Itsutsu-no-Kata (五の形) – The Form of Five
The Itsutsu-no-Kata is often described as an “inner kata” — a profound, expressive sequence that symbolises an individual’s journey in search of truth, through harmonisation with the forces of nature. Developed by Jigoro Kano, it is considered one of the most abstract and philosophical kata within judo. It consists of five sequences, each representing a principle of natural power, expressed through fluid, flowing movement.
The Five Principles of Nature
Kano believed that these five fundamental forces underpin not only judo but all martial arts and the nature of conflict and harmony itself. His goal was to teach the universal principles of judo through minimal and essential movement, inspired by universal forces such as waves, whirlpools, or empty space.
The movements in Itsutsu-no-Kata are nameless — they are not named throws or holds, which is why the kata is also known as “the unfinished kata.” Its essence lies in the subtlety, rhythm, and energy of movement.
Ippon-me (一本目) – Direct, Concentrated Energy
This sequence expresses the unstoppable, forward-driving force of nature, like a tidal wave or a waterfall. Tori moves in a straight line toward Uke, who is swept away by the sheer momentum. The principle here is direct power—unrelenting and focused.
Nihon-me (二本目) – Deflection and Yielding
This movement embodies the principle of yielding — avoiding confrontation and redirecting force. The energy is similar to Uki-otoshi (floating drop). Tori receives Uke’s force and redirects it, demonstrating that softness overcomes hardness. It’s the essence of “ju” in judo.
Sanbon-me (三本目) – Circular Energy (Whirlpool)
This sequence portrays the spiral motion of a vortex or whirlpool. Tori absorbs Uke’s attack and redirects it into a continuous circular motion, symbolising control through rotation and centripetal force. The energy never breaks — it flows and consumes.
Yonhon-me (四本目) – Action and Reaction (Wave Receding)
Tori pulls Uke in and pushes out again, akin to the rhythm of waves washing against and retreating from the shore. This sequence represents the principle of alternating motion — where every action causes an equal and opposite reaction, governed by timing and sensitivity.
Gohon-me (五本目) – The Void (Emptiness)
In the final movement, Tori expresses emptiness, or nothingness. There is no resistance — Uke falls seemingly from their own imbalance. The movement resembles Yoko-wakare, yet the energy is subtle, almost imperceptible. This final principle reflects the highest state of judo — non-resistance, natural balance, and invisible control.
Itsutsu-no-Kata serves not only as a technical demonstration but also as a meditative journey, deeply tied to Kano’s vision of judo as a path to personal development and universal harmony. It is often studied by advanced practitioners and masters seeking to understand judo beyond form — into principle and essence.
Greeting Ceremony – 挨拶 (Aisatsu)
The judoka performing the techniques is called Tori – 取り, and the judoka receiving them is Uke – 受け. The standard competition mat (tatami) size is 8 by 8 metres.
Both judoka begin 8 metres outside the tatami, where they perform a standing bow (Ritsu Rei – 立礼) toward the mat, in the same manner as done in other kata. They then step onto the tatami in unison.
When they reach a distance of 6 mats, both judoka turn a quarter to their left and perform a standing bow toward the Joseki – the place of honour on the tatami, traditionally where the judges or senior practitioners are seated.
After bowing to the Joseki, both judoka turn to face each other and perform a second standing bow (Ritsu Rei – 立礼) as a gesture of mutual respect before beginning the kata.
Ippon-me – Direct, Concentrated Energy
Tori and Uke begin the kata with a large, deliberate step forward to symbolically open the sequence. After this initial movement, Uke walks to the centre of the tatami using Ayumi Ashi (normal walking pattern).
Once Uke is in position, Tori begins to approach. As Tori walks forward, the right arm slowly rises, with the palm facing forward, expressing focus and intent. Upon reaching Uke, Tori places the palm gently on Uke’s sternum.
Then, Tori subtly initiates movement by alternately flexing the pinky and thumb, creating a wave-like, undetectable energy that causes Uke to begin moving backwards. This motion reflects the principle of direct and concentrated internal force.
Finally, Tori steps forward decisively, leading Uke into an unresisted backward fall, demonstrating the control and effectiveness of pure, focused energy.
Nihon-me – Deflection
After being thrown in the first technique, Uke draws in the right leg to return to standing. Simultaneously, Uke extends the right arm toward Tori in a reaching gesture. This movement symbolises a renewed intention or force directed at Tori.
Tori responds fluidly, grasping Uke’s wrist and blending with the motion rather than resisting. This act of redirection reflects the principle of deflection—a core aspect of judo and the natural flow of energy.
As the energy continues forward, Tori drops smoothly onto the left knee, redirecting Uke’s balance and causing Uke to fall to the tatami without resistance. The throw emerges not from conflict, but from cooperation and timing, illustrating how gentle, yielding movement can neutralise aggression.
Both judoka then settle on one knee, arms gently extended to the sides—symbolising readiness and harmony—as they prepare for the third technique, Sanbon-me.
Sanbon-me – Circular Energy
This third technique begins from the ending position of Nihon-me. Both judoka are kneeling with arms extended. They slowly rise to standing, maintaining a calm and composed posture. Then, Tori and Uke begin to circle one another in a slow, deliberate motion—symbolising the buildup of circular energy, much like a vortex or whirlpool in nature.
As they complete the circular path and meet again, their arms lightly connect: the left arm on top, the right arm underneath, forming a gentle cross. They begin to press against one another’s arms, subtly testing balance and intent—a non-verbal challenge of energy and control.
At the peak of this exchange, Tori steps beside Uke, bringing both feet together, and suddenly drops to the side, pulling Uke along in a flowing, decisive movement. This motion culminates in a controlled Yoko-wakare (side separation throw), expressing the full release of circular energy.
Tori remains momentarily suspended, hips just off the mat—capturing the stillness after the storm—before transitioning smoothly into position for the next principle.
Yonhon-me – Action and Reaction
Following the fall in Sanbon-me, Uke is already standing in the back corner of the tatami. Tori draws in the left leg, rises calmly, and walks to the opposite diagonal corner. There, Tori turns to the left, faces Uke, and raises both arms forward in a wide, open gesture. Simultaneously, the left foot steps backward, and the arms sweep gracefully behind—gathering energy in preparation for an oncoming force.
This motion represents the concept of building up power: from low to high, from slow to fast. With increased intensity, Tori begins to walk directly toward Uke, projecting force and presence. As Tori passes Uke by roughly one metre, the energy of the advance peaks—then suddenly shifts into withdrawal.
Tori pivots smoothly and begins to walk backward, arms extended in a receiving posture. Uke responds instinctively and follows, stepping in sync. As the tempo of the retreat increases, a wave of reactive force builds. At the crucial moment, the harmony of timing and movement causes Uke to lose balance and be thrown by the rhythm—a demonstration of action provoking reaction.
This sequence beautifully reflects how resistance gives way to surrender, and how the principle of ju (柔)—to yield—creates opportunity to overcome.
Gohon-me – The Emptiness (Void)
In the fifth and final movement of Itsutsu-no-Kata, both judoka rise to stand in silence, carrying with them the residual energy of the preceding techniques. Without looking at one another, Tori and Uke walk away from each other, their backs turned, towards opposite corners of the tatami. This physical separation symbolises distance, individuality, and preparedness before the encounter.
Once in position, both judoka spread their arms wide, then turn their upper bodies to the left, showing a subtle readiness to engage. The atmosphere is quiet yet charged—mu, or emptiness, is palpable.
The two now walk directly toward each other, straight and centred. As they close the distance, at the very last moment—just before impact—Tori drops forward into the void, sacrificing the body completely. Uke, without even gripping the gi, responds to this surrender with a Yoko-wakare (side separation), a throw formed in perfect harmony with Tori’s fall.
No force, no resistance. Just presence, intent, and release.
After the movement, both judoka return to the starting position, embodying the full circle of nature: from directed force to surrender, from control to flow, from form to formlessness.
This final act captures the essence of emptiness—the silent power from which all movement originates. Jigoro Kano believed that “in the void, everything becomes possible.” Gohon-me leaves us with that thought: when we abandon control, we find true harmony.