Nage-no-Kata – The Form of Throwing
Nage-no-Kata, also known as the Randori-no-Kata, was created by Jigoro Kano to help judoka understand the fundamental principles of throwing techniques (nage-waza). It serves as both a teaching tool and a technical demonstration of balance breaking, entry, and execution in judo.
The kata is composed of five groups of techniques, each representing a different category of throwing:
- Te-waza (hand techniques)
- Koshi-waza (hip techniques)
- Ashi-waza (foot and leg techniques)
- Ma-sutemi-waza (rear sacrifice techniques)
- Yoko-sutemi-waza (side sacrifice techniques)
Each group contains three representative techniques, practiced on both the right and left side. The kata emphasises the principles of kuzushi (breaking balance), tsukuri (entry), and kake (execution), as well as correct etiquette and cooperation between tori (the executor) and uke (the receiver).
Purpose and Philosophy
Nage-no-Kata is not simply about performing throws in a fixed order. It is a systematic study of:
- How to control and break the opponent’s balance
- How to move efficiently and harmoniously
- How to develop timing, precision and posture
- How to express the spirit of judo through respectful interaction
This kata builds a deep understanding of the mechanics behind throwing techniques, making it essential for dan-grade promotion and instructor education.
The Techniques
Te-waza – Hand Techniques
1. Uki-otoshi
2. Seoi-nage
3. Kata-guruma
Koshi-waza – Hip Techniques
4. Uki-goshi
5. Harai-goshi
6. Tsurikomi-goshi
Ashi-waza – Foot/Leg Techniques
7. Okuri-ashi-harai
8. Sasae-tsurikomi-ashi
9. Uchi-mata
Ma-sutemi-waza – Rear Sacrifice Techniques
10. Tomoe-nage
11. Ura-nage
12. Sumi-gaeshi
Yoko-sutemi-waza – Side Sacrifice Techniques
13. Yoko-gake
14. Yoko-guruma
15. Uki-waza
Etiquette and Execution
The kata begins and ends with formal standing and seated bows, facing each other and the shōmen (front of the dojo). Tori and Uke perform the full sequence in a continuous, flowing manner—adjusting their judogi as needed between sets of three techniques.
Key points:
1. Harmony between Tori and Uke is essential
2. Movements should be precise, controlled, and realistic
3. The judoka must maintain proper distance, posture, and awareness at all times
Learning and Teaching
Nage-no-Kata is traditionally introduced from 1st dan level onwards but can be studied earlier for deeper insight. It forms the foundation for higher kata and is often required for dan examinations worldwide.
Training this kata develops not only technical skill, but also mutual respect, patience, and mental focus—qualities that are central to judo.
Beginning Formalities – Rei in Nage-no-Kata 挨拶
At the start of Nage-no-Kata, Tori and Uke perform a formal greeting (rei) to mark the beginning of the kata and to show mutual respect.
Positioning
– Both judoka stand upright, facing each other at a distance of approximately 5.5 meters (about 3 ken).
– Tori stands on the left side, Uke on the right, both facing the shōmen (front of the dojo).
Sequence of Bows
1. Standing bow to the shōmen – Both turn toward the front and bow simultaneously.
2. Seated bow to each other – Both kneel in seiza, face each other, and bow together.
3. Rising and preparation – Tori and Uke rise simultaneously and take one step forward with the left foot into shizen-hontai (natural stance).
4. They then walk forward to begin the first technique group: Te-waza.
Throughout this opening, movements must be synchronized, dignified, and calm, reflecting the spirit of kata and the tradition of judo. The judogi should be neat, and posture must remain upright and composed at all times.
Te-waza 手技, Hand Techniques
Hand techniques emphasise control through grip, timing, and direction. These throws rely less on strength and more on precision in kuzushi (balance breaking) and body positioning. Mastery of te-waza teaches how to create opportunities with subtle movement and connection.
Uki-otoshi – Floating Drop 浮落
Uki-otoshi is performed from a right natural posture (migi shizen-tai), with Tori and Uke gradually closing the distance. Tori uses a pulling action while stepping backward to break Uke’s balance forward. After two preparatory pulls, Tori suddenly drops to one knee and pulls Uke strongly forward, throwing him over in a straight line.
This technique emphasises timing, direction of force, and minimal use of strength. It teaches control of movement and sensitivity to the opponent’s balance.
Seoi-nage – Shoulder Throw 背負投
In this technique, Uke steps forward and attempts to strike. Tori avoids the attack, enters deeply with a pivoting motion, and brings Uke onto the back using a tight shoulder entry. Tori then completes the throw with a forward bend and coordinated arm pull.
Seoi-nage in kata form highlights the rotation, posture, and exact positioning of hips and shoulders.
Kata-guruma – Shoulder Wheel 肩車
Tori breaks Uke’s balance forward by pulling and then lowers the body to lift Uke onto the shoulders. The right hand scoops under the thigh, while the left hand pulls at the sleeve to secure control. Tori then pivots and throws Uke forward in a wheel-like motion.
Kata-guruma demands precise kuzushi, compact lifting, and stability during rotation.
Koshi-waza – Hip Techniques 腰技
Hip throws are among the most classical and foundational techniques in judo. They teach how to transfer energy through the hips and control the opponent’s centre. Koshi-waza requires tight body contact, posture control, and correct rotation mechanics.
Uki-goshi – Floating Hip Throw 浮腰
Performed from a striking attack, Tori enters beside Uke and pulls the opponent onto the hip without full body rotation. The contact point is high on the hip, allowing a smooth twist and throw without deep loading.
Uki-goshi trains tight hip contact, minimal lifting, and fluid turning.
Harai-goshi – Sweeping Hip Throw 払腰
Tori breaks balance diagonally forward and enters with strong hip connection. The sweeping leg passes along Uke’s leg in a high, extended motion. Control of the upper body is maintained throughout.
Harai-goshi demonstrates timing between hands and leg sweep, and the use of full-body movement.
Tsurikomi-goshi – Lifting and Pulling Hip Throw 釣込腰
Tori lifts Uke with the pulling hand while entering deeply with the hip. The back contacts Uke’s thighs and the arms draw forward and downward during the throw.
This technique is ideal for training lifting action, sleeve-lapel coordination, and hip drive.
Ashi-waza – Foot and Leg Techniques 足技
Foot techniques are all about timing, movement, and disruption. These are often executed in motion and demand sensitivity to rhythm and distance. Proper ashi-waza reflects a judoka’s awareness of their opponent’s balance and direction.
Okuri-ashi-harai – Sliding Foot Sweep 送足払
Both judoka move sideways in synchronised steps. Tori controls the rhythm, then suddenly sweeps Uke’s feet together with the sole of the foot while applying upward and diagonal force with the hands.
This technique refines timing, rhythm control, and non-verbal communication.
Sasae-tsurikomi-ashi – Propping and Lifting Foot Throw 支釣込足
As Uke steps forward, Tori blocks the advancing foot with the sole of the foot while pulling upward with the hands. The movement is curved and controlled, throwing Uke to the rear corner.
Sasae-tsurikomi-ashi teaches interception timing, pulling-lifting action, and control of direction.
Uchi-mata – Inner Thigh Throw 内股
Tori enters while pulling Uke diagonally backward. A deep step allows Tori to insert the sweeping leg between Uke’s legs and raise the inner thigh upward. The throw is executed in one smooth lifting action.
Uchi-mata is one of judo’s most iconic throws, developing hip control, off-balancing, and leg extension.
Ma-sutemi-waza – Rear Sacrifice Techniques 真捨身技
These techniques involve controlled sacrifice of your own position to throw the opponent backward or over your body. They develop trust, coordination, and effective use of body weight. Mastery of ma-sutemi-waza shows a deep understanding of timing and flow.
Tomoe-nage – Circular Throw 巴投
Tori pushes Uke backward, causing a reaction. At the moment Uke resists, Tori drops backwards and places the sole of the foot on Uke’s abdomen. With a pulling arc and leg extension, Uke is thrown over Tori in a circular path.
Tomoe-nage trains timing, core control, and balance transfer.
One of Jigoro Kano’s personal favourites, tomoe-nage embodies the principle of yielding to overcome. The circular motion and use of the opponent’s force reflect Kano’s idea of judo as “the gentle way.”
Ura-nage – Rear Throw 裏投
Uke attempts a strike. Tori evades and enters close behind, lifting Uke by the belt and abdomen in one explosive backward motion.
This is a pure counter-throw, demanding hip strength, body drop, and control of opponent’s momentum.
Sumi-gaeshi – Corner Reversal 隅返
Tori breaks balance diagonally and drops backwards, placing the instep behind Uke’s thigh. Uke is thrown overhead in a backward rotation using leg lift and arm pull.
This technique develops rotation, balance disruption, and use of the opponent’s movement.
Yoko-sutemi-waza – Side Sacrifice Techniques 橫捨身技
Side sacrifice throws use the opponent’s forward or lateral motion to execute sweeping or rotational techniques. These are dynamic, reactive, and often counter-based, requiring commitment, spatial awareness, and full-body control.
Yoko-gake – Side Hook 横掛
Tori breaks Uke’s balance and suddenly drops sideways, sweeping Uke’s leg from the outside with the foot while pulling with both hands.
Yoko-gake trains direct sacrifice, leg timing, and fall control.
Yoko-guruma – Side Wheel 横車
After an attempted counter by Uke, Tori spins under the center and throws with a lifting twist, turning the opponent over the body.
This throw requires coordination, counter-sensing, and strong central rotation.
Uki-waza – Floating Technique 浮技
Tori manipulates Uke’s balance forward and drops diagonally backward while rotating the upper body and guiding Uke into a controlled fall.
Uki-waza refines body drop mechanics, angle of sacrifice, and off-angle kuzushi.
Ending Formalities – Concluding Rei
After the final technique (Uki-waza), both judoka return to their starting positions, straighten their judogi, and perform the formal seated and standing bows—first to each other, then to the shōmen.
This final rei reflects closure, discipline, and mutual respect, reinforcing the educational spirit of kata.