Ju no Kata teaches the theory of the skillful application of flexibility in
order to defeat strength and it was developed to study how to lift up a body
and understand the ways of different fighting methods. Ju no Kata was developed
at the Kodokan in 1887.
Ikkyo
Tsuki-Dashi (Hand Thrusting)
Kata-Oshi (Shoulder Push)
Ryote-Dori (Seizure of Both Hands)
Kata-Mawashi (Shoulder Turn)
Ago-Oshi (Jaw Thrusting)
Nikyo
Kiri-Oroshi (Head Cut with hand Sword)
Ryokata-Oshi (Pressing Down on Both Shoulders)
Naname-Uchi (Nasion Strike)
Katate-Dori (Single Hand Seizure from the Side)
Katate-Age (Single Hand Raising)
Sankyo
Obi-Tori (Belt Seizure)
Mune-Oshi (Chest Push)
Tsuki-Age (Uppercut)
Uchi-Oroshi (Direct Head Strike)
Ryogan-Tsuki (Both Eyes Poke)
Introduction
Ju no Kata can be practised by two people without any special clothing or
equipment. It resembles the willow that the doctor Akiyama Shinobu noticed
whilst meditating. Whilst other trees were losing branches to heavy snow,
the willow just let the snow fall off and its branches sprang up again
without damage. Like the willow we use some strength in ju no kata as we
must both keep a strong root to maintain good balance.
There are several aims of Ju no Kata. Physical culture: It makes the spine
flexible, loosens the shoulders and strengthens and conditions the legs and
trunk. Physical education: Student learns to use right amount of force in right
direction and use body as a unit, with muscles working in coordination. Also
improves balance and kinesthetic awareness. Psychological interest: Force applied against the body, and methods of
evading it, excite the instinct of self-preservation. This could be why judo
is so popular. Inner calm: The movements are practised slowly at first so students don't
become panicky due to the sudden unexpected attacks. In time the movements
can be sped up to a realistic level.
Ju no Kata is practised slowly at first in order to master the delicate
manipulations of balance and force. Gradually speed and force are increased.
If speed is introduced to soon, precision may never be achieved. Hoever,
the kata must not become 'dead'. The student must make the movements flow
smoothly and rhythmically and must be fully aware of what is going on around
him. He must not just be performing an unthinking series of meaningless
movements drilled into his mind.
Ju no Kata is designed so that it can be practised without the advantage
of randori experience (normally randori is a great help to kata and the two
should be practised concordantly).
The circle is used often in Ju no Kata. Some movements use big circular
movements that are artificial and would never be used in real life. A
purpose of them is to train Nai-Ki (inner energy). Breathing must be correct
when making these circular movements, or they are a waste of time. Breathe
deeply from the stomach and feel the energy flow through your body. If
done correctly, Ju no Kata can promote exceptional energy and coordination,
even in old age.
Description of Techniques
BOW Tori and uke face each other about 8 feet apart, facing joseki (on
Tori's left). They make a formal bow by sliding the extended fingers
round
the thighs until they touch the kneecaps. The eyes look down. They then
face each other and bow again. Then they step forward (right foot, left foot)
to face each other with feet under the shoulders.
FIRST SECTION Tsuki-Dashi (forward thrusting with hand): Uke
and tori are 6 feet apart standing in good posture. Uke advances in right
tsugi-ashi. He raises his right arm, straight with fingers extended,
palm facing inwards. The thrust is at the point between the eyes. Tori
steps to the side with his right foot and catches the outstretched wrist
with his right hand, thumb down. He pulls uke forward and up till he
comes in front.
He grabs uke's left wrist with his own left hand, thumb up. Tori stretches
uke's body up and back; he doesn't bend his own knees. Uke frees his
wrists
by turning to the left and himself catches the wrists as they both turn.
Uke
turns tori and brings him in front of him. Tori and uke are in the same
postion as when Tori had uke's wrists and Tori was behind (this time,
however, uke is behind). Note that uke has both thumbs uppermost. Tori
executes a similar escape, but turns to the right instead of the left and
fully extends the fingers of his left hand. He goes to the position that
both
students have now been in, but has both thumbs uppermost. Tori releases
uke's left wrist and pulls his right arm straight up. Tori steps back
a pace (left foot, right foot) and holds uke helpless, bent back with
body extended
and prevented from twisting out by the pull on his arm and Tori's left
hand
on his left shoulder. Uke gives the signal by tapping his body
twice with his left hand, then returns uke to the upright posture. Tori
turns to
the
right and stands still; uke moves to tori's left back corner, ready for
the next move.
Kata-Oshi (Shoulder push) Uke places his right hand
on Tori's back between the shoulder blades, tips
of fingers just beneath the neck, and pushes. Tori yields, keeping his
legs straight. His hands slide down his legs and round them until his is
resting his palms on the back of his calves (this bit is great for flexibilty
in the
hamstrings and spine). Uke has moved to the side of Tori, level with
his head. If Tori were straight uke would be in front of him. Uke is bent over
considerably, but not as much as tori. Tori catches Uke's right hand with
his own right hand, Tori's thumb is in the centre of uke's palm. Uke
is
preparing to thrust at the point between the eyes with his extended left
fingers. Uke tries to avoid the lock on his right arm by the thrust and
by twisting. As he does this both students straighten up, not not fully.
Uke twists in towards Tori. Tori catches uke thrusting his left hand similarly.
Tori steps a pace back (right, left) and draws uke's hands diagonally
upwards
to get maximum stretch on uke's body. Uke gives the signal by
stamping
lightly on the mat. Tori returns him to the upright postion, stepping
forward a pace to do so. Tori stands still, and uke stands about 2 feet
away, facing him for the next move.
Ryote-Dori (Double wrist grab) Uke grips both Tori's wrists.
Tori bends slightly forward. Tori releases right wrist by twisting it in and
up.
Note
extended fingers and slight twist of body. Tori brings right arm over and
releases left wrist by drawing it back. Tori's fingers are extended,
preparing to grab uke's right wrist. Tori has caught and drawn out uke's
left wrist and is preparing to lift uke in a makikomi action. Tori should
ideally not grip the judogi here or any time during junokata! He just
puts his arm round uke's arm. Uke has his left hand on Tori's left hip to
help
him maintain good balance. Tori lifts by bending his back til he is at
a 90 degree angle, legs slightly bent. Uke arches his back at the end and
straightens his ankles. His feet should be facing up at about a 40-45
degree angle. Good lower back exercise. Tori does not throw (and never does
in
junokata). Uke gives the tapping signal with the left hand and Tori lowers
him gently to his feet again. Tori stands still. Uke moves back a little.
Kata-mawashi (Shoulder turning) Uke comes and stands
about1 foot behind tori. He places his right hand on
the top back of Tori's right shoulder, his left hand on the top front
of the other shoulder and turns Tori round. Tori gives way by pivoting on
his
left
foot. When they face each other, Tori's left hand slides down the inner
sleeve to grasp finally at the elbow. Tori comes through and grasps Uke's
shoulder as high as possilbe, pulling him forward. He has his knees bent
a bit. Tori's left foot finishes level with his right. He holds uke tightly
to
him and lifts him in seoinage. Uke points his feet and arches his back
so he
is in the same position as he was in makikomi. He gives the signal
with
his left hand and is lowered.
Ago-oshi (Chin push) Tori faces Joseki in shizenhontai
and uke stands just under 6 feet away. Uke
advances in right Tsugiashi and rasies the right arm as he advances, like in
Tsuki-dashi. Uke's aim is to push Tori's jaw with his fingers. When
the hand
is about to touch, Tori catches it with his right hand (thumb on palm and
pressing away and forward). Tori takes his right foot through in a very
big arc, turning so that he twists Uke's right arm. Uke tries to relieve
the pressure by turning to his right, supplementing this with a thrust of
his left fingers towards Tori's eyes. Tori catches the left arm in a similar
fashion as it comes through and makes uke twist much further then he
intended. Uke pulls his arms in as they become fully extended in order
to avoid a kata-oshi finish. Tori pushes uke's hands to the top of his
shoulders, but secures the same postion as in kata-oshi otherwise as
regards spine and balance. Uke gives the signal with a foot and Tori returns him to the
upright postion. Tori return to the positions in which they began the
kata.
SECOND SECTION Kiri-Oroshi (Downward cut)
Uke advances to face Tori about 3 ft apart. Uke pivots on his left foot and
faces away from Joseki and stands in Shizenhontai. Uke swings his right arm
to the side and straight up. Uke pivots on the left foot to turn to the left
and then, advancing the right foot, strikes down at the head as if with a
sword blade. Tori steps back (left, right) and the blow passes in front of
him; he catches the hand as it passes with his right hand (overhand grip on
the wrist). Tori takes a big step with the right foot and presses uke's arm
back and down. Tori should have bent knees and a wide stance. Tori draws up
his left foot and again advances with the right; uke steps back with his
right foot, his arm fully extended. By keeping his balance Uke nullifes the
effect of Tori's push, and Tori's own position becomes weak as he comes right
in front of Uke. Uke frees his right wrist from Tori's weakened hold by
turning his right thumb down and pushing Tori's elbow with the power of his
body. His push begins to turn Tori. Tori continues to turn, moving his right
foot in a big curve. Tori finishes his turn, note that the left foot was a
pivot! Tori straightens up and catches Uke's left wrist with his own left
hand (thumb down). Tori moves right behind Uke (left foot, right) pulling
Uke's arm to unbalance him to his left rear. Tori steps well back with the
left foot and pulls Uke's arm up and out; his right hand goes up towards
Uke's left shoulder. Tori holds Uke off balance directly to the rear. Uke
gives the signal with the right hand and Tori puts him back on
balance. Tori stands with Joseki on his left.
Ryo-kata-oshi (Double Shoulder Push)
Uke moves to Shizenhontai about 2 ft behind Tori. Uke raises his hands,
pointing the fingers and keeping the backs of the hands close to his chest
until the arms are fully stretched. He brings his hands on to Tori's
shoulders and presses down. Tori gives way by crouching down, keeping his
back straight until he is crouching as low as he can go. His heels are off
the floor. Tori turns in a series of small steps, beginnnig with the left
foot. When he is facing Uke he holds Uke's right wrist with his left hand
and turns in the same direction, pulling uke forward. As he does he adds his
left hand, slightly furthur up Uke's arm than his right hand. Rising a
little, Tori goes forward with small steps, pulling Uke after him. To
forestall any forward throw, Uke pushes at Tori's hips and pulls back. After
pulling Uke 3 or 4 steps altogether Tori stops. Utilizing Uke's resistance,
he
turns to throw off Uke's left hand and makes a big step with his left foot
and then the right foot, bringing him to Uke's right rear in Jigotai, knees
bent. He has increased the pull on Uke's arm, and with his straight left arm
he unbalances Uke to the rear. Tori must show great firmness in the final
pose. Uke gives the signal with the left hand and Tori puts him back
on balance.
Naname-uchi (Slanting cut)
Uke comes to face Tori about 3 feet away. Uke raises his right hand, fingers
extended, over his left shoulder. He brings the outside edge of the hand
towards the point between Tori's eyebrows. Tori leans back to let the blow
pass. With his left hand (fingers extended) he sweeps Uke's right hand out,
controlling Uke's balance. Tori extends his right hand fingers (seperating
middle and ring fingers a little) and thrusts at uke's eys. Uke withdraws
his left foot and deflects Tori's hand with his left hand, and then graps
the wrist. Tori steps forward with the left foot to recover his balance and
releases Uke's right wrist. With his left hand (thumb below) he grips Uke's
left wrist and pushes, so that he frees his right wrist and brgins to take
Uke off balance. Uke saves himself by applying his right palm (fingers down)
to Tori's left elbow. Uke begins to push Tori round in a curve. Uke has
freed his left wrist by his push and is turning Tori, who begins to sink as
he turns on his left foot. Tori passes right under Uke's right arm and takes
his right foot behind Uke, coming against him so that the bodies form a T.
Tori's right arm encircles Uke's hips and presses him against Tori's right
hip. Tori's left hand comes on the left side of uke's abdomen. Tori raises
Uke by straightening his knees (though not fully) and pushing his hips
forward. So he is leaning back. His upper legs are parallel with his back to
avoid spinal strain. Uke is stretched, like a plack of wood. He is helpless
agaisnst the uranage and stretches his arms up and claps twice.
Tori sets him down.
Katate-dori (overhand grip)
Tori stands facing Joseki; Uke comes beside and slightly behind him. Uke
grips Tori's wrist. Tori takes his arm forward and up, stretching the
fingers. Uke holds on. Tori has freed himself by bending his elbow, applying
a lever action against Uke's arm. Uke brings up his right hand and pushes
Tori's arm still farther, stepping forward to help his push. Tori gives way
and moves to the left, shifting his left foot, but twists the upper part of
his body more than the lower, so creating an opportunity to slide in his
left arm round Uke's waist along the belt line. His right arm clasps Uke's
left elbow to him. Tori withdraws his right foot a trifle and lifts Uke with
Uki-goshi. Uke holds his body in a horizontal straight line. Tori may take
him up till the feet are higher than the head if Tori's physical condition
allows. Uke gives the signal with his right hand and Tori puts him back on his feet.
Katate-age (Arm raising)
Uke comes to face Tori and stands about 6 feet away. Uke and Tori
simultaneously raise their right arms out to the side and then up, coming on
to tiptoe. In little steps, slow at first then quickening, they come
together; after 3 or 4 steps they meet at the right shoulder. Tori avoids a
collison by quickly taking his right foot back and turning away. Uke,
carried by his impetus, makes a big step with the right foot, coming in
front of Tori. Tori holds Uke to him with his left hand on top of the arm
and pushes Uke down to his right. Uke reacts back. Tori has suddenly
released his pressure and changed to a push in the opposite direction. Tori
is now pushing in the same direction in which Uke is trying to move, so they
are both in 'Harmony'. Uke braces himself against this new attack by Tori;
Tori again lets go so as to permit Uke to come upright.Tori's left hand is
now on Uke's left deltoid, his right hand on Uke's right elbow. As Uke comes
up Tori shifts his right hand to Uke's right wirst and pulls him out and up.
Tori moves his left hand to the shoulder point and steps back (left, right)
pulling Uke up and back until Uke is fully stretched out and completely off
balance. Uke gives the signal with his left hand and Tori returns him to the
upright position. They return to the positons in which they began the kata.
THIRD SECTION Obi-tori (belt grab)
Uke comes to face Tori about 3 feet away. Uke raises his hands out and over
and comes forward in a big movement to grasp Tori's belt (wrists crossed,
left on top). A small step forward (left, right) is allowed, but not
imperative. Tori takes his hips slightly back and pulls aside Uke's left arm
by applying his right palm to the wrist. Then Tori applies his left hand
with the inside edge against Uke's arm and the thumb seperated. Tori turns
Uke to Uke's right. Tori may pivot on the left foot to help the movement. To
keep balance Uke follows with his left foot in a big curve; Tori changes his
right hand to the shoulder and keeps Uke turning. As Uke comes right round
he pulls at Tori's elbow and then moves his right foot back to complete the
turn (no break is to be made in the turn). Tori gives way to the pull and
makes a half turn by bringing his right foot through. Uke pulls at his left
shoulder to unbalance him. Tori twists his upper body so Uke's pull fails to
unbalance him. He slides his left arm in for a left ukigoshi. Tori
holds Uke tightly against him and raise him in Ukigoshi. Uke's body should
be straight and feet should be level with or higher than the head. Uke gives
the signal with right hand. Tori sets him down.
Mune-oshi (chest push) Uke comes to face Tori and stand close to him. Uke
raises his right hand, fingers straight, to shoulder level, takes his
shoulder a bit back, and then pushes firmly at Tori's left chest. Tori gives
very slightly and deflects Uke's hand up by grasping the wrist. He pushes
Uke in the same way Uke pushed at him (right hand). Uke moves to deflect the
hand. Uke carries Tori's right hand up and gets his own right hand down to
grip Tori's wrist. Tori grabs Uke's left wrist and lifts it firmly on high;
he then takes his right foot back (and the left slightly forward if
necessary) and moves his left arm down and through, carrying Uke's arms with
it. Tori passes through with small steps, carrying Uke round with him.
Extended fingers, obviously. Tori swings his left arm up and his right arm
down, continuing to turn and taking Uke with him. Shoulders brush all the
time. A 2nd half turn nearly complete, Tori frees his left wrist and grasps
Uke's wrist. Tori pulls Uke's right arm straight out to the side and carries
his left arm diagonally upward to the side. Releasing his right hand grip he
slides the hand down Uke's arm. Uke begins to be bend over his right back
corner. Tori takes a big step with his right foot, ending up with his hips
behind Uke's. He bends his knees a trifle if necessary. Uke is bent over
backwards and gives the signal with one foot. Tori puts him back on balance.
Tsuki-age (uppercut)
Uke comes to face Tori about 3 feet away. Uke takes his right foot back in a
big step and swings his arm out, extending the fingers until the hand is
level with the head. Uke brings his right hand down as a fist, steps forward
with the right foot and directs the fist at Tori's jaw. Tori leans back a
little and as the fist goes past he pushes it on the way with his right
hand. Tori then brings up his left hand and pushes Uke's right elbow so Uke
begins to turn. Tori makes a big step to his left front, Uke turns on his
left foot taking his right foot through in a curve. Tori gives Uke no chance
to recover balance, but pulls his arm at the elbow and as Uke braces back
Tori threads his right arm through and steps right behind Uke, taking the
hips through and lowering his body into Jigotai. Uke's arm is caught in
Ude-garami. Uke gives the signal with free hand. Tori releases him and sets him
on balance.
Uchi-oroshi (Downward blow)
Uke takes his right hand diagonally across the body to the shoulder, slowly
opening the fingers. When the hand comes above the head the fingers are
fully extended. The palm turns out as the hand swings away to the side. The
arm comes down and the fingers begin to contract. The hand is brought up the
front of the body, becoming a fist. Without a break in the smooth movement,
Uke stretches his fist up and steps forward to bring the back of the
knuckels on Tori's head. Tori leans back so that Uke's fist misses and
travels down; Tori establiishes 'harmony' by pushing Uke's arm further in
the direction it is going and takes a big forward step, pushing forward
and down on Uke's wrist, making Uke withdraw his right foot to keep balance.
When Tori's forward push is spent, Uke uses his left palm to turn Tori round
by pushing his elbow, thus freeing his own right wrist. Tori recovers and
allows himself to be turned (his arm is raised), pivoting on his left foot.
Uke brings his right foot forward again. Tori slides his right foot in a
very big curve, using Uke's own left arm as a connecting rod to unbalance
him. Tori goes well down in Jigotai. Tori takes Uke's left wrist and keeping
Uke tilted of balance, moves behind him (left foot, right foot) Tori gets
right behind and establishes a form of hadakajime, his feet wide, knees
bent and body turned rather to the left. He must keep Uke's body and arm
extended, allowing a potential lock on the elbow. Uke gives the signal by tapping.
Ryogan-tsuki (Thrust towards eyes)
Uke faces Tori 3 feet away. Uke raises his right hand up his right side (palm
down, fingers extnded with middle and ring fingers seperate a little). He
takes his shoulder back a little. Uke steps forward and thusts towards
Tori's eyes. Tori avoids by stepping back with the left foot and turning out
of the way. He grips Uke's wrist and carries the hand on, pulling Uke
forward. Uke comes forward with the left foot and in his turn grips and
pushes Tori's wrist, twisting his own right wrist free. Tori pushes with his
right palm at Uke's elbow as it straightens out. Uke cannot maintain his
hold and is turned to the right, pivoting on the right foot. As Uke comes
round, Tori thrusts towards his eyes, advancing the left foot slightly. Uke
steps well back with the right foot, turns to the right and grasps the
attacking wrist just as Tori did earlier. Tori recovers balance by advancing
his right foot; he grips Uke's wrist to free his own left wrist. Uke pushes
at the elbow and Tori begins to turn away, drawing in his left foot a little
at the beginning but thereafter twisting mainly the shoulders without moving
the feet more. As Uke turns Tori, he draws up his own right foot. Tori leans
a little back and slipping under the arm moves into Ukigoshi; his foot
movement should be minimal. Tori lifts Uke in Ukigoshi, Uke straightning
out. Uke's feet should be level with or higher then his own head. Uke gives
the signal and Tori returns him to his feet.
Conclusion of Ju no Kata
Tori and Uke face each other 6 feet apart. They withdraw one step (left,
right) bringing the feet close together and make standing rei. They then
turn to Joseki and rei simultaneously.
Motto of Keiko Fukuda,
kudan, US Kata Technical Advisor and the highest ranking woman judoka in the
world.
She celebrated her 90th birthday
in
2003 as a 9th dan. "Be strong, be gentle, be beautiful."
Keiko Fukuda's grandfather, Hachinosuke Fukuda, taught
Tenshin Shinyo Ryu Jujitsu to to a young Jigoro Kano. She was personally
invited by Jigoro Kano to begin
training at the Kodokan, and she enrolled at age 21. She was one of the first
women to earn a black belt in Judo, and two years later she achieved 3rd dan
and became an instructor in the women's section
of the Kodokan. Ms. Fukuda is the author of Born for the Mat, and Ju No Kata: A Kodokan Judo Textbook.
Keiko Fukuda, then a 5th dan, demonstrating Ippon Seoinage with Helen
Carollo in a 1954 demonstration in Fresno, California. She came to the US after teaching at the Kodokan for 14 years to help promote Judo to American women.
Return to the