DOCSLIB.ORG

Nage No Kata Preparations for Engagement by Elie A. Morrell, Shichidan Judo This Paper Deals Only with Engagement Preparations A

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Nage No Kata Preparations for Engagement by Elie A. Morrell, Shichidan Judo This Paper Deals Only with Engagement Preparations A Nage No Kata Preparations For Engagement by Elie A. Morrell, Shichidan Judo This paper deals only with engagement preparations associated with the first techniques in either the Te Waza or Yoko Sutemi Waza group. Uki Otoshi is the first throw in Set One. Following the opening of the Kata, Tori and Uke are standing twelve feet apart at their respective engagement positions. They proceed to meet each other and engage at a distance of two feet in the near position. Yoko Gake is the first throw in Set Five. Prior to engaging, Tori and Uke duplicate the same moves as those required for Uki Otoshi. Located midway between Tori and Uke on the longitudinal axis is a point corresponding to the center of an six-foot diameter imaginary circle called the Center Zone. Otaki & Draeger (Reference One) stipulates that regardless of where any technique begins (right or left) it should climax at the approximate center of the Center Zone. That is, Kake takes place there. This is the situation as it applies to Tori. However it should be understood that Uke’s impact zone (Ukemi) is not always located within the Center Zone. Reference One states that for the first technique of Sets One and Five (Uki Otoshi and Yoko Gake respectively) that Uke and Tori are to approach each other in the following manner: “Uke moves about one third the distance between the points where he and Tori stand at their respective engagement positions (twelve feet apart). Tori moves about two thirds of this distance.” If Uke and Tori did move as Reference One dictates, they would in fact be touching each other! Furthermore, Uke would have moved to a point which is about one foot inside the Center Zone. With Uke at this location and Tori maintaining a near position of two feet, Tori would have to be standing in the center of the Center Zone! With Tori located at this position, it would be impossible for Tori to climax the technique within the Center Zone, let alone at the center of the Center Zone. This problem does not exist for the first throw of the second set (Koshi Waza) since Tori and Uke are moving toward each other for Uki Goshi with no stopping at the engagement distance of six feet. This is the far position located at edges of the Center Zone. Accordingly, no problem exists for sets three and four, Ashi Waza and Ma Sutemi Waza respectively, since Tori and Uke move the same distance toward each other and come to a dead stop. For set three, the first technique is Okuri Ashi Barai on the lateral axis. For set four, the first technique is Tomoe Nage where Tori and Uke meet within the Center Zone at the semi-far position of three feet. It is interesting to note on page 145 of Reference One that the schematic depicted for the technique of Uki Otoshi indicates that Tori has walked over to Uke to engage. This makes more sense, and the climax is indicated in the approximate center of the Center Zone. The ideogram representing Uke in this drawing remains fixed at the engagement distance for the right and left techniques. The paragraph at the bottom of this page outlining the preparation for engagement has Uke moving along the longitudinal axis to meet Tori. This conflicts with the schematic. Referring to T.P, Leggett (Reference Two), the author differs from Reference One regarding the preparation for engagement following the opening of the Kata for the first technique in Set One (Uki Otoshi) and the preparation for engagement of the first technique in Set Five (Yoko Gake). Specifically, Reference Two has Tori walk across to Uke to engage for the techniques of Uki Otoshi and Yoko Gake. This appears to be a more logical approach since it places Tori about one foot outside of periphery of the Center Zone. Following the Tsugi Ashi moves by Tori and Uke, Tori can then easily climax the technique well within the Center Zone. By definition, Reference One classifies Uki Otoshi, Yoko Gake, and six other techniques as throws which start outside of the Center Zone. At best, if Uke is to move prior to engagement for Uki Otoshi and Yoko Gake, it could only be just slightly forward of his engagement position. Reference One indicates this to be the requirement on page 90 of the text, but this is in disagreement with requirements by the same reference indicated in an earlier paragraph in this paper. References One and Two are based on conclusions reached at the April 1960 National Kata Research Convention chaired by president Risei Kano and held at the Kodokan. The purpose of this convention was to standardize the Kata. The standard form of the Kata to this day is based on the conclusions reached at this convention. Reference One is the text in common use today. In addition to the conclusions reached at the 1960 convention, it extrapolates Dr. Jigoro Kano’s technical notes in order to eliminate any apparent uselessness that is often promulgated by modern interpretations of this Kata. The writer’s preference when teaching the preparatory moves for the throws discussed herein is to have Tori walk over to Uke to engage as indicated in Reference Two. This method allows Tori to climax the throw within the Center Zone. Nage no Kata Forms of Throwing The Nage no Kata was developed in 1884 and 1885 at the Kodokan. This kata consists of 5 sets of three throws, each performed on both the left and right sides. The two participants formally bow onto the mat and begin the kata with the tori, or thrower, on your right and the uke, or person being thrown, on your left. In each case, the uke attempts an attack on tori. There is a progression of attack styles here, demonstrating how tori must adjust to these differing attacks. Uke then changes his attacks based on the previous adjustments made by tori. Te Waza (Hand Techniques) Uki Otoshi--Floating Drop Here uke, having no prior experience with tori, starts with a very agressive attack by grasping tori's jacket and pushing tori backward. Tori responds by stepping backward, demonstrating the principle of yielding and pulling uke forward culminating in the throw that you see. This throw exemplifies the beauty and dynamic precision of the forces which can unbalance an opponent and cause his body to trace a long arc in the air as he is snapped forward, off his feet, by the downward drawing power of the thrower's body transmitted through his arms. Seoi Nage--Shoulder Throw Uke changes the attack here to an aggressive downward strike to the top of tori's head, which tori blocks, steps in and lowers his body to effectively use the momentum generated by the attack to throw the attacker over his back and shoulder. This throw is a modification of a jujutsu throw in which the arm is broken during the throw and clearly shows the self defense aspect inherent in the kata. Kata Guruma--Shoulder Wheel Uke attacks as in the first throw, but holds back a bit and braces his front leg to prevent himself from being pulled down as in the first throw. To counter this action, tori takes a large step backward, stretching uke out and drops down and in to take advantage of the bent leg and lifts uke across his shoulders to throw him in a motion like a wheel. Koshi Waza (Hip Techniques) Uki Goshi--Floating Hip Uke attempts to strike tori but keeps his other hand in front to block tori's hip so that he cannot turn into the shoulder throw as in the first set. Tori compensates by turning opposite to the first throw, coming in under the strike and grasping the outstretched arm of uke, bringing his hip into uke and turning to throw uke, while pulling on uke's arm and lifting uke with the arm on his back. This throw was the favorite throw of Jigoro Kano. Harai Goshi--Sweeping Hip Uke attempts to block the previous kinds of throws in this attack by softening his body. Tori, is able to float uke upward and forward to compensate for this in this sweeping hip throw, which is an adaptation of techniques from jujutsu and sumo. Tsuri Komi Goshi--Lifting Pulling Hip Here uke, anticipating the previous throw, stiffens more dramatically to prevent the previous throw but tori, by taking a high grip on the collar and adjusting the stepping action, never lets uke get going. The sudden, unexpected lowering of tori's body enables uke to be thrown end over end, like a stick. Ashi Waza (Foot Techniques) Okuri Ashi Harai--Double Foot Sweep Uke begins to attack but tori takes away the initiative by sliding to the side and pulling uke with him. Uke tries to catch up to avoid a throw over his leading side and as he passes tori, tori sweeps his legs out from the trailing side. Sasae Tsuri Komi Ashi--Lifting Pulling Foot Block Here as uke attacks, tori yields but changes his footwork on the third step by stepping to the side and turning. Using the force inherent in this action to offbalance uke, he is able to block uke's advancing foot and execute a large arcing forward throw. Uchi Mata--Inner Thigh Throw Uke attempts to attack but again the initiative is taken away by tori who moves in a circular fashion, pulling uke around behind him. As uke is pulled in closer to tori's back, he is thrown just as he is about to place his advancing foot down by the sweeping action of tori leg upward against the inside of uke's thigh.
Load more

Recommended publications
  • Read PDF > Judo Technique: Kesa Gatame, Uki Goshi, Kata Guruma
    [PDF] Judo technique: Kesa gatame, Uki goshi, Kata guruma, Tomoe nage, Tate shiho gatame, Kata gatame,... Judo technique: Kesa gatame, Uki goshi, Kata guruma, Tomoe nage, Tate shiho gatame, Kata gatame, Deashi harai, Ude hishigi ude gatame, O goshi Book Review These kinds of book is every thing and helped me hunting forward plus more. It is probably the most remarkable book we have read through. It is extremely difficult to leave it before concluding, once you begin to read the book. (Everet t St ant on) JUDO TECHNIQUE: KESA GATA ME, UKI GOSHI, KATA GURUMA , TOMOE NA GE, TATE SHIHO GATA ME, KATA GATA ME, DEA SHI HA RA I, UDE HISHIGI UDE GATA ME, O GOSHI - To save Judo technique: Kesa g atame, Uki g oshi, Kata g uruma, Tomoe nag e, Tate shiho g atame, Kata g atame, Deashi harai, Ude hishig i ude g atame, O g oshi PDF, make sure you refer to the link beneath and download the file or get access to additional information which are related to Judo technique: Kesa gatame, Uki goshi, Kata guruma, Tomoe nage, Tate shiho gatame, Kata gatame, Deashi harai, Ude hishigi ude gatame, O goshi book. » Download Judo technique: Kesa g atame, Uki g oshi, Kata g uruma, Tomoe nag e, Tate shiho g atame, Kata g atame, Deashi harai, Ude hishig i ude g atame, O g oshi PDF « Our online web service was released using a want to serve as a full online electronic catalogue that gives usage of large number of PDF guide assortment.
    [Show full text]
  • Guide Nage No Kata
    SOMMAIRE Qu’est ce que le Nage No Kata ? 4 Illustrations et commentaires du guide 5 Généralités sur le Nage No Kata 6 Le Nage No Kata 7 Tableau « le Nage No Kata et son intérêt pour la pratique du Judo » 24 Conclusion 28 Lexique 29 Planche Nage No Kata Ont participé à la réalisation de cet ouvrage : Michel Algisi : 7e dan, cadre technique, responsable national des katas Patrice Berthoux : 6e dan, cadre technique André Boutin : 7e dan, cadre technique Laurent Dosne : 5e dan, professeur de judo Michèle Lionnet : 6e dan, cadre technique, coordonnatrice de l’ouvrage André Parent : 5e dan, professeur de judo Louis Renelleau : 7e dan, professeur de judo Ce document a été validé par la Direction Technique Nationale et pour la Commission des Hauts Gradés : Frédérico Sanchis. L’ouvrage s’est inspiré de la cassette vidéo fédérale sur le Nage No Kata et des commentaires de Georges Beaudot. Il vient en complément de la planche du Nage No Kata (coopérative de documents FFJudo). Conception et réalisation - Boulogne-Billancourt - © FFJUDO Mars 2007 2 Crédit photo : D. Boulanger - Kodokan - D. Chowanek (Lines-Art) - R. Danis - DPPI. PRÉFACE Ce guide est destiné à tous les judokas, jeunes ou moins jeunes, qui souhaitent apprendre le Nage No Kata ou se perfectionner dans sa pratique. Le choix du format permettra à chacun de pouvoir le glisser facilement dans son sac de judo, et ainsi, l’avoir toujours à portée de main. Cet ouvrage, qui fait suite à la planche du Nage No Kata, vous apportera des précisions techniques et des conseils vous permettant de mieux effectuer le kata.
    [Show full text]
  • JUDO Under the Authority of the Bakersfield Judo Club
    JUDO Under the Authority of the Bakersfield Judo Club Time: Tuesdays and Thursdays, 6:30 -8:00 PM Location: CSUB Wrestling Room Instructors: Michael Flachmann (4th Dan) Phone: 661-654-2121 Steve Walsh (1st Dan) Guest Instructors: Dale Kinoshita (5th Dan) Phone: (work) 834-7570 (home) 837-0152 Brett Sakamoto (4th Dan) Gustavo Sanchez (1st Dan) The Bakersfield Judo Club rd meets twice a week on 23 St / Hwy 178 Mondays and Thursdays from 7:00 to 9:00 PM. JUDO Club They practice under the 2207 ‘N’ Authority of Kinya th 22nd St Sakamoto, Rokudan (6 Degree Black Belt), at 2207 N St. ’ St Q ‘N’ St ‘ Chester Ave Truxtun Ave Etiquette: Salutations: Pronunciation: Ritsurei Standing Bow a = ah (baa) Zarei Sitting Bow e = eh (kettle) Seiza Sitting on Knees i = e (key) o = oh (hole) When to Bow: u = oo (cool) Upon entering or exiting the dojo. Upon entering or exiting the tatami. Definitions: Before class begins and after class ends. Judo “The Gentle Way” Before and after working with a partner. Judoka Judo Practitioner Sensei Instructor Where to sit: Dojo Practice Hall Kamiza (Upper Seat) for senseis. Kiotsuke ATTENTION! Shimoza (Lower Seat) for students. Rei Command to Bow Joseki – Right side of Shimoza Randori Free practice Shimoseki – Left side of Shimoza Uchi Komi “Fitting in” or “turning in” practice Judo Gi: Students must learn the proper Tatami Judo mat way to war the gi and obi. Students should Kiai Yell also wear zoris when not on the mat. Hajime Begin Matte STOP! Kata Fromal Exercises Tori Person practicing Students must have technique Uke Person being their own personal practiced on health and injury O Big or Major insurance.
    [Show full text]
  • WPB Judo Academy Parents and Judoka Handbook
    WPB Judo Academy 2008 Parents and Judoka Handbook Nage-Waza - Throwing Techniques O-soto-otoshi O-soto-gari Ippon-seio-nage De-ashi-barai Tai-otoshi Major Outer Drop Major Outer One Arm Shoulder Advancing Foot Body Drop Throw Sweep O-uchi-gari Ko-uchi-gari Ko-uchi-gake Ko-soto-gake Ko-soto-gari Major Inner Reaping Minor Inner Reaping Minor Inner Hook Minor Outer Hook Minor Outer Reap Uki-goshi O-goshi Tsuri-goshi Floating Hip Throw Major Hip Throw Lifting Hip Throw Osae-Waza - Holding Techniques Kesa-gatame Yoko-shiho-gatame Kuzure-kesa-gatme Scarf Hold Side 4 Quarters Broken Scarf Hold Nage-Waza - Throwing Techniques Morote-seio-nage O-goshi Uki-goshi Tsuri-goshi Koshi-guruma Two Arm Shoulder Major Hip Throw Floating Hip Throw Lifting Hip Throw Hip Whirl Throw Sode-tsuri-komi-goshi Tsuri-komi-goshi Sasae-tsuri-komi-ashi Tsubame-gaeshi Okuri-ashi-barai Sleeve Lifting Pulling Lifting Pulling Hip Lifting Pulling Ankle Swallow’s Counter Following Foot Hip Throw Throw Block Sweep Shime-Waza - Strangulations Nami-juji-jime Normal Cross Choke Ko-soto-gake Ko-soto-gari Ko-uchi-gari Ko-uchi-gake Minor Outer Hook Minor Outer Reap Minor Inner Reap Minor Inner Hook Osae-Waza - Holding Techniques Kansetsu-Waza - Joint Locks Gyaku-juji-jime Reverse Cross Choke Kami-shiho-gatame Kuzure-kami-shiho-gatame Upper 4 Quarters Hold Broken Upper 4 Quarters Hold Ude-hishigi-juji-gatme Cross Arm Lock Tate-shiho-gatame Kata-juji-jime Mounted Hold Half Cross Choke Nage-Waza - Throwing Techniques Harai-goshi Kata-guruma Uki-otoshi Tsuri-komi-goshi Sode-tsuri-komi-goshi
    [Show full text]
  • Official Rules & Competition Guidelines
    OFFICIAL RULES & COMPETITION GUIDELINES June 2013 V1 FIVE GI• NOGI GRAPPLING Official Rules & Competition Guidelines June 2013 V1 TABLE OF CONTENTS PAGE 3 1. DIVISIONS AND MATCH DURATIONS • DIVISIONS: AGE & GENDER with MATCH DURATIONS • EXPERIENCE LEVELS: NO-GI • EXPERIENCE LEVELS: GI • AGE & WEIGHT CATEGORIES PAGE 7 2. SCORING & PENALTIES CRITERIAS TO WIN A MATCH: • SUBMISSION • POINTS • REFEREE STOPPAGE / DECISION • FORFEITURE OF THE MATCH • FOULS • MEDICAL / INJURY PAGE 12 3. COMPETITOR IDENTIFICATION • NO-GI • GI PAGE 13 4. REFEREE GESTURES, ACTIONS & VERBAL COMMANDS • MATCH STARTS • SCORING POINTS • MATCH INTERRUPTION • SEPARATING THE COMPETITORS • “TIME OUT” DURING THE MATCH • RESUMING MATCH FROM A TIME OUT • FOULS / PENALTIES • STALLING • OUT OF BOUNDS • DISQUALIFICATION • ENDING THE MATCH • DECLARING A WINNER PAGE 14 5. SCORING CRITERIA • TAKE-DOWN • KNEE ON THE BELLY • SWEEP • CONTROLLING TOP POSITION AFTER DOUBLE GUARD PULL • PASSING THE GUARD • MOUNT • BACK MOUNT PAGE 15 HYGIENE AND UNIFORM GUIDELINES • COMPETITOR HYGIENE GUIDELINES • UNIFORM GUIDELINES • *GI UNIFORM • *NO-GI UNIFORM • UNIFORM RESTRICTIONS • ITEMS NOT ALLOWED IN COMPETITION • ITEMS ALLOWED IN COMPETITION • UNIFORM DAMAGE DURING COMPETITION PAGE 17 7. RULES NOT WRITTEN PAGE 18 8. ALLOWABLE TECHNIQUES 2 June 2013 V1 FIVE GI• NOGI GRAPPLING Official Rules & Competition Guidelines DIVISIONS & MATCH DURATIONS AGE & GENDER DIVISIONS with MATCH DURATIONS: JUNIOR KIDS M & F 4 - 6 years old 3 minutes SENIOR KIDS M & F 7 - 9 years old 3 minutes PRETEENS M 10 - 12 years old 4 minutes F 10 - 12 years old 4 minutes JUNIOR TEENS M 13 - 15 years old 5 minutes F 13 - 15 years old 5 minutes SENIOR TEENS M 16 - 17 years old 5 minutes F 16 - 17 years old 5 minutes ADULTS M 18 – 29 years old 6 minutes F* 18+ years old 6 minutes ADULTS M 30 - 39 years old 5 minutes ADULTS M 40+ years old 5 minutes Notes: *Female ADULTS will separate into two categories when numbers allow: 18-29 years old and 30+ years.
    [Show full text]
  • Nage-No-Kata.Pdf (142
    NAGE NO KATA TORI: Jussi Nikander 1D UKE: Jouni Lahtinen 1D Judge Judge Judge Judge Judge Total TECHNIQUES 1 2 3 4 5 1 OPENING CEREMONY 7 8 8 8 8 24 2 UKI OTOSHI 7 8 8 7 7 22 3 SEOI NAGE Te-waza 8 7 7 7 8 22 4 KATA GURUMA 8 8 8 8 7 24 5 UKI GOSHI 8 7 8 7 8 23 6 HARAI GOSHI 8 7 7 7 7 21 Koshi-waza 7 TSURIKOMI GOSHI 8 7 8 8 8 24 8 OKURI ASHI HARAI 7 7 8 7 7 21 9 SASAE TSURIKOMI ASHI 8 7 8 8 7 23 Ashi-waza 10 UCHIMATA 7 6 7 7 6 20 11 TOMOE NAGE 7 6 8 7 7 21 12 URA NAGE 8 7 8 7 7 22 13Masutemi-waza SUMI GAESHI 7 7 8 7 8 22 14 YOKOGAKE 8 6 7 7 6 20 15 YOKO GURUMA 7 6 8 7 7 21 16Yokosutemi-waza UKI WAZA 8 7 8 7 7 22 17 CLOSING CEREMONY 8 8 8 8 8 24 TOTAL 129 119 132 124 123 376 NAGE NO KATA TORI: Pasi Oinas 3D UKE: Mika Salsoila 4D Judge Judge Judge Judge Judge Total TECHNIQUES 1 2 3 4 5 1 OPENING CEREMONY 7 6 8 7 7 21 2 UKI OTOSHI 8 7 8 8 7 23 3 SEOI NAGE Te-waza 7 7 7 8 7 21 4 KATA GURUMA 8 7 8 8 8 24 5 UKI GOSHI 8 7 8 8 7 23 6 HARAI GOSHI 8 7 8 7 8 23 Koshi-waza 7 TSURIKOMI GOSHI 7 6 9 8 8 23 8 OKURI ASHI HARAI 8 7 7 7 8 22 9 SASAE TSURIKOMI ASHI 7 6 7 8 8 22 Ashi-waza 10 UCHIMATA 7 6 9 8 7 22 11 TOMOE NAGE 7 6 8 8 7 22 12 URA NAGE 7 7 8 8 7 22 13Masutemi-waza SUMI GAESHI 8 6 8 7 7 22 14 YOKOGAKE 8 6 8 7 8 23 15 YOKO GURUMA 7 7 8 8 7 22 16Yokosutemi-waza UKI WAZA 7 7 7 7 7 21 17 CLOSING CEREMONY 8 6 8 7 7 22 TOTAL 127 111 134 129 125 378 NAGE NO KATA TORI: Ossi Tauriainen 4D UKE: George Vuger 3D Judge Judge Judge Judge Judge Total TECHNIQUES 1 2 3 4 5 1 OPENING CEREMONY 7 7 7 7 8 21 2 UKI OTOSHI 8 8 8 8 7 24 3 SEOI NAGE Te-waza 8 7 8 8 8
    [Show full text]
  • How to Enhance Effectiveness of Direct Attack Judo Throws
    Attilio Sacripanti How to enhance effectiveness of Direct Attack Judo throws “Dr. Kano’s dream : Judo rotational application” Abstract In this paper it is performed an appraisal of the Olympic Sport “Judo” effectiveness in the optics of Biomechanics, that is the Dr Kano’s dream the rotational application of judo. Kano wasn’t able to develop his dream due to his premature death, but the biomechanical analysis is able to broaden the narrow translational vision of judo that is transmitted us by Kano’s disciples. Really speaking some learned followers of Dr. Kano like Kiuzo Mifune in Japan and Koizumi in England already had some rotational ideas, but few people appreciated their words. To broaden the classical view biomechanics will use a very special field f experimentation. This field of experimentation is obviously the high level competition in which most of these rotational application can be found applied more or less instinctively by high level Athletes. Considering the two biomechanical tools that are the physical basis of judo throws it is possible to obtain such results from the analysis of high competition application: Lever Techniques are enhanced in their effectiveness in three ways : 1. The rotational movements, strictly connected to the Lever techniques mechanics achieving victory (Ippon) in competition, can be extended to the unbalance phase (Kuzushi) 2. The rotational movements can be applied in a totally new way putting away even the unbalance that is basic in the Lever techniques. 3. The Lever tool can be hybridized with the application of a Couple to lower the energy consumption and to overcome some strong defensive resistance.
    [Show full text]
  • Terminology (Japanese – English)
    Terminology (Japanese – English) BJA Sylabus Requirement Red Belt Mon Kyu Japanese English 1st 6th Ushiro Ukemi Rear breakfall 1st 6th Osoto-otoshi Major outer drop 1st 6th Kesa-gatame Scarf hold 1st 6th Rei Bow 1st 6th Hajime Start 1st 6th Matte Break 2nd 6th Yoko Ukemi Side breakfall 2nd 6th De-ashi-barai Advancing Foot Sweep 2nd 6th Mune-gatame Chest hold 2nd 6th Tachi-rei Standing bow 2nd 6th Za-rei Kneeling bow 2nd 6th Osaekomi Holding 2nd 6th Toketa Hold broken 2nd 6th Dojo Judo Hal 3rd 6th Mae Mawari Ukemi Forward rolling breakfall 3rd 6th Uki-goshi Floating hip 3rd 6th Kuzure-kesa-gatame Broken scarf hold 3rd 6th Zori Flip Flops 3rd 6th Judogi Judo Suit 3rd 6th Randori Free Practice 3rd 6th Obi Belt Yellow Belt Mon Kyu Japanese English 4th 5th Tai-otoshi Hand throw body drop 4th 5th Yoko-shiho-gatame Side four quarters hold 4th 5th Migi Shizentai Right standing grip 4th 5th Hidari Shizentai Left standing grip 4th 5th Osaekomi-waza Hold down 4th 5th Tachi-waza Standing technique 5th 5th Ippon-seoi-nage One arm shoulder throw 5th 5th Kami-shiho-gatame Upper four quarters hold 5th 5th Kumi-kata Gripping 5th 5th Nage-komi Throwing 6th 5th Mae Ukemi Forward breakfall 6th 5th O-uchi-gari Major inner reaping 6th 5th Tate-shiho-gatame Lengthwise four quarters hold Orange Belt Mon Kyu Japanese English 7th 4th Ko-uchi-gari Minor inner reaping 7th 4th Tsuri-komi-goshi Drawing hip 7th 4th O-goshi Major hip 7th 4th Uke Person being attacked 7th 4th Tori Person doing the attack 7th 4th Hiki-wake Draw 8th 4th Ko-soto-gari Minor outer reaping
    [Show full text]
  • Techniques Frequently Used During London Olympic Judo Tournaments: a Biomechanical Approach
    Techniques frequently used during London Olympic judo tournaments: A biomechanical approach S. Sterkowicz,1 A. Sacripanti2, K. Sterkowicz – Przybycien3 1 Department of Theory of Sport and Kinesiology, Institute of Sport, University School of Physical Education, Kraków, Poland 2 Chair of Biomechanics of Sports, FIJLKAM, ENEA, University of Rome “Tor Vergata”, Italy 3 Department of Gymnastics, Institute of Sport, University School of Physical Education, Kraków, Poland Abstract Feedback between training and competition should be considered in athletic training. The aim of the study was contemporary coaching tendencies in women’s and men’s judo with particular focus on a biomechanical classification of throws and grappling actions. 359 throws and 77 grappling techniques scored by male and female athletes in Olympic Judo Tournaments (London 2012) have been analyzed. Independence of traits (gender and weight category by technique classes) was verified via c2 test. Comparison between frequency of each subsequent technique class and rest/inconclusive counts was made in 2×2 contingency tables. The significance level was set at p£0.05. Throwing technique frequencies grouped in the seven biomechanical classes were dependent on gender. A significant difference was found between frequencies of variable arm of physical lever technique scored by males (27.09%) and females (16.67%) as compared to the rest/inconclusively techniques counts. Significant differences between men who competed in extra lightweight and heavy weight concerned the frequency of the techniques used with maximum arm or variable arm of physical lever and a couple of forces applied by trunk and legs. In females, a tendency to higher frequency of techniques that used couple of forces applied by arm or arms and leg was observed in extra lightweight compared to the heavy weight.
    [Show full text]
  • Gokyo No Waza: Requirements for Senior Promotions
    Gokyo no Waza: Requirements for Senior Promotions Dai-ikkyo (Group 1) Deashi Harai Forward Foot Sweep ► View Video Hiza-guruma Knee Wheel ► View Video Osoto-gari Large Outer Reap ► View Video Ogoshi Large Hip Throw ► View Video Rokkyu Ouchi-gari Large Inner Reap ► View Video Seoi Nage Shoulder Throw ► View Video Sasae Tsurikomi Ashi Supporting Foot Lift-Pull Throw ► View Video Uki-goshi Floating Hip Throw ► View Video Gokyu ↓ Dai-nikyo (Group 2) Kosoto-gari Small Outer Reap ► View Video Kouchi-gari Small Inner Reap ► View Video Koshi-guruma Hip Wheel ► View Video Gokyu Tsurikomi-goshi Lift-Pull Hip Throw ► View Video Okuri Ashi Harai Foot Sweep ► View Video Tai-otoshi Body Drop ► View Video Harai-goshi Hip Sweep ► View Video Yonkyu ↓ Uchi Mata Inner-thigh Reaping Throw ► View Video Dai-sankyo (Group 3) Kosoto-gake Small Outer Hook ► View Video Tsuri-goshi Lifting Hip Throw ► View Video Yonkyu Yoko Otoshi Side Drop ► View Video Ashi-guruma Leg Wheel ► View Video Hane-goshi Hip Spring ► View Video Sankyu Harai Tsurikomi Ashi Lift-Pull Foot Sweep ► View Video Tomoe Nage Circular Throw ► View Video Kata-guruma Shoulder Wheel ► View Video Dai-yonkyo (Group 4) Sumi-gaeshi Corner Throw ► View Video Tani Otoshi Valley Drop ► View Video Hane Makikomi Springing Wraparound Throw ► View Video Nikyu Sukuinage Scooping Throw ► View Video Utsuri-goshi Hip Shift ► View Video Oguruma Large Wheel ► View Video Soto Makikomi Outer Wraparound Throw ► View Video Ikkyu ↓ Uki Otoshi Floating Drop ► View Video Dai-gokyo (Group 5) Osoto-guruma Large Outer Wheel ► View Video Uki Waza Floating Throw ► View Video Ikkyu Yoko Wakare Side Separation ► View Video Yoko-guruma Side Wheel ► View Video Ushiro-goshi Back Hip Throw ► View Video Ura-Nage Back Throw ► View Video Shodan Sumi Otoshi Corner Drop ► View Video Yoko-gake Side Body Drop ► View Video Shodan: All Groups, Left and Right side .
    [Show full text]
  • OJA Promotion Exam
    EXAMINATION KEY FOR OJA PROMOTIONAL EXAM (1/1/2018) SECTION IIIB (General Information): Rokyu (1-6) 1. Dr. Jigoro Kano. 2. The Kodokan. 3. 1882. 4. Ju Jitsu. 5. 600-1000 years. 6. Oklahoma Judo Association or U.S.Judo, Inc. or USAJudo Gokyu (1-10) 7. a) Kuzushi; b) Tsukuri; c) Kake. 8. a) Nage Waza; b) Katame Waza; c) Atemi Waza. 9. a) Tachi Waza; b) Sutemi Waza. 10. a) Te Waza; b) Koshi Waza; c) Ashi Waza. Yonkyu (1-14) 11. a) Ma Sutemi Waza; b) Yoko Sutemi Waza. 12. a) Osae Waza; b) Shime Waza; c) Kansetsu Waza. 13. Mifune; Nagaoka; Yamashita; Isogai; Samura; Iizuka; Kotani; Geesink; Daigo; Osawa; Palmer. 14. a) Maximum Efficiency; b) Mutual Benefit & Welfare. Sankyu (1-18) 15. To develop the human character through the training & discipline of Judo. 16. Jim Bregman; Ben Campbell; George Harris; Paul Maruyama. 17. Jim Bregman, 3rd. 18. Jim Bregman, 3rd. Nikyu (1-22) 19. Allen Coage, 3rd. 20. Ann Maria Burns. 21. a) Edward Liddie, 3rd; b) Robert Berland, 2nd. 22. Michael Swain. Ikkyu (1-24) 23. a) Kevin Asano, 2nd; b) Michael Swain, 3rd; c) Lynn Roethke, 2nd; d) Margaret Castro-Gomez, 3rd. 24. Jason Morris, 2nd. Shodan (1-27) 25. Jim Pedro, 3rd. 26. Jim Pedro. 27. Jim Pedro, 3rd. Nidan (1-30) 28. Ronda Rousey, 3rd. 29. Kayla Harrison. 30. a) Kayla Harrison, 1st. b) Marti Malloy, 3rd. Sandan (1-31) 31. a) Kayla Harrison, 1st. b) Travis Stevens, 2nd. Yondan-Rokudan (1-35) 32. Pat Burris. 33. Ron Tripp. 34. Joel Holloway.
    [Show full text]
  • Junior First (1St) Degree – Yellow
    Junior Fourth (4th) Degree – Orange Requirements (Minimum) Age – 7 Name __________________ Time in Previous Degree – 3 months Date Started ____________ Class Attendance – 24 classes Date Completed __________ Promotions Points – 7 points (see point calculation sheet) Previous Degree Requirements All of this Degree Requirements signed off by a Sensei General Information 1. Name the three divisions of standing techniques (Tachi Waza) in English and Japanese. Hand techniques – Te Waza Hip techniques – Koshi Waza Foot techniques – Ashi Waza 2. Name the three divisions of mat techniques (Ne Waza) in English and Japanese. Holding techniques – Osaekome Waza Choking techniques – Shime Waza Joint locking techniques – Kansetsu Waza 3. Name the two divisions of sacrifice techniques (Sutemi Waza) in English and Japanese. Back falling sacrifice techniques – Ma Sutemi Waza Side falling sacrifice techniques – Yoko Sutemi Waza 4. How can you help during Judo class? Judo Vocabulary 1. To Float = Uki 11. Entry methods into mat work = Hairi 2. Lower Prop = Sasae Kata 3. Lift = Tsuri 12. Fifth class (Kyu) Judo rank = Gokyu 4. Pull = Komi 13. Third degree black belt = Sandan 5. Defense (to an attack) = Bogyo 14. Floating hip throw = Uki Goshi 6. Escape (from a hold down) = Fusegi 15. Foot stop throw (Lower Prop Lift Pull 7. Back falls = Koho Ukemi Foot) = Sasae Tsuri Komi Ashi 8. Front falls = Zempo Ukemi 16. Sweeping hip throw = Harai goshi 9. Decision! (referee’s call for judges decision) = 17. Modified Side corners hold = Kuzure Hantei!! Yoko Shiho Gatame
    [Show full text]