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Showing posts sorted by relevance for query Uchi mata. Sort by date Show all posts
Showing posts sorted by relevance for query Uchi mata. Sort by date Show all posts

Uchi-Mata-Sukashi & Sumi-Otoshi, Compare The Pair

Uchi-Mata-Sukashi And Sumi-Otoshi, What is The Same And What is Different

Uchi-Mata-Sukashi and Sumi-Otoshi, look very much the same, but it is worth putting into practice what we know about how one throw is distinguished from the other.

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Uchi-Mata-Sukashi is from the expanded Gokyo whereas Sumi-Otoshi is part of professor Kano's original 40 and though they look the same closer inspection reveals a somewhat subtle difference. The direction of Uke.

Uchi-Mata-Sukashi has Uke turning into Tori in an attempt to do Uchi_Mata and Sumi-Otoshi has Tori leading Uke basically into a trap, where he is off-balanced by being too slow to keep up with Tori. Uke is, in fact, going in a different direction for Uchi-Mata-Sukashi than he is going for Sumi-Otoshi. It is worth noting that can be used on much more than Uchi-Mata.

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Is Uchi-Mata-Sukashi A Counter to Uchi-Mata?

So is Uchi-Mata-Sukashi a counter to Uchi-Mata? Well yes, though not just to Uchi mata and it is also a throw in its own right. It's just dependant of Uke having too much momentum as they move past Tori. Hence as a counter, it is useful as such, to a number of other throws where Uke steps in for a throw and misses or just simply steps too far past Tori.

I was going to list a few but that kinda spoils the fun of experimenting to see how it works for you and when it doesn't. Besides, it is too easy to be descriptive and assumes that it only works for those I have listed.






and





Hane Goshi in Disguise Or is Wrong Leg Uchi Mata Just Wrong

Hane Goshi in Disguise Or is Wrong Leg Uchi Mata Just Wrong

I know I am going to get into a lot of controversy over this. I am quite sure higher grades than me are going to tell me I have no idea what I am talking about. But truly, unless someone can give me proper a biomechanical explanation to the contrary, most, if not all those people that are teaching "Wrong leg Uchi Mata" are actually teaching Hani Goshi.

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The proof is in the Kusushi.

I have explained before, what makes one throw different from another has nothing to do with the position of hands or feet or anything other than the way the balance is broken (Kusushi). Well, I guess you could say that it does involve hands and feet but a throw is not defined by where they are placed on Uke or anywhere else. One throw is different from another if the Kusushi different.

So to prove my point all I have to do is show that the Kusushi of Wrong Leg Uchi Mata is the same as Hane Goshi.

This, of course, is where I am going to get into trouble because obviously there is a subjective element in watching a throw being done. Therefore anybody that is converted to the cause of wrong leg Uchi Mata can just say I'm wrong and I have no reply. But if you are being honest, you will have to admit from the video below that the Kusushi of Hane Goshi is suspiciously the same as "Wrong leg Uchi Mata". So suspicious that I would argue they are one and the same.

Wrong Leg Uchi Mata is Hane Goshi in Disguise

But don't just take my word for it, why not try it for your self. Do Hane Goshi and then do "Wrong leg Uchi Mata". Repeat the process over and over, as many times as you like and see if you can honestly perform the Kusushi differently between the two throws. I don't think you can and if you can't that means that "Wrong Leg Uchi Mata" is just simply Hane Goshi in Disguise. Even the disguise is nothing more than a name change.

The other thing that I find suspicious, is that as far as I can tell, there are no videos at all of "Wrong leg Uchi Mata". Although from my point of view I should not find that suspicious because I don't believe such a throw exists.

By choice, I am just a lowly Ni Dan (second-degree black belt) and I have had much higher grades insist that wrong leg Uchi Mata is a genuine throw but for the life of me I can't see it

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Why Is This Important?

It is important because teaching "Wrong leg Uchi Mata" is just complicating the Kusushi for students. They are busy putting effort into trying to break the balance in an artificial way. They are trying to break the balance for Uchi Mata when they should be breaking balance for Hane Goshi and honestly it can be really sad, sometimes pitiful or worse painful to watch.

For those of you that are determined that such a throw does exist, good luck with that but I honestly think that in the long run, you are doing your students a disfavour.













Uchi Mata: The Trick To A Good Judo Throw

Uchi Mata My Nemesis

Uchi Mata has for most of my career been my nemesis. The few occasion I actually achieved it was in competition and because I never really knew why it worked they were essentially serious luck. As hard as I tried I could never do a satisfactory Uchi Mata in a normal Uchi komi practice session in class. Until that is, I learn this trick.

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The video below from Neal Adams was the start of me figuring out Uchi Mata but it only helped. It was when I took the information from the video and applied it differently that suddenly the throw works almost every time. Even realising that it's the simple things that make a judo throw work, I was still blown away by the simplicity of the change.

Don't misunderstand me, the positioning is not easy, at least not in Uchi Komi and it is completely counter-intuitive but it does work. The positioning does become a whole lot easier in competition, which probably explains why I could do it on occasion, in competition and not in Uchi Komi practice.

The reason it becomes easier in competition becomes clear in the video. If you look, you will see how the line is set up by Uke (your opponent), you just have to capitalise on it. Whereas in Uchikomi you have to put in the effort to set Uke up.

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In both cases, the throw still won't work unless you generate Kushi (breaking of the balance) before you set it up or Uke sets it up for you.

Hopefully, my image below shows what the video can't show, the placement of the feet in relation to Uke.

The black feet are in the Tskuri (set up) position and the white feet show the movement of Tories (the thrower) left foot as it sweeps through and between Uke's legs.

My hope is that if you combine the video and the image I have provided below, you will have a lot less trouble mastering Uchi Mata than I did.

Image of Uchi Mata Foot Movement Pattern
Uchi Mata Foot Movement Pattern

Uchi Mata truly is a beautiful and powerful throw. It has won many a competition and will continue to do so. But it is one of those throws that has to be done correctly. I used to watch a video of Mufuni performing it over and over again in order to try to get a grip on it. But all I could do was marvel at his proficiency. I still marvel at his proficiency but at least now I can do an acceptable version of this throw in practice for myself.









Ashi-Uchi-Mata | Uchi- Mata: A Judo Throw Renamed?

Uchi- Mata or Ashi-Uchi-Mata. Spot The Difference?

This one is in some ways a bit of fun. I don't know why the video makers felt that they need to rename this throw from Uchi-Mata. Maybe in their tradition, it has been called this all along. Maybe they changed the name because it is a different grip to the traditional version. I'm sure I don't know but it's still a good version of the throw.

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The grip being around the back instead of on the collar does mean a much stronger control of Uke. It makes it a kind of hip throw (Uki-Goshi). But the slow-motion on the leg action is well worth watching and certainly gives a clear view of one of the best ways Tori can place his/her leg when doing this throw. All in all a good watchable version of the throw.

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So if it's so good why do I say it is fun. Well because of the renaming. Translated, Uchi-Mata is (pretty much)inner thigh; which means that Ashi-Uchi-Mata is translated Leg Inner Thigh. Which has nothing to do with the grip and it's a bit like saying it's a Leg Inner Leg throw. This doesn't diminish the throw of course but let's face it, you have got to poke fun at western societies propensity to rename stuff.  










Judo Hane Goshi - The Spring Hip Throw

Understanding Hane Goshi

Hane Goshi, meaning "Spring Hip Throw," is a dynamic hip technique (Koshiwaza) in Judo. Its name derives from the coiled, spring-like action of the attacking leg. The technique was devised by Yamashita, one of Jigoro Kano's earliest students and a frequent uke (partner). Kano, who had a leg injury that sometimes affected his ability to straighten his leg, inspired this throw. Yamashita adapted this technique to accommodate Kano's condition, leading to the creation of Hane Goshi.

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Historical Context

The Hane Goshi gained popularity in the 1910s and 1920s. One of the key figures in popularizing this technique was Mr. Hane Goshi, a teacher of one of the author’s instructors. This throw remains a fundamental and widely practised technique in Judo today.

Technique Execution

The execution of Hane Goshi involves several critical steps:

  1. Gripping and Positioning: Secure a firm grip on your opponent's sleeve with your right hand, creating a rocking motion to lift and off-balance them. Your left-hand lifts as your body rotates, pulling on the sleeve for a balanced entry.
  2. Stepping In: Step in with your left foot, positioning yourself centrally. This close-contact throw requires the same two-pull positioning seen in techniques like Uchi Mata.
  3. Leg Placement: Unlike Uchi Mata, where the leg moves opposite to the arm, Hane Goshi's leg moves more independently. The attacking leg goes inside your opponent’s leg, with your toes close to the floor and the leg coiled like a spring.
  4. Body Contact: Maintain tight body contact from your thigh to your calf. The leg should not block or hit the opponent's leg but fit snugly inside, allowing control over your opponent's body.
  5. Throwing Motion: Typically, throw your opponent to the front using a see-sawing movement. Tip your head and raise your leg, kicking out to the rear corner. The throw's success relies on coordinated upper-body pull and lower-body lift.

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Where Judoka Go Wrong

The thing to remember and the point at which most Judoka go wrong when trying to execute this throw, is the failure to remember that this is a Goshi. It is a hip throw. It is not a leg throw. Your objective is to take your opponent primarily over your hip. If your hip does not make full contact you cannot expect to throw your Uke. Remember you are trying to throw Uke over your hip not sweep them with your leg. In effect, your leg in this case becomes an extension of your hip. Thus your hip and leg should all make contact at the same time. Only then can you use your hip as a fulcrum so your arms can complete the throw.

Differences from Uchi Mata

Hane Goshi differs from Uchi Mata in the placement and action of the attacking leg. While Uchi Mata targets the groin area, Hane Goshi's leg is more forgiving, accommodating weight distribution over the right leg. This flexibility makes Hane Goshi more accessible for beginners who may struggle with the precise positioning required for Uchi Mata.

Throwing Directions and Variations

Hane Goshi offers versatility in throwing directions. Depending on your control and the lift, you can throw your opponent to the front or rear. Modern Hane Goshi uses one leg against one leg, while older versions involve curling the leg against both of your opponent's legs. This older method can be helpful for teaching beginners, allowing them to grasp the technique's fundamentals before mastering finer details.

Importance of Rhythm and Timing

Achieving the right rhythm and timing is crucial for Hane Goshi. Proper sequence and body coordination are necessary to lift your opponent effectively. Avoid pushing your opponent back with your leg; instead, use a see-saw motion, lifting the leg as your head tips down. This coordinated action ensures the upper and lower body work together, creating a unified and effective throw.

Defending Against Hane Goshi

To defend against Hane Goshi, you can target the standing leg or slip past the attacking leg. One method involves using a knee-down Kosoto Gari to attack the standing leg while thrusting your hips. Another defence, called Hane Goshi Kaeshi, involves attacking the standing leg from the front, simultaneously disrupting the coiled attacking leg.

Final Thoughts

Hane Goshi remains a fundamental and versatile technique in Judo. Its unique blend of power, precision, and adaptability makes it a valuable addition to any judoka's repertoire. Whether you're a beginner or an advanced practitioner, mastering Hane Goshi can enhance your throwing skills and overall effectiveness on the mat.







Uchi Mata: Three Unique Perspectives from Judo Experts

Mastering Uchimata: Three Unique Perspectives from Judo Experts

The uchimata (inner thigh throw) is one of Judo’s most iconic and devastating techniques, captivating practitioners with its blend of timing, balance, and dynamic movement. Recently, I explored three instructive videos, each offering a unique take on the mechanics and strategies behind this throw. Here, I’ll break down the essence of uchimata as presented in each, so you can discover which approach best fits your style or level.

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1. Uchimata in Kenkayutsu – Attacking the Front Leg

The first video focuses on executing uchimata from a kenkayutsu (cross stance) position, targeting the opponent’s front leg—a common obstacle in classical uchimata. This version is particularly accessible for those who may not possess explosive leg strength, as it splits the throw into two distinct stages:

  • Stage One: The tori (thrower) uses their foot to disrupt the opponent’s balance, focusing on placing the back of the knee against the opponent’s kneecap. The goal is to coax the front leg backward, opening a path for the throw.
  • Stage Two: The tori rotates their foot and sweeps, again with the back of the knee connecting to the target leg, this time swinging the leg sideways rather than lifting high. The hands—one twisting and pulling, the other lifting—work in harmony to control the opponent’s upper body.

This approach demystifies uchimata for those who struggle with the “big lift,” emphasising angles, off-balancing, and directional force over raw power.

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2. Seminar with Sensei – World and Olympic Champion Uchimata

The second video documents a seminar led by a renowned Japanese sensei—World and Olympic Champion—who delves deeply into uchimata’s precision and adaptability.

He underscores several key points:

  • Arm and Grip Action: The sweep hand twists up and towards the shoulder, fingers leading, while the other hand draws the opponent’s body close to you, maximising control and kuzushi (off-balance).
  • Entry & Footwork: The tori drops their centre of gravity and steps in deeply, keeping the body upright and knees bent. The supporting foot rotates under the opponent, and entry is both quick and precise.
  • Execution: The tori elevates the opponent’s body with the lifting leg while keeping the upper body straight, then rotates sharply, guiding the opponent down and through the mat.
  • Adaptations: Against stronger or resistant opponents, he demonstrates a spinning uchimata, breaking the grip and throwing with a circular motion. He details different approaches for left-handed opponents (two-step version) and shares practical tips for adjusting grip and entry based on size or resistance.

His demonstration is a masterclass in fundamentals and subtle adjustments, stressing the importance of bringing the opponent close and maintaining strong body posture throughout the throw.

Interestingly, his leg action is closer to Hani Goshi than Uchi mata, thus suggesting that this is more a very effective Hani Goshi. But there is no reason to think that the leg action could not be more on the opposite leg and still be just as effective as Uchi Mata.

3. "Nukimatan" – A Rear Uchimata Variation

The third video presents a succinct, advanced variation called "抜きまたん" (Nukimatan). Here, the tori:

  • Engages directly, stepping in head-on.
  • Executes a rear uchimata by lifting up the opponent’s inner thigh from behind.
  • Finishes by pulling them down, illustrating how the technique can be effective from a close engagement, using leverage and direction rather than a dramatic lift.

This streamlined version of uchimata is especially effective for close quarters or when direct engagement is required. The key is sharply lifting the inner thigh, then using gravity and grip to pull the opponent toward the mat.

Conclusion: Different Roads to the Same Throw

Each of these videos highlights a different entry, grip, or strategic focus, yet all share the fundamental principles of uchimata: creating off-balance, entering deeply, and redirecting the opponent’s energy. Whether you prefer a front-leg attack from cross stance, the classic championship style emphasising posture and grip, or an advanced rear variation, mastering the details of uchimata will not only boost your technical repertoire but deepen your understanding of Judo's dynamic nature.

Have you tried these variations? Share your experiences or thoughts in the comments! Don’t forget to check out the full videos for demonstrations and deeper technical instruction.





Maruyama Style Super Uchi Mata.

KOSEI INOUE CLINCI-UCHIMATA

Mafune Uchi Mata


Uchi Mata - The Judo Thow of Kings - If You Can Do It

Uchi Mata Is My Nemesis

The only time I was ever able to pull Uchi Mata off in competition was often more by accident than on purpose.

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    The fact is, as you can see from the video, that there are two main ways to throw with Uchi Mata:
  1. With your leg higher than your head or at least heading that way.
  2. Mounting Uke on your hip, lifting your leg as high as you can between their legs whilst they are mounted and twisting.

Whilst it is dead easy in practice with a cooperating partner it is a real skill to pull off on someone that does not want to be thrown.

I have seen players that are real masters of this throw and I have seen plenty that are masters only in practice. But I have no idea how to turn the latter into the former.

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The only things that I am convinced of are that it is a leg throw (despite what some will argue that it is a hip throw) because it is in the leg throw portion of the Negi No Kata.

And

That all those who try to teach it as a wrong leg version, that is where you sweep the same side leg as your throwing leg, are actually teaching Hane Goshi. It has to be because the kushi is the same.







Here is a Fantastic Uchimata

The tile and the videos speak for themselves.





Uchi Mata: The Often Over Looked Arm Action

Uchi Mata: The Often Over Looked Arm Action

For a throw that is not my forte, I have just realised that I spend a lot of time discussing Uchi Mata. But it is a throw that wins a lot of competitions so I suppose that it makes sense and the video below does point out an element of the throw that is very often missed; the arm action.

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As with all Judo throws you can't achieve a good result with this throw unless you break your opponent's balance. But many Judo students (Judoka) think that the Kusushi (breaking of the balance) in this case is the upwards sweeping of the leg. It's not, at least not that alone. the pulling of the arm, as clearly shown in the video, is just critical.

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It is only a short video but it is one of the masters of the throw teaching it. Yasuhiro Yamashita is a Japanese heavyweight judoka one of the most successful judo competitors of all time.

Yamashita's accent is very strong so you will have to listen very carefully but the description he uses is as important as the visual so be persistent. You will get used to it and it is well worth the listen.

Even though I do not compete anymore you can be sure that I will be practising this nuance in class. It always pays to be a good example to your students. Besides any improvement in your technique is an improvement in yourself.









Judo Uchi Mata - High Pull Tight Body Version

Judo Uchimata

This version of the Judo Throw Uchi Mata is a high pull tight body version and even if this is not your favourite verstion you will get a lot out of studying it. 

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The history of Uchi Mata is quite long. There are many different versions of it. There are cliffsnotes in this video about that history that I didn’t know about.

The motion of this version of Uchi Mata is in a very high overhead arc and so we have to make very high pulls to make this happen. Instead of just pulling straight up you have to pull almost around behind you to bring Uke up and around and then the control hand is going to also pull forward.

Tori steps across and draws Uke up around behind you. This version has to be a very high pull whilst stepping into a twisted stance with Tori's side up against the front of Uke’s body so that the leg is exposed.

Your hip has to stop halfway and make contact with the centre of Uke’s body and tight body contact.


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Tori’s leg goes straight up Uke's middle as they tipped and at the same time raised up.

At this point, it is critical that Tori pulls Uke's arm that is being held. There is no way to complete the throw well if Tori is not pulling Uke’s arm.

Good body contact works best but even if the body contact is not good this throw can still be very effective as long as Uke’s arm is pulled as Tori tips Uke forward and raises the leg. This is absolutely necessary if you end up with Uke not bearing weight on the leg Tori want to throw with. Otherwise as is pointed out in the video it becomes an exercise in who can lift their leg highest.

The beauty of this version is that it forces Uke onto the leg you want to throw and therefore it is much more straightforward to do so.

This video has a lot going for it including how to overcome resistance with combination throws.










Beginner Judo Techniques - Building Skills in the Right Order

What are the basic throws and techniques I will learn first? What do you teach as Beginner Judo Techniques?

When people ask about Beginner Judo Techniques, they often expect a list of throws they will learn during their first few classes. However, good Judo instruction involves much more than simply working through a syllabus. The order in which techniques are taught can significantly affect safety, understanding, confidence, and long-term development.

A beginner does not need twenty throws. Instead, they need a small number of techniques that they can understand and practise properly.

My beginner program therefore starts with breakfalls, followed by Tai-otoshi and Uki-goshi. Only after students gain a basic grasp of these techniques do I progressively introduce other throws.

This approach recognises an important principle. Beginner Judo Techniques should build upon one another rather than being presented as unrelated movements.

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Ukemi Comes Before Throwing

Before students can become comfortable throwing, they need to become comfortable being thrown.

This means learning ukemi, the breakfall skills that allow a Judoka to fall safely while protecting the head and controlling the body.

The basic falls include:

  • Ushiro ukemi – backward breakfall
  • Yoko ukemi – side breakfall
  • Mae ukemi – forward breakfall
  • Mae mawari ukemi – forward rolling breakfall

Judo Australia also places considerable emphasis on ukemi within its entry-level coaching material, including backward breakfalls and forward Judo rolls. Judo Australia's National Entry Level Program demonstrates this emphasis.

Learning to fall is not something that should be regarded as an optional extra. It provides the foundation that allows students to practise throwing with greater confidence.

I want students to understand that being thrown is an important part of learning Judo. They are not simply learning how to make somebody else fall.

Tai-otoshi and Uki-goshi

The first two throws in my beginner progression are Tai-otoshi and Uki-goshi.

I deliberately keep the initial repertoire small. Students need time to understand the basic principles involved before they are presented with numerous additional techniques.

These throws give students opportunities to develop important concepts such as balance, movement, kuzushi, positioning, and control.

More importantly, students begin learning how their own body movement affects their partner.

That understanding is more valuable than simply being able to reproduce the shape of a particular throw.

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Why I Teach O-uchi-gari Before Ko-soto-gari

Once students have gained a reasonable understanding of the first techniques, I introduce O-uchi-gari before Ko-soto-gari.

There is a simple teaching reason for this sequence.

Beginners often have considerable difficulty understanding the hooking action of their own leg. Therefore, teaching two different hooking actions at the same time can create unnecessary confusion.

I prefer students to gain at least a semi-mastery of one direction of the hooking action first.

Once that movement becomes familiar, I can introduce the inverse hooking action required for Ko-soto-gari.

This is an important aspect of Beginner Judo Techniques. Teaching order should consider how beginners actually learn, rather than simply following a list.

Once students understand both movements, they can eventually begin exploring combinations.

My article Ko-Uchi-Gari to O-Uchi-Gari Judo Throw Combination Technique explores the broader idea of linking techniques rather than treating every throw as an isolated movement.

De-ashi-barai Is About Timing

De-ashi-barai presents a different teaching problem.

At first glance, it can appear to be a relatively simple technique. However, successfully applying it requires timing that beginners often do not yet possess.

The throw depends upon recognising the right moment to attack the moving foot.

Therefore, I teach De-ashi-barai as a supplementary throw rather than making it one of the core techniques of the beginner program.

Students can practise it and gradually develop their timing without feeling that they must immediately master it.

That distinction matters because technical difficulty does not always correspond to how complicated a technique looks.

Why O-goshi Can Wait

O-goshi is one of the throws that many beginners want to learn.

It looks impressive, and it is relatively easy to recognise when watching Judo. However, I do not teach it immediately.

The reason is primarily connected with the fall.

O-goshi can produce a relatively high and sometimes hard fall. Consequently, students need a significant grasp of their falling skills before I introduce it.

My article O-Goshi: The Judo Throw Everybody Wants To Do discusses some of the common problems associated with learning this throw.

The article also emphasises that O-goshi depends upon leverage, balance, positioning, and kuzushi rather than simply lifting the opponent.

That reinforces an important principle. A throw should not be introduced merely because students are eager to learn it.

The student's existing skills should determine when the technique becomes appropriate.

Why O-soto-gari Is Delayed

O-soto-gari provides perhaps the clearest example of why apparently simple techniques require careful teaching.

In principle, O-soto-gari is relatively easy to explain and understand. However, when performed incorrectly, it can potentially create a dangerous situation.

The person receiving the throw needs good head control before practising the technique safely.

There is also another practical reason for delaying O-soto-gari.

Beginners have a remarkable tendency to use it during Randori, sometimes regardless of whether the situation actually calls for it.

For reasons that are difficult to explain, O-soto-gari can become the answer to almost every problem.

Students may attempt another technique, encounter resistance, and suddenly decide that O-soto-gari must be the solution.

Consequently, delaying the technique has a long-term benefit.

I want students to develop a repertoire that includes O-soto-gari, rather than a repertoire consisting almost entirely of O-soto-gari.

My article Osoto-otoshi, Osoto-gari & Osoto-gaeshi: What Is The Difference? explores some of the technical distinctions surrounding this family of techniques.

The point is not that O-soto-gari is a bad beginner technique. Instead, it is a technique that benefits from being introduced at the appropriate time.

Uchi-mata Is Not a Beginner Throw

Uchi-mata is another technique that I regard as advanced.

I have never completely understood why some instructors introduce it so early in a student's development.

Uchi-mata requires considerable coordination, balance, movement, timing, and body control. Those qualities take time to develop.

There are many other throws that provide better opportunities for beginners to develop their fundamental Judo skills.

Consequently, I prefer students to develop a broader technical foundation before they begin working seriously on Uchi-mata.

Groundwork Begins With Control

Beginner Judo is not limited to throwing.

Students also need to develop basic osaekomi-waza, or holding techniques.

My preferred sequence begins with Kesa-gatame and develops naturally into Kata-gatame.

I regard these techniques as a sequence rather than completely separate techniques.

Students can therefore learn how the position and control of Kesa-gatame can develop into Kata-gatame.

Other basic holds can then be introduced as the student's understanding develops:

  • Kesa-gatame – scarf hold
  • Kata-gatame – shoulder hold
  • Yoko-shiho-gatame – side four-quarter hold
  • Kami-shiho-gatame – upper four-quarter hold

My article Osaekomi-waza: All Judo Pinning Techniques provides a broader look at the holding techniques used in Judo.

Technique Before Quantity

A beginner does not become a better Judoka simply by learning more throws.

Instead, they improve by developing an understanding of the techniques they already know.

A useful beginner progression therefore looks something like this:

  • Develop reliable breakfalls.
  • Learn Tai-otoshi and Uki-goshi.
  • Develop sufficient understanding before adding more throws.
  • Introduce O-uchi-gari before Ko-soto-gari.
  • Practise De-ashi-barai as supplementary timing work.
  • Delay O-goshi until falling skills are sufficiently developed.
  • Delay O-soto-gari for safety and repertoire development.
  • Leave Uchi-mata until the student has developed greater technical ability.
  • Develop groundwork through Kesa-gatame and Kata-gatame.

This progression is not about deliberately making Judo complicated.

Instead, it recognises that students learn more effectively when each new skill has a relationship with something they already understand.

Judo Australia similarly emphasises gradual development and supervised practice, with students learning proper falling techniques as part of safe progression.

Build a Repertoire, Not a Single Throw

One of the most important goals of beginner Judo should be developing options.

A student who knows one throw extremely well has achieved something valuable. However, a student who can recognise different opportunities has begun developing genuine Judo adaptability.

That is particularly important once Randori becomes part of training.

Randori teaches students that techniques do not happen exactly as they did during a demonstration. Partners move, resist, react, and create unexpected opportunities.

Therefore, students need enough techniques to respond appropriately.

This is where the careful progression of Beginner Judo Techniques becomes important.

The goal is not to rush students through every throw in the Gokyo. The goal is to give them enough understanding to begin solving problems through Judo.

Learn the Technique, Then Learn When to Use It

Learning a Judo technique involves more than remembering where to put your feet.

Students need to understand balance, movement, timing, positioning, safety, and their partner's reactions.

That understanding takes time.

Therefore, a good beginner program should resist the temptation to teach techniques simply because they appear on a grading syllabus.

Students should have opportunities to practise each technique repeatedly. They should also have opportunities to experience what happens when the technique does not work.

That process gradually changes a technique from something they can demonstrate into something they can actually use.

Build Your Judo One Technique at a Time

Beginner Judo Techniques should provide the foundation for everything a Judoka learns later.

The best starting point is therefore not the largest possible collection of throws. It is a carefully chosen group of techniques that develop falling, balance, movement, control, and confidence.

Start with ukemi. Develop Tai-otoshi and Uki-goshi. Add techniques progressively as the student's skills justify them.

Give O-uchi-gari time before introducing Ko-soto-gari. Develop De-ashi-barai's timing without demanding immediate mastery.

Wait until students can fall confidently before teaching higher-risk throws. Delay O-soto-gari until students have developed a broader repertoire.

Most importantly, remember that every student develops differently.

The objective is not simply to teach a student more Judo. It is to help them understand the Judo they are learning and apply it appropriately.

That is how a collection of beginner techniques gradually becomes the foundation of a capable Judoka.





Judo's Counter: These Attacks Are GENIUS!

Unveiling the Intricacies of Judo's Counter Techniques

In the world of Judo, counter techniques often stand in the shadows of their offensive counterparts, awaiting recognition. Chadi, in his detailed presentation, sheds light on the intricacies and value of these often-underappreciated maneuvers.

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Counter Attacks in Judo

Counterattacks in Judo serve as a response to specific techniques, showcasing their inherent worth. While they may not have their own distinct category, Chadi emphasizes that they are equally valuable and form the basis for strategic gameplay.

Inoue's Masterful Strategy

Chadi provides an exemplary case of Inoue, a Judo master known for his exceptional "Uchi mata" throw. Muneta used a baiting technique, a "Ko Soto Gake," to counter Inoue's "Uchi mata" with an awe-inspiring "Uchi Mata Sukashi." The beauty of this strategy lies in its seamless execution, leaving spectators in awe.

Tsubame Gaeshi: A Deceptive Counter

"Tsubame Gaeshi" is often viewed as a counter against a foot sweep, but Chadi emphasizes the depth of strategy within this technique. It may appear as a simple foot sweep to the untrained eye, but it's a powerful move when executed with precision.

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Mastering Tsubame Gaeshi

Chadi discusses how to enhance the "Tsubame Gaeshi." He highlights the importance of timing and precision, stressing that it's more about a snap in the knee than a grand whirl. Various drills and partner exercises are demonstrated to improve its execution.

The Complexity of Counter Techniques

Delveing into the complexities of counter techniques, emphasizing the importance of understanding the opponent's reactions and thoughts. Judo isn't just about being offensive but also about baiting, defending, and countering effectively.

Foot Trips: A Counter on a Counter

Foot trips in Judo might resemble standard "Okuri Ashi Harai" throws, but Chadi reveals the strategic depth behind them. Using a sequence involving "ko soto gari" and a feigned foot sweep, Chadi demonstrates the effectiveness of these techniques.

Protecting Against Foot Sweeps

The video addresses concerns about protecting your legs when attempting counters involving foot sweeps. By turning your toes outward, you not only shield your foot from being swept but also gain momentum for countering effectively.

Grappling and Strategy

The emphasizes that a high grappling is not solely about strength and offence but understanding the intricacies of Judo, including counter techniques. These strategic maneuvers are equally valuable and essential for a well-rounded Judo practitioner.

This presentation is a testament to the depth of knowledge that exists within the world of Judo. Counter techniques, often overshadowed, deserve recognition for their strategic value. Understanding the subtleties of Judo not only enhances offensive capabilities but also offers a comprehensive understanding of the sport's true essence.







Adaptive Judo Thinking - It Matters

Why Adaptive Judo Thinking Matters

Adaptive Judo Thinking is all about challenging judoka to go beyond rigid formulas and familiar combinations. I love seeing students experiment, even with moves that seem unusual or impossible. This mindset encourages exploration of new openings that often appear in randori or shiai, strengthening both creativity and tactical versatility in training and competition.

Most classes start with standard combinations and counters. These sequences help students understand kuzushi, tsukuri, and kake while building muscle memory for high-percentage techniques. However, sticking only to these formulas can blind judoka to opportunities outside the textbook. Encouraging Adaptive Judo Thinking pushes students to remain open to possibilities and see beyond the predictable.

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Challenging Standard Formulas

Traditional sets, like o uchi gari to tai otoshi or hane goshi to o soto gari, are useful for learning rhythm and balance shifts. Lists of renraku waza and kaeshi waza show how one attack flows into the next or how counters emerge from failed attempts. (judoinfo.com)

Yet, real contests rarely follow these scripts. If students stick rigidly to practised chains, they can miss openings that only present under pressure. Linking techniques like yoko tomoe nage into ko uchi makikomi is unusual, but when it works, it’s thrilling to watch. (fightingfilms.plus)

Part of my teaching involves randomly combining techniques for students to try. I don’t assume they’ll always work — that’s for them to discover. The goal is to encourage experimentation and curiosity.

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How to Practice Unusual Combinations

I often pull from a big list of combinations and counters I created years ago. Students try sequences like seoi nage to seoi otoshi or ko uchi gari to uchi mata, sometimes pairing moves they’ve never practised together. (judoinfo.com)

Random selection of two or three techniques forces students to think adaptively. Examples include:

  • Linking sumi gaeshi with a transition to groundwork. (Wikipedia)
  • Combining kosoto gake after off-balancing with tai otoshi. (Wikipedia)
  • Following harai goshi gaeshi with a quick ashi waza attack. (Wikipedia)

Some of these may seem impossible, but that’s part of the thrill. I want students to push boundaries and discover openings they might never have noticed otherwise.

Encourage Exploration, Not Perfection

Not every combination will work immediately. My goal is to give students permission to experiment, learn from failed attempts, and refine their timing. Often, they discover new opportunities while testing unusual sequences.

Community-compiled lists show hundreds of throws and counters in creative linkages. Moves like ko soto gari, uchi mata, and tai otoshi can serve as setups or follow-ups, depending on balance and reaction. (judoinfo.com)

When students test these without rigid expectation, they develop sharper tactical awareness, learning to see openings others might miss.

Visual Learning and Real Contest Examples

Seeing unusual combinations in action reinforces Adaptive Judo Thinking. YouTube videos of high-level competition provide inspiration and context. For instance, Epic combinations in Judo demonstrate inventive linkages that often surprise even experienced instructors. ([youtube.com](https://www.youtube.com/watch?v=gud7OWhiF5k&utm_source=chatgpt.com))

Another excellent resource is Judo Mike Swain's Complete Judo Vol 5 – Combinations and Counters, showing counters and combinations in realistic scenarios. ([youtube.com](https://www.youtube.com/watch?v=U3IY0govGzc&utm_source=chatgpt.com))

These examples help students become comfortable responding creatively under pressure, rather than relying solely on rehearsed chains.

Teaching Advanced Students

I usually reserve unusual combinations for advanced students. Beginners need solid fundamentals before they can safely explore inventive links.

As an experienced judoka, I blend structured sequences with creative challenges. Feedback focuses on timing, kuzushi, and control, rather than only on scoring points.

Developing a Creative Judo Culture

Embracing creativity in class encourages students to expand beyond rote repetition. I want them to see techniques as fluid and adaptable. This approach enhances engagement and tactical growth.

Students practising Adaptive Judo Thinking quickly recognise openings during randori and competition. They learn to adapt, improvise, and innovate, often producing sequences that excite instructors and spectators alike.





JUDO TECHNIQUES: Base of Support / Center of Gravity Explained For Every Throw

JUDO TECHNIQUES: Base of Support / Center of Gravity Explained For Every Throw

This video is applicable to ever throw, not just all Hip - wast (Goshi) throws including, Koshi Guruma (Koshi being just another version of Goshi) and Uchi-Mata (Yes Uchi Mata is a hip throw you just see where it is placed in Nage No Kata) but also all the so-called shoulder throws such as Ippon Seoi-Nage (single back throw), the throw that the video uses to demonstrate and all the Seoi-Nage throws.

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Whilst every one of the above throws and more will benefit significantly from the understanding of balance in this video it is with Tsuri Komi Goshi that this video is most applicable. Because Tsuri Komi Goshi is the throw that is done most often incorrectly as it is the throw were Tori's hip is most often placed incorrectly. Tori should place their hip at about the 0.4m mark to be the most effective (Fig.1).

Picture of a pole with the centre marked as well as the 0.2m 0.4m maked on it JUDO TECHNIQUES: Base of support / Center of gravity explained for every throw.
The Base of Support (Fig.1)

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This is not the only thing that makes it effective (see Tsuri Komi Goshi & Seo Nage: How To Do Them Well) but it is critical to that effectiveness.

One Final Note

Don't get Base of Support and Center of Gravity confused with Kusushi. Kusushi may include Base of Support and Center of Gravity as the means of breaking the balance but it is more to Kusushi than just the position of where the balance is broken. The movement and placement of your hands and legs may all be involved in breaking balance.









Stretching in Judo - Benefits and Myths

Understanding Stretching in Judo: Benefits and Myths

Stretching is a key part of judo training, yet opinions differ on its true value. Many judokas question whether stretching enhances performance or prevents injuries during throws and groundwork. Let’s examine the real benefits and common myths around stretching for judo.

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Why Stretching Matters in Judo

Flexibility is crucial for judo techniques such as Seoi-nage, O-soto-gari, and Sankaku variations. Stretching improves joint mobility and muscle length, making it easier to execute high-quality throws. Practitioners often notice smoother transitions during randori and faster recovery between sessions.

Ignoring stretching can limit a judoka’s efficiency, especially in techniques requiring deep squats, wide stances, or extended reach. Research shows that regular stretching enhances hip, shoulder, and spine mobility—key for throws like Harai-goshi or Uchi-mata.

Types of Stretching for Judo Practitioners

Different stretching methods serve specific purposes in judo. Static stretches, held for 20–30 seconds, increase overall muscle length after training. Dynamic stretches, like leg swings or arm circles, prepare the body for explosive throws and movement patterns.

PNF stretching is particularly effective for judo, improving flexibility in the hips, hamstrings, and shoulders. This helps when performing high-amplitude techniques such as Kata-guruma or ground transitions like Kesa-gatame escapes. Studies indicate PNF yields greater flexibility gains than static stretching alone, which is critical for judokas with intense training schedules.

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Misunderstandings in Research

Many studies questioning stretching focus on short-term static stretches before activity. These findings do not reflect long-term flexibility routines essential in judo. For further insight, see this analysis debunking stretching myths.

Judokas benefit most from consistent stretching over weeks or months, which enhances joint mobility, reduces stiffness, and improves technique execution. For example, increased hip flexibility aids in sweeping throws, while shoulder mobility improves grip breaks and pin control.

Stretching and Injury Prevention in Judo

Acute injuries on the mat—like ankle twists during O-soto-gari or elbow strains from arm locks—cannot always be prevented by stretching alone.

However, chronic injuries from overuse, such as rotator cuff strains or knee stress, respond well to regular flexibility work. Consistent stretching strengthens joints and muscles, protecting against repeated strain during repetitive techniques like Uchi-mata drills or Ne-waza transitions.

Long-Term Benefits for Performance

Judokas often underestimate the long-term performance gains of flexibility training. Improved mobility allows deeper stances for throws like Tai-otoshi, smoother groundwork for Shime-waza, and better balance during counters like Tani-otoshi.

Many practitioners report less soreness, faster recovery, and more fluid execution of techniques after integrating stretching into their routine. This evidence dispels the myth that stretching is optional, showing it enhances both skill and athletic longevity.

Integrating Stretching with Judo Training

Stretching is most effective when combined with strength, conditioning, and technical practice. Core and leg strength complement flexibility for throws like Osoto-guruma, while shoulder mobility aids in controlling grips and executing Seoi-nage variations.

Judokas who apply an informed stretching regimen gain better movement efficiency, reduced injury risk, and enhanced performance. Combining static, dynamic, and PNF techniques ensures that each session improves both flexibility and technique execution.

By understanding stretching’s role in judo, athletes can optimise their training, achieve greater technical precision, and maintain a longer competitive career. A consistent flexibility routine is not optional—it is a strategic component of successful judo practice.

For more detailed information on stretching techniques and their application in martial arts, consider exploring the following resources:





Morote-gari Used To Be A Fantastic Competition Throw

Morote-gari Used To Be A Fantastic Competition Throw

Perhaps I'm just being nostalgic after all life moves on but Morote-gari used to be a fantastic competition throw. Now that it is not able to be used in competition, however, I can't shake the feeling that the effectiveness of Morote-gari as a Judo throw was the real reason that you can't grab the legs now in competition.

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I remember, before that advent of Facebook, being on an email list where there were a number of competitors that used to complain about how stupid this throw was. I was never able to follow their reasoning except, as far as I could tell, they had no defence against it so they thought it should be banned.

Of course, I'll never know for sure but I do know that some of those people eventually got onto the International Judo federation board and it is suspicious that a few years later the no leg grab rule came about. The official reason was given, at least the only one that is defendable was that we were under threat of being removed from the Olympics because we looked too much like Greek-o-Roman wrestling so they removed the leg grabs. I'll leave it up to you to decide but I have never managed to get anyone to officially confirm this.

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As for the lack of defence, if you are going to walk into (pun intended) someone grabbing your legs you deserve to be thrown.

I only managed to throw a few people with this throw when I was doing competitions. Only because I didn't know it was an option until I had almost stopped fighting. Up until then, all I had learned were the 40 throws of the original Gokyo and this is not one of them. It is from the extended version of 66. But it was very effective once I did.

I did, however, discovered the hard way that you don't make it obvious what you are going for the legs because the natural reaction of an opponent is to jerk their legs up in order to pull them away. Why is that the hard way? Well if ever you have had your nose take the brunt of the knee jerk you will know what I mean.

No Knee Jurk Defence

Despite its effectiveness, it is not the knee jerk that is the best defence against Morote-gari and it could end you up with a penalty as well as a bloody nose or worse. The most effective defence is O-uchi-gari or Ko-uchi-gari or even if you catch it early enough Uchi-mata or Tai-o-toshi.

You could use Sumi-gaeshi or even Tomo-nage but it is very difficult to convince the referee that you were the one initiating the throw, so you could lose anyway.

You should be able to tell that I am not convinced that there is no defence against Morote-gari so I was never persuaded by those who wanted it banned from competition. But it is a great throw to practice, although I do tend to use a crash mat these days as it is a had fall.

Phenomenal Self Defence

It is also a phenomenal self-defence throw so it is worth practising if self-defence is a consideration for you. But like I said, it is a hard fall so try to make sure you don't kill you attacker by mistake because they don't know how to fall.









Judo Injury Prevention Guide - Strength Training Exercises

The Foundation of Judo Injury Prevention

Success in grappling requires more than technical skill and explosive power. Practitioners must prioritise Judo Injury Prevention to ensure longevity on the mats. Consistent preparation builds a body that resists high-torque demands during throwing. By focusing on joint stability, students of all ages can practice safely for years. A well-designed warm-up serves as the first line of defence against common strains. Consequently, integrating specific movements preserves your physical health for a lifetime.

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Understanding body mechanics is essential for every serious martial artist. Specifically, Judo Injury Prevention relies on stabilising the spine under heavy pressure. Grapplers often experience significant force on the lower back during defence. Strengthening the deep abdominal muscles creates a natural support system for the lumbar region. Therefore, targeted exercises are necessary for performance and safety. These drills ensure that the body remains resilient during intense matches.

Core Stability and Spinal Protection

Spinal health is the cornerstone of a long career in martial arts. Effective Injury Prevention begins with protecting the neck and back during dynamic movements. Maintaining a rigid torso allows for better force transfer while minimising risk. Active engagement of the core ensures the body remains a unified unit. This stability is vital when an opponent attempts to break your posture.

Dead Bug: The Dead Bug is an essential movement for maintaining a flat back under stress. Lie on your back and raise your limbs toward the ceiling. Slowly lower your opposite arm and leg while keeping your spine glued to the mat. This exercise teaches you to move limbs independently without sacrificing stability. It directly mimics the control needed when fighting off your back in Newaza.

The image illustrates an older female judoka performing the Dead Bug on a tatami mat to build the core stability and spinal control necessary for Judo Injury Prevention.
Dead Bug

Moreover, shoulder stability is critical for effective grip fighting and safe falling. Practitioners frequently pull and push with extreme intensity during Judo techniques. Implementing stabilisation drills helps balance the forces acting on the rotator cuff. A stable shoulder is less likely to sustain damage during a sudden post. Thus, Prevention must address the upper body with equal focus.

Scapular "Y-W-T"

To further enhance Prevention, the Scapular "Y-W-T" sequence targets the neglected muscles of the mid-back and rear shoulders. Lie face down on the mat and lift your chest slightly while moving your arms into the shapes of the letters Y, W, and T. Squeezing your shoulder blades at each point counteracts the "forward-rounded" posture caused by constant gripping and pulling. This drill reinforces the postural integrity needed to maintain a strong frame during a match. Consequently, it builds a resilient upper back that can withstand heavy loading without collapsing.

The image displays a three-part progression of the Scapular "Y-W-T" sequence on a dojo floor, highlighting the postural alignment and mid-back engagement required for effective Judo Injury Prevention.
Scapular "Y-W-T"

Shoulder Taps: Assume a high plank position with your hands placed directly under your shoulders. Tap your opposite shoulder with one hand while keeping your hips perfectly level. Resisting the urge to rotate builds the anti-rotational strength required for upright grappling. This drill protects the spine by forcing the core to stabilise against asymmetrical forces.

A female judoka demonstrates high plank shoulder taps on a tatami mat, showcasing the anti-rotational core strength vital for Judo Injury Prevention during upright grappling.
Shoulder Taps


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Lower Body Resilience and Balance

Strong legs and stable hips drive every successful throw in the dojo. Comprehensive Judo Anti-Injury protocols must include movements that target the posterior chain. These drills prepare the knees and ankles for sudden weight shifts. Developing unilateral stability ensures that your joints remain protected during entries. Balanced legs allow for more explosive power without compromising joint integrity.

Aeroplanes: Stand on one leg and hinge forward at the hips like an aeroplane. Slowly rotate your torso while maintaining a level pelvis and a stable foot. This movement strengthens the small stabilising muscles around the hip and ankle. It is particularly effective for preventing ligament injuries during entries like Uchi-mata. Balancing on one leg is a fundamental requirement for most scoring throws.

This image showcases an athlete performing a dynamic single-leg balance and hinge movement, a variation of the **Airplanes** exercise that builds the unilateral stability and hip resilience necessary for Judo Injury Prevention.
Aeroplanes

In addition, the hamstrings and glutes provide the explosive drive for forward techniques. Strengthening these muscles prevents common strains during deep lunges or powerful lifting. Active glute engagement also alleviates pressure on the lower back. This proactive approach to Injury Prevention allows for higher training volumes. Strong glutes are the engine of effective grappling performance.

Glute Bridges: Lie on your back with your feet flat and your knees bent. Drive your hips toward the ceiling while squeezing your glutes at the top. This exercise builds the posterior strength necessary for escaping pins. It reinforces the hip drive that is essential for scoring in competitive matches. Bridging is a critical survival skill for any ground-fighting situation.

The image features a judoka executing a powerful single-leg glute bridge on a tatami mat, a movement designed to strengthen the posterior chain and improve hip drive for Judo Injury Prevention.
Glute Bridges

Integrating Technique with Safety Standards

While supplemental training builds the foundation, technical repetition remains the core of Judo Injury Prevention. Proper mechanics ensure that forces are distributed safely through the body rather than concentrating on joints. Mastering movement patterns reduces the likelihood of awkward falls. Consistent technical work refines the body's natural reflexes. Safety and efficiency are two sides of the same coin in martial arts.

Uchi Komi: Uchi Komi involves repeated entries into a throw without completing the execution. This drill refines your timing, balance, and unbalancing techniques. Performing these repetitions with a focus on posture prevents mechanical errors. It serves as the ultimate bridge between static strength and dynamic performance. Consequently, Injury Prevention is woven into the fabric of technical mastery.

Ultimately, a disciplined approach to physical preparation significantly lowers the risk of injury. Combining specific stability drills with technical repetitions creates a resilient athlete. These five movements offer a practical path toward sustainable practice. Prioritise your physical health today to enjoy the benefits of Martial Arts Judo. Consistent effort ensures you stay on the mat for many years to come.





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