
to throw Uke, it is categorized as Yokosutemi. Therefore, it is classified as Taniotoshi.

Techniques of practical applications

(1) Sticks left hand over Uke's both arms and hold Uke under Tori's left arm pit (Obi-
otoshi)

When Uke is in right-handed position, Tori takes left-handed position. Tori's left hand
grabs Uke's collar in the back over Uke's right arm and grab his left sleeve in the
center with his right hand. Tori grabs Uke's belt in the front with his right hand and
pull him close to his body.

Then, Tori steps his left foot behind Uke's right back and pushes Uke's right arm at the
elbow with his left arm. He, then, holds both of Uke's arms and pull Uke's body up to
off balance him to the back. Then, he scoops up with Type 1 technique and throws
down.

This technique has some difference in the usage of his left hand.

In this case, Tori controls Uke's body with his left arm over Uke's arms. Because the
control over his arms is not sufficient, the left hand should be wrapped around Uke's
elbows tightly and Uke is pushed off balance backward. At the same time, Tori grabs
Uke's belt in the front with his right hand and pulls strongly to have tight body contact.
A strong hold and control is extremely important.

(2) Move left hand over Uke's left arm and wrap over the arm to hold Uke under his
left arm pit (Obi-otoshi)
 26

Tori grabs Uke's belt in the front with his right hand and the left hand grabs the
trouser over his right knee, and Tori takes a defensive posture (picture 5).

While Uke steps back, he pulls Tori two or three times strongly. Tori puts down his
right (or left) knee on the mat and looks for an opportunity for a counter attack

When Uke tries to pull Tori upward to a standing postion, Tori stands up and steps into
Uke's right behind and pulls his right hand (which grips the belt) tight. At the same
time, holds Uke's left arm over the stomach and controls it (around the elbow) for tight
body contact and scoop up and throws .

This technique also has some difference in usage of the left hand. Such as, Tori holds
Uke's body using Tori's left arm over Uke's left arm for control. According to Kodokan
tournament rules, prohibited act #35, the following rules apply for competition so this
type of techniques can not be used nowadays.

(3) In standing position, you must not take any ugly posture more than six seconds.

(4) While you are competing in standing position, you must not grab your opponent's
belt or edge of the sleeve more than six seconds.

During the Meiji and Taisho Era, these techniques and technique of throwing from lying
on one's back were allowed by regulations in competition. So, it was widely used in
those days.

(Type 2)

Difference between Obi-otoshi and Sukui-nage (Type 1)

Obi-otoshi: Grabs Uke's belt in the front with one hand to pull and the other hand
holds Uke on the hip in the back to scoop up (picture 6).
 27

Sukui-nage: Use both hands to hold Uke behind the hip to scoop up. There is a
difference of using the right or left hand in the above techniques. But, the concept of
scooping up and dropping are the same. So, Obi-otoshi can be considered as "using
the belt Sukui-nage".

During the Meiji Era, Obi-otoshi seemed to have been used in Rondori practice,
because we can find this technique in Gokyonowaza #3-6, which was set in the 28th
year of Meiji. However, the 9th year of Taisho, the rule was revised, and Obi-otoshi
was eliminated due to not being practical for Rondori practice.

7. MOROTE-GARI (hand technique)

Morote-gari is accomplished by Tori holding Uke's legs by wrapping both hands around
them and by putting his shoulder against Uke's stomach to push him backward for a
throw. Also, techniques that are similar to this technique.

(Type 1)

When grappling with each other, Tori holds Uke's both legs and lifts and throw
backward by Tori twisting his body to his right or left (Morote-gari)

When Tori and Uke approach for grappling, they look for the opportunity for a good
grip.

When they grip each other, Tori takes a right defensive posture and grabs Uke's both
wrist to push upward to stop his advance. Uke pushes back and tries to shake off Tori's
grips to become a stable posture.

At this moment, Tori releases Uke's both hands. Therefore, Uke loses his balance
forward to a floating position and becomes defenseless. At this opportunity, Tori drops
his hip and body and swiftly places his right foot between Uke's legs. Tori, then, takes
a right defensive posture. Then, Tori puts his right shoulder against Uke's stomach and
at the same time uses both arms to hold Uke around his thigh or knees. Using a
scooping motion, Tori throws Uke (picture 1, 2).
 28

Or Tori uses his dashing power to break Uke's balance. Then, Tori spreads Uke's legs
apart (to Tori's sides of the body) and bring Uke's body close and throws down.

Morote-gari is effective when Uke carelessly steps out or bends his body and attempts
to regain normal posture. Therefore, it is practical and effective in competition.

The key point of this technique is the judgement of distance between Tori and Uke.
Also, requires sharp perception.

There was a competitor who favored Morote-gari such as this.

When Tori comes close to Uke, Tori claps hands in front of Uke's eyes (commonly
called Nekodamashi). Also, when Tori attacks Uke's eyes with upward motion of his
fingers of both hands (or one hand) (commonly called Ryotegasumi or Katategasumi),
catching Uke by surprise and causing him to lean backward. At that precise moment,
Tori attacks Uke with Morote-gari.

Next techniques are all categorized as Morote-gari.

When Tori executes Morote-gari by holding around Uke's hip or waist, Tori places his
right shoulder against Uke's chest while pulling both hands and pushes Uke down
backward (picture 3).

If Tori's holding position is too high, it is difficult to drop Uke down sharply. Therefore,
Tori uses the power of his right shoulder and both hands to push Uke down.
 29

Presently, this type of techniques is not named clearly. But, according to the concept
of Morote-gari, I, as the author categorize this as Morote-gari.

When Tori throws down in the following way, it is not called Morote-gari.

Once Tori holds up Uke's body with both hands and throws down forward, it is called
Sukuinage. For judgement, we should categorize the name of the throw by holding up
or not (picture 4).

The technique of Morote-gari is basic throwing technique in wrestling and Sambo.

Therefore, this technique is widely used in Judo competition. I believe it is necessary to
train and study Morote-gari in the future.

Techniques of practical applications

(1) When grabbing each other, Tori holds both of Uke's legs and covers with his body
and pushes Uke down (Morote-gari).

When grabbing each other, Tori dashes into Uke's abdomen, holds Uke's legs with both
hands, puts his shoulder against the right of Uke's abdomen and using a covering
motion, throws down (picture 5).

At this time, Tori takes a right defensive posture. Then, combining all the movements,
such as, holding Uke's legs, putting right shoulder against Uke's chest to push him
backward, swift steps, into one motion is very important. Sometimes, Tori rolls his
body over to push Uke down.
 30

Occasionally, Morote-gari is countered with Tawaragaeshi (Masutemiwaza) by Uke .

Therefore, sometimes the referee misjudges this throw even if you throw the
opponent. So, you must be cautious when you execute this throw.

(2) Switch Seoinage to Morote-gari.

(a) Getting into Seoinage, turning the body half way to switch to Morote-gari.

When Tori executes the right Seoinage, Uke blocks Tori's throw by leaning backward.
At this moment, Tori let goes of both hands and turns his body half way to take a right
defensive posture to face Uke. Then, Tori puts his right shoulder against Uke's right
chest to push him down with Morote-gari.

This technique is used when Uke blocks Tori's Seoinage.

(b) Pretend to execute Seoinage, then, turn his body 360 degrees to switch to
(Morote-gari).

Tori grips in the right handed position. Then, Tori releases his left hand while
continuing to hold Uke's left collar with his right hand. Tori pretends to execute right
Ippon seoinage. He, then, turns his body 360 degrees to face opponent to become left
defensive posture. Tori puts left shoulder against Uke's left chest to execute Morote-
gari.

In the same way, Tori releases his right hand and continues to pull his left hand while
putting some distance between Uke and himself. Then, he pretends to execute right
Ippon seoinage and turns his body 360 degrees to execute Morote-gari. At this time,
Tori take a right defensive posture. He, then, puts right shoulder against Uke's
abdomen to change to Morote-gari to push him down.

Actually, Tori's objective is not to throw with Seoinage but to use it as a combination
technique for Morote-gari.

(3) Tori executes Tomoenage, then, stand to change to Morote-gari

When Tori tries right Tomoenage, Uke drops his hip while stepping out his right foot
over Tori's left outer thigh. He lifts Tori with both hands to defense.

At this moment, Tori raises his body and stands while holding Uke's legs and puts his
right shoulder against Uke' abdomen and pushes him down (picture 6).
 31

This technique enables Tori to throw Uke from a lying position to standing position.
According to present tournament rules, it is not recognized as a throw but during Meiji
and Taisho Era, this was an effective throw in a competition. Many people used this
technique.

(Type 2)

Tori uses both hands to hold Uke's one leg to execute Morote-gari.

While grappling with each other, Tori dashes into Uke's abdomen, drops his hip to take
a right defensive posture. Then, he holds Uke's right leg and puts right shoulder
against Uke's abdomen. He, then, rolls over Uke's body and throws down.

This technique is not the regular Morote-gari, but Kodokan Waza Study Group
Department recognizes as a Morote-gari.

When Tori uses one hand to hook Uke's leg to throw him down backward, it is
categorized as a Kuchikidaoshi.

In the old Jujitsu, there were some similar techniques like Morote-gari. In Fusenryu, it
was called Hizaori (by Mr. Raisuke Kudo).

During Kodokan Era, people used this technique in competition. However, there was no
regular name in the beginning. Generally, people called it Ashitorinage at that time.

One day (date is not known), Mr. Kyutaro Kanda, ninth degree, had demonstrated this
technique in front of Professor Jigoro Kano and asked his opinion. Since this was his
favorite technique, he asked Professor Kano, "Is it appropriate to call it Morote-gari?
Professor Kano replied that it is a very effective technique and to name it to Kodokan's
Morote-gari. Unfortunately, Professor Kano passed away in 1938 and this technique
was not added to Kodokan's techniques. This story was published in Kodokan Judo
magazine "Sweat and Tear" in April 1969.
 32

In 1936, when Mr. Kanda competed in the All Japan Judo Championship, the name of
the Morote-gari was already being used in describing the throws. In October 1982,
Morote-gari was officially added to Kodokan techniques.

8. UCHI-MATA-SUKASHI (hand technique)

The technique of Uchi-mata-sukashi is dodging Uke's Uchi-mata to make him off

balance, then, throw him in that direction in a split second by the twisting of hands.
Also, techniques similar to this technique.

(Type 1) Dodging Uke's right Uchi-mata by moving to the right to change

Uchi-mata-kaeshi

Tori and Uke takes a right natural posture. Uke steps right, left backward to pull Tori's
body forward. Then, stop his movement while pressuring Uke's body with both hands
downward. Tori steps left, right forward, then, stops to raise his body upward to the
secured posture.

At this moment, Uke reduces his pulling hands movement. With this reaction, Tori
raises his body upward, then steps back his right foot slightly behind his left foot line.
At that moment, Uke steps in his right foot in between Tori's feet, then, twists his body
to the left halfway while pulling both hands to put Tori off-balance.

Then, he changes his supporting foot from right foot to left foot and swings his right
leg powerfully between Tori's legs with Uchi-mata. Tori steps his left foot back behind
his right foot to turn his body left halfway. Then, he dodges Uke's right leg swing. Uke
loses his balance due to missing Tori's body in the swing and his weight falls onto his
supporting left foot (picture 4).

Tori steps right foot forward and by dropping his hip and using Uke's swinging
momentum, he breaks Uke's balance in the direction of Uke's left foot. Then, Tori pulls
down his right hand and pushes Uke's elbow with his left hand and throws down. Uke
falls forward in a big circular motion with his left toe as the spinning point (picture 5).
 33

The key points of the techniques are as follows: When Tori pulls back his left foot, it is
not a good defensive posture. If Uke tries Osotogari or other throws, Tori will likely be
thrown due to his insecure position. It is important for Tori to train his instinct to
forestall in case of Uke's Uchi-mata. At this time, Tori should turn his hip slightly
instead of moving the body to the left to dodge. After dodging, Tori pulls his left foot
close to his right foot. Then, steps his right foot forward to take a right defensive
posture and twist him down. Sometimes, when Tori dodges Uke's Uchi-mata by
stepping back his left foot, he, then, steps in his left foot to a left handed posture and
throws him down. The stepping back and re-stepping his left foot forward happens
when Tori barely escapes the Uchi-mata or when there is a distance between Uke and
Tori (picture 7).

It is to late to dodge when Uke's right leg is between Tori's legs. In the case of Ken-
ken Uchi-mata, Uke swings his right leg in slow motion. Therefore, it is difficult to
dodge. Tori may respond as follows: Keiki Osawa, 9th dan, who was a specialist in
Uchi-mata-sukashi, explained his unique body movement as follows. (Judo- published
by Kodokan, December 1966) "When my opponent swings his Uchi-mata, I take my
right foot one step forward, parallel to the opponent. Then, I bring my knees together
to side step my opponent's swinging his right leg (picture 8).
 34

Since my opponent misses his swing, his weight goes onto his supporting leg and loses
his balance. At this opportunity, I use my body to put my opponent further off balance
and complete the throw. If my opponent's left foot is still touching the mat, I change to
Taiotoshi and throw him down. The key point of dodging: Like two trains passing each
other at full speed. I step my right foot forward and bringing my knees together to
prohibit my opponent from inserting his leg between my legs."

Next case is not Uchi-mata-sukashi. After dodging Uke's Uchi-mata and by placing his
left foot in front of Uke's left foot, Tori is in a crossed position, and by throwing with
both hand pulling, it is called Taiotoshi.

(Type 2)

Dodge Uke's Uchi-mata in between Tori's legs-Uchi-mata-sukashi

Uke takes right defensive posture to pull down Tori's upper body. Tori opens both legs
and takes a defensive posture. He, then, attempts to raise upper body to return to a
secured position. Uke slightly reduces his pulling motion and as Tori attempt to raise
his body, Uke breaks Tori's balance by pulling forward and swings his right leg between
Tori's legs to throw by Uchi-mata.

At the moment Tori raises his upper body to keep his balance, he, then, steps his right
foot slightly forward to support his body. He, then, raises his left foot high to dodge
Uke's swinging leg causing it to loose it's objective. Uke, then, spins by himself and
falls sharply (picture 13, 14).
 35

The key point is when Uke swings his right leg, Tori steps slightly forward to decrease
the distance between himself and Uke, turn his body slightly left and raises his left foot
high to dodge. If Tori receives Uke's swing directly in front of his body, it is difficult to
dodge and Uke's Uchi-mata will succeed.

Next technique is not Uchi-mata-sukashi.

When Uke swings his leg for Uchi-mata, Tori, as his dodges the swing, steps his left
foot, then his right foot in deeply. Uke's dodged right leg floats and his weight go to his
left supporting foot and proceeds to lose his balance.

Tori pushes Uke down with both hands in the direction of Uke's left foot. In this
technique, Tori turns his body to his right and moves behind Uke to dodge. The
technique, Type 1, Tori turns his body to the left to dodge. The technique, Type 2, the
dodging is done between the legs. Although there are these three methods to dodge,
but in the case where the dodging is done by moving behind Uke, it is called
Sumiotoshi. This technique was confirmed by Kodokan Waza Study Group Department
in March 14, 1989.

(Type 3)

Difference between Uchi-mata-sukashi and Ukiotoshi

Uchi-mata-sukashi: Dodge Uke's Uchi-mata to off balance and throw in that

direction.

Ukiotoshi: Float Uke's body forward to put off balance and pull (twist) down to throw.
Before being named Uchi-mata-sukashi, it was called Ukiotoshi. Because of the
dodging of the Uchi-mata, many opinions were expressed that to clearly define the
difference, it should be changed to Uchi-mata-sukashi.
 36

(Type 4)

How Uchi-mata-sukashi has been named after many studies and discussion

When Kodokan Waza Study Group Department discussed the new names of the
throwing techniques, they also studied the meaning of the Kanji (Chinese character),
sukasu. All Judo techniques are expressed in the Kanji (Chinese characters). However,
in the case of sukasu, there are so many meaning related to that word, it was decided
to use the hiragana instead of the Kanji. Therefore, sukashi, is used only for Uchi-
mata. If sukashi is used in other techniques, the throw is described or decided by the
last throwing technique.

Condition of Sukashi (competition rule)

The first Kodokan Judo rule was established in 1900. According to the rule (section 7),
the term of throwing techniques resulting in ippon are described as follows:

(a) Falling must not be intentional - falling by being thrown or falling by dodging

(b) Normally fall on his back

(c) Fall must have some speed and bounce

The above three points are still used in the present rules. Professor Jigoro Kano
explained (a) in the judo magazine published in July 1916 as follows: "A tries to
execute Tomoenage or Yokogake to B by sacrificing his body. If A throws B efficiently,
there is no doubt A will win. But, if A's throw is not effective and B is in standing
position, one might think that A has lost. However, in this case, A falls intentionally in
order to throw B. Also, if A slips and falls while trying to throw B, and is not thrown or
dodged by B, it is not an a legitimate throw." Before World War II, the referees had (a)
foremost in their mind to define this concept.

Iwao Hirose, 5th Dan, lost by Uchi-mata-sukashi

There is an episode in reference to the dodging technique. According to Shinichi

Oimatsu, 9th Dan, who witnessed Iwao Hirose, 5th Dan (later 9th Dan) loss to Yoshiaki
Kuroda, 5th Dan (later 8th Dan) by Uchi-mata-sukashi. Hirose, 9th Dan, won the All-
Japan Judo Championship in 1941. He won many prestigious tournaments and is a
record holder and had a brilliant judo career. His favorite techniques were
Ipponseoinage, Haraigoshi, and Tsurikomigoshi. "Either during 1937 or 1938, Iwao
Hirose, 5th Dan, and Yoshiaki Kuroda, 5th Dan, competed in Kyoto. I'm not sure
 37

whether it was with Haraigoshi or Uchi-mata, Hirose pulled Kuroda to his back and
swung his leg up to throw Kuroda. But, unfortunately, Kuroda wasn't there.

Therefore, Hirose missed his swing and fell by himself in a big spinning motion. At this
time, Kuroda did not do anything, even dodging. But referee, Hajime Isogai, 10th Dan,
who was Hirose's judo teacher, announced Ippon. Both players were stunned a little
while with this call. After the tournament, Hirose asked his teacher as follows: 'For
Ippon call, one must throw the opponent or dodge opponent's technique to throw him
down, but, in this case, my opponent didn't do anything and I fell by myself
accidentally. Therefore, I do not understand your call.' In replying to this question,
Professor Isogae lectured Hirose as follows: 'You are 5th degree black belt in Judo,
therefore, you can not allow any mistake.' Perhaps Professor Isogae knew the
definition of dodging, but he wanted to teach a lesson to his favorite student." Now a
days Judo has been developed as a competitive sport, therefore, many referees are
neglecting or not understanding the meaning of dodge, and give points for any kind of
falls. So, we must consider these problems and study the true meaning of judo
techniques.

9. UKIOTOSHI (hand technique)

The technique of Ukiotoshi is making Uke's body into a right (left) forward floating
position, then, with both hands Tori pulls down strongly to the left and throws or uses
a similar technique to throw. Ukiotoshi and Sumiotoshi are identical techniques, which
are generally called Kukinage.

(Type 1)

Nage-no-kata techniques (per Kodokan Nage-no-kata)

Tori & Uke face each other in a right natural posture. Uke tries to step his right foot
forward to hold Tori in the right natural posture. Tori uses Uke's movement to step his
left foot back in a Tsugiashi to keep pace while pulling Uke's body forward in a right
natural posture. Uke, trying to keep his balance, follows Tori's Tsugiashi and takes one
step forward with his right foot. Tori, again, takes his right foot backward in Tsugiashi
to further put Uke off balance. Then, Uke takes another step forward in Tsugiashi to
maintain his balance. Tori, again, pulls Uke forward. Then, when Ukeresponds to this
pull by putting his right foot forward, Tori steps his left foot way back to put Uke
further off balance. Tori kneels his left knee with the tip of his toes placed on the mat
(at this time, the angle of the left leg in relation to the right leg is 30 to 40 degree).
 38

Then, Tori pulls both hands strongly toward himself and throws. Uke falls forward in a
big circular motion with his right toe as the point of rotation. These Nagenokata
techniques are illustrations of how to put Uke off balance by taking a step back, once,
twice, with each step larger. Then, and on the third step, while pulling Uke toward the
right front forward into a floating ﾁ@position, Tori drops his body and places his left
knee on to the mat and pulls down and throws. Purpose of Nagenokata is to try to
learn the logic of these movements. When Tori pulls both hands, rather than twisting
his ﾁ@hands, he should concentrate his whole strength in pulling toward his hip.

Techniques of practical applications.

(1) Throwing the Uke in standing position (Ukiotoshi)

Tori tries to make Uke off balance toward his right front forward. Themoment that Uke
steps his right foot forward, Tori pulls his left foot way back and immediately pulls his
right foot back, thereby putting somedistance between each other. Tori lifts his right
hand in a upward motion and pulls his left hand down and puts Uke off balance to his
right front forward into a floating position. At this time, Tori widen his stance and drops
his hip to take a right defensive posture to secure his balance. The moment Uke loses
his balance to his right forward, Tori, while in a standing position (without completely
dropping his left knee on the mat) changes his pulling direction from upward to
downward toward his left foot, throws in one motion. Ukiotoshi is not only executed
with a dropped knee but is used extensively from a standing position in randori
practice.

(2) Tori grabs Uke's belt over his back with the right hand and grip Uke's trouser over
his knee and throws by twisting (Ukiotoshi)

When Uke bends his body in a defensive position, Tori grabs Uke's belt over his back
and pulls. At the same time, Tori grips Uke's right trouser over his knee with his left
hand in a pulling motion to make Uke off balance to his left front forward. By twisting
his body to the right, Tori throws down. The logic of this technique is not too good but
we see many cases during the competition. After Kodokan Waza Study Group
Department studied this technique, they all agreed to segregate as Ukiotoshi. The
following are similar techniques. Tori grabs Uke's belt over his back with his right hand
and grips Uke's trouser with his left hand. Then Tori places his right leg between Uke's
legs and scoops Uke's body up and twists his body to the right and throws down. In
this case, it is called Sukuinage.
 39

(Type 2)

When Uke steps his left foot back, Tori chases Uke's movement to put him in a
floating right forward position and then pushes him down for a throw
(Ukiotoshi).

Tori and Uke hold each other in a natural right-handed posture. Tori tries to step his
right foot back and pulls Uke forward to put him off-balance. Uke steps his left foot
forward to stop, but his body is already off-balance so Uke, again, tries to step back
his left foot and return to normal posture. At this moment, Tori releases his pull and
pushes his right hand. In response to the push, Uke pulls his left foot back and raises
his body upright. While in a floating position, Uke tries to step his left foot back. To
match this movement, Tori takes a deep step forward with his right foot to take a right
defensive posture. While Tori pushes his right hip forward, he pushes his right hand up
while his left hand pulls up and out to Uke's right front for a floating postion. At this
time, Tori bends both knees and drops his hip in a secure position facing straight
against Uke. With all his weight on his right toe, Uke is unable to touch the mat with
his left foot creating a floating position and thereby losing his balance. While
controlling Uke's body, Tori shifts his body 180 degree to the left using both of his toes
as the shaft. This causes Uke's body to further float in the direction of his right front
forward (Uke's right foot direction). At the moment Uke's body is completely off
balance Tori pushes his right hand and pulls his left hand down and throws. Uke falls in
a large circular motion with his right toe as a pivot point. To make this technique
efficient, coordinate both hand movements (push and pull) and the twisting of the hip.

Techniques of practical applications.

(1) Push Uke's left elbow with Tori's right hand and throws (Ukiotoshi).

Tori grabs Uke's right sleeve (or right collar) with his left hand and grabs the lower
part of the left sleeve with his right hand. As mentioned previously, the moment that
Uke steps his left foot back Tori steps his right foot forward while pushing Uke's left
elbow with his right hand and pulls his left hand upward. As his turns his body to
change the direction, Tori pushes Uke up and down to throw. By pushing Uke's left
elbow up, Tori will sufficiently cause Uke to lose his balance.

(2) Twist both hands (without twisting his body) and throws down (Ukiotoshi).

Tori and Uke hold each other in right-handed natural posture. When Uke tries to step
back with his left foot (same as Type 2), Tori chases Uke by stepping his right foot in
 40

and puts Uke off-balance to his right front forward. He, then, leans back without
twisting his body and throws to the left by twisting his arms. At this time, Tori can
throw Uke's body to his right (outside of Uke's right foot).

(Type 3)

Dodge Uke's throws and change to Ukiotoshi (combination techniques from

dodging).

(1) Dodge opponent's Osotogari to change to Ukiotoshi.

The moment before Uke sweeps his right leg for Osotogari, Tori dodges Uke's sweep
by stepping back his right foot causing Uke's body to float to his left front corner. At
this moment, Tori pushes his left hand up and pulls his right hand down and throws.

(2) Dodge opponent's right Osotogari by Tori swinging his right leg high to change to
Ukiotoshi.

Tori steps back his left foot the moment before Uke executes a right Osotogari by
bending his body forward and swinging his right leg forward, high to dodge. As Uke's
right leg drift backward with momentum, his body will float to the left front forward. At
this moment, Tori brings his lifted leg back to become a left-handed position. Then,
Tori throws Uke toward the direction he is floating by twisting down.

(3) Dodge Uke's right Ouchigari to change to Ukiotoshi.

The moment before Uke's Ouchigari, Tori steps his left foot back to take a right-
handed position for dodging. Uke loses his balance to his left front forward. At this
moment, Tori pulls his right hand and pushes his left hand and twists Uke's body down
for a throw.

(4) Dodge opponent's right Kouchigari to change to Ukiotoshi.

The moment before Uke sweeps for right Kouchigari, Tori steps his right foot back to
take a left-handed posture for dodging. When Uke misses his sweep, his right foot is in
a floating position and his whole weight is on his left heel causing his off-balance. At
this moment, Tori pulls his left hand and pushes his right hand and twists Uke down
and throws.

In these dodging movements to change to Ukiotoshi, Tori must anticipate Uke's sweep
and step his foot back quickly to dodge Uke's sweep. When the timing is perfect
against Uke's sharp sweep, Uke will automatically turns his body and throws himself.
In addition to these, the dodging of Uke's Hanegoshi is also known as Ukiotoshi. In the
 41

case of dodging the Uchimata by pulling down, it is called Uchimatasukashi instead of

Ukiotoshi. When Tori dodges Uke's Ouchigari and Kouchigari to change to Ukiotoshi, it
is similar to Ouchigaeshi and Kouchigaeshi. The difference will be explained later in the
relative throws.

10. Kataguruma (hand technique)

Kataguruma is accomplished by making Uke off balance by pulling in a straight forward

motion or right front forward (or left front forward) motion. Tori picks up Uke's body
onto Tori's right shoulder (or left shoulder), back of the head, then, left shoulder (or
right shoulder); then Uke is thrown down to complete the wheel motion. Techniques
similar to this are also called Kataguruma.

(Type 1)

Pull Uke forward to execute Kataguruma.

Tori & Uke hold each other in a right handed natural posture. To break Uke's balance,
Tori pulls Uke's body straight toward him as he steps back. Tori, then, takes a big step
back with his left foot forcing Uke to put his right foot forward. Tori twists his body to
the left as he pulls his hand upward and pushes his right hand upward. This causes
Uke to put his weight on his right toe; there by, breaking his balance.

Tori steps his right foot in between Uke's legs and bends both knees, drops his hip to
become right defensive posture. Pull Uke's off balanced body forward and put his right
shoulder to Uke's right front hip. Tori puts the back of his head to Uke's right side of
hip (center of Uke's body or around his belt). Tori puts his right hand between Uke's
legs and holds Uke's lower body. Tori pulls his left hand down toward his left hip,
brings his left foot close to his right foot, and straightened his head, neck and chest
simultaneously and picks up Uke's body from right shoulder to left shoulder. At this
time, Uke resist this movement and stretches his body backward. Tori, without
stopping his move, pulls his left hand down and pushes Uke up with his right hand and
uses his neck as a shaft to throw from his left shoulder to left forward direction
(direction of pointed left toe). Uke falls in a circular motion to Tori's left forward. This
technique is the same concept as Nagenokata. In Nagenokata Tori changes his left grip
from the outside to the inside of Uke's right sleeve in the second step. Then, he picks
up Uke's body in the third step and throws as explained previously.
 42

Techniques of practical applications.

Generally, the direction of throwing is toTori's left (or right) forward but sometimes
there are exceptions such as the following.

(1) Tori twists his body to the left and throws Uke straight forward.

As Tori picks up Uke, he pulls his left foot back to change his body direction to the left.
Tori's right hand grips Uke's right sleeve and moves both hands closer together and
pulls straight down to throw forward. The completed throw resembles the
Ipponseoinage.

(2) Tori bends his body forward and throws.

Tori picks up Uke and bends his body forward and throws down straight forward.
Because of the efficiency of this technique, it was very popular during the Meiji Era.(3)
Bend Tori's body backward to throw.

While Tori picks up Uke, sometimes, Uke tries to defense against Tori's throw by
grabbing Tori's upper body. Tori bends his body backward to change to a sacrifice
throw by throwing himself and Uke together backward. These Kataguruma techniques
are efficient throws in competition.

(Type 2)

Tori drops one knee onto mat, picks up Uke to throw (Kataguruma).

(1) Tori drops his right knee onto mat, then, stands up to throw down (Kataguruma).

Tori grips Uke's right sleeve with his left hand. Uke grips Tori's left collar with his right
hand. When Uke tries to grab Tori's right sleeve with his left hand, Tori holds down
that hand to keep some distance. As he steps back with his left foot and pulls Uke's
body to right front forward into a floating position with his left hand, Tori drops his hip
and slides in his right foot between Uke's legs and kneel his right knee (stands his left
knee). At the same time, Tori places his head outside of Uke's right hip and pulls his
left hand toward Uke's right front forward. Tori picks up Uke's body on his both
shoulders and places right hand between Uke's legs and holds Uke's right leg. Tori
pulls his right hand toward himself and lifts Uke's body, as he stands up and throws
down to left forward . Sometimes, Tori uses opposite foot (kneel the left knee, stands
the right knee).

(2) Tori kneels his left knee and picks up and throws down (Kataguruma) (change from
Uchimata).
 43

Tori & Uke hold each other in right handed position. Tori executes right Uchimata by
swinging up his right foot outward against Uke's left foot to float Uke's body. Tori pulls
back his sweeping leg, places it behind left foot and twists his body to the right. Then,
pulls his right hand to unbalance Uke. Tori places his left knee on the mat between
Uke's legs, stands his right knee, puts his head under Uke's left hip and places his left
hand between Uke's legs and hold the left knee. Tori lifts Uke's body onto both
shoulders. Tori pulls his left hand down toward his body and using his back of the head
as a shaft, throws Uke down in the direction of his right foot. At this time, Tori keeps
his left knee on the mat without standing. This technique is a feint motion from
Uchimata to Kataguruma. To use this technique, Tori needs good timing and quick
body movement. If this technique is executed with perfect timing, Uke will fall in a big
circular motion with Tori slightly touching both shoulder to Uke's body.

(Type 3)

Bend Tori's body backward to throw (Kataguruma)

Same as Type 1, Tori steps in his right foot between Uke's legs while lowering his
body. Tori puts his right shoulder against Uke's right front hip to pick him up. Then,
Tori brings his left foot close to Uke's right foot, shifting his weight backward (facing
each other), Tori pulls both hands close to his body and bends his body backward to
throw Uke over in close body contact. At this time, Tori does not release Uke's body in
the throw. Kataguruma (Type 1) (3) throws the opponent in standing position but this
technique pulls the opponent close to both shoulders and bends the body backward for
a throw without standing.

(Type 4)

Pick up Uke's body straight up unto Tori's right shoulder and bend backward
to throw (Kataguruma).

Tori & Uke face each other in defensive posture. Tori grabs Uke's both wrist to push
up. Uke tries to break the hold by pushing back. At this moment, Tori releases the grip
and pushes Uke's hand upward. Uke will lose his balance at this time and go into a
floating position. Tori drops his body and rushes the center of Uke's body and steps in
with his right foot between Uke's leg to take a defensive posture. Tori puts his head
under Uke's right armpit with right shoulder under Uke's stomach, then, holds Uke's
legs from the outside. Tori lifts Uke up and carries him on his right shoulder and bends
backward and throws. Uke makes a big circular motion in the air and falls. Other
technique: When Tori executes Morotegari, Uke tries to defense by bending his body
 44

forward or Uke tries to hold Tori's upper body to change to Tawaragaeshi to throw
straight backward. At these times, it is a great opportunity to execute Kataguruma.
When Tori executes these techniques, Tori should advance a few steps in lowered
position to lift on his right shoulder. In doing this, Tori should experience less
resistance from Uke. Since these techniques are recognized in regular competition as
ippon and are similar to old Jujitsu techniques, Kodokan Waza Study Group
Department segregated and named them as Kataguruma. This technique is very
similar to Uranage. When Tori pick up Uke's body to throw backward in sacrifice
position, we consider it as Masutemi waza's Uranage.

11. Sumiotoshi (hand technique)

Sumiotoshi is accomplished by Tori stepping his left foot (or right foot) beside Uke's
right foot (or left foot). Using his body movement and both hands Tori puts Uke off
balance to his right backward (or left backward). Then, Tori pushes Uke up and throws
down or similar to this type of techniques.

(Type 1)

While Tori is pulling, Uke's left foot goes forward to put him off balance to his
right backward, Tori, then, pushes Uke up and throws down
(Sumiotoshi).

Tori and Uke hold each other in the right handed natural posture. By taking left, right
steps forward, Tori puts Uke off balance to his left backward, then, stops. As Tori
pushes, Uke steps back his right, left foot and stops. He, then, pushes to try to regain
his orginal position. At this time, Tori's second step, which would be his right foot, is
placed in front of Uke's right foot (this position enables Tori to step in quickly and
faster). Tori takes a right defensive posture and presses Uke down with both hands.
When Uke pushes Tori back, Tori decreases the pressure of his right hand causing
Uke's left foot to step forward to push. At this time, Tori changes his right hand grip
from Uke's left collar to the middle of his left sleeve. Along with Uke's push, Tori pulls
Uke's right hand to bring Uke's left foot forward. A moment before Uke places his foot
on the mat, Tori pulls his right hand in a circular motion to push Uke's elbow up. Then,
Tori takes a big step with his left foot to the outside of Uke's right foot (at the same
time as Uke's left step forward). Tori brings back his right foot close behind his left foot
to take a left defensive posture. With Tori's right hand pushing up and the left hand
pulling down, Uke is unable to put his weight on his left foot, causing his weight to lean
heavily on his right heel. He, then, loses his balance to his right backward. Tori puts
 45

his weight to his left foot, bends his upper body, pushes up his right hand and pulls his
left hand straight down, and throws Uke's body to his right backward in one motion.

Uke falls backward in a big circular motion with his heel as the pivot point.

The key point of this technique is Uke's inability to put his weight on his left foot and
his weight shifting heavily to his right foot, causing him to lose his balance. To
accomplish this, Tori needs well coordinated body movement and work of both hands.

Techniques of practical applications.

Tori grips Uke's left front collar with his right hand to make Uke off balance
(Sumiotoshi). The timing of the execution of the technique, the work of both hands
and body movement (Tsukuri) and (Kake) are same as type 1, but the difference is,
Tori make Uke off balance to his right backward while gripping Uke's left front collar
with Tori's right hand. To compare this technique to type 1, it is less effective in
breaking Uke's balance to his right backward but Tori using his right hand in a pull and
push movement in good timing is able to push Uke down sharply.

(Type 2)

By using Uke's attempted throw to push Uke down (Sumiotoshi)

1. At the time of Uke's execution of left Sasaetsurikomiashi, push Uke down

(Sumiotoshi).

Tori & Uke hold each other in right natural posture. Uke steps back to pull Tori. The
moment Tori steps his right foot forward, Uke executes left Sasaetsurikomiashi. Tori
perceiving Uke's attempt as Uke stands on his right leg, moves his right foot close to
his left foot to support his body firmly as he steps in his left foot close to the outside of
Uke's right leg to become a defensive posture. Then, Tori lifts his right hand (while
gripping Uke's left collar) and pulls his left hand down to put Uke off balance to his
right backward. Tori throw down Uke as explained in type 1. The key point of this
technique is Tori must perceive Uke's move, such as Uke's execution of
Sasaetsurikomiashi (standing on right foot and left foot is off of the ground).
Therefore, timing is very important. The following can be similarly changed to
Sumiotoshi: All throw that start with Uke standing on one leg, such as Hizaguruma
(foot technique), Haraitsurikomiashi (foot technique).

2.. Dodging Uke's Uchimata (foot technique) by stepping behind Uke's body and
executing Sumiotoshi.
 46

When Tori steps back his right foot, Uke executes right Uchimata by swinging up his
right leg. Tori jumps in with his left foot far behind Uke's supporting left leg and he
twists his body to the right and steps back his right foot toward his left heel to dodge.
Uke's right leg floats in the air and loses his balance since his weight moved to the
outside of his left foot. While Uke's body is off balance, Tori throws Uke straight down
with both hand. Sometimes, Tori covers Uke with his body to throw down.

When Uke uses the following techniques, Tori is able to dodge and execute Sumiotoshi.

Hanegoshi (hip technique), Haraigoshi (hip technique), Seoinage (hand technique)

Tsurikomigoshi (hip technique). When Uke tries to execute any technique, but loses his
balance for some reason, Tori can throw Uke down backwards. This is still considered
as Sumiotoshi. When Tori quickly twist his body and uses his left foot (or leg) to sweep
(or hook) Uke's left supporting leg, it is called Uchimatagaeshi. When Tori twists his
body to his right (opposite movement of Sumiotoshi) and dodge Uke's right Uchimata
to throw, it is called Uchimatasukashi.

(Type 3) Difference between Sumiotoshi & Ukiotoshi

These two techniques are mentioned in Ukiotoshi section as Kukinage. Both uses only
hands to throw down. They are similar but we will compare the slight differences.

Sumiotoshi: Make Uke's body off balance to his right backward (Uke's right heel) and
throw down in the direction of Uke's right heel.

Ukiotoshi: Make Uke's body off balance to his right forward (Uke's right toe) and pull
down or push down to throw in the direction of Uke's right toe.

It is easy to understand the difference between these two techniques since the
direction of putting off balance and throwing is opposite.

12. Kuchiki-taoshi (hand technique)

Kuchiki-taoshi is accomplished by Tori grabbing Uke's leg from the outside or inside
with one hand in a split second. Then, as Tori pulls up Uke's leg, he pushes him back
to throws him down. Also, techniques similar to this technique.

(Type 1) Tori uses right hand to grab Uke's right leg from the inside and
throws down (Kuchiki-taoshi)

Tori and Uke grab each other in the right natural posture. Tori steps back right, left,
right to force Uke to step forward, right, left. Then, Tori takes left defensive posture
and press Uke down with both hands and stops. At this time, Uke takes left defensive
 47

posture and stops. Tori loosens up both pulling hands and push Uke with his right
hand. Uke steps his left foot backward and tries to raise his upper body to become a
secured position. A moment before Uke's move, Tori steps his right foot close to his
own left foot. Then, he changes his left foot position to the outside of Uke's right foot.
He, then, gets closer to Uke's body to become left defensive posture. Then, he holds
Uke's right leg from the inside around behind his knee with his right hand. Tori pulls
Uke's right leg with his right hand, as he pulls his left hand straight down and pushes
him backward. Tori needs to follow quickly in conjunction with Uke's steps, right, left in
order to grab Uke's right leg with his right hand. If (Tsukuri) is not enough, Tori,
sometimes, pushes Uke backward by covering Uke's body to throw. Next throwing is
not Kuchiki-taoshi. When Tori grabs Uke's right leg by holding from the inside with his
right hand, he then steps in deeply behind Uke's legs and sacrifice his body to throw
Uke down. In this instance, it is called Taniotoshi (Yokosutemiwaza). When Tori grabs
Uke's right leg with his right hand and sweeps Uke's left foot (supporting leg) with his
left foot, it is called (Kosotogake).

Techniques of practical applications.

(1) Combination of your technique to become Kuchiki-taoshi

(a) Execute Seionage, then, twist body 180 degrees to change to Kuchiki-taoshi.

When Tori tries to throw with right Ipponseionage, Uke leans his upper body backward
for defense. Tori turns his body half way to face Uke. Then, steps his left foot to the
outside of Uke's right leg to become a right defensive posture. He, then, grabs Uke
right leg with his right hand and pulls up as he pulls his left hand straight down. Tori
pretends to execute Seionage, then, twists his body 360 degrees to change to Kuchiki-
taoshi. Tori pretends to execute right Ipponseoinage, then steps his right foot in front
of Uke's right foot, using his right foot as a spinning point, then turns his body to the
left 360 degrees. Then, Tori steps close to Uke's right side to take a left defensive
posture. He, then, grabs Uke's right leg from the inside and pulls up as his left hand
pulls down to throw Uke backward.

(b) From Kataguruma turn the body halfway to change to Kuchiki-taoshi

When Tori tries to lift upUke by right Kataguruma, Uke leans his upper body backward
for defense. Tori turns his body to face Uke. He, then, steps in his left foot beside the
outer side of Uke's right foot, pulls his right hand up (which has grabbed Uke's right
leg). Pull left hand down and push Uke backward.
 48

(2) From Uke's execution of technique to change to Kuchiki-taoshi

The change from Uke's right Oshotogari to Kuchiki-taoshi

The moment Uke executes right Osotogari, Tori steps back his right foot and take a left
defensive posture. At the same time, Tori grabs Uke's right leg from the inside with his
right hand and pulls up as his pulls his left hand down to throw Uke backward. This
technique is also applicable when Uke tries Haraigoshi or Tsurikomigoshi which shows
Uke's back to Tori.

(Type 2)

Tori uses his left hand to hold Uke's right leg from the outside to throw
Kuchiki-taoshi

Tori & Uke hold each other in right natural posture. When Uke steps back his left foot,
Tori steps his right foot in deeply between Uke's legs and brings his body close to Uke.
He, then, take a right defensive posture. Tori holds Uke's right leg from the outside
with his left hand to scoop up Uke behind the knee. He, then, pushes Uke's upper body
with his right hand. Uke loses his balance since all his weight goes on his left heel. At
this moment, Tori keeps pushing Uke as his left hand continues to pull up to throw
backward. This technique is different from Type 1 in grabbing Uke's leg.

(Type 1)-Tori grabs Uke's leg from inside. (Type 2)-Tori grabs Uke's leg from outside.

(Type 1)-Tori is able to throw Uke at once because he can pull up Uke's right leg with
his right hand as his pulls his left hand straight down. (Type 2)-Tori pulls Uke's right
leg with his left hand from the outside as he pushes his right hand backward. Since,
Uke is able to defense by stepping back his left foot, Tori must have good coordination
of both hand-work and strong dashing power. A moment before Tori grabs Uke's right
leg from the outside with his left hand, Tori switches his grip from Uke's left collar to
the right collar (stick four fingers inside). He, then, pulls down his right hand as he
pushes Uke right backward. Since Uke's weight is on his right leg, Tori is able to throw
down at once like Type 1.

Techniques of practical applications

(1) Change from your own throwing techniques to Kuchiki-taoshi

(a) Change from Ouchigari to Kuchiki-taoshi

When Tori executes right Ouchigari, Uke responds by swinging up his left foot up in the
air for defense. At this moment, Tori grabs Uke's left leg from the outside with his right
 49

hand and pulls up with his left hand to throw Uke to his left backward. Next technique
is not Kuchiki-taoshi. When Tori grabs Uke's left leg with his right hand, he, then,
sweeps Uke's right foot from the inside with his right foot. It is called Kouchigari.

(b) Change from Kouchigari to Kuchiki-taoshi

When Tori executes right Kouchigari, Uke responds by swinging up his right foot in the
air for defense. At this moment, Tori grabs Uke's right leg with his left hand from the
outside, then, pushes Uke down. Next technique is not Kuchiki-taoshi.

Tori grabs Uke's leg as previously stated and sweeps Uke's left leg from the inside with
his right leg. This is called Ouchigari. When Tori grabs Uke's right leg with his left
hand, he hooks his right foot against the outside of Uke's left leg and sweeps down. In
this case, it is called Kosotogake.

(c) The change from Seoinage to Kuchiki-taoshi

When Tori executes right Ipponseoinage, Uke defense by leaning his body backward.
At this moment, Tori turns his body half way to face Uke. He, then, hooks his right arm
against the right side of Uke's right leg (like Sotomuso in Sumo). Tori steps his left foot
deeply into Uke's right side to become a left defensive posture. He, then, pulls down
his left hand and puts his weight on Uke's body to throw down. In this technique, the
use of the right hand is different. Since Tori's right hand is not strong enough to pull
up, Tori keeps hooking his right arm against Uke's right leg and puts his upper body
against Uke to push his down.

(2) The change from Uke's throwing to Kuchiki-taoshi

When Uke executes right Hizaguruma, Tori steps in his right foot between Uke's legs
and becomes a right defensive posture. Then, Tori grabs Uke's right leg from the
outside with his left hand and pulls up. He, then, pushes Uke's upper body with his
right hand and throws down. When Uke executes Sasaetsurikomiashi, the same
technique can also be used.

(Type 3)

The difference between Kuchiki-taoshi (Type1) and Sukuinage (Type 3)

Kuchiki-taoshi (Type 1) - Tori grabs Uke's leg from the inside with one hand. He, then,
pulls up the leg and pushes him down.

Sukuinage (Type 3) - Tori inserts one hand between the legs to grab the thigh deep
enough to be able to scoop Uke's lower body and throw. The difference of grabbing
 50

between the two techniques does not necessarily classify between Kuchiki-taoshi and
Sukuinage. The difference is classified by whether one leg remains on the mat or
whether both legs are in the air when thrown. Generally, when the leg is grabbed
shallowly, it becomes Kuchiki-taoshi, and if grabbed deeply, it becomes Sukuinage.
Kuchiki-taoshi is one of the throwing techniques in the old Jujitsu. Since this throw
reminds us of a rotten giant tree falling from the roots, it was named Kuchiki-taoshi.
There were differences among the Jujitsu style in this technique but they are not
known. Professor Kyutaro Kanda, ninth dan, mentions in relation to this technique (in
Study of techniques against larger opponents). "I was taught Kuchiki-taoshi by
Professor Kinsaku Yamamoto (Totsukayoshinryu - Rival to Kodokan Judo at that
time)". Kodokan judo magazine (May 1957) mentions Mr. Takeo Hirose, Shodan, (died
in Japan vs. Russia war at Ryojun Harbor) competed in Kodokan fall Red/White
tournament (1891) and was promoted to Nidan due to outstanding performance. In a
letter to his father about this tournament, he wrote that he fought Mr. Yuji Hirooka,
Shodan, who is a certificate holder of Sekiguchiryu and whose favorite technique was
Kuchiki-taoshi. According to the above references, it is highly believable that Kuchiki-
taoshi existed in both Totsukayoshinryu and Sekiguchiryu at that time. In the book
(Tenshinshinyoryu, a new illustration of Jujitsu techniques) a techniques similar to
Kuchiki-taoshi is mentioned. In the second technique in Nagesute, Kuchiki-taoshi again
appears. If you want to study the original Kuchiki-taoshi, you should refer to this book.

According to the illustration of this book, Tori and Uke comes close to each other.
Then, Uke strikes Tori, but Tori steps in just before Uke's attack and strikes Uke chest
with his right hand and sweeps Uke's right leg (behind Uke's knee) from the outside
with his left hand to throw down. In Jujitsu, they use not only throwing techniques but
striking techniques to control the opponent. Therefore, there are some differences
between present randori techniques.

13. Kibisu-gaeshi (hand technique)

In the technique, Kibisu-gaeshi, Tori lowers his body and grabs Uke's heel from the
inside or outside with one hand and sweeps Uke down backward in a split second. Also,
techniques that are similar to this technique.

(Type 1) Tori grabs Uke's right heel from the inside with his right hand and
sweeps down (Kibisu-gaeshi)

Tori and Uke hold each other in right natural posture. Tori steps forward left, right,
left, to make Uke off balance backward. Uke steps back right, left, right. He, then, take
 51

a left defensive posture to push Tori back and tries to go back to a secured posture.
Tori reduces the pressure of both pushing hands and pulls his left hand. Uke, in turn,
pushes Tori by stepping right foot forward. At this moment, Tori lowers his body by
stepping back his left foot, right foot and places his right knee on the mat. Then, Tori
uses his right hand to hook Uke's heel. At this point, Tori's left foot is placed on the
outside of Uke's right foot. Then, Tori turns his body slightly to the right. The moment
Uke shifts his weight on his right foot, Tori pulls his right hand toward himself to sweep
down backward as he pulls his left hand straight down. The key point of this technique
is as follows. It is not necessary for Tori to put his knee down on the mat. But to hook
Uke's right heel quickly, he needs to lowers his body to get closer. The timing of the
sweeping of the heel with right hand, pulling of the left hand straight down the precise
time Uke shifts his weight is most important. If Tori misses this timing, Uke is able to
support his body with his left foot by just lifting his right foot to escape from Tori's
sweep. It is too late to sweep Uke's right foot after Uke's shifts his weight onto his
right foot. Usage of Tori's right hand is not to pull upward but to pull outward to widen
the space between Uke's leg and cause him to lose his balance backwards. The concept
of this technique is the same as Kouchigari. The only difference is the use of the hand
instead of the foot when Tori sweeps Uke's foot.

Techniques of practical applications.

1. Change from your own throwing techniques to Kibisu-gaeshi

(1) Tori pretends to execute right Ipponseoinage, then change to Kibisu-gaeshi

Tori pretends to execute right Ipponseoinage, then steps his right foot to the outside of
Uke's right foot, to use as spinning point. Tori, then, turns his body 360 degrees to the
left. Tori steps his left foot to the outside of Uke's right foot. Tori lowers his body and
closes into Uke's right foot. He, then, grabs Uke's right heel from the inside with his
right hand and sweeps him down. The purpose of this technique is to deceive Uke into
thinking Ipponseoinage is going to be executed where as Kibisu-gaeshi is the primary
objective. Therefore, Tori should have some distance between Uke and himself to be
able to spin his body to pick him up.

(2) When Uke evades Tori's Ipponseoinage by stepping forward, Tori takes that
opportunity to execute Kibisu-gaeshi

Tori picks up Uke with Ipponseoinage. As Uke's body floats upward, he evades the
throw by stepping his right foot forward. At this moment, Tori grabs Uke's right heel
from the inside with his right hand and sweeps down. To succeed with this throw, Tori
 52

must execute a powerful Ipponseoinage. When Uke steps his right foot forward for
defense, Tori must execute the technique the instance Uke loses his balance. Also,
Seoinage to Kibisu-gaeshi can be used.

(3) The change from Kataguruma to Kibisu-gaeshi

When Tori tries to pick up Uke with Kataguruma, Uke leans his upper body backward
for defense. At this moment, Tori turns his body to face Uke. Then, he steps his left
foot beside the outside of Uke's right foot and lowers his body to grab Uke's right heel
from the inside with his right hand and sweeps down. It is easy to change from
Kataguruma to Kibisu-gaeshi since Tori's right hand is already holding Uke's leg. It is
important that Tori must catch the right moment when Uke leans his body backward.
When Tori throws Uke by holding his leg, it is called Kuchiki-taoshi.

(4) From Deashi-harai to Kibisu-gaeshi

Tori tries to make Uke step his right foot forward so he can sweep with Deashiharai.
However, Uke evades this sweep by lifting his leg for defense. At this moment, Tori
grabs Uke's right heel from the inside with his right hand, then, scoops up and sweeps
down in a split second. In this situation, Uke is able to defense by just lifting his right
foot. Therefore, Tori must push Uke down in a split second.

(5) From Tomoenage to Kibisu-gaeshi

When Tori executes Tomoenage, Uke drops his hip and steps his right foot forward for
defense. Tori raises his body, steps his right foot back and places the knee on the mat.
He, then, raises his left knee and grabs Uke's right heel from the inside with his right
hand and sweeps him down. This technique is applicable when you are defending
against your opponent's attack or when you are applying a offensive technique while
you are in the position of kneeling in front of Uke's feet. During the Meiji or Taisho Era,
these types of techniques were valid in competition. But, according to the present rule,
it is not a valid throw if Tori throws Uke from a lying position.

2. The change from Uke's throwing techniques to Kibisu-gaeshi

From Oguruma to Kibisu-gaeshi

When Uke executes Oguruma, Tori steps back his right foot and turns his body to the
right for defense by dropping his hip. Then, Tori grabs Uke's right heel from the inside
with the right hand and scoops up. He, then, steps his left foot behind Uke and pushes
him down. The technique of Oguruma is normally the sweeping of Tori's lower part of
the stomach which allows Tori to easily grab Uke's heel. However, it is difficult to scoop
 53

up the heel since Uke's leg is already in a higher position. So, Tori must push Uke
backward to complete a throw.

(Type 2) Tori grabs Uke's right heel from the outside with his left hand to
throw Kibisu-gaeshi

Tori and Uke hold each other in a right natural posture. Tori steps back, right, left,
right to pull Uke left, right, left. Then, Tori takes left defensive posture by pushing
down both hands. Uke responds by stopping and takes a left defensive posture. At this
time, Tori reduces pressure in both hands and pushes his right hand. Uke steps his left
foot back to take a secured posture. At this moment, Tori changes his right grip to the
inside of Uke's right collar and pulls Uke toward himself with both hands. Tori lowers
his body by stepping his right foot between Uke's leg to take a right defensive posture.
Then, he hooks his left hand behind the outside of Uke's right heel. The moment Uke
tries to step back his right foot, Tori pulls his left hand to sweep. At the same time, he
pushes his right hand. The reason for changing his right grip on the collar is to prohibit
Uke's response of lifting his right leg and to concentrate all the strength into pushing
Uke to his right back. It is very important that Tori have the right timing to grab Uke's
heel which is a second before Uke steps back his right foot. When Uke responded by
lifting his right foot for defense, Tori must be able to push Uke down backward quickly.
The concept of this technique is the same as Kouchigari. The only difference is
sweeping with the hand or foot.

Techniques of practical applications

1. Change from your own throwing technique to Kibisu-gaeshi

(1) The change from Kouchigari to Kibisu-gaeshi

When Tori tries to execute Kouchigari but Uke lifts his right foot for defense by
supporting his body with his left foot, Tori grabs Uke's right heel from the outside with
his left hand and sweeps up and pushes Uke down . Sometimes, Uke responses by
stepping back his left foot and lifting his right foot to put some distance between
himself and Tori to regain his balance and posture. Therefore, Tori must dash swiftly
forward.

(2) The change from Ouchigari to Kibisu-gaeshi

When Tori tries to executes Ouchigari but Uke steps back his right foot to support his
body and lifts his left foot for defense, Tori immediately grabs Uke's left heel from the
 54

outside with his right hand and scoops up and pushes him down. It is important that
Tori pushes Uke in a split second.

(3) The change from Seioinage to Kibisu-gaeshi

Tori executes Seioinage to pick up Uke into the air but Uke steps his right foot forward
for defense. At this moment, Tori grabs Uke's right ankle with his left hand and sweeps
down. When Uke steps his right foot forward for defense, his right foot carrying his
weight will falter. At which moment, Tori will grab Uke's right ankle from the front with
his left hand and push out his right hand and throw him down.

(4) The change from Uchimata to Kibisu-gaeshi

When Tori executes Uchimata to flip up Uke's body, Uke leans right forward for
defense. At this moment, Tori grabs Uke's right ankle from the front with his left hand
and sweeps him down. It is important that the change is made smoothly from
Uchimata.

2. The change from Uke's throwing techniques to Kibisu-gaeshi

(1) The change from Hizaguruma to Kibisu-gaeshi

The moment Uke executes Hizaguruma, Tori steps his right foot in between Uke's legs
and grabs Uke's right heel from the outside with his left hand and scoops up and
pushes him down. As Tori pushes Uke's left shoulder with his right hand, he also
scoops up Uke's heel with his left hand and pushes down.

(Type 3) Use both hands to grab Uke's right heel to execute Kibisu-gaeshi

The technique of Maegeri in self defense

Uke attempts to kick Tori's groin when they approach each other. Tori evades Uke's
kick by stepping back his right foot and turns his body to his right and grabs Uke's
ankle from the bottom with his left hand. He, then, grabs Uke's right instep with his
right hand. He, then, using both hands scoops Uke's right foot to flip him over onto his
back. If the timing of execution is perfect, Uke will fall onto the back of his head
sharply. However, in kata performance, Tori pushes Uke down backward. Although this
is a kata techniques, the possibility is there to use in randori practice. Generally Kibisu-
gaeshi is understood as a technique using only one hand to grab the heel but the use
of both hands can also be considered Kibisu-gaeshi.
 55

(Type 4) Difference between Kibisu-gaeshi & Kuchiki-taoshi

Kibisu-gaeshi: Tori grabs Uke's one heel and scoops up and throws down in split-
second.

Kuchiki-taoshi: Tori holds Uke's one leg and pulls up and pushes him down in split-
second.

Basically, the difference between these two techniques is where Tori grabs, heel or leg.
Normally, in Kibisu-gaeshi, Uke must be thrown in a split-second. Therefore, if in the
case where Tori grabs Uke's heel and pushes and throws instead of throwing
immediately, it is called Kuchigaeshi. There upon, the referee will make the decision.
This was confirmed by Kodokan Waza Study Group on November 29, 1984.

(Type 5) The Kibisu-gaeshi created by Professor Kyuzo Mifune, 8th Dan

The above technique was described by Kodokan Judo magazine, December 1934 by
Mr. Daido Matsuoka as follows: "Currently, there is no technique such as Kibisu-gaeshi
in Judo. What kind of technique can this be? No one seems to be able to imagine. It is
because this technique was recently studied and created by Mifune, 8th Dan.

In those days, Judo practice was performed in natural posture and based on standing
techniques. Therefore, there were few opportunities to execute this technique.
However, these days, the mat work techniques have improved in Judo where lying
down, standing, separating, placing the head on the opponents is allowed in
competition making techniques such as this more applicable. The concept of this
technique is similar to Kouchigari or Deashi-harai. Kouchigari and Deashi-harai are
executed from a standing position. However, Kibisu-gaeshi can be executed from a
bending position or from kneeling position. Because this technique is unfamiliar to
many people, some people may consider it to be a dirty technique but in actuality it is
an interesting technique."

"Even though this Kibisu-gaeshi was created by Professor Mifune, 8th Dan, the real
effect is unknown. Therefore, further study is necessary. Nevertheless, we must
commend his effort and creation of this technique."

Professor Mifune, 8th Dan's sneak attack on Professor Tabata, 8th Dan by Kibisu-
gaeshi

In May 1934, Celebration of newly born Prince Judo Tournament was held in Saineikan
Dojo. At this tournament Professor Kyuzo Mifune, 8th Dan, (later 10th Dan) and
Professor Shotaro Tabata, 8th Dan, (later 10th Dan) (a top ranking judoist in the
 56

western part of Japan) fought each other. Prof. Mifune's sneak attack on Prof. Tabata
with Kibisu-gaeshi caught everyone's attention. According to All Japan Judo History
(published in 1938) this tournament was described. In the book the part of Kibisu-
gaeshi was described as follows: Both players fought very well. Tabata executed sharp
Deashi-harai and Kouchigari. Mifune lost his balance and bent his body for defense.
Then, suddenly, Mifune grabbed Tabata's right heel with his right hand and Tabata falls
on his bottom abruptly. In this match Tabata exhibited good offense and Mifune
demonstrated excellent defense. It ended in a draw but it was an excellent match.

Professor Kyutaro Kanda, 6th Dan's Kibisu-gaeshi

In the All Japan Judo History's section of Kibisu-gaeshi, Concept and Practical
Application, Professor Eisaku Iiyama, 5th Dan (later 8th Dan) describes his match with
Professor Kyutaro Kanda, 6th Dan, (later 9th Dan) as follows: In 1934, the red and
white tournament between Naichi (mainland of Japan) and Gaichi (outside of Japan,
such as Manchuria) was held. Kanda, 6th Dan, grabbed Iiyama's right middle sleeve
with his left hand and lightly moved without using his right hand. Then, he tried his
favorite Kataguruma. Iiyama, 5th Dan, stepped back his left foot for his defense. At
this moment, Kanda grabs Iiyama's right heel with his right hand and pulls toward his
right backward and at the same time pulls his left hand straight down. Then, Iiyama's
body fell straight backward like a ball and Iiyama's legs stuck straight up in the air like
electric poles. This Kibisu-gaeshi seems to be very effective for ippon or wazaari.
However, Referee Yamashita, 9th Dan, (later 10th Dan) did not call anything.
According to Ippon rules it could have been call an ippon since it was a good bounce
and, also, fell straight on his back The only thing in question was the falling speed,
whether it fast or slow. This decision rests with the referee. Kanda is well known for his
Kataguruma and, also, the combination of Kataguruma and Kibisu-gaeshi was his
favorite techniques. The result of this match, Kanda lost to Iiyama by Uchimata. On
October 1987, Kibisu-gaeshi was officially named and recognized as a throwing
technique by Kodokan.

14. Kouchi-gaeshi (hand technique)

The technique of Kouchigaeshi (a counter throw) is dodging Uke's Kouchigari to make

him off balance, then, throwing Uke to the left or right in split second by twisting his
hands.
 57

(Type 1) Dodging Uke's Kouchigari to counter throw to the left side.

Tori and Uke takes the right natural posture. Uke steps left, right, left forward to keep
pushing Tori's body backward. Then, stops to take a left defensive posture. Tori steps
right, left, right backward. Then, stops to push Uke and returns to his original posture.
At this moment, Uke reduces his pushing pressure, then, pulls his left hand. Tori will
follow this move and take a right step forward. A moment before Tori steps his right
foot forward, Uke executes Kouchigari. Before Uke's sweep, Tori puts his weight on his
left foot and floats his right foot in the air to dodge. Uke's sweeping right foot drifts to
his left because he lost his sweeping object and all of his weight goes on his left foot.
Therefore, Uke loses his balance and his body leans forward . Tori, taking this
opportunity, steps back his dodged right foot, then his left foot, and puts some
distance between Uke and himself. He, then, turns his body by pushing up his right
hand and pulling down with his left, twists Uke's body down to his right. Uke's dodged
body is felled by his own spin and the twisting action of Tori's hands. The key point of
this technique is as follows: It is too difficult to dodge after Uke's Kouchigari touches
Tori's right heel because Uke's sweep unbalances Tori. Therefore, it is important for
Tori to forestall Uke's Kouchigari. At this moment, Tori turns his body toward Uke's
drifting body and throws down by twisting. Those movements must be done in split
seconds. Sometimes, Tori twists down Uke as follows: The moment Uke executes
Kouchigari, Tori lifts his right foot (standing on left foot) and, using Uke's drifting foot
movement, twists down with both hands. Although, Tori is in an insecure position with
his one leg up, a added twist to Uke's dodged spinning body makes an effective throw.
Tori, sometimes, lifts his right foot and takes a step back to a left-handed position. He,
then, using both hands twists Uke down. When Uke's body is completely off balance, it
is not necessary for Tori to step back his left foot and turn his body to left like Type I.
Next technique is not a Kouchigaeshi. In the case where Tori dodges Uke's right
Kouchigari, and if his lifted right foot touches Uke's left knee to throw, it is called
Hizakuruma (foot technique). In the same way, when Tori dodges Uke's Kouchigari but
steps back his right foot to support his body and sweeps with his left foot the sweeping
feet of Uke, it is called Deashi-harai.

(Type 2) Evade Uke's Kouchigari, then, counter throw Uke to the right
(Kouchigaeshi)

Tori and Uke hold each other in the right natural posture. Uke steps forward to make
Tori off balance. Tori steps back to follow Uke's pushing. The moment Tori steps back
his left foot and right foot, Uke tries to throw Tori with Kouchigari. Before Uke's sweep,
 58

Tori steps back his left foot to take some distance from Uke and while keeping his
balance, he lightly lifts his right foot to evade Uke's Kouchigari. Uke misses his sweep,
therefore, he tries to push Tori backward, to throw him down. At this moment, Tori
steps back his evaded right foot to take more distance from Uke. He, then, drops his
hip and using both hands to pull Uke forward to make him off balance. While pulling
down his right hand, he pushes his left hand and turns his body to the right and throws
down Uke in the direction of his left foot forward. Uke falls in a circular motion with his
left toe as the spinning point. Sometimes, Tori twists down Uke with just hands,
without turning his body.

Tori also twists his body to his left, then, twist down Uke to his right forward.

(Type 2) - Uke tries to hook his right foot to Tori's right foot, then, push forward to
throw Tori down, in order not to lose his balance like (Type 1). Therefore, Tori must
take a big step backward to make Uke off balance forward, then, Tori twists Uke down.
To define these techniques, I used the word dodge for (Type 1) and evade for (Type
2).

(Type 3)

Difference between Kouchigaeshi and Ukiotoshi

Kouchigaeshi - Dodge or evade Uke's Kouchigari to make him off balance. Then, twist
(or pull) his body to the left or right to throw down. Ukiotoshi - Make Uke's body off
balance to his forward, then, pull (or twist) him to throw. The common point to these
techniques is that both ends up as Ukiotoshi. The determining factor is who initiates
the first move. However, there are the following problems. To avoid some contradiction
in naming the technique, the Kodokan Waza Study Group Department agreed to
determine the name by the last ending throw. In such case, techniques such as,
Hizaguruma and Deashi-harai, are categorized as Ukiotoshi instead of Kouchigaeshi.
Therefore, some contradictions exists. Regarding this problem, the Kodokan Waza
Study Group Department decided to add kaeshi or sukashi to wazas, such as,
Kaeshiwaza, Uranage, and Sukashiwaza. For example, if Tori counter throws Uke's
Osotogari, it is not called Osotogari. It is called Osotogaeshi. The same applies to
Kaeshiwaza, Ouchigaeshi, Haraigoshigaeshi, and Uchimatasukashi. There are two types
of techniques from Uke's Kouchigari. (1) When Tori dodges or evades Uke's Kouchigari
and throws with Ukiotoshi, it is called Kouchigaeshi. (2) When Tori forestalls Uke's
Kouchigari and throws Uke by stepping back to twist Uke down, it is called Ukiotoshi.
 59

Therefore, it is very difficult to define these two techniques. It depends on the

observer.

(Type 4)

The study and discussion of the name of Kouchigaeshi

When the Kodokan Waza Study Group Department studied the new throwing
techniques, they analyzed the meaning of the word, kaeshi. There are many throwing
techniques that are named with kaeshi. In October of 1982, seventeen new techniques
were named. Of those seventeen, eight included the word kaeshi, such as
Kouchigaeshi, Ouchigaeshi, Osotogaeshi, Tsubamegaeshi, Hanegoshigaeshi,
Haraigoshigaeshi, Uchimatagaeshi, Kibisugaeshi. In the existing forty-eight
(Gokyonowaza), there are three kaeshis, such as Sumigaeshi, Tawaragaeshi,
Hikkomigaeshi bringing the total to eleven. In the dictionary, Kojien, published by
Iwanami Book Store, the meaning of kaeshi is defined as follows. (Reverse position
from top to bottom or overturn, topple over, duplicating the movement received from
others.) When we study the concept of kaeshi techniques, there are many movements
among them which are different. Wazas, such as Kibisugaeshi, Sumigaeshi,
Tawaragaeshi, Hikkomigaeshi, are initiated by Tori and continue on to overturn Uke. In
general, the meaning of kaeshi is widely used in techniques initiated by Uke, such as,
kaeshiwaza, uranage, sukashiwaza. There are seven techniques initiated by Uke, which
includes Kouchigaeshi.

-There are kaeshiwazas where the strength of Uke is countered by Tori in the opposite
way, such as, Osotogaeshi.

-By countering Uke's attack, the change is made to Ouchigaeshi.

-Dodge or evade Uke's throwing techniques to change to a counter throw.

The technique of Kouchigaeshi is a hand technique, accomplished by dodging and

evading Uke's Kouchigari to throw him off balance and using both hands to twist and
throw down. In considering the kaeshi of Kouchigaeshi, one would imagine Kouchigari
to be reversed with Kouchigari. In order to avoid this misconception, it would be better
to call it Kouchisukashi. It is very difficult to analyze the meaning of kaeshi, since this
word is widely used in techniques. Since these eight kaeshi techniques were used
previously for many years and were vividly expressed, the Kodokan Waza Study Group
Department decided to leave it as it is.
 60

15. YAMAARASHI (hand technique)

Yamaarashi: Tori uses both hands to grip Uke's right (or left) collar and right (or left)
sleeve to push up Uke's body off balance to right (or left) front forward. Then, sweep
up Uke's right (or left) leg to throw down or apply techniques similar to this technique.

(Type 1)

Tori puts right hand against Uke's right chest (Yamaarashi).

Tori and Uke hold each in right natural posture. Tori pushes Uke's body backward, then
stops in left defensive posture. Uke steps back from Tori's push to stop and tries to go
back to the secured position. At this moment, Tori reduces his push and changes his
right hand grip on the left collar to the right collar by inserting his thumb under the
collar. At the same time, Tori steps back his left foot and steps his right foot in
between Uke's legs and turns his body to his left. While bending his body lower, Tori
pulls Uke's body tightly toward Uke's extended right foot. Uke takes a right defensive
posture for defense, then, tries to raise his body to regain his normal posture. When
Tori reduces his pulling downward motion, Uke raises his upper body. At which,Tori
pulls Uke forward again as he backs his left foot, right foot one after another in a right
handed position. Then, again, Tori reduces his pulling motion and Uke reacts by raising
his body. At which moment Tori changes the direction of his pull by pulling upward
causing Uke's weight to move onto his right foot and, thereby, losing his balance
toward his right front corner. At this moment, Tori steps his right foot in front of Uke's
right foot and turns his body to the left by placing his left foot in front of Uke's left
foot. The outside of Tori's right forearm is placed on Uke's right chest and together
with his left arm pulls upward to further put Uke off balance. While sustaining his
weight on his left foot, Tori places his right foot in front of Uke's right foot, similar to
haraigoshi, with his toes at Uke's ankle to grip Uke's right foot and places his body
flush to Uke's body back to front. As Tori continues to push up with his right hand and
pull out with his left hand simultaneously, he sweeps his right leg against Uke's right
leg to throw with a lifting motion.

The key points of this technique are as follows: Normally, Tori grips Uke's right collar
by inserting his thumb under the collar with the four fingers outside facing upward
(little finger on top). Sometimes, Tori grips Uke's right collar by inserting the four
fingers under the collar with the thumb outside. As Tori steps back to pull Uke forward,
he jerks Uke's body up and down. When Uke tries to raise his body half way, Tori
changes the direction of his pulling to Uke's right front forward to pull him off balance.
 61

It is important that Tori must use Uke's rising reactions to make him off balance. At
this moment, Tori drops his hip, then, by spinning his body in front of Uke in a big
motion, pushes his right hand up and attaches his right hip against Uke's lower
abdomen. Tori attaches his right calf to Uke's right shin and wraps his right toe around
Uke's right ankle and sweep up for a throw. This sweep is different from Haraigoshi.
Tori pulls up both hands while stretching his left knee and hip to throw Uke down
forward. When Tori grips Uke behind the neck deeply to pull Uke down to bend his
body forward, sometime, Uke tries to keep his balance by putting his head through
Uke's right arm to gain his correct posture. At this point, Tori already has his grip of
Uke's right collar and right sleeve, which enables him to make (Tsukuri and Kake) like
Type 1.

(Type 2)

Stick Tori's right elbow under Uke's right arm pit to execute Yamaarashi.

Like Type 1, Tori grips Uke's right collar by inserting his right thumb (or four fingers)
under Uke's collar. Then, puts his right elbow under Uke's right arm pit like a
Seoinage, to pick up Uke. Then, sweep Uke's right leg to sweep him down. This
technique is different from Type 1 in the usage of the right arm. This technique is a
mixture of Seoinage and Haraigoshi. Therefore, use hands as Seoinage by picking up
and sweep right leg as a Haraigoshi to throw down. Sometimes, Tori's right leg sweep
does not necessarily have to attach like Type 1. This technique's concept is a little
different from Yamaarashi but after the study and discussion of this technique,
Kodokan Waza Development Group Department agreed to categorize it as Yamaarashi
(confirmed on May 13, 1991). Next technique is not Yamaarashi. Tori, like Type 1, puts
his right arm against Uke's right chest to pick him up and steps his right foot in front of
Uke's right foot by pulling both hands to throw Uke down. It is called Taiotoshi. Tori,
like Type 2, puts his right arm under Uke's right arm pit. Then, step in his right foot
deeply beside Uke's leg with his foot touching the floor to throw him down. It is called
Seoinage.

(Type 3)

Shiro Saigo's (6th dan) Yamaarashi

The technique of Yamaarashi can be found as Yamaotoshi in Sekiguchi-ryu (which is

the old style of Jujitsu). Shiro Saigo studied and developed this old technique to use in
Judo practice by himself and became very famous in the Judo world. The people said:
"There is no Yamaarashi before Saigo and after Saigo." To understand the technique of
 62

Yamaarashi, it is important to know the technique of Saigo. In the book, Sugata

Sanshiro, written by Tsuneo Tomita, published by Shunpo-do in 1950, the author
describes Saigo's Yamaarashi. As you know, the author's father (Tsunejiro Tomita, 8th
dan) was the first Judo student of Jigoro Kano and was known as one of the famous
four. He left many articles about development of Judo techniques. The author of this
book uses his fathers articles as follows: "When Kodokan Judo fought against many
other old Jujitsu schools, Shiro Saigo successfully used his unique Yamaarashi to
defeat others and left many outstanding winning records. But, nowadays, nobody tries
this unique technique and many black belts do not know the technique of Yamaarashi.
Therefore, I explain the technique of Yamaarashi on behalf of the late Saigo. Before I
explain this technique, I would like to tell you about Saigo's personality. He was born
in Aizu, Japan. When he was a lad, he wanted to be an army general. He was a very
small man. But, he had a giant heart and was a brave man. The technique of
Yamaarashi is not depended upon powerful arms or body. It depends upon a strong
mind, such as, the spirit of go for broke. According to the dynamics, the logic of
Yamaarashi is based on the breaking of the opponent's balance within a short distance
and attacking with full speed. It is the most dynamic and skillful of all other
techniques. If we hold each other in right handed position (Saigo was left handed), Tori
grabs Uke's right collar deeply with the right hand and grip Uke's right sleeve with the
left hand to take an extremely right handed position. Tori moves his body up and down
to pressure Uke backward. In response to Tori's controlling movement, Uke tries to
push forward to regain his position. When Uke tries to come forward, Tori picks up
Uke's body on his shoulder in full speed and sweeps Uke's right ankle like a Haraigoshi
(a gust of wind). It can be considered a combination technique of Haraigoshi and
Seoinage (the thumb of the hand grabbing the collar can be inside or outside of the
collar). According to my memory, Saigo used both ways. This technique seems easy
enough for anyone. However, in reality, it is a very difficult technique. Why did Saigo
use this technique as his favorite technique? Saigo had two distinctive physical
characteristics. First of all, he was a very short person. Therefore, he did not need to
lower his hip to pick up an opponent who was pushing back. He saved time because he
did not need to lower his body and did not need to worry about being squashed down.
Another characteristic was that his toes were different from others. All the toes were
pointed downward like a rake. Therefore, when he sweeps his legs like Haraigoshi
against the opponent's ankle, he never missed the aimed spot. His toes always stuck
to his opponent's leg like an octopus. Furthermore, when he executes his throwing
techniques, he always aimed for only one shot and he never failed to throw the
 63

opponent. This technique is more effective for a short person rather than a tall
person." According to the record, the height of Saigo was 153 cm and weight was 53
kg.

Shiro Saigo vs Taro Terushima

In the exhibition matches between Kodokan Judo and all other Jujitsu School,
sponsored by Tokyo Police Academy, Shiro Saigo's outstanding performance with
Yamaarashi was spot lighted and greatly helped Kodokan Judo development. In the
book (Yamaarashi and Saigo, published by Kodokan Bunka Kaikan, June 1931), author
Tsunejiro Tomita described Saigo's match as follows: "I would like to tell you and
describe Saigo's Yamaarashi through out the matches which were fought against other
schools. I think this is the best way to explainYamaarashi. On May 5, 1885, a match
was held at Marunouchi Police Academy. Shiro fought against Taro Terushima,
professor of Yoshinryu School (Hikokuro Totsuka's most favorite student). At this time,
Terushima was well known in the Jujitsu world and, also, a famous fighter. On the
other hand, Saigo was a young but unknown fighter from Kano Dojo. At that time,
Kano Dojo, itself, was not recognized by the Jujitsu world. Saigo, usually fought in the
left natural posture. After taking a bow to each other, Saigo posed in the left natural
posture. Terushima was over confidence because Saigo was so small. Terushima raised
and waved both hands in weird angles. Then, tried to grab Saigo in one snatch. But,
Saigo had a strategy. Therefore, he did not give Terushima a chance to grab him.
Terushima was too eager to grab Saigo's left sleeve. He tried one step forward in full
speed. At this moment, Saigo turned his body to the right and pulled the middle of
Terushima's left sleeve strongly. At the same time, Saigo's left hand grabbed
Terushima's high left collar deeply like lightning (thumb under the collar). This was
Saigo's most favorite and strategic grabbing technique. By picking up his left hand,
Saigo tried to pull and push the opponent all around the contest area. Terushima was a
good fighter, also. When Saigo tried to pick up Terushima, he went behind Saigo to
hold his body to execute Uranage and Ogoshi. But, both failed. Saigo stood straight
and pushed his left arm up very hard while still grabbing Terushima's left sleeve. When
Terushima pushed back, Saigo picked up Terushima's body deeply by attaching his hip
close underneath Terushima's abdomen like a torpedo. Then, he swept opponent's left
leg as though trying to break it. Terushima flew over Saigo's head and lay on the mat
like an honorable dead soldier. In this way, mountain storm (Yamaarashi) swept
through this match." Shiro Saigo, 6th Dan, is in the Kodokan Hall of Fame for his great
achievement.
 64

Kodokan Judo / Classification of Waza

Nage-Waza (67 techniques)

Notes

• Te-waza (15 techniques)

• Koshi-waza (11 techniques)

• Ashi-waza (21 techniques)

• Masutemi-waza (5 techniques)

• Yokosutemi-waza (15 techniques)

• Kyu (Former) Go Kyo no waza - Stipulated in 1895. (42 techniques)

• Go Kyo no waza - Revised in 1920. (40 techniques)

• Common waza names apt to be used incorrectly.

Katame-waza (29 techniques)

Notes

• Osaekomi-waza (7 techniques)

• Shime-waza (12 techniques)

• Kansetsu-waza (10 techniques)

• Notice

Nage-waza (67 techniques)

Notes

Numbers indicate the position inside the Go Kyo no waza (Shin-Go Kyo, stipulated in 1920).

(example: "1-1" is the 1st of Dai-ikkyo (the first kyo))

 indicates that it was included in the Kyu Go Kyo (stipulated in 1895) but was excluded when it
 65

was revised in 1920. (8 techniques)

 indicates the newly-named wazas 1(stipulated on Oct. 05, 1982).

 indicates the newly-named wazas 2 (stipulated on Apr. 01, 1997).

Te-waza
(15 techniques)
1-8 Seoi-nage
2-6 Tai-otoshi
3-8 Kata-guruma
4-4 Sukui-nage
4-8 Uki-otoshi
5-7 Sumi-otoshi
 Obi-otoshi
 Seoi-otoshi
 Yama-arashi
 Morote-gari
 Kuchiki-taoshi
 Kibisu-gaeshi
 Uchi-mata-sukashi
 Kouchi-gaeshi
 Ippon-seoi-nage

Koshi-waza
(11 techniques)
1-4 Uki-goshi
1-6 O-goshi
2-3 Koshi-guruma
2-4 Tsurikomi-goshi
2-7 Harai-goshi
3-2 Tsuri-goshi
3-5 Hane-goshi
4-5 Utsuri-goshi
5-5 Ushiro-goshi
 Daki-age
* not regarded as a Yuko waza in games.
 Sode-tsurikomi-goshi

Ashi-waza
(21 techniques)
1-1 Deashi-harai
1-2 Hiza-guruma
 66

1-3 Sasae-tsurikomi-ashi
1-5 Osoto-gari
1-7 Ouchi-gari
2-1 Kosoto-gari
2-2 Kouchi-gari
2-5 Okuri-ashi-harai
2-8 Uchi-mata
3-1 Kosoto-gake
3-4 Ashi-guruma
3-6 Harai-tsurikomi-ashi
4-6 O-guruma
5-1 Osoto-guruma
 Osoto-otoshi
 Tsubame-gaeshi
 Osoto-gaeshi
 Ouchi-gaeshi
 Hane-goshi-gaeshi
 Harai-goshi-gaeshi
 Uchi-mata-gaeshi

Masutemi-waza
(5 techniques)
3-7 Tomoe-nage
4-1 Sumi-gaeshi
5-6 Ura-nage
 Hikikomi-gaeshi
 Tawara-gaeshi

Yokosutemi-waza
(15 techniques)
3-3 Yoko-otoshi
4-2 Tani-otoshi
4-3 Hane-makikomi
4-7 Soto-makikomi
5-2 Uki-waza
5-3 Yoko-wakare
5-4 Yoko-guruma
5-8 Yoko-gake
 Daki-wakare
 Uchi-makikomi
 Kani-basami
 Osoto-makikomi
 Uchi-mata-makikomi
 Harai-makikomi
 67

 Kawazu-gake *a prohibited waza

Kyu (Former) Go Kyo no waza

Stipulated in 1895. (42 techniques)
Dai-ikkyo Hiza-guruma, Sasae-turikomi-ashi, Uki-goshi,Tai-otoshi, Osoto-gari, Deashi-harai,
(group1) Yoko-otoshi (7 techniques)
Dai-nikyo Sumi-gaeshi, O-goshi, Kosoto-gari, Koshi-guruma, Seoi-nage,Tomoe-nage,
(group 2) Tani-otoshi (7 techniques)
Dai-sankyo Okuri-ashi-harai, Harai-goshi, Ushiro-goshi, Ura-nage, Uchi-mata, Obi-otoshi,
(group 3) Hane-goshi (7 techniques)
Dai-yonkyo Uki-otoshi, Uki-waza, Daki-wakare, Kata-guruma, Hikikomi-gaeshi, Soto-makikomi,
(group 4) Tsuri-goshi, Utsuri-goshi, Osoto-otoshi, Tawara-gaeshi (10 techniques)
Yoko-guruma, Yoko-wakare, Uchi-makikomi, Kouchi-gari, Ashi-guruma,
Dai-gokyo
Seoi-otoshi, Yoko-gake, Harai-tsurikomi-ashi, Yama-arashi, Osoto-guruma,
(group 5)
Tsurikomi-goshi (11 techniques)

* "Tsurikomi-goshi" was not included in the Go Kyo no waza at the time of stipulation in 1895. It
seems to be included in at the end of Meiji era, around 1911.

Go Kyo no waza
Revised in 1920 (40 techniques)
Dai-ikkyo De-ashi-harai, Hiza-guruma, Sasae-tsurikomi-ashi, Uki-goshi,
(group1) Osoto-gari, O-goshi, Ouchi-gari, Seoi-nage (8 techniques)
Dai-nikyo Kosoto-gari, Kouchi-gari, Koshi-guruma, Tsurikomi-goshi,
(group 2) Okuri-ashi-harai, Tai-otoshi, Harai-goshi, Uchi-mata (8 techniques)
Dai-sankyo Kosoto-gake, Tsuri-goshi, Yoko-otoshi, Ashi-guruma, Hane-goshi,
(group 3) Harai-tsurikomi-ashi, Tomoe-nage, Kata-guruma (8 techniques)
Dai-yonkyo Sumi-gaeshi, Tani-otoshi, Hane-makikomi, Sukui-nage,
(group 4) Utsuri-goshi, O-guruma, Soto-makikomi, Uki-otoshi (8 techniques)
Dai-gokyo Osoto-guruma, Uki-waza, Yoko-wakare, Yoko-guruma, Ushiro-goshi,
(group 5) Ura-nage, Sumi-otoshi, Yoko-gake (8 techniques)

Katame-Waza (29 techniques)

Notes
 Newly-named wazas 1 (stipulated on Feb. 01, 1985).
 Newly-named wazas 2 (stipulated on Apr. 01, 1997).
x Omitted waza name (Apr.01,1997)

Osaekomi-waza
(7 techniques)
Kuzure-kesa-gatame
 68

Kata-gatame
Kami-shiho-gatame
Kuzure-kami-shiho-gatame
Yoko-shiho-gatame
Tate-shiho-gatame
 Kesa-gatame
x Hon-kesa-gatame

Shime-waza
(12 techniques)
Nami-juji-jime
Gyaku-juji-jime
Kata-juji-jime
Hadaka-jime
Okuri-eri-jime
Kata-ha-jime
Do-jime* a prohibited waza
 Sode-guruma-jime
 Kata-te-jime
 Ryo-te-jime
 Tsukkomi-jime
 Sankaku-jime

Kansetsu-waza
(10 techniques)
Ude-garami
Ude-hishigi-juji-gatame
Ude-hishigi-ude-gatame
Ude-hishigi-hiza-gatame
Ude-hishigi-waki-gatame
Ude-hishigi-hara-gatame
Ashi-garami* a prohibited waza
 Ude-hishigi-ashi-gatame
 Ude-hishigi-te-gatame
 Ude-hishigi-sankaku-gatame

Notice
1. Kodokan uses the formal name "Kuzure-kesa-gatame" instead of
commonly used "Makura-kesa-gatame" and "Ushiro-kesa-gatame".
2. "Kesa" and "Kami-shiho" are the only wazas which has "Kuzure".
There are no "Kuzure" in "Yoko-shiho-gatame", "Tate-shiho-gatame" nor
in "Kata-gatame".

3. Kodokan uses the formal name "Ude-hishigi-juji-gatame" or

"Ude-hishigi-ude-gatame" instead of abbreviating the names such as
 69

"Juji-gatame" or "Ude-gatame".
 70

International Judo Center

8F Spectator seating

The building of the Kodokan International Judo 7F The Main Dojo

Center was dedicated in 1984 to commemorate

6F 2 Dojos
the 100th anniversary of the founding of the
5F 3 Dojos
Kodokan. It functions as the mecca of
international Judo. 4F 7 Dressing rooms

The eight floor building is equipped with things 3F Lodging rooms

necessary for Judo shugyo and research.
2F Research center,Library,
Dojo / Lodging rooms are open to any Judo Conference Rooms
players.
1F Shop, Parking, Bank
Click each text-link for more information.
B1 Cafeteria,
Conference Rooms