British Judo Education website

Here you can find the British Judo Association’s guide to the technical analysis.

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RED BELT

KESA-GATAME

This is a pinning technique, where an immobilising action comes as a result of good control using a grip of Uke’s sleeve and head with the other arm.

Optimal body alignment with Uke helps to achieve maximum stability for Tori (by forming the shape of the letter T).

USHIRO UKEMI

Ushiro-Ukemi is a safe falling technique used to minimise the impact with the Tatami when a player is thrown backwards.

Key technical points:

  1. to “curve / round” the back and roll backwards.
  2. to keep the chin in touch with their chest while doing UKEMI (in order to avoid direct contact of the back of the head on the Tatami).
  3. to stretch the arms forward (in order to protect them from directly striking the ground in an uncontrolled manner).
  4. slap off the mat with arms and bounce the back off the mat.

O-SOTO-OTOSHI

Key technical points:

  1. to push Uke backwards, or use Uke’s
    pulling action;
  2. to step behind Uke’s leg and plant Tori’s foot on the mat, so that Tori has complete control over the final phase of the throw and the falling direction of Uke;
  3. to drive Uke to the mat safely and effectively allowing him to apply a
    breakfall (Ushiro-Ukemi) cleanly.

Escape from KESA-GATAME

Tori when caught with Kesa-gatame, moves closer to Ukes body and traps Ukes leg between his own. Kesa-gatame hold is considered as broken as Uke loses a great deal of control over Tori.

O-SOTO-OTOSHI into KESA-GATAME

Tori applies O-soto-otoshi accordingly to Ukes movements and continues into Kesa-gatame. It is important to avoid chest-to-chest contact or shoulder-to-chest clash that can often result if Tori loses his balance after throwing landing heavily on Uke. Continuity is achieved by Tori supporting Ukes arm upwards on contact with the ground opening up a space for his own entry. Taking his weight slowly on his knee whilst settling alongside Uke to apply Kesa-gatame.

ZA REI

This form of bow may be used at the start and end of practicing judo. Also this bow is used in Ne-waza practice (groundwork).

TACHI REI

Before and after practicing judo or engaging in a match, opponents bow to each other. Bowing is an expression of gratitude and respect. In effect, you are thanking your opponent for an opportunity to improve your technique (J. Kano)

YOKO UKEMI

Yoko-Ukemi is a safe falling technique allowing to minimising the impact with the tatami when a player is thrown to his side.

Key technical points:

  1. Tori keeps the chin in touch with the chest all through the fall.
  2. Tori stretches his arm at 45 degrees to his side, slaps the mat and keeps his fingers facing his feet as he rolls onto his back.

MUNE-GATAME

Key technical points:

  1. Tori applies a strong “clamping action” as he takes a grip over Uke’s head and arm.
  2. Tori keeps optimal position with regards to Uke, which is to align his torso in the shape of the letter T with that of Uke.

DE-ASHI-BARAI

Key technical points:

  1. As Uke advances towards Tori, Tori balances on his supporting leg and uses his other leg to apply a sweeping action with the sole of his foot.
  2. At the same time Tori applies a strong hand pull downward, pushing Uke’s arm in the same direction as the foot sweep.
  3. Tori maintains the grip and supports Uke as he falls to the ground.

Escape from MUNE-GATAME

Tori when caught with Mune-gatame, grabs Ukes belt over his back. Then applies a bridging action with his body and strongly pulls the belt. As Tori completes the roll he takes Uke into Mune-gatame hold himself.

DE-ASHI-BARAI into MUNE-GATAME

Tori applies De-ashi-barai accordingly to Ukes movement and continues into Mune-gatame. It is important to avoid chest-to-chest contact or shoulder-to-chest clash that can often result if Tori loses his balance after throwing landing heavily on Uke. Continuity is achieved by Tori supporting Ukes arm upwards on contact with the ground opening up a space for his own entry. Taking his weight slowly on his knee whilst settling alongside Uke to apply Mune-gatame.

UKI GOSHI

Key technical elements:

  1. Tori steps forward towards Uke and reaches around Ukes back.
  2. He fixes Uke to his hip.
  3. Tori twists and rotates Uke.
  4. Tori throws him without lifting.

KUZURE-KESA-GATAME

Key technical points:

  1. Tori leans across Ukes chest and slides his arm under Ukes armpit
  2. Tori then either holds the gi near lapel or places the palm of his hand on the matto stabilise himself
  3. Ukes right arm is secured under Toris left armpit

MAE-MAWARI-UKEMI I

Mae-Maware-Ukemi is a safe falling technique executed as a forward roll over the shoulder to minimise the impact with the Tatami when a player is thrown forward.

Key technical points:

  1. Keep chin tucked in (touching chest).
  2. Protect shoulder from a direct hard landing by using the leading turning to the side to soften the shoulder landing.
  3. Tori lands on the side and keeps his legs apart (not crossing his legs).

Escape from KUZURE-KESA-GATAME

Escape from Kuzure-kesa-gatame by using sitting up and pushing is best applied in situation when Tori being caught with this hold, tries to get closer to Uke to trap his leg. As Tori tries to get closer to Uke, Uke moves away from Tori in a circle and secures his leg from being trapped. Tori reverses the direction of movement to make Uke unstable, literally by turning the “T” shape to an “I”. As they come into line Tori applies a strong push with the hands whilst driving off the supporting leg to apply Kesa-gatame.

UKI-GOSHI into KUZURE-KESA-GATAME

As Uke pushes Tori, Tori applies Uki-goshi and continues into Kuzure-kesa-gatame. It is important to avoid chest-to-chest hard contact or shoulder-to-chest clash that can often result if Tori loses his balance after throwing landing heavily on Uke. Continuity is achieved by Tori supporting Ukes arm upwards on contact with tatami opening up a space for his own entry. Taking his weight slowly on his knee whilst settling alongside Uke to apply Kuzure-kesa-gatame.

YELLOW BELT

TAI-OTOSHI

Key Technical points:

  1. Tori pulls Uke up and takes him out of balance on his toes
  2. Tori steps in and across Ukes leg
  3. Uke will be thrown in a large circle around the tip of his front foot

HIKI TE-TSURI TE

Standard judo grip is a lapel (Tsurite) and a sleeve (Hikite) grip. it is an all-purpose grip allowing for both effective attack and strong defense.

YOKO-SHIHO-GATAME

Key technical points:

Immobilizing effect comes as result of good control over Ukes upper body, achieved as Tori in a locking manner takes a grip across and over Ukes body.

Positioned one side of Uke, Tori slides an arm under Ukes head, his hand grips either the lapel or shoulder region of the gi. Toris other arm reaches over Ukes nearest leg and under the far leg, ideally anchoring on to the belt. If the belt is out of reach, a similar locking effect is possible by gripping the bottom of the skirt of the gi.

MAE-MAWARI-UKEMI II

This Mae-Maware-Ukemi is executed as a roll over a partner on all fours or with a run up and jump which is progressively increasing in the height.

Escape from YOKO-SHIHO-GATAME

Tori when caught with Yoko-shiho-gatame traps Ukes leg from the inside and takes his belt over his head. As Tori applies a “bridging” action he rolls over his shoulder and pulls Uke over and across. Then he applies Yoko-shiho-gatame himself.

Turnover into YOKO-SHIHO-GATAME

Key technical points:

  1. Tori takes a grip over Ukes high collar and rear leg from under the inside of Uke lying prone.
  2. Tori pulls both grips towards himself
  3. Tori applies a strong body push forward and flips Uke over into Yoko-shiho-gatame.

TAI-OTOSHI into YOKO-SHIHO-GATAME

Tori applies Tai-otoshi when Uke pushes Tori backwards and continues into Yoko-shiho-gatame. It is important to avoid hard chest-to-chest contact or shoulder-to-chest clash, that can often take place when Tori loses his balance or has poor control (Kime) of Uke after executing Tai-otoshi.

IPPON-SEOI-NAGE

Key Technical Points:

  1. Tori slides his arm up from Ukes lapel under his shoulder,
  2. Brings it tight against Ukes armpit and
  3. As Tori enters a throwing position, he brings his back in tight contact with Ukes abdomen,
    thus “loading” Uke on his back.
  4. He then leans forward, pulls him down with both hands and throws Uke.

KAMI-SHIHO-GATAME

Key technical points:

  1. Tori kneels just above Ukes head and slides his both arms under Ukes shoulders and grips the belt
  2. Tori ensures good chest contact with Ukes upper body.
  3. When Tori pulls the belt towards himself the hold is tightened
  4. Ukes head is under Toris armpit
  5. Tori pushes his stomach and hips to the floor and spreads his both legs out straight with the feet wide apart.
  6. Tori may use his toes to push off the mat and assist his control of Uke.

Kami-shiho-gatame can be also applied with the knees bent up close to Uke. In contest situation Tori may find it necessary to vary the leg position to nulify Ukes attempts to escape.

MAE-MAWARI-UKEMI III

Execute Mae-Maware-Ukemi in a forward roll with return into standing position and
basic stance Shizen Tai.

Turnover into KESA-GATAME

Tori takes with one hand Ukes opposite lapel and with another arm Ukes hand. As Tori pulls both grips towards himself, he turns Uke over onto his back and applies Kesa-gatame.

Alternative Grip (option I)

Demonstrate any alternative grip that could be applied when a right-hand player meets a left-hand player.
For example grip on the sleeve and the mid back. This grip allows for good body contact and control and is best applied for big body throws (Koshi-waza)

Escape from KAMI-SHIHO-GATAME

This escape contains an element of surprise. Tori takes hold of Ukes belt and tries to turn-out to one side. Then Tori twitches to another side and flips Uke onto his back.

IPPON-SEOI-NAGE into KAMI-SHIHO-GATAME

Tori applies Ippon-seoi-nage when Uke pushes him backwards and continues into Kami-shiho-gatame. It is important to avoid chest-to-chest contact or shoulder-to-chest clash, that can often take place when Tori loses his balance or has a poor control over Uke after executing Ippon-seoi-nage. Tori may use a “drop” knee to execute a link without a clash with Ukes chest.

MAE UKEMI

Key technical points:

  1. Tori bends both arms and turns them with their palms towards the ground as he starts to fall forward.
  2. Tori keeps the whole body and legs straight as he falls.
  3. Tori prepares both of his arms to meet the ground sooner than the body to absorb the shock of a contact with the ground.

O-UCHI-GARI

Key Technical Point:

  1. Tori inserts his leg through the inside of Ukes legs and
  2. Reaps Ukes foot with the back of his knee.
  3. Tori pushes Uke backwards with both hands and as
  4. Toris right foot draws a semi-circle on the mat, he throws Uke onto his back.

TATE-SHIHO GATAME

Key technical points:

  1. Tori sits astride Ukes abdomen area with knees in contact with mat.
  2. Tori hooks his heels at the back of Ukes legs with toes to the outside.
  3. Tori traps one of Ukes arms by leaning forward and placing his neck against Ukes arm. Here Ukes hand is forced around his own neck
  4. Tori uses his own legs to stabilise himself and may hook Ukes legs for greater stability and control.

Turnover into MUNE-GATAME

Key technical points:

  1. Tori takes Ukes belt with one arm and comes with the other arm on top of his own forearm from inside of Ukes arm through under the shoulder.
  2. Tori makes his both arms meet in an hand-lock and applies pressure on Uke and
  3. Rotates him on his back into Mune-gatame.

Alternative Grip (option II)

“High-colar-and-sleeve” is the grip commonly used as an alternative to standard sleeve-lapel one. This grip allows for more body contact and is best applied for big body throws (Koshi-waza)

Escape from TATE-SHIHO-GATAME

Key technical points:

  1. Tori when caught with Tate-shiho-gatame, puts his both arms around Ukes waist or chest in a clamping/locking manner.
  2. Tori blocks one of Ukes legs and
  3. Then applies a body roll to the side where Ukes leg is blocked and
  4. Executes Tate-shiho-gatame himself.

O-UCHI-GARI into TATE-SHIHO-GATAME

Tori applies O-uchi-gari which is then immediately followed with Tate-shiho-gatame. Tori may use a drop knee to execute a link without a clash with Ukes chest.

ORANGE BELT

O-GOSHI

Key Technical Points:

  1. Tori changes his lapel grip (Tsurite) and his lapel hand transfers around Ukes waist.
  2. Uke steps forward and is unbalanced by Tori pulling them in a forward direction onto their toes.
  3. At same time as pulling, Tori steps forward and across Tori’s body with the first leg, placing their arm around Uke’s waist region and pushes both hips past Uke’s the front of Uke’s body.
  4. Tori’s second leg then comes in behind. Both Tori and Uke should be facing in a forward direction with knees slightly bent.
  5. With hips in place Tori straightens their legs and rotates upper body to throw Uke in a forward direction.

KO-UCHI-GARI

Key Technical points:

  1. Tori applies appropriate handwork for unbalancing Uke to his back and
  2. Reaps Ukes foot from the inside.
    Depending on the age and confidence of player, Tori needs to be able to demonstrate Ko-Uchi-Gari in the linear movement with Uke (forward-backward), and/or in a circular motion.

TSURIKOMI-GOSHI

Key technical points:

  1. Uke steps forward and is unbalanced by Tori pulling them in a forward direction onto their toes.
  2. At same time as pulling, Tori steps forward and across Toris body with the first leg, a space between Tori and Uke should be maintained. Toris second leg then comes in behind. Toris knees should be bent and back upright. Lapel hand is pushed up towards Ukes armpit.
  3. Toris knee is extended and grip is maintained to their upper body, as it is rotated to throw Uke in a forward direction.

Depending on the age and confidence of player, Tori needs to demonstrate execution of Tsurikomi-Goshi in the linear movement with Uke going forward-backward, and/or in a circular motion.

Escape from KESA-GATAME

Key technical points:

  1. Tori when caught with Kesa-gatame, moves closer to Uke and grabs his belt around his waist,
  2. assists with the knee, and
  3. bridges to opposite shoulder and
  4. then he pulls Uke diagonally across his body into Kesa-gatame.

Escape into KESA-GATAME

Key Technical points:
Tori escapes from between Ukes legs by stepping over Ukes thigh, sliding to the side of Ukes body and applying Kesa-gatame.

O-UCHI-GARI countered by TSURI-KOMI-GOSHI

By showing O-uchi-gari countered by Tsuri-komi-goshi, Tori displays his understanding and ability to takeover an initiative from his opponent (awareness of countering actions, or Kaeshi-waza). As Tori avoids and yields Ukes O-uchi-gari, Tori steps back, keeps Uki off balance and applies Tsuri-komi-goshi displaying fluency between phases and continuity during a switch from a yield to the action.

KO-UCHI-GARI into O-SOTO-GARI (Renzoku-waza)

y showing Ko-uchi-gari into O-soto-gari combination Tori demonstartes his ability to perform a continuous attack and awareness of Renzoku-waza. As Uke avoids and yeilds from Ko-uchi-gari, Tori executes a link into O-soto-gari. Tori is expected to display fluency between phases and continuity during performing this link. Special attention needs to be made for a distinct hand-work during unbalancing of Uke (Kuzushi phase)

O-UCHI-GARI into KO-UCHI-GARI (Renzoku-waza)

By showing O-uchi-gari into Ko-uchi-gari combination Tori demonstrates his ability to perform a continuous attack (awareness of Renzoku and Renraku-waza). As Uke avoids and yields from O-uchi-gari, Tori executes a link into Ko-uchi-gari. Tori is expected to display fluency between phases and continuity in unbalancing of Uke by way of demonstrating a definite hand-work during Kuzushi stage of a throw.

KO-SOTO-GAKE

Key Technical Points:

  1. As Uke steps forward brining his weight onto his leg
  2. Tori steps over and hooks Ukes leg from outside.
    Applied in Right-Right / Left-Left stance.

KO-SOTO-GARI

Key Technical Points:

  1. As Uke steps forward bringing his weight onto his leg,
  2. Tori reaps Ukes foot from behind the outside.
    Applied in Right-to-Left stance.

MOROTE-SEOI-NAGE

Key Technical Points:

  1. Tori steps towards Uke diagonally and across and takes a semi-squatted position.
  2. Tori puts his elbow under Ukes armpit as he pulls with the other hand forward and executes a throw.

Escape into YOKO-SHIHO-GATAME

Escape into Yoko-shiho-gatame past Ukes legs.
Tori pins Ukes shoulder to the mat with the grip and locks his opposite leg by taking it from the inside. As Tori steps over Ukes leg he slides further to Ukes side and applies Yoko-shiho-gatame.

Turnover into TATE-SHIHO-GATAME

Turnover into Tate-shiho-gatame from beneath.
Tori flips over Uke as he applies strong pushing action with his legs up and aside as if with scissors, and controls Ukes body with through the good grip.

KO-UCHI-GARI into MOROTE-SEOI-NAGE

Tori displays ability to apply continuous attack and his awareness of Renraku-waza. As Uke avoids and yields from Ko-uchi-gari, Tori executes a link into Morote-seoi-nage. Tori is expected to demonstrate fluency between phases and continuity during performing this link. Special attention needs to be paid to a definite change in the hand-work during a stage of unbalancing Uke (Kuzushi) and appropriate direction where all forces will be applied.

TAI-OTOSHI countered by KO-SOTO-GAKE

Tori demonstrates the ability to take over the initiative from Uke and apply a counter action (awareness of Kaeshi-waza). As Uke applies an attack with Tai-otoshi, Tori avoids it by moving away from him, controlling a space between himself and Uke with a good grip. Keeping up the good upright posture, Tori applies Ko-soto-gake in turn.

O-SOTO-GARI

Key Technical points:

  1. Tori steps to one side of Uke, unbalancing him in a sideward and backward direction, while at the same time maintaining some upper body contact. Tori’s hands are also used to unbalance Uke in direction of throw.
  2. Tori steps behind Uke with an almost straight leg, toes pointed. Tori also uses collar hand to move Uke’s head in a back ward direction as this aides in unbalancing Uke during the execution of the technique.
  3. Tori steps behind Uke reaping with an almost straight leg with toes pointed. When leg comes up Tori’s head is moving in a downward direction. Tori continues to move Uke’s head in a back ward direction.

SEOI-OTOSHI

Key Technical points:

  1. Tori "loads " Uke on his shoulder as with Ippon-seoi-nage, but
  2. Drops Uke down with a winding action
  3. Tori may go on one/both knees.

Depending on experience and confidence of players, they display Seoi-otoshi in a linear (forward-backwards), then circular movement with Uke.

Arm-roll from behind Uke

Key technical points:

  1. Uke applies a hand-lock from behind of Tori when both are on the knees.
  2. Tori comes with his hand over Ukes hand and locks it assuring good control of his elbow
  3. Then he shifts his body to one side across Ukes knees and grabs his opposite leg
  4. Then Tori rolls forward and across his shoulder brining Uke in a big circle over himself straight into Kesa-gatame.

Combination with SEOI-OTOSHI

Tori demonstrates the ability to apply continuous attack and awareness of Renzoku-waza.
As Uke avoids the first throw with Ippon-seoi-nage, he steps away and keeps the space. Tori links Ippon-seoi-nage with Seoi-otoshi

Arm-roll from in front of Uke

Key technical points:

  1. Uke applies a hand-lock from in front of Tori when both are on the knees.
  2. Tori comes with his hand over Ukes hand and locks it assuring good control of his elbow
  3. Then he sits in front of Uke and brings both his legs to the side opposite to the locked elbow
  4. As Tori continues to bring his both legs towards Uke going in a large circle, he pushes Uke in the direction of the locked elbow, and
  5. Flips him over onto his back and continues either to Kesa or Yoko-shiho-gatame.

IPPON-SEOI-NAGE into KO-UCHI-GAKE (Renraku-waza)

Tori demonstrates the ability to apply continuous attack and his awareness of Renraku-waza.
Tori links Ippon-seoi-nage into Ko-uchi-gake as Uke avoids the first throw, steps away and keeps
the space. Tori needs to pay attention to the distinct foot placement during an entry into Ko-uchi-gake from Ippon-seoi-nage.

GREEN BELT

UCHI-MATA

Key Technical points:

  1. Tori applies three-steps entry into a throw in the similar way to Harai-Goshi and puts his acting leg between Uke’s legs.
  2. Tori executes Uchi-Mata as he pulls with one hand towards his armpit, with the other up and outwards and sweeps up his thigh against Uke’s one from the inside.

Depending on confidence and experience Tori is asked to display Harai-Goshi in the circular movement with Uke.

UDE-GATAME

Tori takes control of Uke’s wrist, and makes it steadily settled on Tori’s shoulder, then applies the pressure over Uke’s elbow. Tori demonstrates Ude-Gatame in conjunction with transition from Tachi-Waza to Ne-Waza, when Uke continues to hold Toris lapel after being thrown.

HARAI-GOSHI

Key Technical points:

  1. Tori applies three-steps entry with Harai-Goshi similar to that illustrated earlier for throws such as Morote-Seoi-Nage and Tai-Otoshi.
  2. Tori pulls Uke upwards and forwards and sweeps Uke’s leg with the back of his thigh.

Depending on confidence and experience Tori is asked to display Harai-Goshi in the circular movement with Uke.

WAKI-GATAME

As Uke tries to escape from Kesa-Gatame by pushing with a hand and twisting out towards Tori, Tori takes control of Uke’s wrist, pulls it forward and straightens his arm over. At the same time Tori comes over Uke’s shoulder with his other hand and traps Uke’s shoulder under the armpit. Armlock is applied in a slow motion as Tori pull sUke’s straightened arm upwards, also assuring that Uke’s palm is facing downwards and Uke’s elbow is upward.

Tori demonstrates Waki-Gatame as a response to Uke’s escape from Kesa-Gatame by way of twisting-out towards Tori and pushing Toris head away with his hand (displays of understanding of counter action in newaza).

Combination with KO-UCHI-GAKE

Tori demonstartes an ability to change the direction of attack accordingly to Uke’s defence. As Tori attempts Ippon-seoi-nage, Uke blocks the attack, then Tori switches into Ko-uchi-gake

HIZA-GATAME

Tori demonstrates how to apply same armlock in the Newaza situation when Uke is on top, Tori is from beneath. Tori gains a good control over Uke’s shoulder by coming with a knee on its top, blocks Uke’s forearm by pressing it to Tori’s shoulder and applies an armlock by way of pressure with his knee over Uke’s elbow.

HIZA-GURUMA

Key technical points:

  1. Tori lifts up with one hand and pulls diagonally with the other one, then
  2. Puts the sole of his acting foot on the outside of Uke’s knee, applies a sliding motion also pressing down Uke’s knee and
  3. Throws Uke with rotating motion forward and to the front corner.
    Depending on confidence and experience, Tori is asked to demonstrate Hiza-Guruma in the circular motion with Uke.

JUJI-GATAME

Key technical points:

  1. Tori lifts up with one hand and pulls diagonally with the other one, then
  2. Puts the sole of his acting foot on the outside of Uke’s knee, applies a sliding motion also pressing down Uke’s knee and
  3. Throws Uke with rotating motion forward and to the front corner.
    Depending on confidence and experience, Tori is asked to demonstrate Hiza-Guruma in the circular motion with Uke.

SASAE-TSURIKOMI-ASHI

Key Technical points:

  1. The concepts of Hiza-Guruma and Sasae-Tsuri-Komi-Ashi are similar, the difference consists in the placement of the acting foot.
  2. Tori puts the sole of the acting foot on the outside of Uke’s ankle and blocks it, then
  3. in a circular hand action rotates him in a large forward motion,
  4. throws him forward to the front corner.

Depending on confidence and experience of Tori, he is maybe asked to display Sasae-Tsuri-Komi-Ashi in a circular movement with Uke.

JUJI-GATAME sit back entry

Key technical points:

  1. Tori comes under Uke’s body with a leg,
  2. Takes control over Uke’s same side arm,
  3. Steps over Uke’s head with his other foot and, as
  4. Tori sits back over Uke, he flips him over and settles in the Juji-gatame position.

JUJI-GATAME roll over entry

Key technical points:

  1. Tori inserts his leg under Uke and
  2. With the same side hand he takes a good control over Uke’s arm, then rolls over Uke, hence driving Uke onto his back and landing himself on a side.
  3. Tori comes over Uke’s head with his opposite leg and settles in the Juji-gatame position.

HANE-GOSHI

Key Technical points:

  1. Tori steps in between Uke’s feet with his knee slightly bended and upright body posture, so that the side of his body is tight against the side of Uke’s body slightly bending back, then
  2. Tori pulls with hands, springs Uke’s leg from inside upwards and
  3. Throws Uke in a large circle around to the front corner.

Depending on confidence and experience of Tori, he may be asked to display Hane-goshi on a circular movement with Uke.

OKURI-ASHI-BARAI

Key Technical points:

  1. As Tori leads Uke sideways in tact / in a Tsugi Ashi manner they shift weight to one and another leg,
  2. Tori then steps slightly in advance in the same direction and
  3. With a sweeping action of the leg and pulling down with hands applies a throw.

MOROTE-ERI-SEOI-NAGE

Key Technical points:

  1. The foot placement is the same as described for MOROTE-SEOI-NAGE.
  2. Tori controls Uke by holding Ukes right lapel with both hands, the right hand slightly above the left.
  3. Tori complete the throw by turning to the right and throwing Uke over the shoulder and hips.

JUJI-GATAME entry from beneath

Key technical points:

  1. Tori controls Uke right elbow and turns his own body through
    90 degrees
  2. Tori takes hold of Uke’s left leg and use his own left leg to
    control Uke’s chest and head
  3. Tori straightens his legs and creates an opening to apply Juji-
    gatame

JUJI-GATAME over the shoulder entry

Key technical points:

  1. Tori inserts his leg under Uke’s hip, takes
    a strong grip and control over Uke’s arm and rolls over his own
    shoulder to the same side.
  2. Tori may grab Uke’s leg from outside
    his knee and thus assisting himself to turn Uke over Tori into Juji-
    gatame position.

BLUE BELT

UDE-GARAMI

Tori takes advantage of Uke defending with his hand, takes a strong grip over Uke’s wrist, bends his hand and traps it as Tori’s arms make a ‘hand-lock’. Tori drives Uke’s wrist towards his legs, keeping Uke’s elbow upright, and applies Ude-garami.

TANI-OTOSHI

Key Technical points:

  1. Tori comes with his leg on Uke’s shin,
  2. Slides down with his leg and drops onto his side into a leaning motion and
  3. Throws Uke backwards with his foot fixed to tatami.

YOKO-GURUMA

Key Technical points:

Yoko-guruma is best learnt in conjunction with avoidance from Tai-otoshi or Uki-goshi

  1. Tori wraps his hand around Uke’s waist,
  2. Pulls down Uke’s other hand, slides forward with the right foot right between Uke’s legs, then
  3. As Tori bends the right leg and straightens the left one,
  4. He executes a body drop with rotation,
  5. Uke is thrown to the rear corner over Tori’s shoulder.

KOSHI-GURUMA

Key Technical points:

  1. Tori puts his hand around Uke’s neck,
  2. Tori entries with his hip deep, so that Uke’s body is crossed over Tori’s hip.
  3. As Tori twists his hip and turns, he pulls Uke down in a circular motion over himself.

KAESHI-WAZA

Demonstrate Tane-otoshi as a counter to O-goshi

TOMOE-NAGE

Key Technical points:

  1. Tori takes advantage of Ukes push or step forward,
  2. Steps towards Uke, puts a sole of his foot on Uke’s abdomen,
  3. Drops himself down close to his heel.
  4. Tori straightens his leg and pulls Uke around in a circle.

NAMI-JUJI-JIME

Tori slides both thumbs deep inside Ukes lapel. Toris fingers latch on to the outside of lapel with palms facing down. Toris arms are crossed at the wrists, making triangle with the back of Ukes gi. Toris aim is to reduce the size of triangle and to apply pressure to the sides of Ukes neck. Strangle is executed in a scissor-type motion with the arms as Tori pulls Uke towards himself.

OKURI-ERI-JIME

This is a rear strangle, which is applied from behind an opponent. As Tori controls Ukes back, he places one arm around the front of Ukes neck and slides the hand under his chin. The hand placement should be far enough around Ukes lapel to ensure the cutting edge of Toris wrist is against the middle of the neck. His other hand comes under Ukes armpit and takes the opposite lapel. Tori pulls the lapel at the neck in a semi-circular motion, while pulling the lower lapel grip straight down.

GYAKU-JUJI-JIME

Gyaku-juji-jime requires Tori to have the fingers of both hands inside the Ukes lapels. Tori arms are crossed at the wrists with the back of one wrist against the front of the other. Toris fingers should be deep enough into the Ukes gi to enable the cutting edge of the wrist to touch the artery area of Ukes neck.

KATA-UCHI-ASHI-DORI

Key Technical points:

  1. Tori grabs Uke’s leg around the inside of his knee, pulls it up and
  2. Tori then pulls Uke downwards with his other hand.
  3. As Tori steps towards Uke he pushes him towards his rear and executes a throw.

SOTO-KIBITSU-GAESHI

Key Technical points:

  1. Tori approaches Uke in a similar manner as for Kata-uchi-ashi-dori, but
  2. Grabs his heel.
  3. As Tori pushes Uke backwards he throws him to his rear corner.

UKI-WAZA

Key technical points:

  1. Tori takes Uke off balance forward and performs a simultaneous drop with the upper body turn to produce sound rotating momentum.
  2. Uke is thrown in a large circle.

KOSHI-JIME

Uke Makes Dropping Attack
Key technical points:

  1. As Uke makes dropping attack, Tori maintains his grip over Ukes lapel.
  2. As Tori blocks Ukes dropping attack with his hip , he continues to pull the lapel grip against Ukes neck upwards.
  3. Tori brings his opposite leg and hip forward to the same side as his lapel grip and blocks Ukes upper body
  4. Applying more pressure on ukes neck thru lapel Tori executes Koshi-jime.

KATA-GURUMA

Key technical points:

  1. As Tori steps with one of his feet inside Uke’s feet, he bends both knees and lowers his waist.
  2. Tori comes with a shoulder under Uke’s front hip, grabs the inside of Uke’s thigh and straightens his back and ‘loads’ Uke onto his shoulders.
  3. Uke is thrown a large circle round Tori’s shoulder.

MOROTE-GARI

Key technical points:

  1. Tori makes a dash forward towards Uke and comes round his thighs with both hands.
  2. As Tori comes up, he lifts Uke, pulls his legs to one of his sides and then throws Uke backwards, keeping good control of him.

UCHI-KIBISU-GAESHI

Execution of Uchi-Kibitsu-Gaeshi is similar to Kata-ashi-uchi-dori, but different in the point of contact, which is a heel from the inside.

SOTO-ASHI-DORI-OUCHI-GARI

Tori assists himself executing O-uchi-gari by pulling Uke’s leg from the outside.

KATA-TE-JIME (Uke On All Fours)

Tori assists himself executing O-uchi-gari by pulling Uke’s leg from the outside.

BROWN BELT

URA-NAGE

Key technical points:

  1. Tori takes a hold of Uke’s waist from his side,
  2. Comes up to him with his legs slightly bent and lifts him.
  3. As Tori drops himself backwards down, Uke is thrown in a large circle in a rotating motion.

UKI-OTOSHI

Key technical points:

  1. As Tori steps away backwards from Uke
  2. Tori drops onto his knee and pulls Uke up and forward without twisting the body and projecting all
    power to his hip.
  3. Uke is thrown in a large circle forward

KATA-HA-JIME

This strangle is applied from behind Uke. Tori slides the right hand under Ukes chin, thumb inside Ukes left lapel, and gets close as possible to the cartoid arteria. Tori places his left hand under Ukes armpit area, lifts Ukes arm and places the back or front of the hand to the rear of Ukes neck. This action stabilises the head and Tori can apply the sliding pushing action with the left hand while pulling with the right hand. Tori then brings Ukes lapel against carotoid artery.

Kata-ha-jime is usually attempted when it has not been possible to place the cutting edge of the wrist accurately against the carotoid area.

Kata-ha-jime is commonly used as a counter to a dropping attack of Uke.

SOTO-MAKI-KOMI

Key technical points:

  1. Tori steps forward with the right foot and swings the left foot behind
  2. He lets go the lapel and wraps his arm around Ukes arm
  3. He pulls strongly on the sleeve and pushes his hip through
  4. Tori can use his leg as a block, but not necessarily, as he throws Uke with a big body rotation straight into the ground

YOKO-TOMOE-NAGE

Key technical points:

  1. Tori performs Yoko-tomoe-nage in a manner similar to Tomoe-nage, however
  2. Tori falls sideways across in front of Uke.
    Note: there is a number of performance variations to the final execution of Yoko-tomoe-nage, where
    Uke can be thrown to either side of Tori

KATA-HA-JIME (basic form)

This strangle is applied from behind Uke. Tori slides the right hand under Ukes chin, thumb inside Ukes left lapel, and gets close as possible to the cartoid arteria. Tori places his left hand under Ukes armpit area, lifts Ukes arm and places the back or front of the hand to the rear of Ukes neck. This action stabilises the head and Tori can apply the sliding pushing action with the left hand while pulling with the right hand. Tori then brings Ukes lapel against carotoid artery.

Kata-ha-jime is usually attempted when it has not been possible to place the cutting edge of the wrist accurately against the carotoid area.

KATA-HIZA-TE-OUCHI-GAKE-ASHI-DORI

Key technical points:

  1. This performance variation of O Uchi Gari is also known as “hand
    assisted Ouchi Gari”.
  2. Tori attacks Ukes leg by hooking it and dropping to the ground.
  3. By holding the leg, Uke is unable to step off the attack and
  4. this gives Tori greater control in the final execution of the throw

TACHI-WAZA (Performance example I)

This is the performance variation on Osoto-otoshi executed from the grip over the top of Uke’s shoulder in the sacrifice manner and in known as Osoto-makikomi

YOKO-GAKE

Key technical points:

  1. Tori places sole of attacking leg behind Ukes ankle.
  2. Controlling the arms close to the body Tori completes the technique by falling
    backwards to the mat whilst lifting up his attacking foot.

SUMI-GAESHI

Key technical points:

  1. Tori steps back and pulls Uke forward, then drops himself on the back in
    front of Uke,
  2. Tori puts the top of his acting foot on the inner thigh above Uke’s knee,
  3. Lifts him up and
  4. Springs over his head in a large rotating movement

USHIRO-GOSHI

Key technical points:

  1. Tori pulls his upper body tight against Uke’s back and
    controls him in a straight and upright posture, as
  2. Tori steps in and drives his hip
    upward,
  3. He lifts Uke up and as he brings his one leg back, he creates a space in front of himself and throws Uke down.

RYO-HIZA-SEOI-OTOSHI

Key technical points:

  1. Tori applies this throw in the manner similar to
    traditional Morote-seoi-nage, but
  2. this time he goes on both knees.

HADAKA-JIME Basic Form

“Naked strangle”
This is a neck choke, it is named as “naked” because no element of gi is used

Key technical points:
1.Tori from behind places his forearm palm downwards across Ukes windpipe and then
2. Tori joins his both hands at a 90 degree angle with the lower hand
palm upwards and then
3. Pulls the arm into the throat and applies Hadaka-jime strangle by way of pushing his chest and squeezing his arms together.

HADAKA-JIME Uke Prone Position

Key technical points:

  1. Tori inserts both his legs under Uke lying prone position right against his thighs closer to Ukes hip and gains good control over Ukes body.
  2. Tori from behind places his
    forearm palm downwards across Ukes windpipe and then
  3. Tori joins his both hands at a 90 degree angle with the lower hand
    palm upwards and then
  4. Pulls the arm into the throat and applies Hadaka-jime strangle.

TACHI-WAZA (Performance example II)

One of the performance forms of Sumi-geashi could be executed from the one-sided grip.

TACHI-WAZA (Performance example III)

This is the performance variation on Seoi-nage also known as “Koga-style” seoi-nage. Watch the entry pattern into the throw similar to conventional Seoi-nage, but different in the way of holding the grip. This variation contains an element of surprise being executed from the right stance to the left.

TE-GURUMA

Key technical points:

  1. Tori steps close to Uke’s leg and grabs the thigh from the inside and behind,
  2. He lowers his waist and bends slightly knees.
  3. Tori raises up and straightens his body and airbone Uke.
  4. Uke is thrown in a large circle straight on the mat.

SAN-GAKU-JIME

Key technical points (Uke in all fours position)

  1. Tori in front of Uke on all fours, slides his knee in between Ukes head and shoulder, keeping it as close to the head as possible
  2. Tori forces the heel of the other leg tightly behind Ukes elbow.
  3. Tori draws his knee and heel together then, using Ukes arm, he rolls him over onto his back
  4. Tori will be on his side when he needs to secure Ukes free arm with the belt or cloth from his gi
  5. He reaches over and pulls Ukes trapped arm towards himself, then he adjusts his legs
  6. And applies a strangle by ensuring the right foot is under the left calf and by bringing the left foot towards himself while squeezing his thighs.

SAN-GAKU-OSAE-GATAME

Triangle hold.
Sangaku-gatame hold is used when Tori is attacking with Sangaku-jime but is unable to apply a strangle.
In this scenario, while maintaing the grip with the legs, Tori hoists himself on top of Uke, usually using Ukes trouser leg as an anchor to enhance stability.

SODE-TSURI-KOMI-GOSHI

Key technical points:
Tori enters in a manner similar to Tsurikomi-goshi ideally using a one-step etry

  1. Tori pulls Uke out of balance in the forward direction onto his toes,
  2. Tori uses Uke’s sleeve for positioning and executing a throw.
  3. At same time as pulling, Tori steps forward and across Toris body with the first leg, a space between Tori and Uke should be maintained. Toris second leg then comes in behind. Toris knees should be bent and back upright. Sleeve hand is pushed up and lapel hand is pulling forward.
  4. The throw incorporates an element of surprise as Tori applies a left throw from the right-
    handed stance.

KO-UCHI-GAKE-MATA-MAKI-KOMI

Key technical points:

  1. Tori makes a lunging step forward and makes contact with the back of Ukes knee or a calf muscle
  2. Tori lets go with the right hand, drops his arm under Ukes arm and holds his thigh preventing Uke from stepping off the attack
  3. Tori drives off his left leg, maintains his hip and pushes his hips to the ground
  4. Such is the technique, that to complete the throw, Tori falls to the mat in a sacrifice manner

Le judo est une activité complémentaire idéale au VTT, car cela permet d’apprendre à tomber en cas de chute de vélo.