Appearance
Katame-no-kata
IJF Competition Criteria
The evaluation of every technique of kata has to consider the principle and the opportunity of execution: the evaluation (including the opening and closing ceremony) has to be comprehensive.
At the invitation of the central judge, Tori and Uke advance through the safety zone along the competition area. They move towards the axis of the kata (not evaluated). At the end of the kata, after bowing to each other in front of the competition area, Tori and Uke turn their backs to the judges and walk outside the tatami where they entered and leave the tatami (not evaluated).
The opening ceremony begins at the 8m or 10m line. The following are included in the opening ceremony: bowing to competition mat, stepping left / right foot, bowing to judges, and bowing to partner, and stepping left / right foot for the first technique. The closing ceremony begins when Tori and Uke finish the last technique, and includes stepping behind the 6m line, bowing to partner, bowing to judges and exiting (starting with the right foot) to the safety zone at 8 m or 10 m, bowing to the competition mat. Each technique ends when Tori releases the technique; errors which subsequently occur are included in the next technique.
For Katame-no-Kata, the technique ends when Tori assumes the kyoshi posture. Each technique must be performed correctly and evaluated globally on the following criteria:
- Set up
- Break of balance / Control
- Conclusion
- Efficiency
- Realism
- Fluidity
Any behaviour contrary to the spirit of judo will result in disqualification.
If any items are incorrect or missing, penalize according to the types of errors listed below.
Forgotten technique / Major mistake
Score = 0 Total final score divided in 1/2
If more than one technique is forgotten or has a major mistake, the score for that technique will also be zero but the total final score for the pair will not be divided in half again.
Situations
- Tori doesn’t do the appropriate technique following Uke’s attack.
- Tori and Uke start the kata on the wrong side (during the opening ceremony).
- Losing something (all objects).
- Change the order of techniques: each technique whose sequence is modified is considered forgotten.
- Uke makes a mistake in the action and tori doesn't move, Uke starts over.
- Uke makes the appropriate attack and tori doesn't move and Uke starts again.
- Tori or Uke is clearly lost, for example; more than 5 seconds without action.
- Uke or tori takes a step forward, comes back, hesitates and starts again.
- Tori and/or Uke are talking to each other or giving directions to the partner.
- Uke doesn't move, tori grabs Uke and does the action.
Big mistake
Score = -5 (can be used one time only)
When the execution of the principle is incorrect.
Situations
- Tori or Uke starts the action and modifies it before the end of their full action (hesitation).
- If Tori or Uke does the full action correctly but the other does not apply the correct principle of action, attack or technique.
- A poor execution of a technique that becomes a different technique.
- Contact with partner during the attack causing an injury.
- The execution of the principle is incorrect or erroneous.
- Reverse starting position tori - Uke, each technique.
Medium mistake
Score = -3 (can be used only one time)
When one or more elements of the principle are not applied in the correct way.
Situations
- Stepping forward or backward with the wrong foot.
- Contact with the partner during the attack without causing injury.
- Starting position (set or technique)
- Distance between Tori - Uke (other than due to morphology).
- Incorrect element of bowing.
- Lack of efficiency, realism or fluidity.
- Loss of protection or bandage.
- Judogi, belt, back number or t-shirt (women): during the opening and closing ceremonies.
- If tori or Uke's hair covers the collar: during the opening and closing ceremonies. During kata: for each technique
Small mistake
Score = -1 (can be used two times)
Imperfection in the application of the technique.
Correction value
Score = 0.5 (can be used per technique)
For every technique an evaluation of 0,5 can be added (+) or subtracted (-).
Formalities
General
- Kata should be performed smoothly without unnecessary movements.
- Tsugi-ashi is the form of walking for Tori. Must lead with left foot.
- Demonstrate confidence (spirit) and control.
Bowing
- Timing of movement and bow.
- Location of competitors feet.
- Straight back.
- Keep hips low for zarei.
- Keep the neck, head and eyes at the same level throughout the bow.
- Slide hands with fingers together for bow.
IJF Competition Criteria
Medium
- Bowing.
- Uke decides the starting position
- At the start Uke takes a step forward; at the end Tori takes two steps back and then Uke takes one step back.
- If the number of steps are correct and the distance is not.
- If Tori does not come back to chikama at the end of every technique.
Small/Medium
- Distance and position.
- Tori or Uke lift their knee while moving (shikko)
- Tori in kyoshi takes a wrong position to Uke’s body before starting a technique.
- Tori in chikama breaks his position going half a step forward or backward.’
- At the conclusion, tori moves back two steps in toma and sits in kyoshi, Uke moves back one step and also sits in kyoshi. They adjust their judogis, stand up, take one step back to close the kata and bow.
Small
Tori approaches half a step before performing a technique.
Kodokan
Beginning
At the beginning, Tori and Uke stand upright facing each other in a distance of about 5.5m, while Tori stands on the left side and Uke on the right side toward Shomen. Both turn to Shomen to make standing bows simultaneously and turn face each other to make seated bows.
Then, after rising together, both Tori and Uke simultaneously take one step forward from their left feet to take Shizen-hontai. Both simultaneously take one step backward with their left feet, kneel down on their left knees on the previous spots of their left heels while keeping their left toes raise. Both move to slide their right feet to their right sides (the lower leg at about 90° with the thigh) and put their right palms on their right knees while resting their left hands naturally down. This posture is called Kyoshi or Kurai-dori.
Then, Uke moves his right foot to the inner side, takes one step forward with his right foot following on his left knee (Shikko) and move to slides his right foot to his right side again to take the posture of Kyoshi.
End
Tori takes two steps backward to the distance of Toma, Uke takes one step backward to the position in the beginning of Kata and both face each other in Kyoshi. Tori and Uke rise together simultaneously to take Shizen-hontai. Both retreat from their right feet to stand upright, make seated bows, turn to face Shomen to make standing bows after they rise and finish the kata.
Osae-waza
General
- Ensure consistency with the criteria and description of escapes and defence.
- Tori and Uke must aim to escape and defend with precision and accurate action reaction timing.
- Uke must clearly demonstrate each escape attempt. For this purpose, uki has to always:
- create space to perform the escape;
- use hip mobility, bridging, and shrimping to effectively demonstrate escape attempt; and,
- effectively use angles.
- For the effective execution of osae waza it is very important for tori to control uke’s movement prior to escaping or counter-attacking. For this purpose tori has to always:
- keep their body as low as possible;
- when switching hips, slide knee low to maintain contact with the mat;
- control uke’s neck all the time so as to prevent them from utilizing their head to escape;
- maintain body to body contact;
- utilize the strength of their whole body; and,
- move a little faster than uke’s escape movement.
IJF Competition Criteria
Big
During each technique Uke must demonstrate three attempts to escape.
Medium
For each attempt to escape, Tori shows the respecting reactions which should be connected and logical.
Small/Medium
Kesa-gatame: From kyoshi, before performing Kesa-gatame, Uke lies on his back on the mat. Tori stands and changes his position to Uke’s side, toma (= two steps and half distance, about 1.2 m) and sits in kyoshi, chikama (= half a step distance, about 30 cm); Way of performing the technique - right arm grasp, control left shoulder under left armpit, etc. After the technique Tori moves out to chikama, kyoshi
Kata-gatame: Tori moves in again for Kata-gatame. Way of performing the technique - push uke’s right elbow towards uke’s right ear, etc. After this technique he moves out to chikama, kyoshi then out to toma and sits in kyoshi.
Kami-shiho-gatame: Before performing Kami-shiho-gatame Tori stands and changes his position to move to Uke’s head, sitting in kyoshi at toma (= two steps and half distance), chikama in kyoshi. Way of performing the technique - normal approach plus kneeling approach, hands, etc. After the technique, chikama, kyoshi and then he moves out again to toma in kyoshi.
Yoko-shiho-gatame: Before Yoko-shiho-gatame Tori stands and changes position to Uke’s side again, toma, kyoshi, chikama. Way of performing the technique - arm movement, knee against Uke’s armpit, belt grip (left-right hand), blocking with right knee, etc. After the technique, kyoshi and moves out again to toma in kyoshi.
Kuzuri-kami-shiho-gatame: Before performing Kuzure-kami-shiho-gatame, Tori stands and changes his position again to Uke’s head, he moves in from toma, kyoshi, chikama, kyoshi then steps slightly forward and then towards Uke’s shoulder into position. Way of performing the technique - normal approach plus one step forward diagonally, arm grip, placing Uke’s right arm on Tori’s right thigh, etc. After the technique Tori moves out one small step to Uke’s head and another small step to chikama; kyoshi and moves out again to toma sitting in kyoshi at the end of first set.
Tori and Uke both sit in kyoshi and adjust their judogi.
Kodokan
Kesa-gatame
Uke puts his right hand with the fingertips pointing left in front of his left knee, supports his body with his right hand and left foot and lifts his left knee, inserts his right leg between his right hand and left foot to stretch it backward in the outside of his left leg and put his hips close to his left heel. Uke then lies on his back with both armsalong the side of his body. (the same manner after this).
Movement 1: After Uke lies down, Tori returns his right foot to rise, moves to Uke’s right side, and takes Kyoshi in the distance of Toma (about 1.2m or about), then takes two steps forward from his right foot by Shikko, and take Kyoshi in the distance of Chikama (about 0.3m). (the same manner in each technique)
Movement 2: Tori moves slightly forward from the distance of Chikama and holds Uke’s right arm with both of his hands (holding Uke’s upper arm with the left hand, four fingers downward and Uke’s forearm with his right hand, four fingers upward). Lifting Uke’s right arm, Tori brings his left hand around it to grasp the back of Uke’s right upper sleeve, holds it under his left arm, then kneels down on his right knee near Uke’s right armpit while turning his body to his left and put his right hand on Uke’s left shoulder through the left armpit. Tori put down his right hip while moving his right knee forward, sticks his right breast to the front side of Uke’s breast firmly, moves his left knee backward to put its inside on Tatami while bending it slightly and moves his right knee forward while also bending it slightly.
Movement 3: Tori pins to control Uke by pulling fully with his left hand. Uke tries to escape, for example, by
- putting his left hand on his right hand and applying arm lock on Tori’s left elbow.
- using a quick upward arching and inserting his right knee.
- turning over Tori to the direction of his left shoulder, and so forth. Uke finally signals “Mairi” when he cannot escape Tori’s control. The signal of “Mairi” is showed by tapping Tori’s body or the mat twice with his hand. When Uke cannot use either hand, he taps the mat twice with foot.
Movement 4: When Uke signals “Mairi”, both Tori and Uke return to their original positions to be in the form of “Kesa-gatame”. Tori releases his hold, puts Uke’s right arm back to its original position with both of his hands and retreats to the distance of Chikama to take Kyoshi.
Kata-gatame
Movements 1 and 2: Tori moves slightly forward from the distance of Chikama and lifts Uke’s right arm with his both hands (putting the left hand on Uke’s upper arm, four fingers upward and grasping Uke’s wrist with the right hand, four fingers downward). Tori moves his right knee forward while controlling Uke by pushing Uke’s right elbow toward Uke’s right ear with his left hand, puts his right kneecap against the right side of Uke’s body while raising his right toe and reaches over Uke’s left shoulder to the right side of Uke’s neck passing behind the neck with his right hand. While putting the right side of his neck on the previous spot of Uke’s right arm where his left hand was pushing and pressing it against Uke’s right cheek to control Uke’s right arm, Tori then crosses his right hand reached out from below Uke’s neck with his left hand while putting his right hand on top and stretches his left leg out to his left side to make his legs steady.
Movement 3: Tori pins to control Uke by tightening fully both hands. Uke tries to escape, for example, by • putting his left palm on his right fist to push out his both elbows and loosening Tori’s control. • twisting his body to his right and inserting his right kneecap under Tori’s hip. • rolling back over his left shoulder and so forth. Uke finally signals “Mairi” when he cannot escape Tori’s control.
Movement 4: When Uke signals “Mairi”, both Tori and Uke return to their original positions to be in the form of Kata-gatame. Tori releases his hold, puts Uke’s right arm back to its original position with both of his hands, retreats to the distance of Chikama to take Kyoshi and then retreats further to the distance of Toma to take Kyoshi.
Kami-shiho-gatame
Movement 1: Tori rises to move forward to the direction of Uke’s head and takes Kyoshi toward Uke in the distance of Toma (Photo 1) and then moves forward from his right foot by Shikko to the distance of Chikama to take Kyoshi. Movement 2: Tori moves slightly forward from the distance of Chikama, kneels down on his right knee (raising the toe), inserts both hands below the top of Uke’s both shoulders, grasps the sides of Uke’s belt in a regular grip to control both of Uke’s arms with both of his arms, puts his breast on Uke’s breast and turns his head to the side. Movement 3: Tori lays both his insteps down and pins to control Uke by lowering his hips. Uke tries to escape, for example, by • holding Tori’s neck under his one arm and turning Uke in the opposite direction while arching upward. • twisting his body while inserting his one hand toward Tori’s armpit. • Moving to slide downward away from Tori while pushing Tori up and inserting his knees or feet against Uke, and so forth. Uke finally signals “Mairi” when he cannot escape Tori’s control. Movement 4: When Uke signals “Mairi”, both Tori and Uke return to their original positions to be in the form of “Kami-shiho-gatame”. Tori releases his hold, retreats to the distance of Chikama to take Kyoshi and then retreats further to the distance of Toma to take Kyoshi.
Yoko-shiho-gatame
Movement 1: Tori rises to move forward to the right side of Uke and takes Kyoshi toward Uke in the distance of Toma and then moves forward from his right foot by Shikko to the distance of Chikama to take Kyoshi. Movement 2: Tori moves slightly forward from the distance of Chikama, holds Uke’s right arm with both of his hands (holding Uke’s upper arm with the left hand, four fingers downward and grasping Uke’s wrist with the right hand, four fingers upward), put it to his left side and moves closer to put his left kneecap
(raising the toe) against the right side of Uke’s body. Then Tori grasps the left side of Uke’s belt with his left hand, inserts his right hand into between Uke’s legs and reaches to the left side of Uke’s hip passing under the left thigh to grasp the left side of Uke’s belt with it in a regular grip while kneeling down on his right knee (keeping the toe raise). Then, Tori reaches to the left side of Uke’s neck from the right shoulder passing through behind the neck to grasp the left side of Uke’s collar with his left hand in a regular grip. Tori sticks both of his kneecaps firmly against the right side of Uke’s body and right hip respectively.
Movement 3: Tori lays both of his insteps face down and pins to control Uke while turning his head to his left. Uke tries to escape, for example, by
- putting his left hand on the left side of Tori’s neck and then his left leg on the neck.
- twisting his hips and inserting his right knee under Tori’s body.
- grasping the back side of Tori’s belt with his left hand and turning over Uke largely, and so forth. Uke finally signals “Mairi” when he cannot escape Tori’s control.
Movement 4: When Uke signals Mairi, both Tori and Uke return to their original positions to be in the form of “Yoko-shiho-gatame”. Tori releases his hold, puts Uke’s right arm back to its original position, retreats to the distance of Chikama to take Kyoshi and then retreats further to the distance of Toma to take Kyoshi. During this sequence, Uke sits up, puts his right hand behind his right thigh, supports his body with his left sole and right hand, while raising his hips, and turns his body to his right to shifts his right foot. Tori kneels on his left knee and raise his right knee to take Kyoshi toward Tori.
Kuzure-kami-shiho-gatame
Movement 1: Tori rises to move forward to the direction of Uke’s head and takes Kyoshi toward Uke in the distance of Toma and then further to the distance of Chikama to take Kyoshi.
Movement 2:Tori moves slightly forward from the distance of Chikama, then moves further forward diagonally to his right from his right foot, holds the inside of Uke’s right arm with his right hand and pulls it near him to hold it together with his left hand. While kneeling down on his right knee, Tori reaches deeply further under Uke’s right shoulder passing through the right armpit with his right hand and grasps the back of Uke’s collar (the back of palm facing downward). Tori holds Uke’s right arm under his right armpit to put it on his right thigh, reaches under Uke’s left shoulder with his left hand to grasp the left side of Uke’s belt and lays both of his insteps face down while lowering his hips.
Movement 3: Tori pins to control Uke by overlapping his breast on Uke’s right breast diagonally and pulling Uke’s body firmly with both of his hands. Uke tries to escape, for example, by
- pulling out his right arm free and turning his body to his right after twisting his body to push the base of Tori’s right thigh, while putting his left hand on Tori’s neck, and moving his own body backward.
- pushing up Tori’s throat with his left hand and inserting his left knee into Tori’s chest.
- grasping the back side of Tori’s belt with his left hand and turning over Tori to his left while arching upward. and so forth. Uke finally signals “Mairi” when he cannot escape Tori’s control.
Movement 4: When Uke signals “Mairi”, both Tori and Uke return to their original positions to be in the form of “Kuzure-kami-shiho-gatame”. Tori releases his hold, puts Uke’s right arm back to its original position, retreats to the distance of Chikama to take Kyoshi and then retreats further to the distance of Toma to take Kyoshi.
Shime-waza
General
- For the effective execution of shime waza it is important for tori to press uke’s neck on either or both carotid arteries.
- Furthermore tori has to control uke’s body before applying and during the shime waza application.
Kata-juji-jime
- Should be performed smoothly with a .straight strong back
- The choke is applied by Tori moving towards uke; head down towards the mat but not on it.
- When defending, uke’s hips should be raised.
- Tori’s feet flexed and pinching uke’s upper thighs.
Hadaka-jime
- Should be performed cheek to cheek and tori should slightly move back both knee and foot to demonstrate breaking uke’s posture.
- Uke should not anticipate defence, and should reach high onto tori’s shoulder to defend.
Okuri-eri-jime
- Should be performed cheek to cheek and tori should slightly move back both knee and foot to demonstrate breaking uke’s posture.
- Tori’s right hand should move high onto uke’s coller as possible.
- Uke should not anticipate defence, and should reach high onto tori’s shoulder to defend.
Kataha-jime
- Tori’s right hand should move high onto uke’s coller as possible.
- Tori should draw up the arm to above mid-forearm to fully extend before applying.
- Tori should maintain posture while uke defends.
Gyaku-juji-jime
- Should be performed smoothly with a straight strong back.
- The choke is applied by Tori pulling uke towards tori.
- Watch hand placement of uke for appropriate defence.
- Tori is the initiator of the roll not uke. Uke bridges and tori takes advantage of the space.
IJF Competition Criteria
Medium
During each technique Uke shall demonstrate one single attempt to escape and Tori shall continue the strangle or choke.
Kata-juji-jime: Uke tries to escape by pushing Tori’s both arms with both hands. Tori continues with the strangle moving his head forward towards the mat.
Hadaka-jime: Uke tries to escape by pulling down with both hands on Tori’s upper arm. Tori continues the choke moving backward and controlling Uke.
Okuri-eri-jime: Uke tries to escape by pulling down with both hands on Tori’s upper arm. Tori continues the strangle moving backward lightly supporting Uke’s body with his right knee and controlling Uke.
Kataha-jime: Uke tries to escape by taking his left wrist with his right hand and pulling downward. Tori continues the strangle.
Gyaku-juji-jime: Uke tries to escape by pushing with his left hand and pulling down with his right hand. Tori continues the strangle and rolls down on to his side crossing his feet.
Small/Medium
Kata juji jime: Before performing Kata-juji-jime Uke lies down and Tori stands and changes his position to Uke’s side, kyoshi, he moves from toma to chikama in kyoshi. Tori moves into position sitting astride Uke, knees near Uke’s armpits, hands, Tori blocks and controls Uke’s body with his legs and performs the strangle. Then Tori moves out of the position into chikama, kyoshi, then out to toma and sits in kyoshi. Uke sits up and Tori walks to his position behind Uke, toma kyoshi.
Hadaka jime: Before performing Hadaka-jime Tori in kyoshi moves from toma into chikama, kyoshi, Tori then moves in with both arms simultaneously, etc. After the technique he moves out again to chikama, kyoshi.
Okuri eri jime: Then moves in and performs the strangle Okuri-eri-jime, left-right-left hand, etc. Out again to chikama, kyoshi.
Kataha jime: Tori moves back in for the last strangle from behind, Kataha-jime, hands, left palm and arm, he turns to his right and strangles moving his right leg backward and on the side. Tori then moves out to chikama, kyoshi, then to toma sitting in kyoshi.
Gyaku juji jime: Before performing Gyaku-juji-jime Uke lies down and Tori stands and changes his position back to Uke’s side, toma, kyoshi, chikama, kyoshi. He moves in and sits again astride Uke and performs the strangle, knees near Uke’s armpits, hands, etc.. Tori blocks and controls Uke’s body with his legs. Afterwards Tori moves out into chikama, kyoshi, then back to toma, kyoshi at the end of the second set. He then stands and walks back to his original position and sits in kyoshi.
They both adjust their judogis.
Kodokan
Kata juji jime
Uke lies on his back in the place.
Movement 1: After Uke lies down, Tori rises to move forward to the right side of Uke and takes Kyoshi toward Uke in the distance of Toma and then moves forward from his right foot by Shikko to the distance of Chikama to take Kyoshi.
Movement 2: Tori moves slightly forward from the distance of Chikama, holds Uke’s right arm with both of his hands (holding Uke’s upper arm with the left hand, four fingers downward and grasping Uke’s wrist with the right hand, four fingers upward) and then shifts it to his left side. Tori moves closer to grasp the Uke’s left collar deeply with his left hand in a reverse grip (the four fingers inside), straddles Uke’s body while pushing open Uke’s left arm with his right hand, holds to control Uke’s body with both of his legs.
Tori then moves his right hand passing above Uke’s head to grasp the right side of Uke’s collar deeply in a regular grip (the thumb inside) and crosses both of his hands in Uke’s throat.
Movement 3: Leaning his upper body forward, Tori strangles Uke’s neck by pulling with his left hand and pushing slightly with his right hand. Uke tries to escape by pushing both of Tori’s arms with both of his hands, but he signals “Mairi” because he cannot escape.
Movement 4: Tori releases his strangulation, puts Uke’s right arm back to its original position with both of his hands, returns in Kyoshi in the distance of Chikama and retreats further the distance of Toma to take Kyoshi.
Hadaka jime
Uke sits up to straighten the back of his body and puts both of his hands on his thighs, and bends his left knee to put his toe around the hollow of his right leg while bending slightly his right knee.
Movement 1: After Uke sits up, Tori moves behind Uke and takes Kyoshi in the distance of Toma, then moves forward from his right foot by Shikko to the distance of Chikama to take Kyoshi.
Movement 2: Tori steps slightly forward, stays close to the back of Uke’s body, reaches over Uke’s right shoulder with his right hand, bends his arm to put his wrist on Uke’s throat and crosses his right hands with his left hand (the right hand on top) above Uke’s left shoulder and puts his right cheek on Uke’s left cheek to control Uke’s body.
Movement 3: Lowering his body to retreat from his left foot, Tori breaks Uke’s balance backward to choke Uke’s neck by pulling both of his hands tightly. Uke tries to escape by grasping to pull down Tori’s right upper arm with both of his hands, but he signals “Mairi” because he cannot escape.
Movement 4: Tori releases his choke and retreats to the distance of Chikama to take Kyoshi.
Okuri eri jime
Movement 1: Tori moves slightly forward from the distance of Chikama and stays close to the back of Uke’s body.
Movement 2: Tori reaches under Uke’s left armpit to grasp Uke’s left lapel with his left hand, pulls it down and reaches over Uke’s right shoulder along Uke’s throat to grasp Uke’s left collar deeply with his right hand in a regular grip. Tori switches to grasp Uke’s right lapel deeply with his left hand in a regular grip, presses his right cheek into Uke’s left cheek and control Uke’s body by putting the front side of his right shoulder into the back of Uke’s neck.
Movement 3: Lowering his body and retreating slightly from his left foot to break Uke’s balance, Tori lightly supports Uke’s body with his right knee and strangles Uke by pulling to tighten his right hand and pulling down with his left hand. Uke tries to escape by grasping to pull down Tori’s right upper arm with both of his hands, but he signals “Mairi” because he cannot escape.
Movement 4: Tori releases his strangulation and retreats to the distance of Chikama to take Kyoshi.
Kataha jime
Movement 1: Tori moves slightly forward from the distance of Chikama and stays close to the back of Uke’s body.
Movement 2: Tori reaches under Uke’s left armpit to grasp Uke’s left lapel with his left hand, pulls it down and reaches over Uke’s right shoulder along Uke’s throat to grasp Uke’s left collar deeply with his right hand in a regular grip.
Movement 3: Tori breaks Uke’s balance backward by hooking Uke’s left arm at the elbow and lifting it high above to control after pulling it to his left side. Tori turns his left palm inward, while stretching the fingertips, thrusts his left hand under his right arm passing over Uke’s left shoulder and strangles Uke’s neck by pulling his right hand and turning his body slightly to his right. Uke tries to escape by grasping his own left wrist with his right hand to pull his left arm down, but he signals “Mairi” because he cannot escape.
Movement 4: Tori releases his strangulation and retreats to the distance of Chikama to return in Kyoshi, and retreats further to the distance of Toma to take Kyoshi
Gyaku juji jime
Uke lies on his back.
Movement 1: After Uke lies down, Tori rises to move forward to the right side of Uke and takes Kyoshi toward Uke in the distance of Toma and then moves forward from his right foot by Shikko to the distance of Chikama to take Kyoshi.
Movement 2: Tori moves slightly forward from the distance of Chikama, holds Uke’s right arm with both of his hands (holding Uke’s upper arm with the left hand, four fingers downward and grasping Uke’s wrist with his right hand, four fingers upward) and shifts it to his left side. Tori moves closer to grasp Uke’s left collar deeply with his left hand in a reverse grip, straddles Uke’s body while pushing open Uke’s left arm with his right hand, holds to control Uke’s body with both of his legs. Tori thrusts his right hand into Uke’s right collar over his left wrist to grasp the collar near rear collar in a reverse grip.
Movement 3: Leaning over Uke’s body, Tori strangles Uke’s neck by pulling to tighten both of his hands. Responding to Tori, Uke tries to release Tori’s strangulation by pushing Tori’s left elbow down with his right hand from above while pushing Tori’s right elbow up from below with his left hand. Tori seizes this opportunity, rolls to his left to control Uke by holding Uke’s body with both of his legs and crossing both of his toes and strangles Uke more tightly by pulling Uke. Uke tries to escape by putting both of his hands on both of Tori’s elbows as the same manner as before, but he signals “Mairi” because he cannot escape.
Movement 4: Tori loosens his strangulation, Uke returns to lie on his back in the previous position, and Tori follows Uke to recover to straddles Uke keeping the form of strangulation. Then, Tori releases his strangulation, puts Uke’s right arm back to its original position with both of his hands, retreats to the distance of Chikama to return in Kyoshi and retreats further to the distance of Toma to take Kyoshi.
Then, Tori rises to return to the position in the beginning of Kata and takes Kyoshi. During this sequence, Uke sits up and takes Kyoshi toward Tori.
Kansetsu-waza
General
- For the effective execution of kansetsu waza it is very important to apply the principle of leverage, tightness, and control with arms and/or legs. Insure lock is applied at the correct joint - this could mean correct hand, hip, or knee placement.
- Tori cannot lock with out uke having structure.
Ude garami
- Tori should apply by twisting uke’s wrist while drawing the arm closer to the body and lifting at the elbow.
Ude hishigi juji gatame
- When uke attempts to grip it fails and doesn’t actually grip.
- Tori’s hands should touch when gripping uke’s wrist.
- Tori’s hips should be very close to uke when lying back.
- Tori’s toes should be pointed inward to maintain control of uke and keep tight
- knees.
- Uke escape should not be parallel to tori.
Ude hishigi ude gatame
- Tori’s pin of uke’s arm should be a swoop of the neck.
- Uke’s arm should not be pinned to tori’s body.
- The lock is applied by tori turning to the left, pulling up with their neck, and pressing down with their right knee, while pulling the elbow in.
Ude hishigi hiza gatame
- When tori wraps the arm and cups the elbow, they extend uke’s arm to straight.
- Uke has to show the escape attempt as indicated by their head/upper body.
- Uke should not flatten to the ground as they are locked. Should be on all 4’s even as lowered.
Ashi garami
- Tori should fully envelop uke’s leg.
- Uke’s foot should be parallel to tori as lock applied.
- Uke has to show the escape attempt as indicated by their head/upper body.
- Uke should not flatten to the ground as they are locked. Should be on all 4’s even as lowered.
IJF Competition Criteria
Medium
During each technique Uke shall demonstrate one single attempt to escape and Tori shall continue the arm or leg lock.
Ude garami: Uke tries to escape by lifting his left shoulder and his back. Tori continues the arm lock.
Ude hishigi juji gatame: Uke tries to escape lifting his back and pulling his arm while turning left. Tori continues the arm lock.
Ude hishigi ude gatame: Uke tries to escape pulling his arm downward. Tori continues the arm lock.
Ude hishigi hiza gatame: Uke tries to escape pushing his arm forward. Tori continues the arm lock.
Ashi garami: Uke tries to escape turning left. Tori continues the leg lock.
Small/Medium
Ude garami: Before performing Ude-garami Uke lies down and Tori stands and changes his position to Uke’s side, he moves in from toma, kyoshi into chikama, kyoshi and then Tori moves Uke’s right arm and approaches, Uke attacks trying to grasp Tori’s right collar with his left hand. Tori performs the technique. Afterwards back to chikama, kyoshi.
Ude hishigi juji gatame: Tori moves in again and showing Ude-hishigi-juji-gatame while Tori is approaching. Uke attempts to reach up to grasp Tori’s left collar with his right hand; Tori blocks the arm against his chest grabbing Uke’s right wrist with his right hand first and then his left below, right foot under Uke’s armpit, and steps around Uke’s head with his left foot; he catches and holds Uke’s arm with his thighs and tightens his knees, lies down and lifts his hips. Then Tori moves into chikama, then kyoshi.
Ude hishigi ude gatame: Tori then moves in again and shows Ude-hishigi-ude- gatame. While Tori is approaching (after moving Uke’s right arm) Uke attempts to reach up to grasp Tori’s right collar with his left hand; Tori performs an arm lock, locking Uke’s left wrist with right side of his neck and his right shoulder, right-left hand on the elbow, control of Uke’s body with right knee. Tori then moves back out to chikama, kyoshi, moving on out to toma and sits in kyoshi.
Ude hishigi hiza gatame: Before performing Ude-hishigi-hiza-gatame, both Tori and Uke sit in kyoshi at toma, Tori moves forward two steps to chikama and sits in kyoshi; both move slightly forward to grasp each other in a right grip. Tori places his left palm on Uke’s right elbow and traps Uke’s wrist under his left armpit, puts his right foot on Uke’s groin area, lies down on his right side, his left foot turned inside on Uke’s right side while controlling Uke with the tip of his foot; Tori pushes with the inside of his left knee on his left hand and performs the arm lock. After the technique both Tori and Uke are in kyoshi and then stand up.
Ashi garami: Before performing Ashi-garami Tori and Uke stand at grip distance, migi shizentai. Tori attempts Tomoe-nage but Uke steps forward with his right foot for defense and tries to pull up Tori’s body.Tori pushes the inside of Uke’s left knee with his right foot and circles Uke’s right knee with his left leg and performs a leg lock.. After the technique both Tori and Uke are facing each other in kyoshi, chikama.
Kodokan
Ude garami
Uke lies on his back in the place.
Movement 1: After Uke lies down, Tori rises to move forward to the right side of Uke and takes Kyoshi toward Uke in the distance of Toma and then moves forward from his right foot by Shikko to the distance of Chikama to take Kyoshi.
Movement 2: Tori moves slightly forward from the distance of Chikama, holds Uke’s right arm with both of his hands (holding Uke’s upper arm with the left hand, four fingers downward and grasping Uke’s wrist, four fingers upward) and opens it to his left side. Tori moves closer and shows intent to attack. Responding to Tori, Uke attempts to reach up to grasp Tori’s right collar with his left hand.
Movement 3: Tori grasps Uke’s left wrist with his left hand (the thumb downward) and kneels down on his right knee, at the same time he pins down Uke’s left arm on Tatami to force its elbow touch around above
Uke’s left shoulder, so that Uke’s left forearm and upper arm form about right angle. Tori grasps his own left wrist with his right hand under Uke’s arm and locks the elbow joint by pulling both of his hands tightly while pressing his breast against Uke’s breast. Uke tries to escape by turning his left wrist inward and arching up his left shoulder and hips, but he signals “Mairi” because he cannot escape.
Movement 4: Tori releases the arm lock technique, puts Uke’s right arm back to its original position with both of his hands and retreats to the distance of Chikama to take Kyoshi.
Ude hishigi juji gatame
Movement 1: Tori moves slightly forward from the distance of Chikama and shows intent to attack.
Movement 2: Responding to Tori, Uke attempts to reach up to grasp Tori’s left collar with his right hand.
Movement 3: Tori grasps Uke’s right wrist with his right hand, and grasps it together with his left hand just below the right hand to pull slightly up. Tori sticks firmly Uke’s right wrist to the front side of his breast and moves the right toe deeply under Uke’s right armpit. Tori leans forward his upper body, moves his left foot as drawing an arc to Uke’s left shoulder passing through the top of Uke’s head and puts his left sole on Tatami above Uke’s left shoulder. Tori clamps Uke’s right upper arm between both of his thighs, falls down to lie on his back to make his body at right angle to Uke’s body and put down his hips close to his right heel to control Uke’s neck. Tori locks Uke’s elbow joint at the moment he tightens his both knees and raises his hips. Uke tries to escape by raising his hips and twisting his body to his left while pulling his right arm, but he signals “Mairi” because he cannot escape.
Movement 4: Tori releases the arm lock technique and retreats to the distance of Chikama to take Kyoshi.
Ude hishigi ude gatame
Movement 1: Tori moves slightly forward from the distance of Chikama, holds Uke’s right arm with both of his hands (holding Uke’s upper arm with the left hand, four fingers downward and grasping Uke’s wrist with his right hand, four fingers upward) and opens it to his left side. Tori moves closer and shows intent to attack.
Movement 2: Uke attempts to reach up to grasp Tori’s right collar with his left hand.
Movement 3: Tori lowers his body to control Uke’s left wrist by catching it between his right shoulder and the right side of his neck, puts his right palm on Uke’s elbow, covers with his left hand over his right hand, and presses the right shin against the lower part of Uke’s rib to prevent Uke to raise the body. Tori locks the elbow joint by pulling both of his hands tightly as drawing a bottom curve of boat and twisting his upper body to his left. Uke tries to escape by pulling his left arm, but he signals “Mairi” because he cannot escape.
Movement 4: Tori releases the arm lock technique, puts Uke’s right arm back to its original position with both of his hands, retreats to the distance of Chikama to return in Kyoshi and retreats further to the distance of Toma to take Kyoshi. Then, Tori moves to the direction of the top of Uke’s head and Uke sits up to take Kyoshi in order to face each other.
Ude hishigi hiza gatame
Movement 1: Tori takes Kyoshi facing Uke in the distance of Toma, takes two steps forward by Shikko to the distance of Chikama and both Tori and Uke move slightly forward to grasp each other in the right grip.
Movements 2 and 3: Tori releases his left hand from Uke’s right arm, rotates it largely from the below to the outside passing through inner side around Uke’s right arm and holds Uke’s right arm under his arm while putting his palm on the upper outside of Uke’s right elbow (During this sequence, holding Uke’s right wrist under the left armpit). Tori breaks Uke’s balance forward, puts his right toe around the base of Uke’s left inner thigh, then falls backward (Photos 5). Tori puts his left toe on the lateral side of the back of Uke’s body and locks the elbow joint by twisting his hips to his right while putting his inside of knee on his left hand which controls Uke’s right elbow. Uke tries to escape by thrusting his right arm into Tori, but he signals “Mairi” because he cannot escape.
Movement 4: Tori releases the arm lock technique, retreats to the distance of Chikama to take Kyoshi. Uke sits up to take Kyoshi and faces Tori
Ashi-garami
Movement 1: Tori and Uke rise together and grasp each other in Migi-shizen-tai.
Movement 2: Tori breaks Uke’s balance forward with both of his hands, enters the form of Tomoe-nage while throwing his own body to lie on his back and putting his right sole on Uke’s abdomen.
Movement 3: Uke defends it by taking one step forward with his right foot and attempts to lift Tori. Tori seizes this opportunity and moves his hips forward sliding as much as possible. Tori pulls down to fall Uke’s body forward while pushing the inside of Uke’s left knee with his right foot. Tori moves his left leg from outside behind Uke’s right leg to inserts his left toe into the right side of Uke’s abdomen like a wedge and locks Uke’s knee joint by pulling both of his hands tightly while twisting his hips to his right and stretching his left leg. Uke tries to escape by twisting his body to his left, but he signals “Mairi” because he cannot escape.
Movement 4: Tori releases the arm lock technique and both take Kyoshi.
References
Kata competition criteria for evaluation 2025 ENG