Koshiki-no-kata

Koshiki-no-Kata – The Forms of Antiquity

Koshiki-no-Kata (古式の形), also known as the “Forms of Antiquity”, is a kata based on classical martial traditions and natural principles. One of the key components of this kata is ukemi-waza (falling techniques), which incorporate both hardness and softness, flowing yet direct movement.

This kata expresses the interplay of attack and defence, where Tori (the defender) uses their body weight, positioning, and balance to overcome Uke (the attacker). Rather than relying on brute strength, the techniques showcase efficiency and timing rooted in traditional combat scenarios—originally performed while wearing samurai armour (yoroi).

Because of its technical and philosophical depth, Koshiki-no-Kata is only demonstrated at advanced levels of judo—typically from 5th dan and higher.

Structure

The kata is divided into two parts:

Omote (表 – Front/Surface): 14 techniques
Performed slowly and deliberately, simulating movement under the restriction of heavy samurai armour.
Ura (裏 – Reverse/Inner): 7 techniques
In this phase, the armour is removed, allowing the techniques to be performed more freely, with greater speed and mobility.

Omote 表 – The Front Techniques (Performed as if wearing armour)

Tai (体) – Readiness / Foundational Posture
Yume-no-uchi (夢中) – Within a Dream
Ryoku-hi (力避) – Avoiding Strength
Mizu-guruma (水車) – Water Wheel
Mizu-nagare (水流) – Flowing Water
Hiki-otoshi (曳落) – Pulling Drop
Ko-daore (虚倒) – Collapse of Emptiness
Uchi-kudaki (打砕) – Crushing Strike
Tani-otoshi (谷落) – Valley Drop
Kuruma-daore (車倒) – Wheel Collapse
Shikoro-dori (錣取) – Grasping the Neck Plates
Shikoro-gaeshi (錣返) – Reversing the Neck Plates
Yu-dachi (夕立) – Sudden Evening Rain
Taki-otoshi (滝落) – Waterfall Drop

Ura 裏 – The Rear Techniques (Performed without armour)

Mi-kudaki (身砕) – Body Smash
Kuruma-gaeshi (車返) – Wheel Reversal
Mizu-iri (水入) – Entering Water
Ryu-setsu (柳雪) – Willow and Snow
Saka-otoshi (坂落) – Slope Drop
Yuki-ore (雪折) – Snow Break
Iwa-nami (岩波) – Wave Crashing on a Rock

Rei-shiki 礼式 – Bowing Ceremony

Before commencing Koshiki-no-Kata, a formal bowing ceremony is performed. It is important that the Shōmen (正面 – the front or honoured side) is positioned on Tori’s right-hand side.

Tori (the executor) and Uke (the receiver) begin by standing 8 metres apart outside the tatami. They perform a standing bow (Ritsu-rei – 立礼) toward the mat.

After the bow, both judoka step onto the tatami and stop at a distance of 6 tatami lengths. They then turn a quarter turn to face the Shōmen and bow once again with a standing bow (Ritsu-rei – 立礼).

Next, they turn toward each other, place their hands on their thighs, and kneel by lowering first the left knee, followed by the right knee. In one controlled movement, both Tori and Uke bow forward (Za-rei – 座礼) with a straight back, resting on their arms with fingers pointing inward.

After the seated bow, they rise by lifting first the right knee, then the left, and stand up smoothly.

Once standing, both judoka take a formal opening step (left-right) and assume Shizen-hontai (自然本体 – natural standing posture), facing the Shōmen.

Tai (体) – Starting Posture

Section: Omote (表 – Front Techniques)

Once Tori has taken position, Uke turns towards Tori and approaches in six controlled steps (Ayumi-ashi). Upon reaching Tori, Uke initiates an attack by grabbing the front and back of Tori’s assumed armour — placing the hands near the obi (belt) — and lifts the left leg in preparation for a hip throw (Koshi-waza).

As Uke begins the throw and retracts the leg, Tori follows Uke’s motion by placing the left arm around Uke’s waist and the right hand against Uke’s chest. Tori then executes four diagonal backward steps (tsugi-ashi), progressively destabilising Uke.

In the final movement, Tori steps sideways and allows his own body to drop, using gravity and motion to throw Uke off balance. Uke reacts by taking a large step to the left, brings the right foot alongside, then takes another large step and falls flat on the back, slapping with the left arm (ukemi). Uke immediately recovers into the formal Chōza (鳥坐) posture, sitting upright with legs extended, toes up, and arms wide.

Tori remains kneeling, raising the left knee to signal that Uke’s lower back has been broken (metaphorically, as a sign of decisive control). Tori finishes in a Kyoshi (居姿) posture.

Purpose of the Technique

Uke attempts to throw Tori with a hip technique (Koshi-waza), but Tori yields to the motion and redirects it. By progressively unbalancing Uke through a diagonal retreat, Tori reverses the throw and brings Uke to the ground with decisive control — symbolically breaking the back across the supporting leg.

Yume-no-Uchi (夢中) – In a Dream

Section: Omote (表 – Front Techniques)

Uke returns to the same position, standing with the feet directed toward Tori. From the corner of his eye, Tori observes that Uke is ready and moves into position — slightly more to the left and rear than in the previous technique (Tai), creating a subtle change in angle.

Uke approaches in six steps (Ayumi-ashi) and initiates the same attack: leaning the body forward, gripping the front and back of the imaginary armour at the obi, and attempting a hip throw by swinging the left leg.

Tori receives the attack in the same way as in Tai, but during the final phase of control, Tori applies slightly more pressure to Uke’s left shoulder, forcing Uke to step straight backward to recover balance. At that precise moment, Tori pivots on the right heel and draws the left foot inward to reposition.

Simultaneously, Tori places the right hand on Uke’s left arm and the left hand behind Uke’s left shoulder blade, lifting Uke slightly off balance and pulling them forward. This momentary off-balance is enough for Tori to execute an offer throw (sutemi-waza): Yoko-wakare (side separation).

Tori deliberately drops into the throw, remaining momentarily in the Dai-no-ji (大の字) posture — lying supine with arms and legs fully outstretched in a cross-like shape — a symbolic expression of complete control through commitment.

Tori then sits up, draws in the right leg, and stands smoothly, ready for the next movement. Uke rises simultaneously and walks clockwise to return to position facing Tori.

Purpose of the Technique

Uke attempts the same hip throw as in Tai, but this time anticipates Tori’s diagonal retreat and regains balance. Tori, recognising the change, adjusts the direction of the throw, this time using a forward-off-balancing angle and sacrifices the body to execute a Yoko-wakare — highlighting adaptability, awareness, and the seamless redirection of energy in the spirit of Ju.

Ryoku-hi (力避) – Avoiding Strength

Section: Omote (表 – Front Techniques)

Uke opens both arms outward, hands extended sideways at shoulder height, and moves the right hand over the left, palms facing downwards. Uke steps slightly forward with the right foot, as if to seize Tori’s sword — a symbolic reference to taking control through sheer force.

Tori responds with subtle precision: slightly pulling the abdomen backward to prevent the grasp, and turning the right foot outward at a 45-degree angle to harmonise with the direction of Uke’s force. Tori’s left hand grips Uke’s right elbow, with the fingers and thumb placed on the outside for control. Simultaneously, the right hand guides Uke’s arm upward in a circular trajectory.

Tori begins to move to the right in tsugi-ashi (sliding steps), leading Uke a few steps diagonally, thereby drawing Uke further off balance. Tori’s left hand maintains control of the arm, while the right hand elevates Uke’s posture and pushes diagonally backwards, pressing the chest lightly against Uke’s back to maintain dominant positioning.

Once Uke’s balance has been broken, Tori resets Uke onto both feet and places both hands firmly on Uke’s shoulders. Then, Tori makes a large backward step with the left foot and lowers into a kneeling position on the left knee. The controlled descent of the body acts as a fulcrum, causing Uke to fall backwards in a gentle but decisive throw.

Tori does not raise the left knee to break Uke’s back — instead, the throw symbolises redirection and neutralisation rather than destruction. After the throw, both judoka return to the centre of the mat in their starting positions.

Purpose of the Technique

Uke attempts to take control by symbolically seizing Tori’s sword. Tori does not resist head-on but uses principled evasion and redirection. By moving fluidly and leading Uke off balance, Tori embodies the essence of Ju — yielding to overcome. The throw is executed with restraint, symbolising discipline, awareness, and the intelligent application of force rather than brute strength.

Mizu-guruma (水車) – Water Wheel

Section: Omote (表 – Front Techniques)

Uke initiates the same type of attack as in the previous technique, Ryoku-hi, by reaching out with both arms to symbolically seize Tori’s sword. However, Tori has developed a new method to counter Uke’s movement. As Uke extends the right arm, Tori harmonises with the motion, seemingly allowing the grasp to occur in order to draw Uke forward and off balance.

Uke realises the vulnerability and instinctively pulls the right arm back. Tori follows this retreating motion, guiding Uke’s hand upwards so that it is aligned in front of Uke’s own forehead. As this happens, Tori places the left arm tightly around Uke’s waist, firmly establishing control over Uke’s centre of gravity.

With Uke under control, Tori drives Uke diagonally backwards, using small tsugi-ashi steps to manipulate Uke’s posture. After several steps, Uke tries to regain balance by stepping straight back with the left foot, anchoring to avoid falling. At this moment, Tori executes a key pivot: spinning on the right heel, drawing the left foot inward, and turning to face Uke.

Tori’s left hand grabs Uke’s left shoulder, and the right hand presses firmly behind the left shoulder blade, creating a point of control. Then, Tori makes small backward steps and lets the body fall sideways, applying the momentum of the fall to execute a sacrifice throw (sutemi-waza). Uke is thrown in a sweeping motion using Yoko-wakare, symbolising the fluid yet powerful pull of a water wheel.

Tori concludes the technique lying in the Dai-no-ji position, with arms and legs stretched diagonally, forming a cross. This posture symbolises total surrender to the principle of Ju.

Purpose of the Technique

Just like in Ryoku-hi, Uke reaches to seize the sword — a metaphor for seizing power or control. This time, when Uke attempts to retreat, Tori follows that movement rather than resisting it. By harnessing the energy of Uke’s withdrawal, Tori gains complete control and redirects it into a fluid, spiralling throw.

The name Mizu-guruma (Water Wheel) reflects the cyclical nature of the throw — energy flows into motion, circles around, and is then cast away like water spinning off the rim of a wheel. It is a beautiful example of the Ju no ri principle: “to yield is to overcome.”

Mizu-nagare (水流) – Flowing Water

Section: Omote (表 – Front Techniques)

Tori rises and walks calmly to the corner of the tatami. Diagonally opposite, Uke mirrors this movement. Both judoka now face each other from a distance of about four tatami lengths. As they simultaneously approach using Ayumi-ashi, Uke conceals a symbolic dagger behind the back in the right hand and stretches the left hand forward, reaching for Tori’s chest armour, with the intent to pull Tori close and stab the abdomen.

Tori waits until the moment Uke is nearly in contact, then takes a subtle step backwards (right-left), evading the incoming grip. Tori seizes Uke’s left hand with his right, gently guiding it upwards, and simultaneously slides the left hand under Uke’s extended arm in a supporting motion. As the throw is executed, Tori rotates the left hand upward, lifting Uke’s arm and opening a pathway for the throw.

Uke instinctively attempts to recover by extending the right leg backwards, striving to stabilise. However, Tori drops gracefully onto the right knee, continuing to manipulate Uke’s arm and structure. With balance completely disrupted, Uke is rotated mid-air and thrown directly downward, in a flowing circular arc reminiscent of a current pulling its object under. Importantly, Uke must not hit the mat with the knee first; the motion is a seamless overturn in the air.

Uke lands on the back in the Dai-no-ji position, with legs and arms spread in the shape of a cross, symbolising surrender to the natural flow. After a moment, both judoka rise and retreat to opposite corners, resetting for the next sequence.

Purpose of the Technique

This technique illustrates the principle of non-resistance and harmonising with an opponent’s force. Uke attempts to control Tori by gripping the armour and launching a symbolic dagger thrust. Tori does not resist; instead, with perfect timing, evades slightly backwards, using Uke’s forward momentum and extended posture to unbalance.

The name Mizu-nagare (“flowing water”) reflects the continuous, unbroken stream of motion. Tori’s movement does not obstruct Uke but guides and redirects—just as water flows around and eventually overwhelms an object in its path.

As Kano Shihan once taught:

“The softness of water can break the hardest stone. So too must the judoka learn to yield in order to control.”

Hiki-otoshi (曳落) – Pulling Drop

Section: Omote (表 – Front Techniques)

Following the completion of Mizu-nagare, both judoka walk to opposite diagonal corners of the tatami, again maintaining a distance of four tatami lengths. From this position, they approach one another with Ayumi-ashi, beginning with the left foot.

As Uke reaches Tori, he aims to seize the sword hanging at Tori’s left side with the right hand, stepping forward with the right foot to execute the grip. At that moment, Tori makes a subtle tsugi-ashi retreat (left-right), smoothly moving backwards and grabs Uke’s right wrist with his left hand. Simultaneously, Tori places the right hand on the inside of Uke’s upper right arm, just above the elbow.

Without resistance or tension, Tori now drops his body weight onto the left knee, letting gravity and positioning take over. This sudden lowering of Tori’s centre of gravity—combined with the forward energy of Uke—pulls Uke over his front leg and leads to an unpreventable fall. Uke rotates mid-air, the motion as graceful and light as a falling leaf, landing flat on the back. Importantly, Uke’s left foot and right knee must not touch the mat during the fall. Uke then assumes the Choza (cross-seated) position, symbolising composed recovery.

After this execution, both judoka rise and calmly return to opposite diagonal corners, resetting the stage for the next technique.

Purpose of the Technique

This technique demonstrates the principle of “minimum effort for maximum effect.” Uke reaches for the sword with the right hand, a direct and committed motion. Tori capitalises on this overextension by subtly retreating without brute force, capturing Uke’s posture with a light grip and allowing gravity and positioning to do the rest.

The name Hiki-otoshi, or “Pulling Drop,” refers to the controlled downward collapse of Uke caused by a combination of guided motion and precise timing. As in the previous technique (Mizu-nagare), the emphasis lies in not resisting, but instead redirecting Uke’s intent into imbalance.

This is an embodiment of the judo principle expressed by Jigoro Kano:

“Victory is not always gained by attack. Often it is gained by yielding.”

Ko-daore (虚倒) – Empty Collapse

Section: Omote (表 – Front Techniques)

Tori and Uke face each other from four tatami lengths apart, approximately 5 metres on the diagonal. Both begin walking toward one another using Ayumi-ashi, starting with the left foot. On the second step, Tori raises his right hand, fingers extended, and advances with the intention to strike Uke between the eyes (Uto 烏兎), a movement reminiscent of the first technique in Ju-no-Kata.

Tori’s hand is held upright, thumb pointing upward, forming a classical shomen uchi attack. Just before contact is made, Uke executes a swift tai-sabaki (body turn) to evade the strike. Uke then counters by seizing Tori’s right wrist with the right hand and bringing the left arm around Tori’s hips, initiating a left-sided hip throw (koshi-waza).

Tori does not resist. Instead, he goes along with Uke’s momentum, making a small step with the right foot to the side while simultaneously stretching his right arm across Uke’s face, creating a barrier. The left hand is placed firmly on Uke’s obi knot, ready to control the core.

Now in command, Tori makes two diagonal tsugi-ashi steps to the right, destabilising Uke. Despite Uke’s efforts to regain balance, Tori maintains control and increases the off-balancing action. Finally, Tori drops onto his left knee, bringing it close to the right heel, and throws Uke forcefully sideways. Uke lands with impact, and Tori remains in position with his right knee raised outward to indicate Uke’s spine has been broken — the symbolic Kyoshi posture.

Purpose of the Technique

In contrast to earlier techniques where Uke initiated the attack, Tori now takes the initiative, performing a direct strike toward Uke’s Uto. Uke avoids the attack with tai-sabaki and attempts a counter using a hip throw. However, Tori fluidly transitions into Uke’s movement, neutralising the attack and seizing control.

The power of this technique lies in yielding without submission, absorbing and redirecting Uke’s counterattack, and executing a final controlled throw while emphasising dominance through posture.

This reflects Kano Shihan’s concept:

“To defeat the enemy by letting them attack and using their strength against them.”

The name Ko-daore, or “Empty Collapse,” represents the way in which Uke, despite initiating a strong response, falls helplessly into the technique due to Tori’s supreme control of timing, balance, and posture.

Uchi Kudaki – Breaking the Structure

Both judoka face each other diagonally, having swapped positions from the previous technique. Tori raises his left arm and makes a thrusting motion towards uke’s abdomen, with fingers and thumb extended forward.

Uke performs a tai-sabaki to the left, seizes the attacking hand, and pulls it through. He then steps with his right leg to position himself in front of tori, preparing to attempt a hip throw. In response, tori steps forward with his left foot, lowers his posture, and wraps his left arm around uke’s waist. Rising up while simultaneously stepping slightly backward with his right foot, tori breaks uke’s balance.

Tori then shifts to the left using two tsugi-ashi (sliding) steps. As tori drops to his right knee, uke loses balance and falls. Tori lifts his raised knee slightly outward while placing his hand on the inside of the leg to indicate uke’s back has been “broken” (Kyoshi position).

Uke steps away first with the left leg, followed by the right without letting the right foot touch the mat, then falls flat onto his back, slapping the mat with his left arm. Immediately after the fall, uke rises into a crouched position (choza), with hands placed on the inner thighs.

Objective of the Technique

Just like the previous technique Ko Daore (7th), tori initiates the attack. This time, tori thrusts towards uke’s abdomen. Uke again intercepts the attack and attempts a hip throw (koshi-waza).

Tori flows with uke’s movement, maintains control, and progressively unbalances uke. In the final phase, tori throws uke and “breaks” his back over the knee, taking the Kyoshi position.

Tani Otoshi – The Valley Drop

Tori stands facing the shomen, positioned approximately 30 cm to the right of the central axis. Uke stands three tatami behind tori and approaches using ayumi-ashi (normal walking steps). Uke attempts to push tori forward into the “valley” by placing his right hand on the back of tori’s shoulder and his left hand against tori’s abdomen. At the same time, uke steps with his right foot across in front of tori’s leg to disrupt balance.

Tori counters the attack by stepping forward with his right foot and wraps his left arm around uke’s waist. Simultaneously, tori seizes uke’s right hand with his own right hand, placing his thumb into uke’s palm.

Tori then performs two tsugi-ashi (sliding) steps sideways, progressively unbalancing uke. Tori allows himself to fall, dropping onto his right knee next to his left heel. He opens his raised left knee outward, signalling that uke’s back has been broken (Kyoshi position).

Uke performs ukemi by stepping out with the left foot, pulling the right leg in without letting it touch the mat, and falls flat onto his back, slapping the mat with the left arm. Immediately afterward, uke rises into choza position, placing both hands on the inside of the thighs.

Objective of the Technique

Uke tries to force tori forward into a symbolic “valley” by pushing powerfully against tori’s shoulders. Tori yields to this forward pressure and attempts to throw uke by pulling the attacking arm that has slid over his shoulder.

Uke tries to recover by stepping forward and regaining posture. Tori continues to follow uke’s movement, maintains control, and throws uke backward, breaking uke’s back over his knee while assuming the Kyoshi posture.

Kuruma Daore – The Falling Wheel

Tori stands facing the shomen, positioned approximately 30 cm behind the central axis and slightly to the right. Uke starts three tatami behind tori and approaches using ayumi-ashi. As soon as uke reaches tori from behind, he forcefully tries to turn tori around.

Tori demonstrates how, by moving with an opponent’s force, one can redirect that power to their own advantage. Tori allows himself to be rotated by uke’s momentum. Once both are facing each other, tori grabs uke by placing his fingers under uke’s armpits and lifts him using uke’s own forward motion, unbalancing him upward and forward.

While doing this, tori pivots on his right foot and takes a quick left-right step beside uke. Tori then sacrifices his balance by falling straight backward, executing a yoko-wakare (side separation throw). It’s important that tori maintains a straight posture during the fall.

Uke takes a large step forward with the right foot and falls diagonally across tori, performing a forward roll over tori’s body. Upon landing, uke immediately stands up. Tori remains on the mat briefly in dai-no-ji (大の字) position, arms and legs extended like the character “大”.

Objective of the Technique

Just like in the previous technique Tani Otoshi (#9), uke initiates a surprise attack from behind. This time, uke spins tori around. Tori goes along with the powerful rotation, redirects uke’s energy, and throws him by sacrificing his own balance. The core principle here is using the opponent’s strength against them.

Shikoro Dori – Grabbing the Neck Plates

Tori takes position in the centre of the tatami, with the shomen to his right. Uke walks around tori in a clockwise direction and comes to stand directly in front of him.

Uke initiates an attack by attempting to grab tori’s belt with his left hand. Tori reacts by pulling back his hips. This movement causes uke’s left arm to be drawn downward by tori’s right hand. At the same time, tori pushes upward against uke’s left jaw or chin using his left hand, lifting and slightly rotating uke’s head to the right.

As a result of this action, uke is turned to the right, with his right foot remaining in contact with the mat. Both of uke’s feet now align on a single line.

Tori then grips uke by the shoulders, takes a large step backwards, and drops down onto his left knee. During this controlled fall, uke is thrown straight backwards. Uke makes a small step with his right foot and performs a clean ushiro ukemi, slapping the mat with both arms.

After landing, uke immediately rises and assumes the choza sitting position. Both judoka then move to a new position, now facing each other again with the shomen now to tori’s left.

Objective of the Technique

Uke attempts to seize tori’s belt with the left hand. Tori neutralises the attack by redirecting uke’s movement, forcing a rotation. Once uke is off balance, tori capitalises and throws uke straight onto his back with control and precision.

Shikoro Gaeshi – Twisting the Neck Plates

Uke grabs tori’s obi (belt) with his left hand, lowers his centre of gravity, and makes a large step sideways with his right foot. He attempts to pull tori into a hip throw and positions himself perpendicular to tori.

Tori capitalises on uke’s pulling motion by stepping forward with his right foot, placing it behind and between uke’s feet. At the same time, tori grips the imaginary helmet of uke, simulating a neck break. His left hand is placed under uke’s chin, and the right hand is positioned on the side of uke’s head.

First, tori pushes uke’s head away, towards uke’s right shoulder. Then, using a combination of pushing and pulling, tori twists uke’s head to the left. This movement brings uke’s upper body upright, while uke forcefully drives tori’s belt downward with his left hand.

Tori then transitions the grip to uke’s shoulders, takes a step backward with the left foot, and jumps forward with legs spread, throwing uke backward in a controlled motion.

Tori lands seated on the tatami with a straight back and legs spread wide. Uke immediately sits upright into choza position. Both judoka then stand up and move to the opposite position, facing each other once again.

Objective of the Technique

As in the previous technique (Shikoro Dori), tori and uke begin by facing each other. This time, uke successfully grabs tori’s belt and attempts a hip throw (obi goshi). Tori flows with uke’s pulling action and counterattacks by twisting uke’s head, simulating a neck break. Uke is thrown backward, and tori lands seated with a straight posture and legs apart, demonstrating full control.

Yu Dachi – Rainfall

Tori and uke face each other, with tori positioned such that the shomen is on his right side. Tori initiates the action by gripping both lapels of uke’s judogi with his right hand, with his index finger bent toward uke’s throat, threatening the trachea.

In response to this threat, uke attempts to defend himself by pushing against tori’s elbow using his left hand, palm facing upward, while stepping forward with his left foot. Simultaneously, uke begins to initiate a hip throw, reaching forward with his right arm to secure the throw.

Tori anticipates uke’s intention and steps along with uke’s movement. At the moment uke places his right foot to position for the hip entry, tori steps back with his left leg and immediately drops onto his left knee.

In the same fluid motion, tori grabs uke’s sleeve near the upper arm with his left hand, while powerfully pulling uke downward with both hands, directing the force in line with uke’s own attack.

Uke is pulled onto the tip of his right toe, completely off balance. His left leg extends sideways, no longer making contact with the tatami, and uke is thrown flat onto his back. Immediately after the fall, uke rises and assumes the choza sitting position, facing in the opposite direction of tori.

Objective of the Technique

Tori threatens uke’s throat to provoke a reaction. Uke defends by pushing away tori’s arm and attempts a hip throw (koshi-waza). However, tori senses uke’s intent, moves with uke’s energy, and uses uke’s extended arm to execute a counter throw, dropping to one knee and pulling uke downward and off balance.

Taki Otoshi – Waterfall Drop

In the final technique of the omote section, tori and uke once again face each other. Tori begins by grabbing uke’s lapel with his right hand, his index finger bent downward toward uke’s throat, presenting a direct threat.

Uke tries to escape this threatening grip by pushing tori’s right elbow upward and outward while stepping forward with his left foot. In response, tori steps back with his right foot, followed by uke stepping forward with his right foot, reaching over tori’s left shoulder to grab the back of his belt with his right hand, preparing to execute a hip throw.

Tori moves along with uke’s momentum and drops under uke’s centre of gravity. Instantly, tori wraps his left arm around uke’s waist, lifting uke while allowing uke to rotate.

As tori rises, he brings his right arm horizontally across uke’s chest, increasing pressure on uke’s throat. Tori now moves sideways to the left using a series of three tsugi-ashi (sliding) steps, continuously destabilising uke.

On the final step, uke is forced slightly further off balance. In an attempt to regain stability, uke steps back, at which point tori pivots on his right heel, draws his left foot in, and turns to face uke. Maintaining the grip on uke’s lapel with his right hand, tori now grabs uke’s shoulder with his left hand.

Then, tori drops backwards into a yoko-wakare (side separation throw). Uke maintains a grip on tori’s shoulder as long as possible, rolls forward, and rises into shizenhontai (natural stance) in the front left corner of the mat. Tori remains on the ground in the dai-no-ji position.

Objective of the Technique

As in the previous 13th technique (Yu Dachi), tori attacks by threatening uke’s throat. Uke defends by pushing the arm away, then reaches over tori’s shoulder in an attempt to apply a hip throw (tsuri-goshi).

Tori anticipates this, and flows with uke’s movement, controlling and unbalancing him step by step. Just when tori seems to execute a backward throw (similar to the first technique, Tai), uke resists by stepping straight back. Tori then responds by pivoting and throwing uke in the opposite direction, using his energy against him.

Mi Kudaki – Body Break

After completing the first series (Omote), both judoka return to their starting positions. Tori is already in place, awaiting uke’s approach. Tori then makes a large left-right step forward, while uke approaches with six ayumi-ashi (walking) steps, intending to execute a hip throw.

As uke attacks, tori adopts a slightly lowered jigotai (defensive posture), grabs uke’s wrist, and slides his left arm under uke’s left armpit, disrupting uke’s balance to the rear. This defensive action prevents uke from successfully performing the hip throw.

Tori then begins to move diagonally backwards, starting with the left foot, using a tsugi-ashi (sliding step) pattern. After approximately four or five steps, tori forcefully pushes uke backward, causing uke to make a corrective step with his left foot, placing it in a slightly rotated position to maintain balance.

At the moment uke attempts to step back again, tori flows into the motion, extends his right leg across uke’s path, and drops into a yoko-wakare (side separation throw). Immediately after the throw, tori rises to the left, while uke also stands and turns left, resetting the position.

Objective of the Technique

Uke initiates a hip throw, as seen previously in the Tai technique. Tori neutralises the attack by controlling uke’s wrist and deliberately breaking uke’s balance. Then, tori invites a response from uke and uses uke’s own reaction and movement to throw him in a forward rolling motion.

Kuruma Gaeshi – Wheel Turn

Uke approaches tori along a diagonal line using ayumi-ashi (normal walking step), intending to forcefully push tori backwards by pressing against his shoulders. Uke stands in a right-forward stance.

Tori goes with uke’s force, receiving the push by placing both hands on uke’s upper arms, with fingers pointing inward and thumbs outward. Tori then steps left–right to the outside of uke’s feet, aligning both judoka on a single line.

Continuing with uke’s pushing motion, tori allows himself to fall directly backward, maintaining control over uke’s arms throughout the movement. This results in a Yoko Wakare (side separation throw).

Unlike earlier forms, tori does not remain in the dai-no-ji (cross) position after the throw. Instead, he immediately rises via his left knee, turns left, and walks diagonally away. Uke also gets up immediately, turns to the left, and returns.

Objective of the Technique

Uke attempts to push tori over by applying force to the shoulders. Tori flows with this movement and uses uke’s own momentum to throw him.

Mizu Iri – Water Dive

The judoka approach each other along the diagonal line. Uke attempts to push tori’s left shoulder using his right arm, which is bent at first, with the palm facing forward. As uke comes closer, his arm becomes nearly fully extended, and he stands with his right foot forward.

Tori recognises the threat and pulls his left shoulder back to evade the push. He then grabs uke’s right wrist from the inside, redirecting the arm slightly outward until it becomes horizontal. Tori places his right hand under uke’s right armpit, palm facing upward, and uses both arms to off-balance uke forward.

To reinforce this imbalance, tori steps left–right to the outside of uke’s feet. Using his body weight, tori performs a Yoko Wakare (side separation throw), throwing uke forward.

After the throw, both judoka rise and turn to the left.

Objective of the Technique

Uke attempts to push tori’s shoulder with his right hand, aiming to make him turn. Tori perceives the threat, intercepts the attack, and reverses it into a sacrifice throw, gaining control over uke.

Ryu Setsu – Willow and Snow

Both judoka rise from the previous technique (Mizu Iri), turn to the left, and walk diagonally toward each other. After a few steps from uke, tori initiates the attack. As they draw near, tori steps in with his right foot forward. He raises his right hand, back of the hand facing upward, and reaches towards uke’s face—the intent is to blind uke by feigning an eye strike with the fingers.

Uke evades by pulling his head backward, creating a moment of vulnerability. As uke returns to a neutral posture, tori immediately grabs uke’s left lapel near the collarbone with his right hand, and places his left hand under uke’s right armpit, on the shoulder blade.

Simultaneously, tori steps left–right beside uke’s feet and begins to lift uke upward and forward, subtly disturbing uke’s balance. Then, tori drops his body to perform a Yoko Wakare (side separation throw).

Uke takes a large forward step with his right foot and executes a rolling ukemi over tori’s falling body. Unlike the previous technique (Mizu Iri), tori falls flat on his back, not on his side. After the throw, both judoka rise, turn left, and begin walking toward each other again in ayumi-ashi for the next technique.

Objective of the Technique

Tori begins the technique with an eye-feint, aiming to blind or distract uke by mimicking a strike to the eyes with the fingers of the right hand. Uke instinctively leans back to avoid the threat, and as he returns forward, tori capitalises on the moment to off-balance and throw uke in the opposite direction.

Saka Otoshi – Hill Drop

Both judoka walk toward each other in ayumi-ashi along the diagonal line. As uke approaches tori, he takes a large step forward with his left foot and performs a sword-hand strike (te-gatana) aimed at tori’s abdomen. Uke’s left arm is fully extended during the attack.

At the last moment, tori steps backward with his right foot, catches uke’s left wrist with his own right hand, and places his left hand on the inside of uke’s left upper arm, with the thumb pointing upward.

In one powerful motion, tori pulls uke’s arm downward and executes the Saka Otoshi throw. Unlike many other techniques, tori does not drop to one knee in this technique. Uke falls flat on his back, with the right leg not touching the mat.

After the fall, uke immediately rises via his right knee and walks toward the left corner. Tori now turns to the right and walks toward uke, positioning himself in front of him.

Objective of the Technique

Uke attempts to stab tori in the abdomen using a sword-hand thrust (te-gatana). However, tori’s evasive movement causes uke to lose his balance. Tori uses this opportunity to control uke’s arm and throw him decisively with Saka Otoshi.

Yuki Ore – Snow Break

Uke stands in the corner while tori walks toward him. Tori then makes a left turn (facing the shomen). He stands in front of uke in the left corner and starts walking forward along the diagonal line, beginning with his left foot. Uke follows tori in the same rhythm.

Uke takes four steps (left–right–left–right), and with his final step, he accelerates and places his right foot to the outside of tori. Uke attempts to wrap his arms around tori from behind. His hands are rotated inward with closed fingers and thumbs tucked in.

As soon as tori feels uke attempting the embrace, he grabs uke’s upper arm with his right hand and the forearm with his left hand. At the same time, tori drops onto his right knee to move under uke’s center of gravity.

Tori then throws uke with a Seoi-Otoshi. Uke performs a rear ukemi directly over tori’s back and lands squarely in front of tori, along the diagonal line.

Objective of the Technique

Uke tries to overpower tori from behind by controlling his arms. Tori responds instinctively, dropping beneath uke’s center of gravity and using his momentum against him to execute a clean throw.

Iwa Nami – Rock Wave

Iwa Nami is the concluding technique of the Koshiki no Kata. After uke is thrown in the previous technique (Yuki Ore – Snow Break) and rises by stepping up with the left knee, he turns leftward into shizenhontai (natural posture), now facing tori.

Tori stands up by stepping with his left foot and immediately takes a large forward step with his right foot, initiating an attack with both hands. His hands move forward with the backs of the hands facing upward, aiming to strike uke in the eyes. This technique is known as ryōte kasumi (double kasumi strike), intended to blind or disorient the opponent.

As tori completes the step and draws his left foot forward, he is now positioned very close to uke. Uke instinctively leans his head backward to avoid the double-fingered strike. As uke’s head returns to a neutral position and eye contact is re-established, tori grabs both lapels near uke’s throat, with his thumbs inside the jacket. He subtly twists his wrists inward, lifting uke slightly and controlling his balance.

Tori then takes two steps: left–right, stepping outside uke’s stance, positioning himself beside uke. Maintaining strong control through the arms and lapel grip, tori uses the forward pressure to his advantage.

Uke attempts to resist by placing his right hand on tori’s left shoulder, and his left hand on tori’s left upper arm or elbow, trying to maintain balance and posture.

Using uke’s own forward momentum and the principles of ju (yielding), tori lets his body fall straight back like a rigid plank along the diagonal line. He executes a precise Yoko Wakare (side separation throw), sending uke over and down.

After the throw, tori remains momentarily lying in the dai-no-ji position (arms and legs spread to form a cross), symbolising the end of this ancient kata.

Objective of the Technique

Just as in the previous technique Ryū Setsu – Willow Snow, tori initiates the action rather than responding to uke. This time, the attack is with both hands rather than one, again aiming for visual disorientation.

When uke instinctively leans back to evade the eye strike and returns forward, tori immediately seizes the opportunity to apply a decisive technique. By manipulating uke’s balance and momentum, tori executes a controlled sacrifice throw that symbolises the power of stillness and structure against force—just like a rock absorbing and redirecting a wave.

This final movement is a powerful metaphor for the principle of seiryoku zen’yō—maximum efficiency with minimal effort—and embodies the calm, immovable essence of traditional jujutsu and judo.

Closing Ceremony – Aisatsu (挨拶)

After performing ukemi from the final technique Iwa Nami, uke immediately rises into shizenhontai (natural posture), standing upright and composed. Tori remains briefly in the dai-no-ji position (arms and legs outstretched) before standing up calmly.

Once tori is fully upright, uke turns to the right and walks clockwise around the tatami to approach the kata axis (center line). At the same time, tori takes a few steps forward and also turns rightward, entering the center axis from the opposite side.

The two judoka pass one another gracefully at approximately one meter distance, walking in ayumi-ashi (normal walking stance). Upon reaching the four-metre line, they both turn inward to face the shōmen (the front of the dōjō or ceremonial direction).

Together, they take two steps backward, starting with the right foot, and arrive at the six-metre line.

In unison, they perform a kneeling bow (zarei), bending left–right onto their knees, respectfully concluding the demonstration.

Rising slowly, both tori and uke turn a quarter turn toward the shōmen and perform a final standing bow (ritsurei) to the front of the dōjō, expressing gratitude and respect for the kata, each other, and the space.

They then turn back to face each other, walk backward in coordinated steps to the ten-metre line, and perform a final bow toward the tatami, marking the official closure of the Koshiki no Kata.