Throwing technique (judo)
The judo techniques (Japanese Waza ) can be roughly divided into standing techniques, floor techniques and the fall school . This article only covers the throwing techniques.
General
Throwing techniques are used to bring the partner from the stance to the floor position. There are a number of ways to achieve this goal. The selection ranges from simple tripping (O-soto-otoshi) to spectacular diggers (Kata-guruma) or the classic overhead throw (Tomoe-nage), which can be seen in various action films. Throwing techniques are used in all forms of judo ( competition , kata , randori or nage-komi ).
Well executed throwing techniques require little strength, as they skillfully use the momentum and movement of the partner. For this reason, judo is also translated as “the gentle way”. Most important in the execution of the throwing techniques is the break of equilibrium (Kuzushi). Tori (the thrower) cleverly uses the movement of the uke (the thrower) to unbalance him. Once uke is out of balance, there are two options. Uke either regains his balance or he falls. Tori takes advantage of this state of affairs to bring uke to a controlled fall.
A variety of techniques and operating principles enable the judoka to achieve success. It depends on the mastery of the throwing principle. This means that Tori must have internalized both the contact points with Uke and the movements of the throwing technique. Only when the technique has been mastered in a rough form can suitable fine forms be developed by varying the movement specifications, input or execution in order to make a fight more tactically flexible. In principle, the following applies: With a consistent break in balance and a clean execution of the throwing principle, even the physically severely disadvantaged can achieve success. However, certain techniques are more suitable to counter other techniques or to be able to react to certain expected behaviors or the physical conditions of the partner. Mastering a large number of techniques therefore often leads to success, especially since the judoka is less likely to be surprised.
The descriptions explain the principles of some school-based techniques. In competitions, in Randori and also as a movement task, these techniques can be varied and combined as desired, provided that no rule violation is committed. Particularly noteworthy are variants of the barrel type or the entrance. The execution of some techniques can be modified to such an extent that a classification in another group would be justifiable. The direction of movement from which the technology is carried out is fundamentally not specified. However, some directions of movement are more appropriate than others. There are basically six directions of movement:
- backward,
- forward,
- sideways right,
- sideways left,
- in the circle on the right,
- in the circle on the left.
In addition, different types of movement can be distinguished:
- Uke and Tori face each other,
- Uke approaches Tori (Uke pushes),
- Tori pulls uke,
- Tori approaches Uke (Tori pushes),
- Uke pulls Tori,
- Uke blocks,
- Tori blocks,
- Uke evades
- Tori evades.
Each throwing technique can be carried out on both sides.
Of course, the execution of the throw (in accordance with the basic Judo posture "Mutual prosperity", jita-kyoei ) also includes falling aid for the partner so that he can be thrown without a significant risk of injury.
Tech groups
A variety of throwing techniques exist in judo. The Kodokan , for example, names 67 different throwing techniques.
The techniques can be sorted into groups according to different methodologies. These systems form the theoretical framework for learning the throwing techniques.
The best known is the traditional subdivision Gokyo . The Gokyo is a collection of substances and is divided into the following throwing principle:
- Tachi-waza (standing techniques):
- Ashi-waza (leg and foot throws),
- Koshi-waza (hip throws),
- Te-waza (hand and arm throws).
- Sutemi-waza (self-drop throws, also "sacrificial throws"):
- Yoko-sutemi-waza (throw yourself aside),
- Ma-sutemi-waza (self-drop throws backwards).
In addition to the material collections, there are systems that provide methodical guidelines for learning the throwing techniques.
In the Kyu examination program of the German Judo Association , the throws are sorted according to the level of difficulty and are therefore primarily adapted to the developmental steps of children. Other methodological systems are:
- 10 teaching series, each as a completed exercise program: foot techniques 1–3, hip techniques 1–6, self-fall techniques 1
- Koizumi - divided into 3 groups, depending on how uke is thrown: wheel throwing (Kuruma-waza), scales techniques (Tenbin-waza), stumbling techniques (Tsumatsukaza-waza)
- Judo throwing circle: reduces the number of throwing techniques based on movement relationships (6 basic techniques and their variants)
The following list of individual throwing techniques is based on the traditional Gokyo and is not conclusive.
Tachi-waza (standing techniques)
Ashi-waza (leg and foot throws)
Leg throws can be divided into sickle, wheel, hanging and sweeping techniques. The former attack the partner's primarily stressed leg and thus deprive him of his equilibrium. In the sweeping technique, on the other hand, the unloaded leg is attacked and the partner is deprived of the opportunity to support himself with it. In the cycling technique, one or both legs of the partner are blocked and, by rotating one's own body around the longest axis, the fixed body of the partner is turned over this block.
These techniques require precise coordination of the arms and legs both in time and space.
Ashi-guruma (leg wheel)
Tori breaks Uke's equilibrium by pulling his arms forwards, thus turning in, blocking both legs of the Uke between ankle and knee with his outstretched, non-positioned leg in the twisting movement and throws by quickly turning his body further and continuously pulling the arms so that Uke puts a wheel over Tori's leg.
Hiza-guruma (knee wheel)
Tori places the sole of his foot under Uke's opposite knee and throws the opponent in a three-quarter arc over the set foot. In contrast to Sazae-tsuri-komi-ashi, Uke's leg is attacked; the front leg would, if attacked with this throwing technique, block itself.
When using this technique, make sure that Tori's foot is not placed directly on Uke's knee to avoid injuries. Furthermore, with this technique it is important to ensure that Tori's ankle does not hit Uke's shin.
Ko-soto-gake (small external hanging)
Tori hooks his leg from the outside into the opposite leg of the Uke, placing his heel below the hollow of the knee and thus fixing the Uke's leg to the floor. While shifting weight forward, Tori throws Uke diagonally backwards.
O-guruma (big wheel)
Tori breaks Uke's equilibrium by pulling his arms forward, turns in, blocks both of Uke's legs between knees and hips with his leg stretched almost horizontally and, by quickly turning his body and continuously pulling his arms, throws Uke a wheel hits Tori's leg.
O-soto-gari (large outer sickle)
This sickle leg throw is a very effective technique that can also be used successfully in sporting competitions. It can also be found in the Gonosen-No-Kata (form of counter-throws).
Tori takes a long step diagonally forward past Uke, so that both partners are standing almost next to each other with opposite viewing directions. By maintaining the type of barrel and supporting arm pull (“steering wheel movement”), Uke is forced to put weight on his tori-facing leg. Now Tori swings his leg facing Uke, first straight forward (avoid "horse kissing") and then back again in one continuous movement to sickle Uke's loaded leg, which causes him to be thrown. Tori has to stand on one leg to keep his balance.
O-soto-guruma (large outer wheel)
O-soto-guruma initially corresponds to O-soto-gari in the litter entrance.
The difference is that O-soto-guruma is not a sickle technique, but a wheel technique, i. H. Uke's legs are not sickled away from under his body, but blocked. During the backward movement of his swinging leg (facing the Uke), Tori rotates slightly around his longitudinal axis away from the Uke, so that the Uke is almost loaded onto the hip. During the final return movement of the swing leg, both of Uke's legs are attacked. Tori continues his body rotation so that Uke is thrown over the swing leg.
O-soto-otoshi (Great Outer Lintel)
The throwing entrance corresponds to the O-soto-gari. Tori places the foot of his leg facing Uke behind Uke and thus blocks his standing leg, fixes Uke and throws it backwards with pressure on the upper body. If necessary, Tori kneels and leads Uke down.
O-uchi-gari (大 内 刈, large inner sickle)
With a semicircular movement of his leg, Tori sickles the opposite loaded leg of Uke from the inside behind and throws backwards.
Okuri-ashi-barai (sweeping the feet)
Tori forces uke to take a step (preferably sideways or in a circular motion). The leg of the uke is relieved by pulling the tori upwards. Tori sweeps the unstressed leg of the uke against the unstable leg from the outside and literally tips the uke over.
Sasae-tsuri-komi-ashi (支 釣 込 足, holding hoist feet)
Tori blocks with the sole of the foot an opposing, forward, loaded leg of Uke a little above the instep and throws Uke forward and sideways by forcing him to continue the step forward.
(Ashi-) Uchi-mata (inner thigh throw)
Tori unbalances Uke by pulling his arms forward, turns in, guides Uke's swing leg with his thigh and throws his body forward by pulling and turning his body further.
Koshi-waza (hip throws)
Tori breaks Uke's balance forward, turns with a half turn and brings her own hip more or less below the partner's center of gravity (hip). The fixed partner is then thrown forward over the hip by stretching the legs and pulling the arm.
Harai-goshi (hip sweep)
Tori turns in, loads Uke on her hip. Throwing is done by swinging the leg past the outside of Uke's leg and pulling with the arms at the same time.
O-goshi (大 腰, big hip throw)
Tori turns in and lifts Uke out by stretching her legs and continues his movement by turning the body and pulling the arm. The hand facing the uke pushes on the back of the uke, the other hand pulls down on the long arm.
(Koshi-) Uchi-mata (Inner Thigh Throw)
Tori unbalances the Uke by pulling his arms forward, turns in and blocks the Uke's forward movement with his hips. Tori swings his leg facing the Uke upwards, grabs the already clearly relieved leg of the Uke and throws it forward over the hip.
Uki-goshi (hip swing)
Tori turns in, but fixes Uke during the turning movement so that it is at right angles to Tori. By stretching the leg of Tori, the balance of the Uke is finally broken, and by continuing the twisting movement, in particular by moving back the leg of the Tori facing away from Uke and pulling the arm, Uke is thrown to the ground.
Tsuri-komi-goshi (lift hip throw)
Tori turns in a deep squat and throws the opponent by pushing him up.
Tori grabs Uke's right sleeve as close as possible above the elbow. With his right hand he grips Uke's left lapel at collar height. It is beneficial to perform the throw when the uke is stepping forward to the right.
Then Tori turns to the right, where, in contrast to most hip throws, he kneels so deep that Tori's buttocks are about Uke's knee height. Although it is advisable to stand as low as possible during this throw, Tori may only bend down as far as his own firm stance in this position allows.
To execute the throw, Tori pulls forwards and downwards with his left arm. With the right arm, which is stretched straight up with the hand on Uke's lapel, the balance of the Uke is broken forward so that Uke lies on his own back. Next, the uke is lifted and thrown forward both by pulling the sleeve hand and pulling the lapel of the uke forward and using the hip in combination with standing up and bending down.
This throw is, provided you can stand securely enough in a deep squat, above all suitable for throwing larger opponents. If Uke tries to make a hip throw approach ineffective by blocking with a stretched upper body, this throw usually enables the opponent to be lifted and thrown.
Te-waza (hand and arm throws)
Uke is either fixed in the area of the shoulder of the tori, dug up and thrown more or less over the body of the thrower or brought out of balance by a forced change in the direction of movement and literally pulled to the ground.
Kata-guruma (shoulder wheel)
Tori brings Uke off balance by pulling his arms diagonally forward, knees down to get below Uke's center of gravity, grabs Uke with his arm from the inside around Uke's thigh and throws him over both shoulders. Tori stands up so that Uke puts a large wheel over the Tori's shoulders.
Seoi-nage (背負 投, shoulder throw)
Tori turns in deeply, undermining the Uke's center of gravity and fixing it on his shoulder. By straightening up and pulling the arm at the same time, uke is thrown forward.
Variants:
- Morote-seoi-nage: Tori brings his elbow under Uke's armpit;
- Ippon-seoi-nage: Tori clamps Uke's arm in the crook of his elbow;
- Eri-seoi-nage: Tori attacks on one side;
- Seoi-otoshi: Tori stretches out her foot and pulls uke over it;
- Koga-Seoi-Nage: Tori turns in from the outside and throws the barrel with the wrong way round (named after Toshihiko Koga ).
The variants differ in the type of barrel, the necessary lowering of the center of gravity during the screwing movement and in the relation which shoulder of the tori (relative to the screwing direction) fixes the Uke.
Seoi-nage can also be pronounced “shoi-nage” if the first two Japanese characters merge into one term (“back carrier”).
Uki-otoshi (hovering move)
Tori evades a forward movement of the uke diagonally to the side and goes down on one of his knees. By suddenly changing the direction of pull downwards at the same time, he forces Uke to free fall forwards.
As a competition technique, Uki-otoshi is an absolute rarity. As the first throw of the nage-no-kata, however, it impressively demonstrates the fundamental principle of judo, how the partner can throw by evading and continuing the movement.
Tai-otoshi (body fall)
With a twisting movement, the forward movement of the uke is avoided and turned in very far, the leg on the outside is stretched (very slightly angled to reduce the risk of injury) in the direction of movement of the uke. It is thrown over the extended leg, the pull point is the hand on the lapel of the Uke.
Sutemi-waza
A basic distinction is made between Ma-Sutemi (throws from the straight supine position) and Yoko-Sutemi (throws from the lateral supine position). Tori (the thrower) touches the ground first. His fall (weight) pulls Uke (thrown) with it. The sub-group "Maki-Komi-Waza", which is now called "Throws by twisting", has a special position. Here, Tori also voluntarily gives up his stand, but is not the first to touch the ground, but falls with it through close physical contact with Uke. Because of the occurrence on Tori's side, Maki-Komi-Waza are classified with the Yoko-Sutemi-Waza.
Yoko-sutemi-waza (body throws to the side)
By giving up his own balance, the partner is forced to continue his movement. The partner's legs are blocked and his fall is deflected sideways past the throwing partner who is already on the ground.
Tani-otoshi (valley fall train)
Tori stands to the side of the Uke, breaks his balance by pulling his arm backwards and pushing his shoulder from the front, slides one leg behind both legs of the Uke and throws himself on his side, pulling Uke with him.
Yoko-gake (side hanging)
Tori keeps close contact with the Uke standing next to him, blocks the Uke's loaded leg facing him at the instep with his own opposite foot and pulls the Uke strongly onto this leg. Tori stretches the blocking leg and throws herself to the side. As a result, the leg of the uke is pushed more and more to the side as the tori falls and the uke is pulled to the ground at the same time.
Soto-maki-komi (outside throw)
Soto-maki-komi can be done very well when uke approaches tori. Tori pulls strongly on Uke's sleeve with his left hand and forces him to take a big step. With a twisting motion, in which - similar to Tai-Otoshi - Tori's right leg is placed on the outside of Uke's right leg and Tori Uke's right arm is pinched in the armpit, a close body contact is established. Tori continues to turn and pulls Uke with him to the ground, whereby Uke is the first to touch the mat through the swing (still close body contact). Tori falls next to Uke (not on Uke!) And can, for example, immediately apply a holding technique.
The litter belongs to the group of Yoko-sutemi-waza, if not sorted according to the co-fall technique.
Hane-maki-komi (jumping throw)
Hane-maki-komi is a kind of hane-goshi, performed as a fall-down technique.
As with Soto-maki-komi, Tori must make close physical contact with Uke in order to perform the throw. The difference to Soto-maki-komi is the lifting of the uke by sweeping away the leg of the uke as with hane-goshi.
Uke often falls very high and very hard, as it no longer has its own influence on its trajectory and the fall depends solely on Tori's skill.
The litter belongs to the group of Yoko-sutemi-waza, if not sorted according to the co-fall technique.
Ko-uchi-maki-komi
Ko-uchi-maki-komi is similar to Ko-uchi-gari. Unlike this technique, however, Tori falls with it. It is important that the attacked leg is Uke's mainstay. This can be achieved, for example, when uke is on display. Tori hooks his right leg into Uke's right leg from the inside. He is pinching Uke's right thigh with his right arm. Uke is now prevented from escaping by Tori's upper body and arm. To throw, Tori drops onto his right side. He forces Uke to the ground with his body and secures with his right arm. Since the attacked leg is Uke's mainstay, Uke loses its balance and falls to the ground. If the attacked leg is not Uke's mainstay, the attack will come to nothing.
The litter belongs to the group of Yoko-sutemi-waza, if not sorted according to the co-fall technique.
Ma-sutemi-waza (self-drop throws backwards)
The throwing partner gives up his own balance and forces the partner to the ground. The fact that the thrower comes to lie directly under the center of gravity of the thrown, he can direct the fall directly over his own body.
Tomoe-nage (circle throw / overhead throw)
Tomoe-nage is one of the most popular throwing techniques as it can often be seen in action films .
Tori forces Uke to step forward, placing one foot in the Uke's groin and placing himself directly under the Uke's center of gravity, ideally directly in front of or between the Uke's feet on the ground, thus bringing Uke into a deeply bent position Position. Tori can now be rolled onto his back and pushes his foot in the groin of the Uke, whereupon Uke falls slightly sideways over Tori with a forward roll.
Ura-nage (discard)
Tori embraces Uke from the side, bends deeply in order to get below Uke's center of gravity, lifts Uke out by explosively stretching his legs and pushing hips and stomach forward, and lets himself fall onto his back without buckling his legs , and throws Uke back over his shoulder.
Maki-komi-waza (straight body throws)
The maki-komi techniques, in which not only uke, but tori coincides with uke, are among the quite spectacular techniques.
Uke falls very high and very hard with some of these techniques, since it is accelerated azimuthally by Tori , but always has to describe a longer path and thus reaches a higher orbital speed. As a fighting technique, the Maki-komi-waza also represent a meaningful transition from standing to the ground. Often, a hold technique can be used immediately. The main requirement is the mastery of self-drop throws while simultaneously fixing the Uke and applying a screwing technique. Also, according to uke , Tori should touch the mat.
The Maki-komi-waza are largely, but not exclusively, grouped under the Sutemi-waza . These techniques combine the principles of these groups with those of the Tachi-waza . Since there is no separation of tori and uke, the maki-komi-waza could even be understood as pure standing-floor transitions (and not as a throwing technique) with a restrictive interpretation.
Hane-maki-komi
This litter officially falls under the Yoko-sutemi-waza .
Ko-uchi-maki-komi
This technique is considered a variant of Ko-uchi-gari .
Tori attacks the Uke's leg from the inside with a sickle movement of his diagonally opposite leg. Tori supports the attack by releasing his grip on his lapel, following the sickle movement and fixing the Uke's leg between the arm and the side of the body, practically performing a twisting movement. As Tori loses his balance, uke is thrown backwards at an angle.
Soto-maki-komi
This litter also officially falls under the Yoko-sutemi-waza
Laats divers
This technique, named after the Belgian brothers Philip Laats (-65 kg) and Johann Laats (-78 kg), is a variant of Kata-guruma and thus belongs to the Te-waza group .
Like Kata-guruma, Tori starts to charge the uke, but fixes the uke beforehand by pinching his own neck under the armpit and then falls to the side himself. This forces the uke to fall over the tori's shoulders.
Leg gripping techniques
What these throws have in common is that grabbing one or both legs causes the opponent to fall or is destabilized to such an extent that a relatively weak approach to the throw leads to success. The classification of these techniques is mostly based on the type of final throw execution or the throw is viewed as a variant of the final technique. The nomenclature of the individual techniques is subject to some fluctuations. In the German-speaking area, the prevailing practice is to call all one-handed techniques, in which the leg of the uke is gripped from the inside, kuchiki-taoshi , and all others as kata-ashi-dori , regardless of the throwing method .
In the 1990s, some sambo techniques found their way into competitive judo , making leg gripping techniques very popular. However, these have been banned from official competitions since 2010.
Kata-ashi-dori
The technique can be seen as a variant of O-uchi-gari .
Tori grabs the unloaded leg of the Uke from the outside and sickles the leg with O-uchi-gari . Uke falls relatively hard almost straight back.
Kuchiki-taoshi (cutting down a rotten tree)
This litter is officially classified in the Te-waza group.
Morote-gari / Ryo- (te) -ashi-dori (two-handed sickle)
This technique belongs to the Te-waza group .
Tori dives in front of Uke, grabs the Uke's Zubon by the knee with both hands and pulls, while he presses his shoulder against the Uke's hip, his legs away, so that Uke is thrown backwards.
Subdivision according to Gokyō
The Gokyō (五 教, five lessons) contain the classic 40 throwing techniques of Judo , classified according to degree of severity.
In classical judo, the five teachings corresponded to the Gokyū , i.e. the 5 student grades. A student had to master a set of techniques in order to achieve a certain student grade. Until the 1980s, these requirements were anchored in the examination regulations of some German state associations. However, today's technical training is no longer based on this system.
The Nage-no-kata consists of 15 exemplary Gokyō techniques .
The Gokyō contain the following techniques:
1st group (一 教Ikkyō , first apprenticeship)
| Japanese name | German name |
|---|---|
| De-ashi-barai | Sweeping feet |
| Hiza guruma | Knee wheel |
| Sasae-tsuri-komi-ashi | Hold hoist foot |
| Uki-goshi | Hip swing |
| O-soto-gari | Large external sickle |
| O-goshi | Great hip throw |
| O-uchi-gari | Large inner sickle |
| Seoi-nage | Shoulder throw |
2nd group (ニ 教Nikyō , second teaching)
| Japanese name | German name |
|---|---|
| Ko-soto-gari | Small external sickle |
| Ko-uchi-gari | Small inner sickle |
| Koshi Guruma | Hip wheel |
| Tsuri-komi-goshi | Lift hip throw |
| Okuri-ashi-barai | Sweep the feet |
| Tai-otoshi | Body throw |
| Harai-goshi | Hip sweep |
| Uchi-mata | Inner thigh throw |
3rd group (三 教Sankyō , third teaching)
| Japanese name | German name |
|---|---|
| Ko-soto-gake | Little hook |
| Tsuri-goshi | Hip pull |
| Yoko-otoshi | Lateral pull |
| Ashi-guruma | Leg wheel |
| Hane-goshi | Hip jump |
| Harai-tsuri-komi-ashi | Hoist foot sweeping |
| Tomoe-nage | Circle throw |
| Kata guruma | Shoulder wheel |
4th group (四 教Yonkyō , fourth teaching)
| Japanese name | German name |
|---|---|
| Sumi-gaeshi | Corner throw |
| Tani-otoshi | Valley train |
| Hane-maki-komi | Jumping throw |
| Sukui-nage | Shovel throw |
| Utsuri-goshi | Alternate hip throw |
| O-Guruma | Big wheel |
| Soto-maki-komi | External throw |
| Uki-otoshi | Levitation |
5th group (五 教Gokyō , fifth teaching)
| Japanese name | German name |
|---|---|
| O-soto-guruma | Big outer wheel |
| Uki-waza | Relapse train |
| Yoko-wakare | Side elevation |
| Yoko Guruma | Side wheel |
| Ushiro-goshi | Hip counter throw |
| Ura-nage | Discard |
| Sumi-otoshi | Corner dump |
| Yoko-gake | Lateral hanging |
(Habukareta-Waza)
In 1982 an additional group of eight traditional throws was added (these had been removed in 1920) and 17 newer techniques were recognized as official Kodokan judo throws (shinmeisho-no-waza). In 1997 the Kodokan added the last two additional litters of the Shinmeisho-no-waza.
| Japanese name | German name |
|---|---|
| Obi-otoshi | |
| Seoi-otoshi | Shoulder fall |
| Yama-arashi | Mountain storm |
| O-soto-otoshi | Great external camber |
| Daki-wakare / Kakae-wake | |
| Hikkomi-gaeshi (including Obi-tori-gaeshi) | |
| Tawara-gaeshi | Rice ball counter throw |
| Uchi-maki-komi |
( Shinmeisho-no-waza )
| Japanese name | German name |
|---|---|
| Morote-gari / Ryo-ashi-dori | Ambidextrous sickle |
| Kuchiki-taoshi | Chop down the rotten tree |
| Kibisu-gaeshi | |
| Uchi-mata-sukashi | |
| Daki-age / Mochiage-otoshi | |
| Tsubame-gaeshi | Swallows counter throw |
| Ko-uchi-gaeshi | |
| O-uchi-gaeshi / Kari-gaeshi | |
| O-soto-gaeshi | |
| Harai-goshi-gaeshi | |
| Uchi-mata-gaeshi | |
| Hane-goshi-gaeshi | |
| Kani-basami (forbidden in competition) | Leg scissors (aka crab scissors, Kani = cancer) |
| O-soto-maki-komi | Large external throw |
| Kawatsu-gake (prohibited in competition) | |
| Harai-maki-komi | Hip throw |
| Uchi-mata-maki-komi | |
| Sode-tsuri-komi-goshi | |
| Ippon-seoi-nage | One-point shoulder throw |
Complex tasks
This term does not describe a formal subdivision of judo techniques , but more or less freely developable training content , which enables the judoka to use the techniques they have mastered and to develop them further. As part of modern training methods, the judoka can develop a large part of the content themselves. Complex tasks are usually asked for during belt tests.
The most important complex tasks related to the nage-waza are:
Counter techniques (counter throws)
Certain frequent attack techniques should be responded to immediately with a proprietary technique. The judoka must be able to recognize the attack technique at an early stage and react appropriately. The opponent's technique should be prevented (in accordance with the rules) and at the same time serve as a motion guide for one's own throwing technique.
Some throwing techniques, especially sutemi-waza, are used almost exclusively as counter-throws.
Combinations
Tori tries a throwing technique, Uke thwarts this with a typical prevention strategy. Tori now has to use this situation as a motion guide for another throwing technique. In contrast to the feint , the first throwing technique of the tori should not have the purpose of provoking a reaction from the uke.
Situation specifications
Techniques should be found or varied in order to meet certain common situations.
Transitions from the stand to the floor
Occasionally it can be beneficial to continue a fight on the ground. Some techniques allow Tori controlled in certain situations without throwing technique Uke to lead to the ground and immediately a Bodentechnik be recognized.
See also
Web links
swell
- Nage-Waza division of the Kodokan
- official list of throwing techniques of the Judo Association Berlin recognized in writing by the Kodokan (PDF; 6 kB)
Individual evidence
- ↑ Ulrich Klocke: Learning to Judo. VP-Masberg, Bonn 2012, ISBN 978-3922006220 .
- ↑ Ulrich Klocke: Applying Judo. VP-Masberg, Bonn 2010, ISBN 978-3922006237 .
- ↑ Mahito Ohgo: Judo - Basics - Methodology. Niederhausen 1972
- ↑ Gunji Koizumi: My study of Judo. , W. Foulsham & Co, London 1960
- ^ Christian Landsberg: Judo throwing circle. , BoD, Norderstedt 2011, ISBN 978-3842382299 .