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 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 .

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 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 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 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 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

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.

Ma Sutemi Waza (Rear Sacrifice Techniques)

Tomoe Nage--Stomach or Circle Throw

Uke attacks by advancing his right foot. Tori yields a bit but then takes the inititative, unbalancing uke, by advancing his right foot forcing uke to step backward with his left foot. Tori continues advancing, pushing uke backward until uke pushes back. At this point, tori drops down onto his back, swinging his advanced foot up onto uke's hip and sliding his other foot under uke, between his legs. This action completely destroys uke's balance forcing him in a circular arc over tori's body.

Ura Nage--Back Throw

Uke attempts to strike tori's head with a downward blow to the head. Tori steps in, under the blow, blends with ukes body, falling backward with uke's forward motion and culminating in a flat throw over his body.

Sumi Gaeshi--Corner Throw

Uke attacks with a modified defensive posture intent on pulling tori forward to unbalance him. Tori steals the initiative by also gripping in a modified defensive stance and pulling uke forward in one arc step. Uke resists by straighten up. Tori takes advantage of this by further floating uke upward and dropping straight down on his back and under uke. The lifting action of one of tori's feet combined with the momentum of uke's falling body, lifts uke in a high arc over tori's body.

Yoko Sutemi Waza (Side Sacrifice Techniques)

Yoko Gake--Side Hook Tori yields to uke's attack by stepping backward to preserve his balance and attempts to unbalance uke forward. Uke attempts to regain his balance by stepping forward again continuing his attack. Tori changes his horizontal pull to a inward and turning motion, causing uke to stiffen in order to resist this motion. As uke advances a third time, tori slides his foot into uke's advancing foot, cutting it out from under him and falling onto his side and pulling uke down with him.

Yoko Guruma--Side Wheel

Uke attempts to attack with a strike once again. Tori attempts the same back throw as before by ducking in under uke's arm. Uke counters this by using his striking arm to force tori's head down. Tori takes advantage of ukes reaction lauching a counter attack in the form of a wheeling action. He slides a leg between uke's legs, falls onto his side and slings the unbalanced uke in the direction of his bent body.

Uki Waza--Floating Throw

Uke attacks in the modified defensive stance to pull tori forward. Tori again assumes the same posture, resists uke's attack and counterattacks by pulling uke forward with an arc step. Uke resists by straightening up and tori counters by floating uke even further, falling to his side, and drawing uke over his outstretched leg in a long arc, as uke attempts to regain his balance by stepping forward. Thanks to the author Allen Gordon who made this text available. Thanks also to Bjorn Stabell for making the drawings available.