Nage-no-Kata | Judo Kodokan (em português) — Transcript

O Nage no Kata é formado por 15 técnicas de projeções representativas.

Três técnicas de cada uma das cinco categorias.

Te Waza, Koshi Waza, Ashi Waza, Ma Sutemi Waza e Yoko Sutemi Waza.

Este Kata foi criado para ajudar a compreender e dominar as bases teóricas de qualquer técnica, desde o Kuzushi, desequilíbrio, Tsukuri, encaixe, e o Kake, arremesso. Com a prática do Kata, se aprendem os fundamentos de Nage Waza.

This is a historical Nage-no-Kata demonstration by T. Daigo, then 7th Dan, and S. Matsushita, then 5th Dan, at the 1964 Tokyo Olympics.

The Tori is Toshiro Daigo, today 10th Dan, and the Uke is Saburo Matsushita, today 9th Dan.

Precision, exactness, strength and energy are the qualities demonstrated in this excellent Nage-no-Kata presentation.

First, let's watch the entire Nage-no-Kata.

Tori stands to the left and Uke to the right, both facing the Shomen.

They begin with a standing bow, Ritsurei, to the Shomen, then they turn to face each other and perform the kneeling bow, Zarei.

They stand up and advance one step forward with the left foot.

They assume Shizen Hontai and move to their starting positions to begin the Te-waza.

The first of the three techniques is Uki-otoshi.

Tori takes two wide steps back and unbalances Uke forward, pulling firmly down with both hands on the third step.

Each Nage-no-Kata technique is executed twice, once on the right, once on the left.

Seoi-nage.

Uke tries to hit the top of Tori's head, or Tendo, with his fist.

Tori defends the attack, controlling Uke's arm to throw him forward, using his shoulder as a fulcrum.

The knees must be extended when performing the technique. Kata-guruma. Tori uses his hips to lift Uke onto his shoulders in a uniform movement and throws him diagonally.

Be careful to perform the technique in the middle of the dojo.

After finishing the three Te-waza techniques, Tori and Uke return to their starting positions, back to back, and quickly adjust their judogi.

Now let's move on to Koshi-waza, or hip techniques.

The first technique is Uki-goshi. Taking advantage of Uke's attempt to strike his Tendo, Tori pulls Uke's hips towards his own and turns to execute the throw.

Harai-goshi. Tori presses his hip firmly against Uke's abdomen and throws him by sweeping his leg upwards. Tsuri-komi-goshi. Tori grabs behind Uke's collar, lowers his hips and presses them firmly against the front of Uke's thighs to throw him.

After finishing the Koshi-waza, they move on to Ashi-waza, leg and foot techniques.

Okuri-ashi-harai.

When gripping, Tori takes the initiative and controls Uke while walking sideways. Sasae-tsuri-komi-ashi. Tori needs to turn his body outwards and pull hard to unbalance Uke.

Uchi-mata. Tori moves forward and on the third step, pulls Uke diagonally backward in a wide circular motion.

From Ashi-waza, now we go to Ma-sutemi-waza, front sacrifice techniques.

In Tomoe-nage, Tori takes three steps forward to unbalance Uke backward.

Ura-nage. Note that the transition from Tomoe-nage to Ura-nage is quite fast.

Sumi-gaeshi. Tori tries to unbalance Uke while maintaining his Jigotai, or defensive posture. And now, the last category of Nage-no-Kata, Yoko-sutemi-waza.

Yoko-guruma. Taking advantage of Uke's attempt to strike his Tendo, Tori unbalances Uke forward. And finally, Uki-waza. Tori lowers his hips to knee height and unbalances Uke diagonally forward to throw him.

After completing the series of 15 techniques, Tori and Uke return to their starting positions and adjust their judogi. They stand face to face in Shizen Hontai, or natural posture.

In unison, they take one step back, right foot first, kneel, and perform Zarei. They stand up, turn to the Shomen and perform Ritsurei, and then exit.

Main points of each technique.

Let's review the main points of the Kata, starting with etiquette.

To show respect for each other, Tori and Uke perform a standing bow, Ritsurei, bending from the waist, with fingertips sliding to the knees.

To perform the kneeling bow, kneel with the left leg first, fingers on the floor, then with the right leg and sit on your heels.

Let's see the standing bow again. When in seiza, the big toes should be overlapped.

When performing the kneeling bow, the forehead should be 30 centimeters from the hands.

Place your fingers on the floor and stand up right foot first.

Uki-otoshi.

Starting 60 centimeters apart, Tori and Uke move in Tsugi Ashi, or connected step.

Tori takes a second wide step back to unbalance Uke.

Immediately, he takes the third step and pulls Uke down forcefully. Note the position and angle of Tori's feet when completing the throw.

The main point of Uki-otoshi is to pull Uke down on the third step.

Seoi-nage.

Uke tries to hit the top of Tori's head, or Tendo, with his fist.

Tori deflects the attack, controls Uke's arm, and throws him forward, using his shoulder as a lever. Tento is the part of the head above the forehead.

After deflecting Uke's attack and controlling the upper part of his arm, unbalancing him forward, Tori lifts Uke onto his shoulder and presses his back firmly against Uke to execute the throw, using his shoulder as a lever.

When performing the technique, both knees must be extended.

In this bad example, Tori uses his arm and not his shoulder to control Uke's arm.

Here, incorrectly, Tori throws himself forward and turns to throw Uke, without having unbalanced him correctly.

Kata-guruma.

On the second step, Tori changes his grip to the inside of Uke's sleeve, takes a wide step back to unbalance him, brings his left foot close to his right, and lowers his hips to lift Uke and throw him diagonally forward. To lift Uke, Tori must lower his hips and press his neck against Uke's hips.

If Tori's neck position is too high, it will be difficult to lift Uke. Tori should not grab Uke's pants when lifting him.

He should simply press the palm of his hand against Uke's leg. When lifted, Uke must extend his legs, making his entire body aligned.

Uki-goshi. After taking two steps, Tori unbalances Uke diagonally forward and presses his hips firmly against his abdomen, sweeping with his leg upwards to execute the throw.

When deflecting Uke's attack, Tori simultaneously lowers his left shoulder and bends his waist to embrace Uke's waist from behind, sliding his left arm along Uke's belt.

Here Tori's hand is too high.

And here, Tori is lifting Uke on his hips, making the technique an O Goshi.

Tori pulls Uke's hips against his body and turns his hips to execute the throw.

Harai-goshi. The key to Harai-goshi is for Tori to remove his hand from Uke's collar and, from under his arm, place it behind his back to pull and unbalance Uke.

Tori pulls with his left hand and pushes with his right hand. And on his third step, he unbalances Uke, causing all his weight to rest on the outside of his right little toe.

Tori sweeps the outside of the ankle.

If Tori bends his body down, he will not be able to execute the technique.

Here, correctly, Tori lowers his hips and thus, the back of his hips are pressed against Uke's thighs to throw him.

Uchi-mata. The key to Uchi-mata is for Tori to turn the back of his hips to Uke and sweep and lift the inside of Uke's thigh with the back of his own thigh.

Uke must make it clear that he is bending forward to avoid being thrown with Ura-nage. Tori must make it clear that he is bending forward to avoid being thrown with Ura-nage.

The key to Yoko-guruma is for Tori to take advantage of Uke's attack to unbalance him directly forward. And then slide his right foot between Uke's legs, throwing his own body to the ground, turning to throw him over his left shoulder.

Uki-waza. The key to Uki-waza is for Tori to lower his hips to knee height and unbalance Uke diagonally forward to throw him. After completing the series of 15 techniques, Tori and Uke return to their starting positions and adjust their judogi.

They stand face to face in Shizen Hontai, or natural posture. In unison, they take one step back, right foot first, kneel, and perform Zarei. They stand up, turn to the Shomen and perform Ritsurei, and then exit.

Main points of each technique.

Let's review the main points of the Kata, starting with etiquette.

To show respect for each other, Tori and Uke perform a standing bow, Ritsurei, bending from the waist, with fingertips sliding to the knees. To perform the kneeling bow, kneel with the left leg first, fingers on the floor, then with the right leg and sit on your heels.

Let's see the standing bow again. When in seiza, the big toes should be overlapped.

When performing the kneeling bow, the forehead should be 30 centimeters from the hands. Place your fingers on the floor and stand up right foot first.

Uki-otoshi. Starting 60 centimeters apart, Tori and Uke move in Tsugi Ashi, or connected step.

Tori takes a second wide step back to unbalance Uke. Immediately, he takes the third step and pulls Uke down forcefully. Note the position and angle of Tori's feet when completing the throw. The main point of Uki-otoshi is to pull Uke down on the third step.

Seoi-nage. Uke tries to hit the top of Tori's head, or Tendo, with his fist. Tori deflects the attack, controls Uke's arm, and throws him forward, using his shoulder as a lever. Tento is the part of the head above the forehead.

After deflecting Uke's attack and controlling the upper part of his arm, unbalancing him forward, Tori lifts Uke onto his shoulder and presses his back firmly against Uke to execute the throw, using his shoulder as a lever. When performing the technique, both knees must be extended.

In this bad example, Tori uses his arm and not his shoulder to control Uke's arm. Here, incorrectly, Tori throws himself forward and turns to throw Uke, without having unbalanced him correctly.

In this correct example, Tori deflects Uke's attack, controls his arm to unbalance him, and then uses his own shoulder as a fulcrum to throw Uke. Kata-guruma. On the second step, Tori changes his grip to the inside of Uke's sleeve, takes a wide step back to unbalance him, brings his left foot close to his right, and lowers his hips to lift Uke and throw him diagonally forward.

To lift Uke, Tori must lower his hips and press his neck against Uke's hips. If Tori's neck position is too high, it will be difficult to lift Uke. Tori should not grab Uke's pants when lifting him.

He should simply press the palm of his hand against Uke's leg. When lifted, Uke must extend his legs, making his entire body aligned.

Uki-goshi. After taking two steps, Tori unbalances Uke diagonally forward and presses his hips firmly against his abdomen, sweeping with his leg upwards to execute the throw.

When deflecting Uke's attack, Tori simultaneously lowers his left shoulder and bends his waist to embrace Uke's waist from behind, sliding his left arm along Uke's belt.

Here Tori's hand is too high.

And here, Tori is lifting Uke on his hips, making the technique an O Goshi.

Tori pulls Uke's hips against his body and turns his hips to execute the throw.

Harai-goshi. The key to Harai-goshi is for Tori to remove his hand from Uke's collar and, from under his arm, place it behind his back to pull and unbalance Uke.

Tori pulls with his left hand and pushes with his right hand. And on his third step, he unbalances Uke, causing all his weight to rest on the outside of his right little toe.

Tori sweeps the outside of the ankle.

If Tori bends his body down, he will not be able to execute the technique.

Here, correctly, Tori lowers his hips and thus, the back of his hips are pressed against Uke's thighs to throw him.

Uchi-mata. The key to Uchi-mata is for Tori to turn the back of his hips to Uke and sweep and lift the inside of Uke's thigh with the back of his own thigh. Uke must make it clear that he is bending forward to avoid being thrown with Ura-nage.

Tori must make it clear that he is bending forward to avoid being thrown with Ura-nage. Yoko-guruma.

The key to Yoko-guruma is for Tori to take advantage of Uke's attack to unbalance him directly forward. And then slide his right foot between Uke's legs, throwing his own body to the ground, turning to throw him over his left shoulder. Uki-waza. The key to Uki-waza is for Tori to lower his hips to knee height and unbalance Uke diagonally forward to throw him.

After completing the series of 15 techniques, Tori and Uke return to their starting positions and adjust their judogi. They stand face to face in Shizen Hontai, or natural posture.

In unison, they take one step back, right foot first, kneel, and perform Zarei. They stand up, turn to the Shomen and perform Ritsurei, and then exit. Main points of each technique. Let's review the main points of the Kata, starting with etiquette.

To show respect for each other, Tori and Uke perform a standing bow, Ritsurei, bending from the waist, with fingertips sliding to the knees.

To perform the kneeling bow, kneel with the left leg first, fingers on the floor, then with the right leg and sit on your heels.

Let's see the standing bow again.

When in seiza, the big toes should be overlapped.

When performing the kneeling bow, the forehead should be 30 centimeters from the hands.

Place your fingers on the floor and stand up right foot first.

Uki-otoshi.

Starting 60 centimeters apart, Tori and Uke move in Tsugi Ashi, or connected step.

Tori takes a second wide step back to unbalance Uke. Immediately, he takes the third step and pulls Uke down forcefully.

Note the position and angle of Tori's feet when completing the throw.

The main point of Uki-otoshi is to pull Uke down on the third step.

Seoi-nage.

Uke tries to hit the top of Tori's head, or Tendo, with his fist. Tori deflects the attack, controls Uke's arm, and throws him forward, using his shoulder as a lever.

Tento is the part of the head above the forehead.

After deflecting Uke's attack and controlling the upper part of his arm, unbalancing him forward, Tori lifts Uke onto his shoulder and presses his back firmly against Uke to execute the throw, using his shoulder as a lever.

When performing the technique, both knees must be extended.

In this bad example, Tori uses his arm and not his shoulder to control Uke's arm.

Here, incorrectly, Tori throws himself forward and turns to throw Uke, without having unbalanced him correctly.

In this correct example, Tori deflects Uke's attack, controls his arm to unbalance him, and then uses his own shoulder as a fulcrum to throw Uke.

Kata-guruma.

On the second step, Tori changes his grip to the inside of Uke's sleeve, takes a wide step back to unbalance him, brings his left foot close to his right, and lowers his hips to lift Uke and throw him diagonally forward.

To lift Uke, Tori must lower his hips and press his neck against Uke's hips.

If Tori's neck position is too high, it will be difficult to lift Uke. Tori should not grab Uke's pants when lifting him.

He should simply press the palm of his hand against Uke's leg. When lifted, Uke must extend his legs, making his entire body aligned.

Uki-goshi.

After taking two steps, Tori unbalances Uke diagonally forward and presses his hips firmly against his abdomen, sweeping with his leg upwards to execute the throw.

When deflecting Uke's attack, Tori simultaneously lowers his left shoulder and bends his waist to embrace Uke's waist from behind, sliding his left arm along Uke's belt.

Here Tori's hand is too high.

And here, Tori is lifting Uke on his hips, making the technique an O Goshi.

Tori pulls Uke's hips against his body and turns his hips to execute the throw.

Harai-goshi. The key to Harai-goshi is for Tori to remove his hand from Uke's collar and, from under his arm, place it behind his back to pull and unbalance Uke.

Tori pulls with his left hand and pushes with his right hand. And on his third step, he unbalances Uke, causing all his weight to rest on the outside of his right little toe.

Tori sweeps the outside of the ankle.

If Tori bends his body down, he will not be able to execute the technique.

Here, correctly, Tori lowers his hips and thus, the back of his hips are pressed against Uke's thighs to throw him.

Uchi-mata.

The key to Uchi-mata is for Tori to turn the back of his hips to Uke and sweep and lift the inside of Uke's thigh with the back of his own thigh.

Uke must make it clear that he is bending forward to avoid being thrown with Ura-nage.