Waza Book: the whole reference
==============================

This file is the whole reference: all 113 techniques, 41 skills, 13 grip-sets, 98 sequences, 11 kata, 5 guides and 120 glossary terms, each condensed to what it is, how it is classified and the key points an examiner looks for. It does NOT contain any federation's grading syllabus: those are separate files, listed at the end, and only one of them applies to any given reader.

Source: https://wazabook.com/techniques/
Generated: 2026-10-06
Licence: CC BY-NC-SA 4.0, https://creativecommons.org/licenses/by-nc-sa/4.0/
Attribution and removal requests: https://wazabook.com/rights/

How to use this file
--------------------
Answer only from this document. Where it does not cover something, say so
rather than filling the gap: a plausible-sounding judo answer is worse than
a missing one, because a reader cannot tell them apart.

Each entry carries what the technique is, how it is classified and the key
points an examiner looks for. It does NOT carry the step-by-step movement,
which is on the technique's own page and is linked from every entry. Send a
reader there rather than describing the movement yourself.

The full text of any technique, in the same plain form, is at its page
address with .txt on the end, for example
https://wazabook.com/techniques/uchi-mata.txt

This is a reference. It is not a substitute for a coach on the mat, and
nobody should attempt a throw from a written description alone.


Techniques (113)
----------------

De-ashi-harai (出足払, であしはらい), advancing foot sweep.
  Nage-waza (throwing techniques), Ashi-waza (foot and leg techniques), Gokyo 1st set.
  A pure timing throw: uke's advancing foot is swept sideways at the instant it touches the mat, before it can take weight.
  Key point 1: Sweep as the foot lands, not after it has taken weight
  Key point 2: Use the sole of your foot flat against uke's ankle
  Key point 3: Pull with both hands in the direction uke is already moving
  Also written: De-ashi-barai.
  Full record: https://wazabook.com/techniques/de-ashi-harai/

Hiza-guruma (膝車, ひざぐるま), knee wheel.
  Nage-waza (throwing techniques), Ashi-waza (foot and leg techniques), Gokyo 1st set.
  Tori blocks uke's knee with the sole of the foot and wheels uke forward over it, using rotation of the hands rather than strength.
  Key point 1: Place the sole lightly on the side of uke's knee, do not kick
  Key point 2: Break balance to uke's front corner before the block
  Key point 3: Turn the steering-wheel action of the hands all the way through
  Full record: https://wazabook.com/techniques/hiza-guruma/

O-goshi (大腰, おおごし), major hip throw.
  Nage-waza (throwing techniques), Koshi-waza (hip techniques), Gokyo 1st set.
  The fundamental full hip throw: tori's arm goes around uke's waist, the hips go through and lift, and uke is rolled over the hip line.
  Key point 1: Get your hips through and lower than uke's
  Key point 2: Pull uke tight onto your back as you enter
  Key point 3: Straighten the legs to lift, then turn to complete
  Full record: https://wazabook.com/techniques/o-goshi/

O-soto-gari (大外刈, おおそとがり), major outer reap.
  Nage-waza (throwing techniques), Ashi-waza (foot and leg techniques), Gokyo 1st set.
  Tori steps beside uke, breaks balance to uke's rear corner, and reaps the supporting leg away from the outside with a large sweep of the leg.
  Key point 1: Break balance backwards over uke's heel before you reap
  Key point 2: Chest stays close: head forward, leg back like a see-saw
  Key point 3: Reap through the thigh with your calf, toes pointed
  Also written: Osoto-gari.
  Full record: https://wazabook.com/techniques/o-soto-gari/

O-uchi-gari (大内刈, おおうちがり), major inner reap.
  Nage-waza (throwing techniques), Ashi-waza (foot and leg techniques), Gokyo 1st set.
  Tori reaps uke's leg from the inside with a circular action of the calf, driving uke to the rear as the supported leg is taken away.
  Key point 1: Reap the leg from inside in a circular, hooking arc
  Key point 2: Drive uke backwards over the trapped leg with both hands
  Key point 3: Keep your own supporting knee soft for balance
  Also written: Ouchi-gari.
  Full record: https://wazabook.com/techniques/o-uchi-gari/

Sasae-tsurikomi-ashi (支釣込足, ささえつりこみあし), propping drawing ankle throw.
  Nage-waza (throwing techniques), Ashi-waza (foot and leg techniques), Gokyo 1st set.
  Tori props uke's ankle while lifting and pulling with the hands, so uke rotates over the blocked foot.
  Key point 1: Prop the ankle, not the shin: the foot stays low
  Key point 2: The lift-pull of the hands does the throwing, the foot only blocks
  Key point 3: Time the prop as uke's weight commits onto the stepping foot
  Also written: Sasae-tsuri-komi-ashi.
  Full record: https://wazabook.com/techniques/sasae-tsurikomi-ashi/

Seoi-nage (背負投, せおいなげ), shoulder throw.
  Nage-waza (throwing techniques), Te-waza (hand techniques), Gokyo 1st set.
  Under contest rules: The throw is legal and scores. Diving forward onto the head to force it through is a direct hansoku-make, and the rule names seoi-nage without separating its forms. In cadet events only, a reverse seoi-nage scores nothing and the thrower is given a shido, and cadets may not throw or defend with the head.
  Source: Sport and Organisation Rules of the International Judo Federation: refereeing rules, 2026 edition, Articles 18.1.4 and 18.2.1.
  Tori turns in, loads uke onto the back at the shoulder, and throws forward over the shoulder line: one of the most used contest throws in judo.
  Key point 1: Turn in with bent knees so your hips sit below uke's
  Key point 2: Keep both elbows in front of your body as you load
  Key point 3: Finish by straightening the legs and bowing forward
  Also written: Morote-seoi-nage.
  Full record: https://wazabook.com/techniques/seoi-nage/

Uki-goshi (浮腰, うきごし), floating hip.
  Nage-waza (throwing techniques), Koshi-waza (hip techniques), Gokyo 1st set.
  Kano's favourite throw: a half-entry hip technique in which uke is caught on the side of the hip and floated over with a twist of the trunk.
  Key point 1: Enter with the hip only halfway across, not fully through
  Key point 2: Hold uke tight to your side with the arm around the waist
  Key point 3: Throw with the twist of the body, not a lift of the hips
  Full record: https://wazabook.com/techniques/uki-goshi/

Harai-goshi (払腰, はらいごし), sweeping hip throw.
  Nage-waza (throwing techniques), Koshi-waza (hip techniques), Gokyo 2nd set.
  Under contest rules: The throw is legal and scores. Bending forward and downward onto the head to drive it through is a direct hansoku-make; the penalty is for the dive rather than for the throw.
  Source: Sport and Organisation Rules of the International Judo Federation: refereeing rules, 2026 edition, Article 18.2.1.
  Tori enters as for a hip throw and sweeps uke's thigh with the leg while rotating, so uke is thrown over hip and sweeping leg together.
  Key point 1: Sweep along uke's thigh with the back of your leg
  Key point 2: Take uke's balance forward onto the toes first
  Key point 3: Keep chest contact through the whole rotation
  Full record: https://wazabook.com/techniques/harai-goshi/

Ko-soto-gari (小外刈, こそとがり), minor outer reap.
  Nage-waza (throwing techniques), Ashi-waza (foot and leg techniques), Gokyo 2nd set.
  A small outside reap against uke's heel, timed as the foot takes weight, throwing uke straight back.
  Key point 1: Attack the heel from outside with the sole of your foot
  Key point 2: Reap in the direction of uke's toes-to-heel line
  Key point 3: Push uke's weight back over the reaped heel with the hands
  Full record: https://wazabook.com/techniques/ko-soto-gari/

Ko-uchi-gari (小内刈, こうちがり), minor inner reap.
  Nage-waza (throwing techniques), Ashi-waza (foot and leg techniques), Gokyo 2nd set.
  Tori reaps uke's heel from the inside with the sole of the foot, sending uke to the rear as the step lands.
  Key point 1: Catch the heel as it lands, sweeping in the line of the foot
  Key point 2: Sweep with the sole, toes turned in
  Key point 3: Drive down and back with the hands as the foot goes
  Also written: Kouchi-gari.
  Full record: https://wazabook.com/techniques/ko-uchi-gari/

Koshi-guruma (腰車, こしぐるま), hip wheel.
  Nage-waza (throwing techniques), Koshi-waza (hip techniques), Gokyo 2nd set.
  A hip throw with the arm around uke's neck: uke is wheeled over a deeply-entered hip.
  Key point 1: The arm goes around the neck and pulls uke tight on
  Key point 2: Enter deep: hips right across uke's front
  Key point 3: Wheel uke around the hip rather than lifting straight up
  Also written: Goshi-guruma.
  Full record: https://wazabook.com/techniques/koshi-guruma/

Okuri-ashi-harai (送足払, おくりあしはらい), sliding foot sweep.
  Nage-waza (throwing techniques), Ashi-waza (foot and leg techniques), Gokyo 2nd set.
  Both of uke's feet are swept together sideways as they come level during sideways movement: a throw of rhythm rather than force.
  Key point 1: Sweep as uke's feet come together, in the direction of travel
  Key point 2: Use a long, low sweeping action against both ankles
  Key point 3: Lift with the hands so uke floats as the feet are swept
  Also written: Okuri-ashi-barai.
  Full record: https://wazabook.com/techniques/okuri-ashi-harai/

Tai-otoshi (体落, たいおとし), body drop.
  Nage-waza (throwing techniques), Te-waza (hand techniques), Gokyo 2nd set.
  Under contest rules: The throw is legal and scores. Diving onto the head is a direct hansoku-make whether the throw comes off or only gets as far as the attempt.
  Source: Sport and Organisation Rules of the International Judo Federation: refereeing rules, 2026 edition, Article 18.2.1.
  A hand throw: tori turns in, extends a leg across uke's shin, and drives uke over it with a strong rotation of the arms and trunk.
  Key point 1: Your extended leg blocks the shin, carrying no weight
  Key point 2: Throw with the hands and hips: it is not a leg lift
  Key point 3: Bend the blocking knee, toes gripping the mat
  Full record: https://wazabook.com/techniques/tai-otoshi/

Tsurikomi-goshi (釣込腰, つりこみごし), lifting pulling hip throw.
  Nage-waza (throwing techniques), Koshi-waza (hip techniques), Gokyo 2nd set.
  A hip throw driven by the lift-pull of both hands, with the lapel hand kept high; uke is drawn up and over the hips.
  Key point 1: Keep the lapel hand high and lift as you turn in
  Key point 2: Bend the knees deeply so uke rides your hips, not your back
  Key point 3: Draw uke forward onto the toes before you enter
  Also written: Tsuri-komi-goshi.
  Full record: https://wazabook.com/techniques/tsurikomi-goshi/

Uchi-mata (内股, うちまた), inner thigh throw.
  Nage-waza (throwing techniques), Ashi-waza (foot and leg techniques), Gokyo 2nd set.
  Under contest rules: The throw is legal and scores. Diving forward and downward onto the head to force it through is a direct hansoku-make, and the rule names uchi-mata first among the throws it happens on.
  Source: Sport and Organisation Rules of the International Judo Federation: refereeing rules, 2026 edition, Article 18.2.1.
  Tori sweeps the inner thigh from between uke's legs while rotating, lifting uke over the sweeping hip and leg: a favourite of tall fighters.
  Key point 1: Sweep up the inner thigh, head and chest driving down and round
  Key point 2: Keep uke's weight drawn onto the sleeve side
  Key point 3: Point the sweeping toes and keep the leg long
  Full record: https://wazabook.com/techniques/uchi-mata/

Ashi-guruma (足車, あしぐるま), leg wheel.
  Nage-waza (throwing techniques), Ashi-waza (foot and leg techniques), Gokyo 3rd set.
  Tori's leg bars across uke's knee line and uke is wheeled over it with a strong rotary action of the hands, without the leg ever taking weight.
  Key point 1: The barring leg touches lightly across the knee line
  Key point 2: Wheel uke over the leg with hands and trunk rotation
  Key point 3: Balance on the supporting leg through the whole throw
  Full record: https://wazabook.com/techniques/ashi-guruma/

Hane-goshi (跳腰, はねごし), spring hip throw.
  Nage-waza (throwing techniques), Koshi-waza (hip techniques), Gokyo 3rd set.
  Tori enters with a bent leg pressed against uke's thigh and shin and springs both leg and hip upward together to flip uke over.
  Key point 1: Bend the springing leg and keep it in contact with uke's leg
  Key point 2: Spring hip and leg upward as one movement
  Key point 3: Draw uke tight onto your hip before the spring
  Full record: https://wazabook.com/techniques/hane-goshi/

Harai-tsurikomi-ashi (払釣込足, はらいつりこみあし), sweeping drawing ankle throw.
  Nage-waza (throwing techniques), Ashi-waza (foot and leg techniques), Gokyo 3rd set.
  Tori draws uke up and forward with the hands and sweeps the advancing ankle away, so uke pivots over the swept foot.
  Key point 1: Lift-pull upward with the hands as you sweep
  Key point 2: Sweep the ankle before the foot settles
  Key point 3: Step back to draw uke onto the sweeping line
  Also written: Harai-tsuri-komi-ashi.
  Full record: https://wazabook.com/techniques/harai-tsurikomi-ashi/

Kata-guruma (肩車, かたぐるま), shoulder wheel.
  Nage-waza (throwing techniques), Te-waza (hand techniques), Gokyo 3rd set.
  BANNED IN COMPETITION: contest rules bar it, and judo still teaches, demonstrates and examines it.
  Why: Penalised in competition in its classical form, where tori's hand passes between uke's legs: current IJF rules give a shido for the hand reaching the leg. The version that takes uke across the shoulders without touching the legs is thrown in contest today, so what is penalised is the form rather than the technique. The BJA sets kata-guruma as a 4th Dan fundamental skill.
  Under contest rules: Two rules meet here. The classical form, where the hand passes between uke's legs, draws a shido for the hand reaching the leg, while the version taken across the shoulders without touching the legs is thrown in contest and scores. Diving forward onto the head to complete either form is a direct hansoku-make.
  Source: Sport and Organisation Rules of the International Judo Federation: refereeing rules, 2026 edition, Articles 18.1.2 and 18.2.1.
  Uke is drawn across tori's shoulders and wheeled over them, in the fireman's-carry position.
  Key point 1: Drop low with a wide, stable stance as you enter
  Key point 2: Draw uke across the shoulders with a strong sleeve pull
  Key point 3: Lift with the legs and wheel uke over, never with the back alone
  Full record: https://wazabook.com/techniques/kata-guruma/

Ko-soto-gake (小外掛, こそとがけ), minor outer hook.
  Nage-waza (throwing techniques), Ashi-waza (foot and leg techniques), Gokyo 3rd set.
  Tori hooks uke's heel from the outside and holds it in place while driving uke straight back over the trapped foot.
  Key point 1: Hook and keep the heel: this is a hook, not a sweep
  Key point 2: Drive uke's weight back over the trapped heel
  Key point 3: Stay close, chest to chest, as uke falls
  Full record: https://wazabook.com/techniques/ko-soto-gake/

Tomoe-nage (巴投, ともえなげ), circle throw.
  Nage-waza (throwing techniques), Ma-sutemi-waza (rear sacrifice techniques), Gokyo 3rd set.
  The classic sacrifice throw: tori drops beneath uke, places a foot on the abdomen, and throws uke overhead in a full circle.
  Key point 1: Sit close under uke, foot planted below the belt
  Key point 2: Pull uke over you: the arms steer the circle
  Key point 3: Roll back on your spine, not flat onto your back
  Full record: https://wazabook.com/techniques/tomoe-nage/

Tsuri-goshi (釣腰, つりごし), lifting hip throw.
  Nage-waza (throwing techniques), Koshi-waza (hip techniques), Gokyo 3rd set.
  Under contest rules: The throw is legal and scores. Diving forward onto the head while performing or attempting it is a direct hansoku-make.
  Source: Sport and Organisation Rules of the International Judo Federation: refereeing rules, 2026 edition, Article 18.2.1.
  A hip throw in which tori grips uke's belt and lifts with it while the hips come through.
  Key point 1: Grip the back of the belt, over or under uke's arm
  Key point 2: Lift with the belt hand as the hips enter
  Key point 3: Rotate uke over the hip line, keeping the pull continuous
  Full record: https://wazabook.com/techniques/tsuri-goshi/

Yoko-otoshi (横落, よこおとし), side drop.
  Nage-waza (throwing techniques), Yoko-sutemi-waza (side sacrifice techniques), Gokyo 3rd set.
  A side sacrifice: tori drops directly to the side, blocking uke's foot, and throws uke over the outstretched body.
  Key point 1: Slide your leg outside uke's foot as you drop to your side
  Key point 2: Pull uke's sleeve down and across as you fall
  Key point 3: Commit to the drop: a half-hearted sacrifice throws nobody
  Full record: https://wazabook.com/techniques/yoko-otoshi/

Hane-makikomi (跳巻込, はねまきこみ), spring wrapping throw.
  Nage-waza (throwing techniques), Yoko-sutemi-waza (side sacrifice techniques), Gokyo 4th set.
  A spring hip entry finished as a winding sacrifice: tori wraps uke's arm and body and rotates to the mat, carrying uke over.
  Key point 1: Enter as for hane-goshi, then release the lapel and wrap the arm
  Key point 2: Wind uke around your body as you turn to the mat
  Key point 3: Land rolling on your side with uke wrapped, not underneath
  Also written: Hane-maki-komi.
  Full record: https://wazabook.com/techniques/hane-makikomi/

O-guruma (大車, おおぐるま), major wheel.
  Nage-waza (throwing techniques), Ashi-waza (foot and leg techniques), Gokyo 4th set.
  Tori's leg bars across the front of uke's hips and uke is wheeled over it with a large rotary action.
  Key point 1: Bar the leg across the top of uke's thighs, higher than ashi-guruma
  Key point 2: Draw uke forward onto the bar before rotating
  Key point 3: Wheel with hands and trunk while balanced on one leg
  Full record: https://wazabook.com/techniques/o-guruma/

Soto-makikomi (外巻込, そとまきこみ), outer wrapping throw.
  Nage-waza (throwing techniques), Yoko-sutemi-waza (side sacrifice techniques), Gokyo 4th set.
  Tori wraps uke's arm from the outside, turns in, and winds uke over the body to the mat in a committed rotation.
  Key point 1: Trap uke's arm under your armpit as you turn
  Key point 2: Wind your whole body: the rotation is the throw
  Key point 3: Roll through onto your side so uke lands beside you
  Also written: Soto-maki-komi.
  Full record: https://wazabook.com/techniques/soto-makikomi/

Sukui-nage (掬投, すくいなげ), scooping throw.
  Nage-waza (throwing techniques), Te-waza (hand techniques), Gokyo 4th set.
  BANNED IN COMPETITION: contest rules bar it, and judo still teaches, demonstrates and examines it.
  Why: Penalised in competition in its classical form, which scoops uke's legs from behind: current IJF rules give a shido for taking the legs with the hands or arms. What is penalised is the contact with the legs rather than the throw. Nothing changes outside contest, and the BJA sets it as a 5th Dan fundamental skill.
  Under contest rules: Scooping the legs with the arms draws a shido. The penalty follows the contact with the legs rather than the direction of the throw.
  Source: Sport and Organisation Rules of the International Judo Federation: refereeing rules, 2026 edition, Article 18.1.2.
  Tori steps behind or across uke, scoops both legs or the trunk with the arms, and throws uke backwards without using the lapels.
  Key point 1: Get your hips behind or across uke before you scoop
  Key point 2: Scoop at thigh height, lifting with legs and hips
  Key point 3: Turn uke over your hip line as you lift
  Full record: https://wazabook.com/techniques/sukui-nage/

Sumi-gaeshi (隅返, すみがえし), corner reversal.
  Nage-waza (throwing techniques), Ma-sutemi-waza (rear sacrifice techniques), Gokyo 4th set.
  A sacrifice throw against a crouching opponent: tori rolls back and lifts with the instep inside uke's thigh, turning uke over the corner.
  Key point 1: Hook the instep inside uke's thigh as you roll back
  Key point 2: Throw towards uke's front corner, not straight over
  Key point 3: Keep pulling with the hands so uke rolls, not lands on you
  Full record: https://wazabook.com/techniques/sumi-gaeshi/

Tani-otoshi (谷落, たにおとし), valley drop.
  Nage-waza (throwing techniques), Yoko-sutemi-waza (side sacrifice techniques), Gokyo 4th set.
  Tori slides a leg behind uke's legs and drops to the side, taking uke straight backwards over the barrier.
  Key point 1: Slide the leg deep behind both of uke's heels
  Key point 2: Drop onto your side, driving uke back over your leg
  Key point 3: Keep your head clear of uke's fall line
  Full record: https://wazabook.com/techniques/tani-otoshi/

Uki-otoshi (浮落, うきおとし), floating drop.
  Nage-waza (throwing techniques), Te-waza (hand techniques), Gokyo 4th set.
  A pure hand throw: tori drops one knee and rotates uke's floating balance forward so uke falls with barely any contact.
  Key point 1: Catch uke's balance floating forward at full commitment
  Key point 2: Rotate with both hands in a steering-wheel action
  Key point 3: Drop the rear knee as you turn: timing beats strength
  Full record: https://wazabook.com/techniques/uki-otoshi/

Utsuri-goshi (移腰, うつりごし), changing hip throw.
  Nage-waza (throwing techniques), Koshi-waza (hip techniques), Gokyo 4th set.
  A counter to a hip attack: tori lifts uke with a body hold, switches the hips across, and throws with tori's own hip technique.
  Key point 1: Lift uke clear with the arm around the waist first
  Key point 2: Switch your hips across in the moment uke hangs in the air
  Key point 3: Finish as a hip throw the instant uke lands on your hip
  Full record: https://wazabook.com/techniques/utsuri-goshi/

O-soto-guruma (大外車, おおそとぐるま), major outer wheel.
  Nage-waza (throwing techniques), Ashi-waza (foot and leg techniques), Gokyo 5th set.
  Tori's leg bars behind both of uke's legs and uke is wheeled straight backwards over it.
  Key point 1: Bar the reaping leg behind both of uke's legs
  Key point 2: Break balance to the rear before the leg goes in
  Key point 3: Wheel uke back over the barring leg with both hands
  Full record: https://wazabook.com/techniques/o-soto-guruma/

Sumi-otoshi (隅落, すみおとし), corner drop.
  Nage-waza (throwing techniques), Te-waza (hand techniques), Gokyo 5th set.
  A hand throw to uke's rear corner: as uke's weight settles onto the heels, tori steps in and drops uke straight down into the open corner.
  Key point 1: Break balance to the rear corner over uke's heel
  Key point 2: Step deep behind uke's line as you drive down
  Key point 3: Throw with both hands together: there is no leg contact
  Full record: https://wazabook.com/techniques/sumi-otoshi/

Uki-waza (浮技, うきわざ), floating technique.
  Nage-waza (throwing techniques), Yoko-sutemi-waza (side sacrifice techniques), Gokyo 5th set.
  A side sacrifice against a forward-leaning uke: tori extends a leg and drops to the side, floating uke over the outstretched body to the front corner.
  Key point 1: Extend the leg to uke's advancing foot as you drop
  Key point 2: Throw to the front corner uke is already leaning towards
  Key point 3: Guide with the hands so uke floats past, not onto, you
  Full record: https://wazabook.com/techniques/uki-waza/

Ura-nage (裏投, うらなげ), rear throw.
  Nage-waza (throwing techniques), Ma-sutemi-waza (rear sacrifice techniques), Gokyo 5th set.
  Tori grasps uke's trunk from behind or beside, bridges backwards, and throws uke over the shoulder to the rear.
  Key point 1: Clamp uke's trunk tight to your chest before you lift
  Key point 2: Drive the hips forward and up as you bridge back
  Key point 3: Throw uke over your shoulder as you fall, head turned aside
  Full record: https://wazabook.com/techniques/ura-nage/

Ushiro-goshi (後腰, うしろごし), rear hip throw.
  Nage-waza (throwing techniques), Koshi-waza (hip techniques), Gokyo 5th set.
  The classical counter to hip throws: tori scoops uke's entering hips from behind, swings uke up into the air and throws them onto their back.
  Key point 1: Drop your hips below uke's as the attack comes in
  Key point 2: Lift uke clear of the mat with the hips, arms around the waist
  Key point 3: Swing uke up and bring them down onto their back
  Full record: https://wazabook.com/techniques/ushiro-goshi/

Yoko-gake (横掛, よこがけ), side hook.
  Nage-waza (throwing techniques), Yoko-sutemi-waza (side sacrifice techniques), Gokyo 5th set.
  Tori sweeps uke's ankle sideways while falling to the side, so both go down together with uke thrown flat.
  Key point 1: Sweep the ankle with the sole as you begin to fall
  Key point 2: Pull uke's sleeve down towards your own falling side
  Key point 3: Sacrifice fully: your fall is what powers the sweep
  Full record: https://wazabook.com/techniques/yoko-gake/

Yoko-guruma (横車, よこぐるま), side wheel.
  Nage-waza (throwing techniques), Yoko-sutemi-waza (side sacrifice techniques), Gokyo 5th set.
  A counter sacrifice: as uke attacks, tori thrusts a leg between uke's legs and drops to the side, wheeling uke over in the direction of the attack.
  Key point 1: Thrust the leg deep between uke's legs as you drop
  Key point 2: Continue uke's own rotation rather than fighting it
  Key point 3: Wheel uke over your falling body to the mat beyond
  Full record: https://wazabook.com/techniques/yoko-guruma/

Yoko-wakare (横分, よこわかれ), side separation.
  Nage-waza (throwing techniques), Yoko-sutemi-waza (side sacrifice techniques), Gokyo 5th set.
  Tori drops onto the left side or the back across uke's front, both legs extended, and pulls uke straight over the body.
  Key point 1: Drop across uke's front with both legs extended
  Key point 2: Pull uke over your body with a sharp two-handed action
  Key point 3: Drop onto your left side or onto your back
  Full record: https://wazabook.com/techniques/yoko-wakare/

Ashi-garami (足緘, あしがらみ), entangled leg lock.
  Katame-waza (grappling techniques).
  BANNED OUTRIGHT: not to be applied at all. Documented for recognition and refereeing only, and there is deliberately no instruction for it anywhere in this reference.
  Why: Prohibited in competition and free practice: the knee can give way before there is time to submit, which is why judo restricts joint locks to the elbow.
  Under contest rules: A direct hansoku-make. The rulebook governs contest only; this book's wider caution against applying it at all is a safety judgement of its own.
  Source: Sport and Organisation Rules of the International Judo Federation: refereeing rules, 2026 edition, Article 18.2.2.
  A joint lock applied to the leg by entangling it. Banned in competition and randori, it is retained in katame-no-kata, where it is studied under control.
  Key point 1: Recognise it: the leg entangled and rotated rather than the arm
  Key point 2: Competition joint locks are restricted to the elbow; leg locks are prohibited
  Key point 3: Studied only in kata under supervision, never applied live
  Full record: https://wazabook.com/techniques/ashi-garami/

Ashi-gatame (足固, あしがため), leg armlock.
  Katame-waza (grappling techniques).
  The armlock applied with a leg: tori fixes uke's wrist and lays a leg across the elbow, so the lock is applied by lowering the leg rather than by pulling. Strong, because a leg is stronger than an arm, and for that reason worth applying with unusual care. Competition joint locks are restricted to the elbow and to senior age groups; learn and practise this only under instruction.
  Key point 1: Wrist fixed first, palm turned upward
  Key point 2: The leg goes across the elbow, not the shoulder
  Key point 3: Lower the leg slowly; it has far more power than a hand
  Also written: Ude-hishigi-ashi-gatame.
  Full record: https://wazabook.com/techniques/ashi-gatame/

Daki-age (抱上), high lift.
  Nage-waza (throwing techniques), Koshi-waza (hip techniques).
  BANNED IN COMPETITION: contest rules bar it, and judo still teaches, demonstrates and examines it.
  Why: Prohibited in competition: current IJF rules give a direct hansoku-make for lifting an opponent off the mat and forcing them back down without a judo technique, so the high lift has no legal finish in contest. It remains part of the Kodokan classification and is demonstrated with a controlled lowering.
  Under contest rules: Lifting an opponent off the mat and forcing them back down without a judo technique is a direct hansoku-make, which leaves the high lift no legal finish in contest.
  Source: Sport and Organisation Rules of the International Judo Federation: refereeing rules, 2026 edition, Article 18.2.2.
  The high lift: with uke on their back, guarding between their legs, tori wraps the trunk, stands, and lifts them bodily from the mat. Neither the 1895 Gokyo nor the 1920 revision listed it; the Kodokan recognised it officially in 1982 as a koshi-waza, though the movement is far older and went by mochi-age, idaki-age and daki-otoshi in earlier days. In modern contest it has no legal ending, because driving a lifted opponent back to the mat is a serious offence, so the name is met in the rule book rather than on the scoreboard.
  Key point 1: Recognise it: uke is wrapped around the trunk and lifted bodily from the mat
  Key point 2: In contest there is no legal finish; forcing a lifted opponent back down without a technique is hansoku-make
  Key point 3: In practice a lifted partner is always lowered under control, never dropped
  Full record: https://wazabook.com/techniques/daki-age/

Daki-wakare (抱分, だきわかれ), hugging separation.
  Nage-waza (throwing techniques), Yoko-sutemi-waza (side sacrifice techniques).
  A side sacrifice taken from behind or beside: tori wraps uke's body, lifts them clear and throws them to one side while falling to the other, separating from them as they land. A Kodokan technique often reached from a defensive, bent-over position or from the turtle in ne-waza.
  Key point 1: Wrap the body high and lock your hands
  Key point 2: Lift with the legs before you commit to falling
  Key point 3: Throw them one way and go the other: that is the separation
  Full record: https://wazabook.com/techniques/daki-wakare/

Do-jime (胴絞, どうじめ), trunk squeeze.
  Katame-waza (grappling techniques).
  BANNED OUTRIGHT: not to be applied at all. Documented for recognition and refereeing only, and there is deliberately no instruction for it anywhere in this reference.
  Why: Prohibited act under competition rules: squeezing the trunk with crossed legs (scissoring the body) is penalised with hansoku-make. Unlike most banned techniques it has no legitimate contest history to preserve; it is listed so it can be recognised and stopped.
  Under contest rules: A direct hansoku-make. The rule names the technique outright, so the referee does not weigh how hard the legs were squeezed.
  Source: Sport and Organisation Rules of the International Judo Federation: refereeing rules, 2026 edition, Article 18.2.2.
  Squeezing the opponent's trunk between the legs, ankles crossed around the body. Judo classifies it among the strangles but bans it outright: compressing the trunk this way can injure ribs and organs. Documented for recognition only.
  Key point 1: Recognise it: legs wrapped around the trunk with the ankles crossed, squeezing
  Key point 2: Prohibited in competition and in randori alike
  Key point 3: If you feel it applied in practice, tap at once and say so; it should simply not be used
  Full record: https://wazabook.com/techniques/do-jime/

Gyaku-juji-jime (逆十字絞, ぎゃくじゅうじじめ), reverse cross strangle.
  Katame-waza (grappling techniques).
  The cross strangle with both grips reversed: fingers inside the opposite collars, thumbs outside, palms up, the closing action turning the other way. Strangles are restricted by age in most federations; learn and practise this only under instruction and supervision.
  Key point 1: Both hands: fingers inside the opposite collars, thumbs out
  Key point 2: The same deep crossed grip as the normal form, mirrored
  Key point 3: Close with the wrist turn and elbows, gradually and under control
  Full record: https://wazabook.com/techniques/gyaku-juji-jime/

Hadaka-jime (裸絞, はだかじめ), naked strangle.
  Katame-waza (grappling techniques).
  The strangle that needs no cloth: applied from behind with the forearm across the front of the neck, hence naked. One of the fundamental shime-waza. Strangles are restricted by age in most federations; learn and practise this only under instruction and supervision.
  Key point 1: Applied from behind; your forearm, not your hand, crosses the neck
  Key point 2: The pressure is a squeeze that builds, never a pull or a jerk
  Key point 3: Release completely and immediately at the tap, and watch your partner after
  Full record: https://wazabook.com/techniques/hadaka-jime/

Hane-goshi-gaeshi (跳腰返, はねごしがえし), springing hip counter.
  Nage-waza (throwing techniques), Ashi-waza (foot and leg techniques).
  The counter to Hane-goshi: before uke can complete the spring, tori reaps or hooks the leg uke pivots on, from the outside. A Kodokan foot technique, and one that rewards feeling the turn early.
  Key point 1: Counter before the spring lifts you
  Key point 2: Keep your hips back and heavy as they turn in
  Key point 3: Reap or hook the leg they pivot on, from the outside
  Full record: https://wazabook.com/techniques/hane-goshi-gaeshi/

Hara-gatame (腹固, はらがため), stomach armlock.
  Katame-waza (grappling techniques).
  The armlock levered over the stomach: uke's straightened arm is held across tori's abdomen and the lock comes from tori turning their body, not from pulling with the hands. Reachable standing as well as on the ground, which makes it one to treat with particular care. Competition joint locks are restricted to the elbow and to senior age groups; learn and practise this only under instruction.
  Key point 1: Their elbow sits on your stomach, not on your ribs
  Key point 2: Hold the wrist with both hands, thumb up
  Key point 3: Turn your body to apply; the hands only hold
  Also written: Ude-hishigi-hara-gatame.
  Full record: https://wazabook.com/techniques/hara-gatame/

Harai-goshi-gaeshi (払腰返, はらいごしがえし), sweeping hip counter.
  Nage-waza (throwing techniques), Ashi-waza (foot and leg techniques).
  The counter to Harai-goshi: as uke turns in and sweeps, tori hooks the leg uke is standing on, round the lower leg from behind, and reaps it. Recognised by the Kodokan as a technique in its own right.
  Key point 1: Hips back and low the moment they turn in
  Key point 2: Their supporting leg is the target, not the sweeping one
  Key point 3: Hook it from behind and reap it
  Full record: https://wazabook.com/techniques/harai-goshi-gaeshi/

Harai-makikomi (払巻込, はらいまきこみ), sweeping wraparound.
  Nage-waza (throwing techniques), Yoko-sutemi-waza (side sacrifice techniques).
  The sweeping hip throw finished as a winding sacrifice: when harai-goshi is resisted, tori releases the lapel, wraps uke's arm, and rotates to the mat with the sweep still working, carrying uke over.
  Key point 1: Enter as an honest harai-goshi; the wrap answers their defence
  Key point 2: Trap the arm and wind your whole body as one unit
  Key point 3: Land rolling on your side with them wrapped, never flat beneath them
  Also written: Harai-maki-komi.
  Full record: https://wazabook.com/techniques/harai-makikomi/

Hikikomi-gaeshi (引込返, ひきこみがえし), pulling-in reversal.
  Nage-waza (throwing techniques), Ma-sutemi-waza (rear sacrifice techniques).
  A rear sacrifice against a partner who is bent forward: tori takes the belt or wraps the far arm, sits straight down and rolls backwards, flipping a leg up between uke's legs to lift them over the top and out onto their back. A Kodokan sacrifice technique that flows naturally into groundwork.
  Key point 1: Take a deep grip first: belt, or under the far arm
  Key point 2: Sit down close to your own heels, not away from them
  Key point 3: Roll along your back and keep pulling all the way over
  Full record: https://wazabook.com/techniques/hikikomi-gaeshi/

Hiza-gatame (膝固, ひざがため), knee armlock.
  Katame-waza (grappling techniques).
  The armlock applied with the knee: from guard or side-on, uke's extended arm is trapped and tori's knee presses the elbow against its hinge. The name describes tori's knee, not uke's; no leg joint is attacked. Competition joint locks are restricted to the elbow and to senior age groups; learn and practise this only under instruction.
  Key point 1: Their arm trapped straight across your body, wrist controlled
  Key point 2: Your own knee presses the back of their elbow
  Key point 3: The hips fine-tune the pressure; apply slowly
  Also written: Ude-hishigi-hiza-gatame.
  Full record: https://wazabook.com/techniques/hiza-gatame/

Hiza-soto-muso (膝外無双), outer knee twist-down.
  Nage-waza (throwing techniques), Te-waza (hand techniques).
  BANNED IN COMPETITION: contest rules bar it, and judo still teaches, demonstrates and examines it.
  Why: Penalised in competition: the blocking hand works directly on uke's leg, which current IJF rules answer with a shido. Outside contest the technique is unaffected.
  Under contest rules: The blocking hand works on uke's leg, which draws a shido.
  Source: Sport and Organisation Rules of the International Judo Federation: refereeing rules, 2026 edition, Article 18.1.2.
  The outer knee twist-down, borrowed from sumo's soto-muso: one hand leaves its grip to press the outside of uke's knee, and the other hand and chest twist them down backwards over the blocked leg. A rarity of international contest footage rather than the Kodokan classification, documented here under the name the video libraries use.
  Key point 1: Break the balance to the rear corner before the hand goes to the knee
  Key point 2: The palm blocks the outside of the knee; the block holds still while the body turns
  Key point 3: Twist with the remaining grip and your chest, steering them down over the blocked leg
  Full record: https://wazabook.com/techniques/hiza-soto-muso/

Ippon-seoi-nage (一本背負投, いっぽんせおいなげ), one-armed shoulder throw.
  Nage-waza (throwing techniques), Te-waza (hand techniques).
  The one-armed shoulder throw: instead of keeping the lapel grip, tori wraps uke's right arm over the shoulder and throws with that single trapped arm. Recognised by the Kodokan alongside the classical seoi-nage.
  Key point 1: Trap their whole arm over your shoulder, their armpit on your shoulder
  Key point 2: Knees bent, hips below theirs, back glued to their chest
  Key point 3: Throw by straightening the legs and bowing, never by pulling the arm alone
  Full record: https://wazabook.com/techniques/ippon-seoi-nage/

Juji-gatame (十字固, じゅうじがため), cross armlock.
  Katame-waza (grappling techniques).
  The cross armlock: uke's extended arm is levered across tori's hips, the whole body bending the elbow against its hinge. The most successful armlock in competition judo. Kansetsu-waza are restricted by age in most federations; learn and practise this only under instruction.
  Key point 1: Sit close: your hips against their shoulder, no space under the arm
  Key point 2: Knees pinched together, their thumb pointing to the ceiling
  Key point 3: Lift your hips gently to apply; release the instant they tap
  Also written: Ude-hishigi-juji-gatame.
  Full record: https://wazabook.com/techniques/juji-gatame/

Kami-shiho-gatame (上四方固, かみしほうがため), upper four-quarter hold.
  Katame-waza (grappling techniques).
  Osaekomi clock: Scores yuko at five seconds, waza-ari at ten and ippon at twenty, which ends the contest.
  Source: Sport and Organisation Rules of the International Judo Federation: refereeing rules, 2026 edition, Article 7.
  Tori controls uke from above the head, gripping the belt under both shoulders, chest over uke's face and chest.
  Key point 1: Grip the belt under both of uke's shoulders
  Key point 2: Clamp uke's arms with your elbows
  Key point 3: Keep your weight forward through your chest, legs spread or knees tucked
  Also written: Hon-kami-shiho-gatame.
  Full record: https://wazabook.com/techniques/kami-shiho-gatame/

Kani-basami (蟹挟, かにばさみ), crab scissors.
  Nage-waza (throwing techniques), Yoko-sutemi-waza (side sacrifice techniques).
  BANNED OUTRIGHT: not to be applied at all. Documented for recognition and refereeing only, and there is deliberately no instruction for it anywhere in this reference.
  Why: Prohibited in competition since the 1980s after serious knee and leg injuries to receivers; attempting it in shiai is direct hansoku-make. It remains part of judo's historical canon and study.
  Under contest rules: Named in the rules as a direct hansoku-make, so attempting it ends the contest against the judoka who tried.
  Source: Sport and Organisation Rules of the International Judo Federation: refereeing rules, 2026 edition, Article 18.2.2.
  A sacrifice throw in which tori leaps sideways and scissors uke's body between both legs, one across the waist and one behind the knees, felling uke like a cut stalk. It is documented here for recognition and history only: the technique is banned in competition and should not be practised in randori.
  Key point 1: Recognise it: both of the attacker's legs leave the mat and scissor the body
  Key point 2: Banned in competition; attempting it is direct hansoku-make
  Key point 3: Do not practise it in randori; the falling scissor risks serious knee injury
  Also written: Kani-hasami, Kani-waza.
  Full record: https://wazabook.com/techniques/kani-basami/

Kata-gatame (肩固, かたがため), shoulder hold.
  Katame-waza (grappling techniques).
  Osaekomi clock: Scores yuko at five seconds, waza-ari at ten and ippon at twenty, which ends the contest.
  Source: Sport and Organisation Rules of the International Judo Federation: refereeing rules, 2026 edition, Article 7.
  Uke's arm is trapped against uke's own neck by tori's head and shoulder: a hold-down that can also become a strangle at senior grades.
  Key point 1: Press uke's arm across the neck with your head
  Key point 2: Clasp your hands and keep the elbow to the mat
  Key point 3: Keep your legs braced wide, hips low
  Full record: https://wazabook.com/techniques/kata-gatame/

Kata-ha-jime (片羽絞, かたはじめ), single wing strangle.
  Katame-waza (grappling techniques).
  The single wing strangle: from behind, one lapel grip closes the neck while the other arm lifts uke's arm and wing-locks it, the hand sliding behind their head. The trapped wing takes away the main defence. Strangles are restricted by age in most federations; learn and practise this only under instruction and supervision.
  Key point 1: Begin as the sliding lapel strangle from behind
  Key point 2: The free arm lifts their arm high and slides behind their head
  Key point 3: The trapped wing removes their defending hand; close gradually
  Also written: Kataha-jime.
  Full record: https://wazabook.com/techniques/kata-ha-jime/

Kata-juji-jime (片十字絞, かたじゅうじじめ), half cross strangle.
  Katame-waza (grappling techniques).
  The cross strangle with one hand of each kind: one thumb inside, one fingers inside. The most used of the three in practice, because the mixed grip is the easiest to place under resistance. Strangles are restricted by age in most federations; learn and practise this only under instruction and supervision.
  Key point 1: One hand thumb inside, the other fingers inside
  Key point 2: The deeper the first grip, the less the second must do
  Key point 3: Elbows down and in; the squeeze is a curve, not a snatch
  Full record: https://wazabook.com/techniques/kata-juji-jime/

Kata-te-jime (片手絞, かたてじめ), one-hand strangle.
  Katame-waza (grappling techniques).
  The one-hand strangle: a single forearm across the throat, anchored by a deep collar grip, while position and body weight supply the pressure. It appears where one arm is trapped or busy and only one hand can strangle. Strangles are restricted by age in most federations; learn and practise this only under instruction and supervision.
  Key point 1: One deep collar grip does the holding, the forearm bar does the work
  Key point 2: Position first: control the body before the neck
  Key point 3: Pressure comes from body weight, not arm strength
  Also written: Katate-jime.
  Full record: https://wazabook.com/techniques/kata-te-jime/

Kawazu-gake (河津掛, かわづがけ), one-leg entanglement.
  Nage-waza (throwing techniques), Yoko-sutemi-waza (side sacrifice techniques).
  BANNED OUTRIGHT: not to be applied at all. Documented for recognition and refereeing only, and there is deliberately no instruction for it anywhere in this reference.
  Why: Prohibited in competition: falling backwards with a leg entwined around the opponent's leg risks severe knee and ankle injury. Named for the sumo wrestler Kawazu, and older than judo itself; it is retained in the vocabulary so it can be recognised and refereed.
  Under contest rules: A direct hansoku-make, and the twist or turn some judoka add during the throw does not make it something else. The rule draws the line explicitly: o-soto-gari, o-uchi-gari and uchi-mata with the foot or leg entwined around uke's leg are permitted and score.
  Source: Sport and Organisation Rules of the International Judo Federation: refereeing rules, 2026 edition, Article 18.2.2.
  A prohibited throw in which tori winds a leg around uke's leg from the inside and falls backwards, taking uke down with the leg still entwined. Documented for recognition only: the entangled fall loads uke's knee unpredictably, which is why the technique is banned.
  Key point 1: Recognise it: a leg wound around yours as the attacker falls backwards
  Key point 2: Banned in competition; attempting it is direct hansoku-make
  Key point 3: Never complete an entangled backward fall in practice; release and step out
  Full record: https://wazabook.com/techniques/kawazu-gake/

Kesa-gatame (袈裟固, けさがため), scarf hold.
  Katame-waza (grappling techniques).
  Osaekomi clock: Scores yuko at five seconds, waza-ari at ten and ippon at twenty, which ends the contest.
  Source: Sport and Organisation Rules of the International Judo Federation: refereeing rules, 2026 edition, Article 7.
  The first hold-down most judoka learn: tori sits beside uke, arm around the neck, chest across uke's chest, in the line of a monk's scarf.
  Key point 1: Trap uke's arm tight under your armpit
  Key point 2: Spread the legs wide, one forward, one back, for a stable base
  Key point 3: Keep your chest heavy on uke's chest, head low
  Also written: Hon-kesa-gatame.
  Full record: https://wazabook.com/techniques/kesa-gatame/

Kibisu-gaeshi (踵返, きびすがえし), heel reversal.
  Nage-waza (throwing techniques), Te-waza (hand techniques).
  BANNED IN COMPETITION: contest rules bar it, and judo still teaches, demonstrates and examines it.
  Why: Penalised in competition: the hand catches the heel, which current IJF rules count as a leg grab and answer with a shido. Outside contest the technique stands unaltered, and the BJA sets it as a 3rd Dan fundamental skill.
  Under contest rules: The hand at the heel counts as a leg grab and draws a shido.
  Source: Sport and Organisation Rules of the International Judo Federation: refereeing rules, 2026 edition, Article 18.1.2.
  A hand throw taken at the heel: tori drops, scoops the heel forward and pushes the upper body back, so uke sits down over a foot that can no longer take their weight. Recognised by the Kodokan beyond the Gokyo. Like other leg grabs it costs a shido in current IJF competition, and the BJA syllabus names inside and outside forms of it (Uchi- and Soto-kibisu-gaeshi).
  Key point 1: Take the heel, not the knee: scoop it forward
  Key point 2: Push the chest back at the same instant
  Key point 3: Stay low; standing up gives the leg back
  Also written: Soto-kibisu-gaeshi, Uchi-kibisu-gaeshi.
  Full record: https://wazabook.com/techniques/kibisu-gaeshi/

Ko-uchi-gaeshi (小内返, こうちがえし), minor inner reversal.
  Nage-waza (throwing techniques), Te-waza (hand techniques).
  The counter to Ko-uchi-gari: as uke's foot comes in to reap the heel, tori lifts the attacked foot clear, turns into the space the attack has opened and drops uke backwards with the hands. A Kodokan technique in its own right, not merely an escape.
  Key point 1: Lift the attacked foot early, before the reap arrives
  Key point 2: Turn towards the attack, not away from it
  Key point 3: Finish with the hands: their weight is already going back
  Full record: https://wazabook.com/techniques/ko-uchi-gaeshi/

Ko-uchi-gake (小内掛, こうちがけ), minor inner hook.
  Nage-waza (throwing techniques), Ashi-waza (foot and leg techniques).
  The hooking form of the minor inner reap: the foot hooks behind uke's heel and stays there while tori drives, often dropping low, rather than sweeping the heel away. Distinct from ko-uchi-gari; gake and gari name different actions.
  Key point 1: Hook the heel and keep it hooked
  Key point 2: Drive through their centre, low and direct
  Key point 3: Common in competition as a dropping attack; drill the drive standing first
  Full record: https://wazabook.com/techniques/ko-uchi-gake/

Ko-uchi-makikomi (小内巻込, こうちまきこみ), minor inner wrap-around.
  Nage-waza (throwing techniques), Yoko-sutemi-waza (side sacrifice techniques).
  Ko-uchi-gari finished by wrapping and falling: tori reaps the heel inward and, instead of standing over the attack, turns and drops onto uke, rolling them over the reaped leg. A Kodokan side sacrifice, and a common finish when the reap alone will not put a heavy partner down.
  Key point 1: The reap comes first: take the heel inward
  Key point 2: Turn in and wrap the arm as you drop
  Key point 3: Land beside them, not on top of them
  Full record: https://wazabook.com/techniques/ko-uchi-makikomi/

Koshi-jime (腰絞, こしじめ), hip strangle.
  Katame-waza (grappling techniques).
  The hip strangle: applied on a turtled opponent, the deep collar grip closes the neck while tori's hip and body weight drive through the shoulders, the whole body doing the strangling. Strangles are restricted by age in most federations; learn and practise this only under instruction and supervision.
  Key point 1: Deep collar grip first, from beside the turtled opponent
  Key point 2: Your hip and chest weight drive through their shoulder line
  Key point 3: The body applies it; the arm only holds the collar
  Full record: https://wazabook.com/techniques/koshi-jime/

Kuchiki-taoshi (朽木倒, くちきたおし), single-leg drop.
  Nage-waza (throwing techniques), Te-waza (hand techniques).
  BANNED IN COMPETITION: contest rules bar it, and judo still teaches, demonstrates and examines it.
  Why: Penalised in competition: catching the leg with the hand draws a shido under current IJF rules. The grip becomes legal once both judoka are clearly in ne-waza and the standing exchange has stopped. It is taught and examined as normal, and the BJA sets it as a 4th Dan fundamental skill.
  Under contest rules: Catching the leg with the hand draws a shido while both judoka are standing. Once they are clearly in ne-waza and the standing exchange has stopped, the same grip is legal.
  Source: Sport and Organisation Rules of the International Judo Federation: refereeing rules, 2026 edition, Article 18.1.2.
  The single-leg takedown, named for felling a rotten tree: tori drops level, catches one leg behind the knee and drives the upper body back over it. A Kodokan te-waza and a wrestling staple, it draws a shido in current IJF competition under the leg-grab rules, but remains legal to practise and appears in older syllabuses.
  Key point 1: Change levels with the knees, keeping your back straight
  Key point 2: One hand behind the knee, the other driving the chest back
  Key point 3: Take the leg and move them; a held leg alone is no throw
  Also written: Kuchiki-daoshi, Kata-ashi-dori.
  Full record: https://wazabook.com/techniques/kuchiki-taoshi/

Kuzure-kami-shiho-gatame (崩上四方固, くずれかみしほうがため), modified upper four-quarter hold.
  Katame-waza (grappling techniques).
  Osaekomi clock: Scores yuko at five seconds, waza-ari at ten and ippon at twenty, which ends the contest.
  Source: Sport and Organisation Rules of the International Judo Federation: refereeing rules, 2026 edition, Article 7.
  Kami-shiho-gatame with one arm controlling uke's arm and shoulder instead of the belt: the practical contest version.
  Key point 1: Control uke's arm and shoulder on one side
  Key point 2: Keep chest pressure centred over uke's chest
  Key point 3: Switch between the pure and modified forms as uke escapes
  Full record: https://wazabook.com/techniques/kuzure-kami-shiho-gatame/

Kuzure-kesa-gatame (崩袈裟固, くずれけさがため), modified scarf hold.
  Katame-waza (grappling techniques).
  Osaekomi clock: Scores yuko at five seconds, waza-ari at ten and ippon at twenty, which ends the contest.
  Source: Sport and Organisation Rules of the International Judo Federation: refereeing rules, 2026 edition, Article 7.
  Kesa-gatame with the arm under uke's shoulder instead of around the neck: harder to escape from and the version most used in contest.
  Key point 1: Drive your arm under uke's far shoulder, not around the neck
  Key point 2: Stay chest-to-chest with your weight through uke
  Key point 3: Adjust your base constantly as uke bridges and turns
  Full record: https://wazabook.com/techniques/kuzure-kesa-gatame/

Kuzure-tate-shiho-gatame (崩縦四方固, くずれたてしほうがため), modified vertical four-quarter hold.
  Katame-waza (grappling techniques).
  Osaekomi clock: Scores yuko at five seconds, waza-ari at ten and ippon at twenty, which ends the contest.
  Source: Sport and Organisation Rules of the International Judo Federation: refereeing rules, 2026 edition, Article 7.
  The mount-position hold with its control varied: astride uke but off-centre, an arm and the head wrapped differently or a leg threaded through. The practical form of tate-shiho when uke is escaping.
  Key point 1: Stay astride with hooks or grapevined legs; the seat is the hold
  Key point 2: Wrap whatever is available: arm and head together is strongest
  Key point 3: Ride the bridge loosely and re-centre; chasing stiffly loses it
  Full record: https://wazabook.com/techniques/kuzure-tate-shiho-gatame/

Kuzure-yoko-shiho-gatame (崩横四方固, くずれよこしほうがため), modified side four-quarter hold.
  Katame-waza (grappling techniques).
  Osaekomi clock: Scores yuko at five seconds, waza-ari at ten and ippon at twenty, which ends the contest.
  Source: Sport and Organisation Rules of the International Judo Federation: refereeing rules, 2026 edition, Article 7.
  The side four-quarter hold with one of its grips broken: an arm controls uke's near arm or head instead of the standard neck-and-leg pair. The form the hold usually takes in live groundwork, where uke never lets the textbook grips settle.
  Key point 1: Same chest pressure as the pure form; only the grips change
  Key point 2: Control the near arm or the head with the freed hand
  Key point 3: Switch between forms as they work their arms free
  Full record: https://wazabook.com/techniques/kuzure-yoko-shiho-gatame/

Makura-kesa-gatame (枕袈裟固, まくらけさがため), pillow scarf hold.
  Katame-waza (grappling techniques).
  Osaekomi clock: Scores yuko at five seconds, waza-ari at ten and ippon at twenty, which ends the contest.
  Source: Sport and Organisation Rules of the International Judo Federation: refereeing rules, 2026 edition, Article 7.
  The scarf hold with uke's head resting on tori's thigh, like a pillow: tori sits deeper under the head and shoulders, which closes the space behind uke's neck that the ordinary scarf hold leaves.
  Key point 1: Slide your leg under their head; their neck rests on your thigh
  Key point 2: Their arm stays trapped under your armpit as in any scarf hold
  Key point 3: Sit tall and heavy; the pillow leg kills the bridge
  Full record: https://wazabook.com/techniques/makura-kesa-gatame/

Morote-gari (双手刈, もろてがり), two-hand reap.
  Nage-waza (throwing techniques), Te-waza (hand techniques).
  BANNED IN COMPETITION: contest rules bar it, and judo still teaches, demonstrates and examines it.
  Why: Penalised in competition: current IJF rules answer any grip, block or push on the leg with the hand or arm with a shido, and taking both legs at once is the plainest case of it. Nothing restricts the technique outside contest, and the BJA sets it as a 5th Dan fundamental skill.
  Under contest rules: Taking both legs with the hands draws a shido. Nothing about the throw itself is barred; it is the hands reaching the legs that the rule answers.
  Source: Sport and Organisation Rules of the International Judo Federation: refereeing rules, 2026 edition, Article 18.1.2.
  The two-handed leg reap: tori drops under the grips, wraps both hands behind uke's knees and drives through with the shoulder, taking both legs away. A Kodokan-recognised te-waza and a staple of wrestling and BJJ, it draws a shido in current IJF competition under the leg-grab rules, but remains legal to practise, appears in older and junior syllabuses, and is essential to recognise and defend.
  Key point 1: Change levels first: bend the knees, not the back
  Key point 2: Both hands behind the knees, shoulder tight to the body
  Key point 3: Drive through with the legs; pull the knees towards you
  Also written: Ryo-ashi-dori.
  Full record: https://wazabook.com/techniques/morote-gari/

Mune-gatame (胸固, むねがため), chest hold.
  Katame-waza (grappling techniques).
  Osaekomi clock: Scores yuko at five seconds, waza-ari at ten and ippon at twenty, which ends the contest.
  Source: Sport and Organisation Rules of the International Judo Federation: refereeing rules, 2026 edition, Article 7.
  Chest on chest from the side, arms hugging around uke's trunk and far arm: the simplest-feeling of the side holds, kept by weight and hip movement rather than any particular grip.
  Key point 1: Chest glued to chest, at right angles from their side
  Key point 2: Hug around the trunk and far shoulder, elbows tight
  Key point 3: Hips low or knees tucked; follow every bridge with your weight
  Full record: https://wazabook.com/techniques/mune-gatame/

Nami-juji-jime (並十字絞, なみじゅうじじめ), normal cross strangle.
  Katame-waza (grappling techniques).
  The cross strangle with both hands gripping alike: arms crossed, each hand deep in the opposite collar with the thumb inside and the palm down, the wrists turning to close. One of the three cross strangles. Strangles are restricted by age in most federations; learn and practise this only under instruction and supervision.
  Key point 1: Both hands: thumbs inside the opposite collars, fingers out
  Key point 2: Grip deep, at or behind the neck's sides, before you turn
  Key point 3: Close by drawing your elbows down and towards your body
  Full record: https://wazabook.com/techniques/nami-juji-jime/

Nidan-ko-soto-gari (二段小外刈, にだんこそとがり), two-stage minor outer reap.
  Nage-waza (throwing techniques), Ashi-waza (foot and leg techniques).
  The minor outer reap done in two stages: the first attack takes one heel, and as uke saves it the same foot travels to reap the second. A British-syllabus name for a classical continuation drill.
  Key point 1: The first reap is honest; the second reaps the recovering leg
  Key point 2: One sweeping foot, two beats, no pause between
  Key point 3: The hands keep uke's weight travelling backwards throughout
  Full record: https://wazabook.com/techniques/nidan-ko-soto-gari/

O-soto-gaeshi (大外返, おおそとがえし), major outer reap counter.
  Nage-waza (throwing techniques), Ashi-waza (foot and leg techniques).
  The counter to the major outer reap: as the attacker commits their reap, tori resists the balance-break, steps through, and reaps back with the same-side leg, turning the attack around. A recognised Kodokan technique.
  Key point 1: Survive the balance-break first: hips forward, weight off the heel
  Key point 2: Their reaping leg is airborne; that is the moment
  Key point 3: Reap back through their standing leg with your own attack
  Full record: https://wazabook.com/techniques/o-soto-gaeshi/

O-soto-gake (大外掛, おおそとがけ), major outer hook.
  Nage-waza (throwing techniques), Ashi-waza (foot and leg techniques).
  The hooking counterpart of the major outer reap: the attacking leg hooks behind uke's leg and stays there, driving them down over the trap rather than reaping through. Named separately in British syllabuses; gake (hook) and gari (reap) are different actions, not different spellings.
  Key point 1: Hook behind their leg and keep it; do not reap through
  Key point 2: Drive with the chest over the trapped leg
  Key point 3: Follow down with control, releasing the hook as they land
  Full record: https://wazabook.com/techniques/o-soto-gake/

O-soto-makikomi (大外巻込, おおそとまきこみ), major outer wrap-around.
  Nage-waza (throwing techniques), Yoko-sutemi-waza (side sacrifice techniques).
  O-soto-gari finished by wrapping: instead of reaping and staying upright, tori traps uke's right arm over their own shoulder, turns in and falls, rolling uke over with them. A Kodokan side sacrifice, and the usual answer when a strong partner blocks the plain reap.
  Key point 1: Trap their arm over your shoulder and keep it
  Key point 2: Turn your back in fully before you fall
  Key point 3: Fall onto your own side, taking them with you
  Full record: https://wazabook.com/techniques/o-soto-makikomi/

O-soto-otoshi (大外落, おおそとおとし), major outer drop.
  Nage-waza (throwing techniques), Ashi-waza (foot and leg techniques).
  The beginner's outer throw: where O-soto-gari sweeps the leg away, O-soto-otoshi simply places tori's leg behind uke's and drops them straight back over it. Because there is no reaping swing it is the standard first throw of junior syllabuses, teaching the outer-line entry and backward breakfall at low speed.
  Key point 1: Break uke's balance straight back over their heel
  Key point 2: Step deep past uke and place your leg behind theirs, no swing
  Key point 3: Drive back and down with both hands; uke drops over the barrier
  Also written: Osoto-otoshi.
  Full record: https://wazabook.com/techniques/o-soto-otoshi/

O-uchi-gaeshi (大内返, おおうちがえし), major inner reversal.
  Nage-waza (throwing techniques), Ashi-waza (foot and leg techniques).
  The counter to O-uchi-gari: as uke reaps deep inside, and before the reap is complete, tori uses the attacked leg to sweep uke's hooking leg out from under them and throws them onto their back. Classified by the Kodokan as a foot technique, because the leg does the work.
  Key point 1: Counter before the reap takes your weight
  Key point 2: Sweep with the leg they are hooking
  Key point 3: Their hooking leg is the target
  Full record: https://wazabook.com/techniques/o-uchi-gaeshi/

O-uchi-gake (大内掛, おおうちがけ), major inner hook.
  Nage-waza (throwing techniques), Ashi-waza (foot and leg techniques).
  The hooking form of the major inner reap, named separately in the British Judo syllabus: the leg hooks uke's inner thigh and stays hooked, and tori drives forward to the mat over the trapped leg rather than reaping it away.
  Key point 1: Hook and keep the leg; the drive of your chest does the throwing
  Key point 2: Weight forward: this technique walks them backwards over the trap
  Key point 3: Follow them down with control, your hooked leg releasing as they land
  Full record: https://wazabook.com/techniques/o-uchi-gake/

Obi-otoshi (帯落, おびおとし), belt drop.
  Nage-waza (throwing techniques), Te-waza (hand techniques).
  A hand throw driven from the belt: tori takes the front of uke's belt, shifts behind uke's right side, and scoops uke's upper left leg from behind with the other hand to throw them backwards. One of the Kodokan techniques recognised beyond the Gokyo, and a useful answer to a partner who stands square and heavy.
  Key point 1: Take the front of the belt with your right hand
  Key point 2: Shift behind their right side as you pull the belt towards you
  Key point 3: Your belt hand and your scooping hand move as one
  Full record: https://wazabook.com/techniques/obi-otoshi/

Obi-tori-gaeshi (帯取返, おびとりがえし), belt grab reversal.
  Nage-waza (throwing techniques), Te-waza (hand techniques).
  The answer to a partner bent forward and defending: tori reaches over uke's shoulder to take the belt, holds uke's right arm or leg with the other hand, and lifts uke over tori's right shoulder. Recognised by the Kodokan beyond the Gokyo and common in contest, where a bent-over posture invites it.
  Key point 1: Reach over their shoulder for the belt with your right hand
  Key point 2: Hold their right arm or leg with your left hand
  Key point 3: Lift with the legs and hips, never the lower back
  Full record: https://wazabook.com/techniques/obi-tori-gaeshi/

Okuri-eri-jime (送襟絞, おくりえりじめ), sliding lapel strangle.
  Katame-waza (grappling techniques).
  The classical strangle from behind: one hand slides deep into the far lapel around the neck while the other feeds the near lapel down, closing the collar like a noose. Perhaps the most important gi strangle. Strangles are restricted by age in most federations; learn and practise this only under instruction and supervision.
  Key point 1: From behind, chest glued to their back
  Key point 2: The deep hand slides around the neck in the far lapel
  Key point 3: The other hand feeds the near lapel down to tighten it
  Full record: https://wazabook.com/techniques/okuri-eri-jime/

Ryote-jime (両手絞, りょうてじめ), two-hand strangle.
  Katame-waza (grappling techniques).
  The strangle with both hands working as a pair: both fists grip the collars and drive together, knuckles turning in, like wringing a towel. Strangles are restricted by age in most federations; learn and practise this only under instruction and supervision.
  Key point 1: Both fists grip the collars close together at the front
  Key point 2: Turn the knuckles in and draw the fists towards each other
  Key point 3: The action is a wring, applied gradually
  Full record: https://wazabook.com/techniques/ryote-jime/

Sankaku-gatame (三角固, さんかくがため), triangle armlock.
  Katame-waza (grappling techniques).
  Under contest rules: The hold is legal on the ground. A kata-sankaku that blocks uke's body with both legs, or pressure onto the neck or spinal vertebrae from behind, is a direct hansoku-make.
  Source: Sport and Organisation Rules of the International Judo Federation: refereeing rules, 2026 edition, Article 18.2.2.
  The triangle of the legs closed around head and arm as for Sankaku-jime, but with the pressure taken on the trapped elbow rather than the neck. Worth documenting separately from the strangle because a judoka in the triangle must know which of the two is coming. Competition joint locks are restricted to the elbow and to senior age groups; learn and practise this only under instruction.
  Key point 1: The triangle is the same; the target is not
  Key point 2: Isolate the trapped arm and straighten it
  Key point 3: Apply with the hips and hands, and release on the tap
  Also written: Ude-hishigi-sankaku-gatame.
  Full record: https://wazabook.com/techniques/sankaku-gatame/

Sankaku-jime (三角絞, さんかくじめ), triangle strangle.
  Katame-waza (grappling techniques).
  Under contest rules: The strangle is legal on the ground. Bringing pressure onto the neck or spinal vertebrae from an ushiro-sankaku is a direct hansoku-make, as is a kata-sankaku that blocks uke's body with both legs; taking the head with the legs without uke's arm inside is matte and a shido.
  Source: Sport and Organisation Rules of the International Judo Federation: refereeing rules, 2026 edition, Articles 18.1.2 and 18.2.2.
  The triangle strangle: uke's neck and one arm are enclosed in a triangle of tori's legs, one leg's knee-pit locking over the other's instep, the trapped shoulder completing the strangle. Strangles are restricted by age in most federations; learn and practise this only under instruction and supervision.
  Key point 1: The triangle encloses the neck and one arm, never the neck alone
  Key point 2: Lock the knee-pit over the other instep and square the hips
  Key point 3: Close gradually with the legs and a draw of the head or arm
  Also written: Sangaku-jime, Ashi-gatame-jime.
  Full record: https://wazabook.com/techniques/sankaku-jime/

Seoi-otoshi (背負落, せおいおとし), shoulder drop.
  Nage-waza (throwing techniques), Te-waza (hand techniques).
  A shoulder throw finished by dropping the body: tori enters as for seoi-nage but sinks low, often to one or both knees, so uke is drawn over the shoulder line by the drop rather than lifted. Common in competition; drill the deep entry carefully.
  Key point 1: The drop replaces the lift: sink under their centre, do not collapse forward
  Key point 2: Their chest must be tight to your back before you drop
  Key point 3: Keep your own head up and back straight as you sink
  Full record: https://wazabook.com/techniques/seoi-otoshi/

Sode-guruma-jime (袖車絞, そでぐるまじめ), sleeve wheel strangle.
  Katame-waza (grappling techniques).
  The sleeve wheel strangle: one hand grips inside its own opposite sleeve and the forearms close around the neck like a wheel tightening. Famous for working even from inside an opponent's guard. Strangles are restricted by age in most federations; learn and practise this only under instruction and supervision.
  Key point 1: One arm behind the neck; that hand's fingers hook inside your own far sleeve, not theirs
  Key point 2: The free hand slides across the throat, blade of the forearm working
  Key point 3: Close by drawing the elbows together, gradually
  Full record: https://wazabook.com/techniques/sode-guruma-jime/

Sode-tsurikomi-goshi (袖釣込腰, そでつりこみごし), sleeve lifting pulling hip throw.
  Nage-waza (throwing techniques), Koshi-waza (hip techniques).
  The lifting pulling hip throw driven from a double-sleeve grip: uke's sleeve-side arm is swung high across as the hips enter, so the throw works even against a stiff defensive arm. A modern competition favourite.
  Key point 1: Drive their gripped sleeve high across your body as you enter
  Key point 2: Hips through low, as for any lifting hip throw
  Key point 3: The high sleeve arm replaces the lapel lift entirely
  Also written: Sode-tsuri-komi-goshi.
  Full record: https://wazabook.com/techniques/sode-tsurikomi-goshi/

Tate-shiho-gatame (縦四方固, たてしほうがため), vertical four-quarter hold.
  Katame-waza (grappling techniques).
  Osaekomi clock: Scores yuko at five seconds, waza-ari at ten and ippon at twenty, which ends the contest.
  Source: Sport and Organisation Rules of the International Judo Federation: refereeing rules, 2026 edition, Article 7.
  Tori sits astride uke, chest down, controlling an arm and the head: the mount position of judo.
  Key point 1: Sit astride with your hooks in or feet locked under uke's legs
  Key point 2: Control uke's arm and head, chest heavy
  Key point 3: Ride uke's bridge with loose hips rather than fighting it
  Also written: Hon-tate-shiho-gatame.
  Full record: https://wazabook.com/techniques/tate-shiho-gatame/

Tawara-gaeshi (俵返, たわらがえし), rice-bale reversal.
  Nage-waza (throwing techniques), Ma-sutemi-waza (rear sacrifice techniques).
  Named for the way a rice bale is tossed over the shoulder: as uke drives in bent forward, tori clasps their body, falls straight backwards and throws them over their own head. A Kodokan rear sacrifice, and a real answer to a partner who attacks head down.
  Key point 1: Clasp the body high, above their hips
  Key point 2: Fall straight back, not to the side
  Key point 3: Send them over your head, not onto your face
  Full record: https://wazabook.com/techniques/tawara-gaeshi/

Te-gatame (手固, てがため), hand armlock.
  Katame-waza (grappling techniques).
  The armlock applied with the hand: uke's arm is fixed to the mat or to tori's body and pressure is put on the elbow with the palm and body weight rather than with the legs or hips. The simplest of the Ude-hishigi family to reach from a hold-down, and the one most often taken when an opponent reaches. Competition joint locks are restricted to the elbow and to senior age groups; learn and practise this only under instruction.
  Key point 1: Fix the wrist first; an unfixed arm cannot be locked
  Key point 2: Press on the elbow itself, in line with the joint
  Key point 3: Lean your weight in slowly, never snatch
  Also written: Ude-hishigi-te-gatame.
  Full record: https://wazabook.com/techniques/te-gatame/

Te-guruma (手車), hand wheel.
  Nage-waza (throwing techniques), Te-waza (hand techniques).
  BANNED IN COMPETITION: contest rules bar it, and judo still teaches, demonstrates and examines it.
  Why: Penalised in competition: the lifting hand grips the inner thigh, and current IJF rules give a shido for touching the leg below the top of the inner thigh. Grips on the jacket and under the belt down to that line are allowed. The technique appears by name in the BJA Mon syllabus this reference transcribes.
  Under contest rules: The lifting hand at the inner thigh draws a shido. The rule allows grips on the jacket and under the belt down to the top of the inner thigh, and penalises the leg below that line.
  Source: Sport and Organisation Rules of the International Judo Federation: refereeing rules, 2026 edition, Article 18.1.2.
  The hand wheel: tori drops the hips below uke's, one hand gripping the inner thigh and the other holding the belt or back, lifts uke bodily across the chest and wheels them over to land on their back. Before the leg-grab rules it was best known as a spectacular counter to hip and inner-thigh attacks. The Kodokan does not list it among its hundred and records actions of this shape as sukui-nage; this book keeps the te-guruma name because syllabuses, commentators and clubs use it.
  Key point 1: Drop your hips below uke's before you lift; the legs do the lifting, never the back
  Key point 2: One palm under the inner thigh, the other controlling the belt or back
  Key point 3: Wheel uke over your chest line and control them all the way to the mat
  Full record: https://wazabook.com/techniques/te-guruma/

Tsubame-gaeshi (燕返, つばめがえし), swallow counter.
  Nage-waza (throwing techniques), Ashi-waza (foot and leg techniques).
  The swallow's counter: uke attacks with a foot sweep, and tori's attacked foot dips under the sweep and sweeps back in the same beat, like a swallow turning in flight. The Kodokan treats it as a form of de-ashi-harai.
  Key point 1: Dodge and counter are a single motion of the same foot
  Key point 2: The foot curls under their sweep, then sweeps their sweeping foot
  Key point 3: Hands steer in the new direction the instant the counter lands
  Full record: https://wazabook.com/techniques/tsubame-gaeshi/

Tsukkomi-jime (突込絞, つっこみじめ), thrusting strangle.
  Katame-waza (grappling techniques).
  A strangle by thrust: your right hand grips their left front lapel and thrusts its edge across the throat into the right side of their neck, while your left hand holds their right lapel. Direct and fast. Strangles are restricted by age in most federations; learn and practise this only under instruction and supervision.
  Key point 1: Right hand in their left front lapel, left hand in their right
  Key point 2: The edge of your right hand thrusts into the right side of their neck
  Key point 3: Control their posture first; the thrust needs a fixed target
  Also written: Tsuki-komi-jime, Tsukomi-jime.
  Full record: https://wazabook.com/techniques/tsukkomi-jime/

Uchi-makikomi (内巻込, うちまきこみ), inner wraparound.
  Nage-waza (throwing techniques), Yoko-sutemi-waza (side sacrifice techniques).
  The winding sacrifice on the inside line: tori turns in as for a one-armed shoulder throw, wraps uke's arm, and winds to the mat with the body rotating inside uke's arm rather than outside it.
  Key point 1: Enter as for ippon-seoi-nage; the wind answers resistance
  Key point 2: Their arm wraps over your shoulder as you rotate down
  Key point 3: Land rolling on your side, them carried over you
  Also written: Uchi-maki-komi.
  Full record: https://wazabook.com/techniques/uchi-makikomi/

Uchi-mata-gaeshi (内股返, うちまたがえし), inner thigh counter.
  Nage-waza (throwing techniques), Ashi-waza (foot and leg techniques).
  The counter to Uchi-mata: as uke's leg comes up between tori's thighs, tori catches it or sweeps the standing leg and turns uke over in the direction of their own attack. A Kodokan foot technique, and one of the most common counters seen in contest.
  Key point 1: Feel the entry through the grips and lower your hips
  Key point 2: Catch the lifting leg, or take the leg they stand on
  Key point 3: Turn them onward; never simply pull backwards
  Full record: https://wazabook.com/techniques/uchi-mata-gaeshi/

Uchi-mata-makikomi (内股巻込, うちまたまきこみ), inner thigh wrap-around.
  Nage-waza (throwing techniques), Yoko-sutemi-waza (side sacrifice techniques).
  Uchi-mata finished by wrapping: tori enters as for Uchi-mata but traps uke's arm across their shoulder and rolls with them rather than lifting them clear. A Kodokan side sacrifice, and the version most often seen when the entry is deep but the lift is not there.
  Key point 1: Enter as for Uchi-mata; the leg still lifts
  Key point 2: Trap the sleeve arm over your shoulder before you fall
  Key point 3: Rotate as you land, so they go over and you go through
  Full record: https://wazabook.com/techniques/uchi-mata-makikomi/

Uchi-mata-sukashi (内股透, うちまたすかし), inner thigh throw slip.
  Nage-waza (throwing techniques), Te-waza (hand techniques).
  The counter that empties uchi-mata: as the sweeping leg rises, tori slips the attacked leg aside so the sweep meets nothing, and steers the attacker's committed rotation to the mat with the hands alone. A recognised Kodokan hand technique and one of judo's most elegant counters.
  Key point 1: Slip the target leg aside a fraction before the sweep bites
  Key point 2: Their own rotation does the throwing; your hands only steer
  Key point 3: No lift, no sweep of your own: timing is the entire technique
  Full record: https://wazabook.com/techniques/uchi-mata-sukashi/

Ude-garami (腕緘, うでがらみ), entangled armlock.
  Katame-waza (grappling techniques).
  The entangled armlock: uke's bent arm is wrapped in a figure-four of tori's arms and rotated against the shoulder and elbow. Applied with the hand up or down, which BJJ names as two techniques. Competition joint locks are restricted to the elbow and to senior age groups; learn and practise this only under instruction.
  Key point 1: Figure-four grip: your hands lock through each other around their bent arm
  Key point 2: Keep their elbow pinned; rotate the whole frame, do not push the wrist
  Key point 3: Slow, small movements; the shoulder gives little warning
  Full record: https://wazabook.com/techniques/ude-garami/

Ude-gatame (腕固, うでがため), straight armlock.
  Katame-waza (grappling techniques).
  The straight armlock applied with the hands: uke's extended arm is trapped with the wrist at tori's shoulder or neck and both hands press the elbow against its hinge. Often caught when uke reaches. Competition joint locks are restricted to the elbow and to senior age groups; learn and practise this only under instruction.
  Key point 1: Their wrist trapped at your neck or shoulder, thumb up
  Key point 2: Both hands stacked directly on the elbow, pressing towards you
  Key point 3: Apply by drawing in and leaning, not by jerking down
  Also written: Ude-hishigi-ude-gatame.
  Full record: https://wazabook.com/techniques/ude-gatame/

Uki-gatame (浮固, うきがため), floating hold.
  Katame-waza (grappling techniques).
  Osaekomi clock: Scores yuko at five seconds, waza-ari at ten and ippon at twenty, which ends the contest.
  Source: Sport and Organisation Rules of the International Judo Federation: refereeing rules, 2026 edition, Article 7.
  The floating hold: tori kneels at uke's side, controls the near arm and pins the upper body with the chest and shoulder while carrying their own weight on knees and feet rather than lying on uke. Added to the Kodokan's hold-downs alongside Ura-gatame, and familiar as the control position from which Juji-gatame is set up.
  Key point 1: Weight on your knees and feet, not resting on them
  Key point 2: Trap the near arm and keep their shoulders flat
  Key point 3: Stay upright: the float is what makes it mobile
  Full record: https://wazabook.com/techniques/uki-gatame/

Ura-gatame (裏固, うらがため), reverse hold.
  Katame-waza (grappling techniques).
  Osaekomi clock: Scores yuko at five seconds, waza-ari at ten and ippon at twenty, which ends the contest.
  Source: Sport and Organisation Rules of the International Judo Federation: refereeing rules, 2026 edition, Article 7.
  The reverse hold: tori lies back across uke's chest facing the ceiling, the reverse of a normal side hold, controlling the head and near arm from underneath. Added to the Kodokan's recognised hold-downs, and often the natural landing place after a rolling entry or a failed turnover.
  Key point 1: Your back across their chest, facing the ceiling
  Key point 2: Wrap the head and the near arm together
  Key point 3: Sprawl your legs wide: the roll comes from behind you
  Full record: https://wazabook.com/techniques/ura-gatame/

Ushiro-kesa-gatame (後袈裟固, うしろけさがため), reverse scarf hold.
  Katame-waza (grappling techniques).
  Osaekomi clock: Scores yuko at five seconds, waza-ari at ten and ippon at twenty, which ends the contest.
  Source: Sport and Organisation Rules of the International Judo Federation: refereeing rules, 2026 edition, Article 7.
  The scarf hold facing the other way: tori sits at uke's right shoulder facing their feet, uke's arm trapped, weight through the chest. A natural landing after some turnovers and armlock entries.
  Key point 1: Face their feet, hip tight against their shoulder
  Key point 2: Trap their right arm under your right armpit
  Key point 3: Legs wide and braced; ride their bridge with your hips
  Full record: https://wazabook.com/techniques/ushiro-kesa-gatame/

Waki-gatame (脇固, わきがため), armpit armlock.
  Katame-waza (grappling techniques).
  BANNED IN COMPETITION: contest rules bar it, and judo still teaches, demonstrates and examines it.
  Why: Restricted in competition when applied standing: the arm is trapped under tori's armpit with nowhere for the elbow to go, so uke cannot always submit in time. Current IJF rules grade the penalty by the risk, giving a shido where uke can still escape and hansoku-make where the lock is on and there is no escape. On the ground it is a legal armlock, taught, demonstrated and examined, and the BJA sets it as a 1st Dan fundamental skill.
  Under contest rules: Applied standing, the penalty follows the risk: a shido where uke can still escape, and hansoku-make where the arm is locked with no escape. On the ground it is a legal armlock and carries no penalty.
  Source: Sport and Organisation Rules of the International Judo Federation: refereeing rules, 2026 edition, Articles 18.1.2 and 18.2.2.
  The armpit armlock: uke's straight arm is clamped under tori's armpit and levered against the elbow with the whole body. Powerful and fast, which is why applying it as a standing technique is prohibited in competition; on the ground it is applied with particular care. Competition joint locks are restricted to the elbow and to senior age groups; learn and practise this only under instruction.
  Key point 1: Their wrist gripped with both hands, arm clamped under your armpit
  Key point 2: Their thumb points up; your body, not your arms, applies it
  Key point 3: Ground technique only in competition; standing application is banned
  Also written: Ude-hishigi-waki-gatame.
  Full record: https://wazabook.com/techniques/waki-gatame/

Yama-arashi (山嵐, やまあらし), mountain storm.
  Nage-waza (throwing techniques), Te-waza (hand techniques).
  The mountain storm, made famous by Saigo Shiro: from a same-side grip on lapel and sleeve, tori sweeps like harai-goshi while the hands wrench like a hand throw. The Kodokan classifies it among the hand techniques; its exact classical form is much debated, so treat any single description as one reading.
  Key point 1: Same-side grips: right hand high on their right lapel, left on their right sleeve
  Key point 2: The hands wrench over like a wheel while the leg sweeps
  Key point 3: Balance entirely on the supporting leg through the sweep
  Full record: https://wazabook.com/techniques/yama-arashi/

Yoko-shiho-gatame (横四方固, よこしほうがため), side four-quarter hold.
  Katame-waza (grappling techniques).
  Osaekomi clock: Scores yuko at five seconds, waza-ari at ten and ippon at twenty, which ends the contest.
  Source: Sport and Organisation Rules of the International Judo Federation: refereeing rules, 2026 edition, Article 7.
  Tori controls uke from the side at right angles, chest on chest, with grips at the collar and between the legs.
  Key point 1: Grip under the neck and under the far leg
  Key point 2: Keep hips low or knees in tight: no space under you
  Key point 3: Follow uke's bridge with your hips, chest stays heavy
  Also written: Hon-yoko-shiho-gatame.
  Full record: https://wazabook.com/techniques/yoko-shiho-gatame/

Yoko-tomoe-nage (横巴投, よこともえなげ), side circle throw.
  Nage-waza (throwing techniques), Ma-sutemi-waza (rear sacrifice techniques).
  The circle throw taken to the side: tori falls to one side rather than straight back, the foot steering uke over the diagonal. The form most used in modern competition; the Kodokan treats it as a form of tomoe-nage.
  Key point 1: Fall to your side, not straight back, under their advancing corner
  Key point 2: The foot lands at their hip or thigh crease, steering diagonally
  Key point 3: Pull around your head, not over it; the throw travels sideways
  Full record: https://wazabook.com/techniques/yoko-tomoe-nage/


Skills (41)
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Alternative grips (Kumi-kata, 組み方, くみかた).
  Kumi-kata (gripping).
  Everything other than the standard grip: same-side and cross grips, the double lapel, the high collar over the shoulder, and the sleeve-and-belt. Each changes which throws are available and which are shut down, and the syllabuses ask you to show that you know several.
  Key point 1: Every grip opens some techniques and closes others
  Key point 2: A grip you cannot attack from within a few seconds is a penalty risk
  Key point 3: Change the grip rather than fight to keep a bad one
  Full record: https://wazabook.com/skills/alternative-grips/

Arm roll from the front.
  Turnovers (turning a defending partner).
  The same principle worked from in front of a turtled partner rather than beside them. It reaches an arm that is tucked in tightly, and the syllabuses examine it as a separate item because the angle and the finish are different.
  Key point 1: Load their shoulders with your weight before reaching
  Key point 2: Take the arm and turn their head the same way
  Key point 3: Roll them diagonally, over the shoulder you have emptied
  Full record: https://wazabook.com/skills/arm-roll-from-the-front/

Arm roll from the side.
  Turnovers (turning a defending partner).
  Rolling a turtled partner by taking one arm out from under them, working from beside them. It is the standard answer to a defensive turtle and appears in every scheme in this reference, usually paired with the version from the front.
  Key point 1: Take the arm near the elbow, not the wrist
  Key point 2: Drive with your chest and shoulder, not with your arm alone
  Key point 3: Follow them over into a hold; the roll is not the finish
  Full record: https://wazabook.com/skills/arm-roll-from-the-side/

Breaking a belt or back grip.
  Kumi-kata (gripping).
  A hand on your belt or over your shoulder onto your back means a lift is coming. Turning your hips away from the hand and dropping your level takes the hips out of reach, and a partner who has committed to the reach is leaning over you: the valley drop and the corner reversal are the answers from underneath.
  Key point 1: Turn the hips away from the hand and sink
  Key point 2: Do not let them get chest to chest
  Key point 3: A partner leaning over an empty reach is thrown backwards
  Full record: https://wazabook.com/skills/breaking-a-belt-or-back-grip/

Breaking a cross-lapel grip.
  Kumi-kata (gripping).
  A cross grip puts your partner's arm diagonally across their own body, and a straight crossing arm is a lever. Bringing your elbow over it and pinning it to your chest breaks the angle, and turning your shoulder in does the same; either leaves their arm across their body and your throw towards it.
  Key point 1: Elbow over the crossing arm, then pin it to your chest
  Key point 2: Or turn your gripped shoulder in and their angle is gone
  Key point 3: The trapped arm is the one you throw on
  Full record: https://wazabook.com/skills/breaking-a-cross-lapel-grip/

Breaking a high collar grip.
  Kumi-kata (gripping).
  An arm over your shoulder onto your collar controls your head and your head controls everything. Ducking under the arm and turning takes your head out from beneath it and leaves their arm draped over nothing; a two-hand strip with your head down is the other way, and the moment the arm comes off your posture comes back and the outer reap or the inner thigh throw is there.
  Key point 1: Duck under the arm and turn out, or strip with the head down
  Key point 2: Straighten the moment the arm is off
  Key point 3: Attack immediately; they are reaching for it again
  Full record: https://wazabook.com/skills/breaking-a-high-collar-grip/

Breaking a mid-lapel grip.
  Kumi-kata (gripping).
  A lapel grip at chest height sets your posture, so it goes before you attack. Stripping it down with two hands works but leaves you with nothing, and that is a shido; the push-pull keeps a grip, pushing their lapel hand down while pulling their sleeve, so the hand comes off and your attack is already moving.
  Key point 1: Push their lapel hand down while pulling their sleeve: the two together
  Key point 2: Keep at least one grip; a two-hand strip that keeps none is a shido
  Key point 3: The break is the start of the throw, not a pause
  Full record: https://wazabook.com/skills/breaking-a-mid-lapel-grip/

Breaking a sleeve grip.
  Kumi-kata (gripping).
  A partner's hand on your sleeve above the elbow steals the arm you need. Circling the wrist out, pulling the elbow through their grip, or bringing your elbow over the top of their hand all break it, and the sleeve you free is the one to capture on them in return. Breaking with two hands and keeping neither grip draws a shido, so one hand keeps hold.
  Key point 1: Circle the wrist outwards and pull the elbow through
  Key point 2: Or bring your elbow over their hand and drop it
  Key point 3: Keep one of your own grips while you break
  Full record: https://wazabook.com/skills/breaking-a-sleeve-grip/

Breaking a two on one.
  Kumi-kata (gripping).
  Both of your partner's hands on one of your arms leaves you a free hand and them none. Pulling the held elbow back to your hip shortens their lever and turning in towards the held arm faces them again; the free hand takes a grip as you turn, and the major inner reap or the shoulder throw follows while they still have two hands on one arm.
  Key point 1: Pull the held elbow back to your hip
  Key point 2: Turn in towards the held arm to face them
  Key point 3: The free hand grips as you turn, and the attack follows
  Full record: https://wazabook.com/skills/breaking-a-two-on-one/

Climbing the lapel from a low grip.
  Kumi-kata (gripping).
  The novice's route to the standard grip. A low lapel is easy to take and hard to refuse; from there the hand walks up the cloth to collarbone height while the other hand finds the sleeve. It is slower than a direct grab and much harder to be denied.
  Key point 1: First contact low on the lapel, near the belt
  Key point 2: Walk the hand up the cloth without letting go
  Key point 3: The sleeve hand arrives as the lapel hand reaches height
  Full record: https://wazabook.com/skills/climbing-the-lapel-from-a-low-grip/

Driving from the high collar.
  Kumi-kata (gripping).
  A same-stance plan for the taller judoka: take the lapel, climb it over the shoulder to the collar behind the neck, and drive. With the forearm along the back of the neck your partner's head goes where you send it, and the throws that follow are the ones that want it bent and turned.
  Key point 1: Climb the lapel to the collar in one continuous movement
  Key point 2: Forearm along the back of the neck, elbow above their shoulder
  Key point 3: Drive and throw at once; a held high collar is a shido
  Full record: https://wazabook.com/skills/driving-from-the-high-collar/

Escape from Yoko-shiho-gatame into Sankaku-gatame.
  Escapes (getting out from underneath).
  An escape that ends ahead rather than merely free: as the side hold is settled, the bottom judoka swings their legs up, closes a triangle around the holder’s head and near arm, and finishes holding rather than being held. Senior material, because the finishing position is an armlock.
  Key point 1: Make space first: frame on the hip and turn to your side
  Key point 2: Swing the far leg high over their head, not their back
  Key point 3: Close the triangle and control before you think about finishing
  Full record: https://wazabook.com/skills/escape-from-yoko-shiho-gatame-to-sankaku-gatame/

Escape into Kesa-gatame from between the legs.
  Escapes (getting out from underneath).
  Not an escape from a hold but from a position: trapped between your partner's legs, you pass them and arrive in a hold of your own. It is the moment a defensive position becomes an attacking one, and every scheme here examines it.
  Key point 1: Control their hips before you move your legs
  Key point 2: Pass low and close, with your chest heavy on them
  Key point 3: Arrive in the hold before you settle: no half positions
  Full record: https://wazabook.com/skills/escape-into-kesa-gatame-between-legs/

Escape into Yoko-shiho-gatame past the legs.
  Escapes (getting out from underneath).
  The same passing problem finished on the other side: instead of coming all the way to a scarf hold you settle square across them in the side four quarters hold, which is quicker and harder to escape.
  Key point 1: Pin the hips first, then clear the legs
  Key point 2: Go around the legs, not over them
  Key point 3: Chest lands before your arms go anywhere
  Full record: https://wazabook.com/skills/escape-into-yoko-shiho-gatame-past-legs/

Fighting with one hand free.
  Kumi-kata (gripping).
  A plan that never takes a second grip. One hand holds the sleeve and the other stays free to post, fend, feed and steal, and the attacks are the ones a single sleeve is enough for: the drop shoulder throw, the minor inner reap and the foot sweep, each taken the instant the free hand has cleared the way.
  Key point 1: The free hand is never idle: post, fend, steal
  Key point 2: Every attack is one a sleeve alone can throw
  Key point 3: Change grips before they settle, not after
  Full record: https://wazabook.com/skills/fighting-with-one-hand-free/

Gripping against the opposite stance (Kumi-kata, 組み方, くみかた).
  Kumi-kata (gripping).
  Right-handed against left-handed, and the reverse. The grips collide instead of mirroring, both of you can reach the same lapel, and the throws that work change completely. The higher grades in every scheme here examine it separately for that reason.
  Key point 1: Fight for the inside position on the lapel side first
  Key point 2: Their forward foot is closer to you than in a same-stance grip
  Key point 3: Attacks on the open side, away from their leading hand, come cheapest
  Full record: https://wazabook.com/skills/gripping-against-opposite-stance/

Kami-shiho-gatame escape by action and reaction.
  Escapes (getting out from underneath).
  A hold from above your head is hard to bridge straight out of, so you use their own correction against them: push one way, let them resist, then go the other. The syllabuses call it action and reaction, and it is the first escape that is about timing rather than strength.
  Key point 1: Make the first movement real, or they will not react to it
  Key point 2: Change direction the instant you feel them push back
  Key point 3: Small, sharp movements beat one big heave
  Full record: https://wazabook.com/skills/kami-shiho-gatame-escape-action-reaction/

Kesa-gatame bridge-and-roll escape.
  Escapes (getting out from underneath).
  The other side of the same hold: instead of trapping a leg you attack their head-side balance, bridging hard and rolling them over your own shoulder line. Higher grades in every scheme here examine both escapes.
  Key point 1: Get onto your side before you bridge, not flat on your back
  Key point 2: Bridge towards their head, over your own shoulder, not straight up
  Key point 3: Follow them over; do not stop when they start to move
  Full record: https://wazabook.com/skills/kesa-gatame-escape-bridge-and-roll/

Kesa-gatame escape by trapping the leg.
  Escapes (getting out from underneath).
  The first escape on the junior syllabus. Kesa-gatame needs its wide legs for base; trapping the near leg with your own removes half of that base, and the hold rolls with a push.
  Key point 1: Trap the leg first: without it, the bridge does nothing
  Key point 2: Turn towards your partner, never away from them
  Key point 3: Free the trapped arm as the roll finishes, not before
  Full record: https://wazabook.com/skills/kesa-gatame-escape-leg-trap/

Kuzure-kesa-gatame escape by sitting up and pushing.
  Escapes (getting out from underneath).
  The broken scarf hold passes an arm under your armpit rather than around your neck, which leaves your head free. That freedom is the escape: you sit up into the space and push away.
  Key point 1: Your head is free: use it, and sit up early
  Key point 2: Push at their shoulder or hip, not at their chest
  Key point 3: Bring your knees in as you sit, to get your base back
  Full record: https://wazabook.com/skills/kuzure-kesa-gatame-escape-sit-up-and-push/

Lapel first, the classical way.
  Kumi-kata (gripping).
  The older plan: take the lapel first, use it to set your partner's posture, and let the sleeve follow. The lifting hand goes on early and climbs as high as the exchange allows, to the high collar if it can; a partner whose head is controlled gives up the sleeve to get it back.
  Key point 1: Lapel first, as high as the exchange allows
  Key point 2: Use the lapel to set their posture before you take the sleeve
  Key point 3: The sleeve comes when they reach to fight the lapel
  Full record: https://wazabook.com/skills/lapel-first-the-classical-way/

Mae Mawari Ukemi (Mae Mawari Ukemi, 前回り受身, まえまわりうけみ).
  Ukemi (breakfalls).
  The forward rolling breakfall: turning a forward fall into a roll along the diagonal of your back, coming out on your side. It is the breakfall for every throw that sends you over the front, and the one that takes the longest to trust.
  Key point 1: Roll along the diagonal from one hand to the opposite hip
  Key point 2: No part of your head or spine touches: the roll is on muscle
  Key point 3: Finish in the side breakfall position and slap
  Full record: https://wazabook.com/skills/mae-mawari-ukemi/

Mae Ukemi (Mae Ukemi, 前受身, まえうけみ).
  Ukemi (breakfalls).
  The forward breakfall: stopping a straight fall onto your face with your forearms, without rolling. It is what saves you when there is no room to roll, and the one breakfall where the arms take the impact deliberately.
  Key point 1: Forearms and palms land together, elbows bent and springy
  Key point 2: Turn your head to one side; your face never approaches the mat
  Key point 3: Hips stay off the mat: only forearms and toes touch
  Full record: https://wazabook.com/skills/mae-ukemi/

Mune-gatame escape by bridge and roll.
  Escapes (getting out from underneath).
  Mune-gatame holds you chest to chest across the body. Because their weight is high and central, a hard bridge and a turn in the same direction can send them over, as long as you first take away the arm they would post with.
  Key point 1: Trap the posting arm before you bridge
  Key point 2: Bridge onto your shoulders, hips as high as they will go
  Key point 3: Turn in the direction you bridged, immediately
  Full record: https://wazabook.com/skills/mune-gatame-escape-bridge-and-roll/

Travelling (Shintai, 進退, しんたい).
  Movement (posture and moving).
  How a judoka covers ground: forward, backward and sideways, while holding a posture and a grip. There are two ways of stepping. Ayumi-ashi is ordinary walking, one foot passing the other. Tsugi-ashi is successive stepping, where the same foot always leads and the other follows without passing it, which is how kata is walked and how most of contest is moved. Suri-ashi, sliding the feet without lifting them, runs through both.
  Key point 1: In tsugi-ashi one foot never passes the other, so your stance never crosses and never opens
  Key point 2: The feet slide rather than lift: a foot in the air is a foot that can be reaped
  Key point 3: Ayumi-ashi covers ground faster and is worth more risk; tsugi-ashi is safer and is what kata uses
  Full record: https://wazabook.com/skills/shintai/

Posture (Shisei, 姿勢, しせい).
  Movement (posture and moving).
  The two postures judo is done from, and the one every technique is described against. Shizen-hon-tai is the natural posture: upright, relaxed, weight even, the posture you attack from and the posture kata is performed in. Jigo-hon-tai is the defensive posture: knees bent, feet wider, weight low. Each has a right and a left form, named for the foot that leads. A grading examiner watching you throw is also watching what you are standing in when you start.
  Key point 1: Natural posture is the default; anything else is a decision you should be able to explain
  Key point 2: A defensive posture is stable and slow, which is why holding it draws a penalty in contest
  Key point 3: Right or left is named for the leading foot, not the leading hand
  Full record: https://wazabook.com/skills/shisei/

Sleeve first against the opposite stance.
  Kumi-kata (gripping).
  Right against left, both lead hands reach for the same lapel and the sleeves are on the far side. This plan still takes the sleeve first, but the post goes on the near arm rather than the shoulder and the circle is wider, and the lapel that follows is usually the cross one because it is the lapel you can reach.
  Key point 1: Post on their lead arm, above the elbow, to keep it off your lapel
  Key point 2: Circle to the outside of that arm to reach the sleeve
  Key point 3: The lapel you add is the cross lapel; attack away from it
  Full record: https://wazabook.com/skills/sleeve-first-against-the-opposite-stance/

Sleeve first against the same stance.
  Kumi-kata (gripping).
  Against a partner in the same stance, whoever wins the sleeve wins the exchange, so this plan takes it before anything else. The free hand posts on their lead shoulder to keep their lapel grip off while you circle to their sleeve side; once the sleeve is caught the attack goes straight from it, and the lapel is added only if the throw needs it.
  Key point 1: Post on the lead shoulder to deny their lapel hand
  Key point 2: Circle towards the sleeve side, then capture above the elbow
  Key point 3: Repost every time they clear it; attack the moment the sleeve is yours
  Full record: https://wazabook.com/skills/sleeve-first-against-the-same-stance/

Standard grip (Kumi-kata, 組み方, くみかた).
  Kumi-kata (gripping).
  The basic right-handed grip that almost every technique in this reference assumes: left hand on their right sleeve, right hand on their left lapel. Taking it, keeping it and knowing what it lets you feel is the foundation of everything standing.
  Key point 1: Sleeve hand low on the outside of their elbow, lapel hand at collarbone height
  Key point 2: Elbows stay down and close to your body, never lifted or locked
  Key point 3: Grip firmly with the last three fingers, not the whole fist clenched
  Full record: https://wazabook.com/skills/standard-grip/

Turning (Tai-sabaki, 体捌き, たいさばき).
  Movement (posture and moving).
  Turning the body out of the line of an attack and into a position to make one. There are four forms, each named for the direction and whether the body turns: forward, backward, forward with a turn, backward with a turn. Each has a right and a left version, named for the foot that moves. Tai-sabaki is what makes counters possible, because a counter is an evasion and an attack in one movement, and it is where kuzushi is applied from once you can move without losing your posture.
  Key point 1: Move the feet, not the shoulders; turning from the waist leaves your feet behind and your balance with them
  Key point 2: The turning forms end with your hips facing where you want to throw, which is the whole point of them
  Key point 3: Named for the moving foot, so migi-ashi-mae-sabaki steps the right foot forward
  Full record: https://wazabook.com/skills/tai-sabaki/

Tate-shiho-gatame escape by clamping and rolling.
  Escapes (getting out from underneath).
  Being held astride is the hardest hold to escape and the most important to learn, because it is where a lock or a strangle usually follows. Clamping an arm and a leg on the same side removes their base on that side, and the bridge does the rest.
  Key point 1: Clamp an arm and a leg on the same side, never opposite sides
  Key point 2: Bridge high, then turn towards the clamped side
  Key point 3: Keep your own elbows in so they cannot isolate an arm
  Full record: https://wazabook.com/skills/tate-shiho-gatame-escape-clamp-and-roll/

The sleeve pull-through.
  Kumi-kata (gripping).
  Against the opposite stance, the pull-through drags your partner's sleeve straight across your body and turns their shoulder past you, taking the lapel hand out of the fight and leaving both of your hands on one of their arms. From there the one-arm shoulder throw and the corner reversal are a step away.
  Key point 1: Take the sleeve, then pull it across your body, not towards it
  Key point 2: Turn your own shoulders with the pull so their arm crosses your chest
  Key point 3: The second hand joins on the same arm as it crosses
  Full record: https://wazabook.com/skills/the-sleeve-pull-through/

Turnover into Kata-te-jime.
  Turnovers (turning a defending partner).
  Against a turtled partner: one hand feeds deep across the neck to take the far lapel, and the turnover and the single-hand strangle arrive together, so defending one exposes the other. Strangles are senior material and always released on the tap.
  Key point 1: Feed the lapel hand deep before you start the roll
  Key point 2: The turnover and the strangle are one movement, not two
  Key point 3: Apply gradually: the tap comes fast from a turtled partner
  Full record: https://wazabook.com/skills/turnover-into-kata-te-jime/

Turnover into Kesa-gatame.
  Turnovers (turning a defending partner).
  Your partner is on all fours and defending. Turning them onto their back and arriving in the scarf hold is the first turnover every junior syllabus teaches, and the model for the rest: break the base, roll them, arrive in the hold.
  Key point 1: Take an arm or the far side before you try to roll anything
  Key point 2: Roll them over their own shoulder, not over their hips
  Key point 3: Follow them over and land in the hold, not beside it
  Full record: https://wazabook.com/skills/turnover-into-kesa-gatame/

Turnover into Mune-gatame.
  Turnovers (turning a defending partner).
  The same problem finished square instead of at an angle. Rolling a turtled partner into the chest hold is quicker to arrive at than the scarf hold and gives away less space if they keep turning.
  Key point 1: Load their base with your chest before pulling anything
  Key point 2: Pull the far arm through, so they cannot post on it
  Key point 3: Land chest to chest, weight through the chest not the arms
  Full record: https://wazabook.com/skills/turnover-into-mune-gatame/

Turnover into Sankaku-gatame.
  Turnovers (turning a defending partner).
  Against a partner defending on all fours: the attacker threads a leg triangle around head and arm from the side, then rolls them over their own shoulder into Sankaku-gatame. Senior material, because the finish is an armlock as well as a hold.
  Key point 1: Thread the leg past their neck and their near arm together
  Key point 2: Lock the triangle before you roll, not after
  Key point 3: Roll them over their shoulder, never straight onto their neck
  Full record: https://wazabook.com/skills/turnover-into-sankaku-gatame/

Turnover into Tate-shiho-gatame from beneath.
  Turnovers (turning a defending partner).
  The one turnover that starts from underneath. Your partner is on top and defending, and instead of escaping sideways you take them over and arrive astride: an escape and an attack in the same movement.
  Key point 1: Clamp an arm and the leg on the same side before bridging
  Key point 2: Bridge and turn in one action, not two
  Key point 3: Ride up into the hold as they land; do not stop halfway
  Full record: https://wazabook.com/skills/turnover-into-tate-shiho-gatame-from-beneath/

Turnover into Yoko-shiho-gatame.
  Turnovers (turning a defending partner).
  A partner lying face down is a different problem from a turtled one: there is no gap to reach through, so you use their near arm and shoulder as the lever and roll them along their own length.
  Key point 1: Work on the far side of a flat partner, not the near side
  Key point 2: The near arm is the handle: control it before rolling
  Key point 3: Turn them along their body line, not across it
  Full record: https://wazabook.com/skills/turnover-into-yoko-shiho-gatame/

Ushiro Ukemi (Ushiro Ukemi, 後受身, うしろうけみ).
  Ukemi (breakfalls).
  The rear breakfall: how to land safely on your back. It is the first thing taught in every judo club and the first thing every syllabus in this reference examines, because almost every throw a beginner receives finishes here. The whole skill is keeping your head off the mat and spreading the landing across your back and arms.
  Key point 1: Chin tucked to your chest from start to finish
  Key point 2: Slap the mat with both arms flat, at about forty-five degrees
  Key point 3: Land on the rounded muscle of your back, never on your elbows
  Full record: https://wazabook.com/skills/ushiro-ukemi/

Yoko-shiho-gatame escape by trap, bridge and roll.
  Escapes (getting out from underneath).
  Three actions in one movement, and the syllabuses name all three: trap an arm so they cannot post, bridge to lift their weight, and roll in the direction the bridge sends them.
  Key point 1: Trap, then bridge, then roll: in that order, without pausing
  Key point 2: Bridge onto the shoulder nearest them, not straight up
  Key point 3: Keep your elbows tight to your ribs throughout
  Full record: https://wazabook.com/skills/yoko-shiho-gatame-escape-trap-bridge-roll/

Yoko Ukemi (Yoko Ukemi, 横受身, よこうけみ).
  Ukemi (breakfalls).
  The side breakfall: landing on one side rather than flat on your back. Most throws land you here, and the arm on the landing side does the work of spreading the impact.
  Key point 1: Land on the side of your body, not on your shoulder blade
  Key point 2: Slap with the whole arm on the landing side, palm down
  Key point 3: Top leg stays bent and lifted so your knees never collide
  Full record: https://wazabook.com/skills/yoko-ukemi/


Grips (13)
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Sleeve and lapel (grip-set).
  Pulling hand on the sleeve above the elbow, lifting hand on the lapel at chest height. Either stance.
  The grip almost every technique in this reference is written from: pulling hand at the sleeve just below the elbow, lifting hand on the lapel at collarbone height. It reaches the throws in every direction, which is why it is taught first and why a contest between two people who both want it becomes a fight for the sleeve.
  Feeds: seoi-nage (forward), tai-otoshi (forward), uchi-mata (forward), o-soto-gari (to the rear), o-uchi-gari (to the rear).
  Under contest rules: The grip the rules call normal kumi-kata: one hand on the sleeve, one on the lapel, above the belt. No time limit before it attracts attention, and every other set is judged against it.
  Full record: https://wazabook.com/grips/standard/

Cross lapel (grip-set).
  Pulling hand on the sleeve above the elbow, lifting hand on the opposite lapel. Opposite stance.
  The lifting hand crosses to the lapel on its own side rather than the far one. Against the opposite stance it is often the lapel you can actually reach, and it sets up the throws that turn away from the gripped side: the one-arm shoulder throw above all.
  Feeds: ippon-seoi-nage (forward), koshi-guruma (forward), o-soto-gari (to the rear), ko-uchi-gari (to the rear).
  Under contest rules: A cross grip is allowed with a positive attitude and time is given to prepare the attack. Held to block or to bend the opponent, it draws a shido.
  Full record: https://wazabook.com/grips/cross-lapel/

Double lapel (grip-set).
  Pulling hand on the lapel at chest height, lifting hand on the lapel at chest height. Either stance.
  Both hands on the lapels at chest height. Nothing controls the sleeve, so nothing controls the arm, but both hands lift and both pull, and a partner can be moved straight forwards and backwards with great force: the lifting-pulling hip throw and the two inner reaps come from it, and the circle throw when they push back.
  Feeds: tsurikomi-goshi (forward), o-uchi-gari (to the rear), ko-uchi-gari (to the rear), tomoe-nage (forward).
  Under contest rules: A collar and lapel grip is allowed with a positive attitude. Used with one or both arms to force a bending posture, it draws a shido.
  Full record: https://wazabook.com/grips/double-lapel/

Double sleeve (grip-set).
  Pulling hand on the sleeve above the elbow, lifting hand on the sleeve above the elbow. Either stance.
  Both hands on the sleeves, one of them lifted high. It gives up the lapel and with it the posture control, and gets in return a lifting hand that can raise the whole arm: the sleeve-lifting hip throw is the throw it exists for, and the side circle throw from the same lift.
  Feeds: sode-tsurikomi-goshi (forward), yoko-tomoe-nage (to the side), o-uchi-gari (to the rear), ko-uchi-gari (to the rear).
  Under contest rules: Two sleeves are allowed as an attacking grip. Holding both sleeve ends for defence, or screwing them up, draws a shido.
  Full record: https://wazabook.com/grips/double-sleeve/

High collar (grip-set).
  Pulling hand on the sleeve above the elbow, lifting hand on the collar behind the neck. Same stance.
  The lifting hand reaches over the shoulder and takes the collar behind the neck. It controls the head, and the head controls the posture, so the throws it feeds are the ones that want your partner bent or turned: the major outer reap, the sweeping hip throw and the hip wheel among them. Taller judoka reach it most easily.
  Feeds: o-soto-gari (to the rear), harai-goshi (forward), koshi-guruma (forward), uchi-mata (forward).
  Under contest rules: A collar grip is allowed as long as the attitude is positive and an attack follows. Used to force the head down and hold a bending posture, it draws a shido.
  Full record: https://wazabook.com/grips/high-collar/

Pistol grip (grip-set).
  Pulling hand on the sleeve end, lifting hand on the lapel at chest height. Either stance.
  The sleeve is taken at the cuff with the thumb pointing down inside it and the fingers wrapped round the outside. It locks the wrist and lets the whole arm be lifted and turned, which is what the one-arm shoulder throw and the sleeve-lifting hip throw want; held without attacking it is a penalty.
  Feeds: ippon-seoi-nage (forward), sode-tsurikomi-goshi (forward).
  Under contest rules: A pistol grip is allowed with a positive attitude and time is given to prepare an attack. Held passively, or used to block, it draws a shido.
  Full record: https://wazabook.com/grips/pistol/

Sleeve and back belt (grip-set).
  Pulling hand on the sleeve above the elbow, lifting hand on the back of the belt. Either stance.
  The lifting hand reaches round to the belt at the back. It is the grip of the lifting throws and of the counters that pick a partner up bodily: the rear throw and the rear hip throw. Reaching it means getting close, which is why it is most often taken in the middle of a partner's own attack.
  Feeds: tsuri-goshi (forward), ura-nage (to the rear), ushiro-goshi (to the rear).
  Under contest rules: A belt grip is allowed with a positive attitude and time to prepare an attack. Held without attacking, it draws a shido; clasping both hands round the body from here is a bear hug and draws a shido too.
  Full record: https://wazabook.com/grips/belt-back/

Sleeve and front belt (grip-set).
  Pulling hand on the sleeve above the elbow, lifting hand on the front of the belt. Either stance.
  The lifting hand takes the belt at the front instead of the lapel. It moves the hips directly, which the lapel never does, and the throws it feeds are the ones that lift or drop the whole body: the lifting hip throw and the floating throw.
  Feeds: tsuri-goshi (forward), uki-waza (to the side).
  Under contest rules: A belt grip is allowed with a positive attitude and time is given to prepare an attack. Held without attacking, it draws a shido.
  Full record: https://wazabook.com/grips/belt-front/

Sleeve and over the back (grip-set).
  Pulling hand on the sleeve above the elbow, lifting hand on the back of the jacket, over the shoulder. Same stance.
  The lifting arm goes over the shoulder and takes the back of the jacket. It is a taller judoka's grip and a close one: the arm across the shoulders controls the upper body completely, and the throws are the big forward ones and the major outer reap.
  Feeds: tsuri-goshi (forward), o-soto-gari (to the rear), harai-goshi (forward), uchi-mata (forward).
  Under contest rules: A jacket grip anywhere above the belt is allowed. Used to force the head down, it draws a shido like any other.
  Full record: https://wazabook.com/grips/over-back/

Sleeve and under the arm (grip-set).
  Pulling hand on the sleeve above the elbow, lifting hand on under the arm to the back. Either stance.
  The lifting arm goes under your partner's arm to the back of the jacket rather than over it. It is the shorter judoka's answer to the high collar: the same control of the upper body from beneath, and the throws are the inner thigh throw and the sweeping hip throw, or the valley drop when they lean back.
  Feeds: uchi-mata (forward), harai-goshi (forward), tani-otoshi (to the rear), sukui-nage (to the rear).
  Under contest rules: A jacket grip under the arm is allowed. Clasping the hands together round the body from here makes a bear hug and draws a shido.
  Full record: https://wazabook.com/grips/under-arm/

Sleeve only (grip-set).
  Pulling hand on the sleeve above the elbow, free hand kept free. Either stance.
  One hand on the sleeve, the other deliberately free. The free hand posts on the shoulder or arm to deny your partner their grip while the sleeve hand does the pulling, and the throws are the ones that need only a sleeve: the drop shoulder throw, the minor inner reap and the foot sweep.
  Feeds: seoi-nage (forward), ko-uchi-gari (to the rear), de-ashi-harai (to the side), sumi-gaeshi (forward).
  Under contest rules: One grip is allowed while an attack follows. Avoiding kumi-kata altogether draws a shido, and so does holding the sleeve end for defence.
  Full record: https://wazabook.com/grips/sleeve-only/

Two on one (grip-set).
  Pulling hand on the sleeve above the elbow, lifting hand on the sleeve end. Either stance.
  Both of your hands on one of your partner's arms, one at the elbow and one at the cuff. Their other arm is free and yours are both committed, so the position only works while it is attacking: the one-arm shoulder throw on the held arm, or the corner reversal and the valley drop when they pull it back.
  Feeds: ippon-seoi-nage (forward), sumi-gaeshi (forward), ko-uchi-gari (to the rear), tani-otoshi (to the rear).
  Under contest rules: A one-side grip is allowed with a positive attitude and time to prepare an attack. Holding it defensively, or holding the sleeve end for defence, draws a shido.
  Full record: https://wazabook.com/grips/two-on-one/

Two on one behind the elbow (grip-set).
  Pulling hand on the sleeve above the elbow, lifting hand on the sleeve above the elbow. Either stance.
  Both hands on one arm, the second hand reaching behind it to hold the sleeve above the elbow from the back, so the arm is folded against your chest. It turns your partner's shoulder past you and puts their weight on one leg, and the throws follow from that: the corner reversal, the minor inner reap and the shoulder wheel without touching the legs.
  Feeds: sumi-gaeshi (forward), ko-uchi-gari (to the rear), kata-guruma (forward).
  Under contest rules: A one-side grip is allowed with a positive attitude and time to prepare an attack. Held to block, it draws a shido.
  Full record: https://wazabook.com/grips/russian/


Sequences (98)
--------------

Ashi-guruma into Tani-otoshi.
  Combinations (Renraku-waza).
  Ashi-guruma turns your partner forward over an extended leg. Stepping around the block to escape it puts them behind their own feet, and Tani-otoshi drops them there.
  Full record: https://wazabook.com/combinations/ashi-guruma-into-tani-otoshi/

De-ashi-harai countered by Ko-uchi-gari.
  Counters (Kaeshi-waza).
  A sweep that misses leaves your partner standing on one leg with their sweeping foot in the air. Reaping the leg they are standing on answers it directly.
  Full record: https://wazabook.com/counters/de-ashi-harai-countered-by-ko-uchi-gari/

De-ashi-harai countered by Tsubame-gaeshi.
  Counters (Kaeshi-waza).
  This pairing is the technique tsubame-gaeshi; its record carries the demonstration.
  The swallow counter, and the reason De-ashi-barai is taught with a warning. You withdraw the foot they are sweeping and sweep theirs on the same line while it is still travelling.
  Full record: https://wazabook.com/counters/de-ashi-harai-countered-by-tsubame-gaeshi/

De-ashi-harai into Hiza-guruma.
  Combinations (Renraku-waza).
  A sweep that just misses makes your partner plant the foot and check their step; the checked, weighted leg is what Hiza-guruma wheels over.
  Full record: https://wazabook.com/combinations/de-ashi-harai-into-hiza-guruma/

De-ashi-harai into Mune-gatame.
  Transitions (Tachi-waza into ne-waza).
  The first throw-into-hold most juniors learn. A foot sweep lands your partner on their side beside you, which is a step from the chest hold if you keep the sleeve and follow them down.
  Full record: https://wazabook.com/transitions/de-ashi-harai-into-mune-gatame/

Hane-goshi countered by Hane-goshi-gaeshi.
  Counters (Kaeshi-waza).
  This pairing is the technique hane-goshi-gaeshi; its record carries the demonstration.
  As your partner turns in for the springing hip throw, the leg they spring with is off the mat and the leg they stand on is committed. Reaping the standing leg from the outside as the spring begins is the springing hip counter, the named answer.
  Full record: https://wazabook.com/counters/hane-goshi-countered-by-hane-goshi-gaeshi/

Harai-goshi countered by Harai-goshi-gaeshi.
  Counters (Kaeshi-waza).
  This pairing is the technique harai-goshi-gaeshi; its record carries the demonstration.
  As the sweeping leg comes across, your partner is standing on one leg with their back to you. Hooking that supporting leg from behind and reaping it is the sweeping hip counter, the named answer.
  Full record: https://wazabook.com/counters/harai-goshi-countered-by-harai-goshi-gaeshi/

Harai-goshi countered by Ushiro-goshi.
  Counters (Kaeshi-waza).
  The classical answer to the sweeping hip throw: as the attack turns in, the defender sinks their hips below it, wraps the waist, and lifts the whole attack off the floor. Timing is everything; a beat late and the sweep has already bitten.
  Full record: https://wazabook.com/counters/harai-goshi-countered-by-ushiro-goshi/

Harai-goshi countered by Utsuri-goshi.
  Counters (Kaeshi-waza).
  Utsuri-goshi answers a hip throw by accepting it and then taking it over. You absorb the entry, lift them off your own hip and transfer them to the other side.
  Full record: https://wazabook.com/counters/harai-goshi-countered-by-utsuri-goshi/

Harai-goshi into O-soto-gake.
  Combinations (Renraku-waza).
  A defended Harai-goshi leaves your partner leaning back and heavy on their right leg. O-soto-gake attacks the outside of exactly that leg, in the direction they have already chosen to lean.
  Full record: https://wazabook.com/combinations/harai-goshi-into-o-soto-gake/

Harai-goshi into O-soto-gari.
  Combinations (Renraku-waza).
  The classic renraku-waza pair, and the one the syllabuses name: Harai-goshi turns them forward, and the moment they lean away from it their weight is on the back heel that O-soto-gari reaps.
  Full record: https://wazabook.com/combinations/harai-goshi-into-o-soto-gari/

Harai-goshi into Soto-makikomi.
  Combinations (Renraku-waza).
  When the hip is in but the arm never comes over, winding into Soto-makikomi finishes the same entry. Your body becomes the lever instead of your hip, so the throw survives a partner who is heavier or better braced.
  Full record: https://wazabook.com/combinations/harai-goshi-into-soto-makikomi/

Hiza-guruma countered by Ko-uchi-gari.
  Counters (Kaeshi-waza).
  The wheel needs your weight on the blocked leg; lifting it over the blocking foot leaves the attacker balanced on one heel, and the small inner reap takes it.
  Full record: https://wazabook.com/counters/hiza-guruma-countered-by-ko-uchi-gari/

Hiza-guruma countered by O-uchi-gari.
  Counters (Kaeshi-waza).
  A knee wheel needs your partner to be on one leg with the other extended as a block. Stepping past the block and reaping the inside of their supporting leg takes it away.
  Full record: https://wazabook.com/counters/hiza-guruma-countered-by-o-uchi-gari/

Hiza-guruma countered by Okuri-ashi-harai.
  Counters (Kaeshi-waza).
  Sliding sideways off the wheel puts the attacker's feet together in motion, which is precisely what the double sweep punishes.
  Full record: https://wazabook.com/counters/hiza-guruma-countered-by-okuri-ashi-harai/

Hiza-guruma into Ashi-guruma.
  Combinations (Renraku-waza).
  Both are wheels around a blocked leg; only the height of the block changes. If your partner lifts their foot over the block at the knee, the same turning action works with the block raised to the thigh.
  Full record: https://wazabook.com/combinations/hiza-guruma-into-ashi-guruma/

Hiza-guruma into De-ashi-harai.
  Combinations (Renraku-waza).
  Escaping the wheel means stepping around it, and a stepping foot is exactly what De-ashi-harai wants: sweep it as it travels.
  Full record: https://wazabook.com/combinations/hiza-guruma-into-de-ashi-harai/

Hiza-guruma into Harai-goshi.
  Combinations (Renraku-waza).
  The blocked wheel makes your partner stiffen upright and press forward off the blocking foot; stepping through into Harai-goshi takes that forward pressure across your thigh.
  Full record: https://wazabook.com/combinations/hiza-guruma-into-harai-goshi/

Hiza-guruma into O-soto-gari.
  Combinations (Renraku-waza).
  Front then back. The knee wheel draws their balance forward; when they brace back against it, their weight settles over their heels and the major outer reap arrives on the same side with the balance-breaking already done.
  Full record: https://wazabook.com/combinations/hiza-guruma-into-o-soto-gari/

Ippon-seoi-nage into Kami-shiho-gatame.
  Transitions (Tachi-waza into ne-waza).
  A shoulder throw finishes with you standing above their head, which is exactly where the upper four quarters hold begins. The link is one step and a drop of the hips.
  Full record: https://wazabook.com/transitions/ippon-seoi-nage-into-kami-shiho-gatame/

Ippon-seoi-nage into Kata-guruma.
  Combinations (Renraku-waza).
  When the shoulder throw is blocked by dropping the hips and hanging back, dropping lower still and taking the legs turns the same entry into Kata-guruma. The form described here is the classical one, where your hand passes between their legs. Current IJF rules give a shido for the hand reaching the leg, so this form belongs in the dojo: the version that takes them across the shoulders without touching the legs is the one thrown in shiai.
  Full record: https://wazabook.com/combinations/ippon-seoi-nage-into-kata-guruma/

Ippon-seoi-nage into Ko-uchi-gake.
  Combinations (Renraku-waza).
  The shoulder throw threatens forward, so your partner sits back to defend. That leaves their near leg light and their weight behind it, which is all Ko-uchi-gake needs.
  Full record: https://wazabook.com/combinations/ippon-seoi-nage-into-ko-uchi-gake/

Ippon-seoi-nage into Ko-uchi-gari.
  Combinations (Renraku-waza).
  Same reaction, reaping instead of hooking: when your partner defends the shoulder throw by sitting back, their near foot can be swept out from the inside before their weight returns to it.
  Full record: https://wazabook.com/combinations/ippon-seoi-nage-into-ko-uchi-gari/

Ippon-seoi-nage into Seoi-otoshi.
  Combinations (Renraku-waza).
  The stalled lift becomes a drop: keeping the same arm and the same turn, sinking to one or both knees pulls your partner over the top as Seoi-otoshi.
  Full record: https://wazabook.com/combinations/ippon-seoi-nage-into-seoi-otoshi/

Ippon-seoi-nage into Tani-otoshi.
  Combinations (Renraku-waza).
  A defended shoulder throw invites your partner to press into your back; sliding a leg behind their heels and dropping to the side takes them backwards into the valley.
  Full record: https://wazabook.com/combinations/ippon-seoi-nage-into-tani-otoshi/

Ippon-seoi-nage into Uchi-makikomi.
  Combinations (Renraku-waza).
  When the shoulder throw stalls with their arm still trapped high, winding inwards turns the stall into the throw: you keep the arm, add your body weight and roll through instead of lifting.
  Full record: https://wazabook.com/combinations/ippon-seoi-nage-into-uchi-makikomi/

Kata-juji-jime countered by Hiza-gatame.
  Counters (Kaeshi-waza).
  A strangle attempted from underneath has to extend an arm to reach the collar. Hiza-gatame takes that arm. Practise it slowly and only under supervision, and never apply it to the point of pain.
  Full record: https://wazabook.com/counters/kata-juji-jime-countered-by-hiza-gatame/

Kesa-gatame to Hiza-gatame.
  Groundwork chains (Ne-waza chains).
  A partner who pushes hard on your chest to escape the scarf hold has given you a straight arm. The knee lock takes it without letting the hold go until you are ready. Age limits apply to joint locks; learn this only under instruction.
  Full record: https://wazabook.com/chains/kesa-gatame-to-hiza-gatame/

Ko-soto-gake countered by Tai-otoshi.
  Counters (Kaeshi-waza).
  The hooking leg commits the attacker close and square; turning in and dropping the blocking leg across their shin turns their hook into your body drop.
  Full record: https://wazabook.com/counters/ko-soto-gake-countered-by-tai-otoshi/

Ko-soto-gari countered by Uchi-mata.
  Counters (Kaeshi-waza).
  Their minor outer reap turns their hips towards you and leaves them briefly on one leg with the other lifted. Uchi-mata attacks that gap before the foot lands.
  Full record: https://wazabook.com/counters/ko-soto-gari-countered-by-uchi-mata/

Ko-soto-gari into De-ashi-harai.
  Combinations (Renraku-waza).
  The small outer reap chases your partner into a step, and the stepping foot is swept as it advances.
  Full record: https://wazabook.com/combinations/ko-soto-gari-into-de-ashi-harai/

Ko-soto-gari into Mune-gatame.
  Transitions (Tachi-waza into ne-waza).
  The small outer reap drops your partner at your feet with you already facing their chest; kneeling straight into Mune-gatame wastes none of it.
  Full record: https://wazabook.com/transitions/ko-soto-gari-into-mune-gatame/

Ko-soto-gari into Tani-otoshi.
  Combinations (Renraku-waza).
  Lifting a foot clear of the minor outer reap moves your partner's weight backwards over a leg they cannot step back with. Tani-otoshi bars that leg and drops them over it.
  Full record: https://wazabook.com/combinations/ko-soto-gari-into-tani-otoshi/

Ko-uchi-gari countered by Harai-tsurikomi-ashi.
  Counters (Kaeshi-waza).
  Withdrawing the reaped foot and sweeping the ankle they are standing on answers the minor inner reap on the same beat, before their weight has finished transferring.
  Full record: https://wazabook.com/counters/ko-uchi-gari-countered-by-harai-tsurikomi-ashi/

Ko-uchi-gari countered by Ko-uchi-gaeshi.
  Counters (Kaeshi-waza).
  This pairing is the technique ko-uchi-gaeshi; its record carries the demonstration.
  As your partner reaps your heel from the inside, lifting the attacked foot clear and reaping their reaping leg with it is the minor inner counter, the named answer.
  Full record: https://wazabook.com/counters/ko-uchi-gari-countered-by-ko-uchi-gaeshi/

Ko-uchi-gari into Ippon-seoi-nage.
  Combinations (Renraku-waza).
  Stepping back from the inner reap brings your partner's weight forward onto their front foot. That is the moment the shoulder throw wants.
  Full record: https://wazabook.com/combinations/ko-uchi-gari-into-ippon-seoi-nage/

Ko-uchi-gari into O-soto-gake.
  Combinations (Renraku-waza).
  The inner reap sends them backwards on the same side you are about to attack from outside. O-soto-gake takes the leg they have just planted to stop themselves.
  Full record: https://wazabook.com/combinations/ko-uchi-gari-into-o-soto-gake/

Ko-uchi-gari into O-soto-gari.
  Combinations (Renraku-waza).
  One of the first combinations most syllabuses teach: the failed inner reap makes your partner load the very leg the major outer reap takes away.
  Full record: https://wazabook.com/combinations/ko-uchi-gari-into-o-soto-gari/

Ko-uchi-gari into Seoi-nage.
  Combinations (Renraku-waza).
  The small inner reap draws your partner's foot back and settles their weight forward and low, creating the opening for the shoulder throw.
  Full record: https://wazabook.com/combinations/ko-uchi-gari-into-seoi-nage/

Ko-uchi-gari into Tai-otoshi.
  Combinations (Renraku-waza).
  When the reap is answered by a backward step, the weight that returns forward can be sent over an extended leg instead. Tai-otoshi blocks rather than lifts, so it works even when they are heavy.
  Full record: https://wazabook.com/combinations/ko-uchi-gari-into-tai-otoshi/

Ko-uchi-gari into Yoko-tomoe-nage.
  Combinations (Renraku-waza).
  Some partners answer the inner reap by driving forward into you. Yoko-tomoe-nage uses that drive: you go down and sideways deliberately, and they travel over the top.
  Full record: https://wazabook.com/combinations/ko-uchi-gari-into-yoko-tomoe-nage/

Koshi-guruma countered by Ura-nage.
  Counters (Kaeshi-waza).
  A hip wheel entered high and loose leaves your partner's waist available and their weight above yours. Ura-nage drops beneath it and throws them backwards over your own shoulder.
  Full record: https://wazabook.com/counters/koshi-guruma-countered-by-ura-nage/

Kuzure-kami-shiho-gatame to Ushiro-kesa-gatame.
  Groundwork chains (Ne-waza chains).
  Turning away from the broken upper four quarters hold is the standard escape attempt, and it hands you the reverse scarf hold. You follow the turn rather than fighting it.
  Full record: https://wazabook.com/chains/kuzure-kami-shiho-gatame-to-ushiro-kesa-gatame/

Kuzure-kesa-gatame to Ude-garami.
  Groundwork chains (Ne-waza chains).
  The broken scarf hold leaves your partner's far arm free, and the usual thing they do with it is push. Ude-garami folds that arm back on itself. Age limits apply to joint locks; learn this only under instruction.
  Full record: https://wazabook.com/chains/kuzure-kesa-gatame-to-ude-garami/

O-goshi countered by Utsuri-goshi.
  Counters (Kaeshi-waza).
  The changing hip throw is the counter that turns a hip attack into your own: absorb the entry by dropping lower than the attacker, lift them clear, and switch your hips beneath them as they come down. One throw becomes another in mid-air.
  Full record: https://wazabook.com/counters/o-goshi-countered-by-utsuri-goshi/

O-goshi into Uki-goshi.
  Combinations (Renraku-waza).
  Both are hip throws off the same entry, and the difference is how much lift you ask for. If your partner drops their weight and kills the full lift, the shallower floating hip turns them instead.
  Full record: https://wazabook.com/combinations/o-goshi-into-uki-goshi/

O-soto-gake into O-soto-gari.
  Combinations (Renraku-waza).
  Hooking and reaping attack the same leg on the same line. If your partner hops free of the hook, the leg is momentarily unweighted and can be reaped as it lands.
  Full record: https://wazabook.com/combinations/o-soto-gake-into-o-soto-gari/

O-soto-gake into Seoi-otoshi.
  Combinations (Renraku-waza).
  Pulling hard away from an outside hook brings your partner's weight forward. Seoi-otoshi meets it: you drop under the arm and let them fall over your extended leg.
  Full record: https://wazabook.com/combinations/o-soto-gake-into-seoi-otoshi/

O-soto-gari countered by O-soto-gaeshi.
  Counters (Kaeshi-waza).
  This pairing is the technique o-soto-gaeshi; its record carries the demonstration.
  The direct answer to a major outer reap: the reaping leg is off the mat and carrying no weight, so reaping it in turn takes their only remaining support.
  Full record: https://wazabook.com/counters/o-soto-gari-countered-by-o-soto-gaeshi/

O-soto-gari countered by Sumi-otoshi.
  Counters (Kaeshi-waza).
  The reaping entry arrives on one leg; stepping the target leg clear and tipping to the rear corner with the hands alone drops the attacker into the space behind them.
  Full record: https://wazabook.com/counters/o-soto-gari-countered-by-sumi-otoshi/

O-soto-gari countered by Te-guruma.
  Counters (Kaeshi-waza).
  The outer reap arrives chest to chest with the reaping leg in the air, and that leg is what the hand wheel takes: tori drops the hips, catches the raised thigh with one hand and the back with the other, and lifts the whole attack over to land flat. The filmed version runs straight on into the chest hold.
  Full record: https://wazabook.com/counters/o-soto-gari-countered-by-te-guruma/

O-soto-gari into Harai-goshi.
  Combinations (Renraku-waza).
  When the reap is pulled clear and your partner surges forward, turning in and sweeping the thigh accepts the gift.
  Full record: https://wazabook.com/combinations/o-soto-gari-into-harai-goshi/

O-soto-gari into Kesa-gatame.
  Transitions (Tachi-waza into ne-waza).
  The major outer reap lands your partner beside your reaping leg with the sleeve still in your hand. Dropping onto them with that arm pulled across your hip and your other arm round the neck is the scarf hold.
  Full record: https://wazabook.com/transitions/o-soto-gari-into-kesa-gatame/

O-soto-gari into Nidan-ko-soto-gari.
  Combinations (Renraku-waza).
  When the major outer reap is defended and your partner is retreating, the two-stage minor outer reap follows them: you chase the withdrawing foot rather than the planted one.
  Full record: https://wazabook.com/combinations/o-soto-gari-into-nidan-ko-soto-gari/

O-soto-gari into Sasae-tsurikomi-ashi.
  Combinations (Renraku-waza).
  Defending the outer reap, your partner drags the attacked leg back and drives forward; the propping foot catches that drive at the ankle and wheels them over it.
  Full record: https://wazabook.com/combinations/o-soto-gari-into-sasae-tsurikomi-ashi/

O-soto-gari into Yoko-wakare.
  Combinations (Renraku-waza).
  A partner who resists the major outer reap by leaning hard into you has committed their weight forward. Yoko-wakare takes the support away sideways and lets that commitment finish the throw.
  Full record: https://wazabook.com/combinations/o-soto-gari-into-yoko-wakare/

O-soto-otoshi into Kesa-gatame.
  Transitions (Tachi-waza into ne-waza).
  The first transition on the BJA Mon syllabus, and the model for all of them: the throw is not finished until you have the hold. Osoto-otoshi drops them straight back beside you, ready for the scarf hold.
  Full record: https://wazabook.com/transitions/o-soto-otoshi-into-kesa-gatame/

O-uchi-gari countered by Hiza-guruma.
  Counters (Kaeshi-waza).
  The inner reap is an entry on one supporting leg; blocking that knee and steering the shoulders wheels the attacker over their own attack.
  Full record: https://wazabook.com/counters/o-uchi-gari-countered-by-hiza-guruma/

O-uchi-gari countered by Ko-soto-gari.
  Counters (Kaeshi-waza).
  Escaping the inner reap loads your partner's outside foot. Reaping the outside of that foot answers on the opposite line, while they are still turned in from their own attack.
  Full record: https://wazabook.com/counters/o-uchi-gari-countered-by-ko-soto-gari/

O-uchi-gari countered by O-uchi-gaeshi.
  Counters (Kaeshi-waza).
  This pairing is the technique o-uchi-gaeshi; its record carries the demonstration.
  As your partner reaps from the inside, lifting the attacked leg and sweeping their reaping leg out with it is the major inner counter, the named answer.
  Full record: https://wazabook.com/counters/o-uchi-gari-countered-by-o-uchi-gaeshi/

O-uchi-gari countered by Seoi-nage.
  Counters (Kaeshi-waza).
  Slipping the reap leaves the attacker square-on and committed forward; turning in under the gripping arm converts their commitment into the shoulder throw.
  Full record: https://wazabook.com/counters/o-uchi-gari-countered-by-seoi-nage/

O-uchi-gari countered by Sode-tsurikomi-goshi.
  Counters (Kaeshi-waza).
  The same slipped reap answered with the sleeve lift: the attacker's reaching arm is carried high and their forward weight goes over the hip.
  Full record: https://wazabook.com/counters/o-uchi-gari-countered-by-sode-tsurikomi-goshi/

O-uchi-gari countered by Tai-otoshi.
  Counters (Kaeshi-waza).
  When the major inner reap misses, your partner's reaping leg is between yours and their weight is forward. Turning in and putting your leg across their standing shin takes them over it.
  Full record: https://wazabook.com/counters/o-uchi-gari-countered-by-tai-otoshi/

O-uchi-gari countered by Tsurikomi-goshi.
  Counters (Kaeshi-waza).
  Absorbing the inner reap leaves your partner standing on one leg and leaning forward into you. Tsuri-komi-goshi lifts and draws from exactly that position, and every syllabus in this reference names the pair.
  Full record: https://wazabook.com/counters/o-uchi-gari-countered-by-tsurikomi-goshi/

O-uchi-gari into Ippon-seoi-nage.
  Combinations (Renraku-waza).
  Answering the inner reap, your partner pulls the attacked leg back and their weight comes forward over their toes, which is the moment the shoulder throw wants.
  Full record: https://wazabook.com/combinations/o-uchi-gari-into-ippon-seoi-nage/

O-uchi-gari into Ko-soto-gake.
  Combinations (Renraku-waza).
  The inner reap moves your partner's weight backwards and outwards onto the far leg. Ko-soto-gake hooks exactly that leg from the outside while their weight is still travelling.
  Full record: https://wazabook.com/combinations/o-uchi-gari-into-ko-soto-gake/

O-uchi-gari into Ko-uchi-gari.
  Combinations (Renraku-waza).
  Two reaps on opposite legs, and the second is set up entirely by the first. Escaping the major inner reap puts weight onto the other foot, which the minor inner reap then takes.
  Full record: https://wazabook.com/combinations/o-uchi-gari-into-ko-uchi-gari/

O-uchi-gari into O-soto-gari.
  Combinations (Renraku-waza).
  Saving the leg from the inner reap loads the other one, and the loaded leg is reaped from the outside.
  Full record: https://wazabook.com/combinations/o-uchi-gari-into-o-soto-gari/

O-uchi-gari into O-soto-gari into Ko-soto-gari.
  Combinations (Renraku-waza).
  Three reaps in a row, each fed by the escape from the last: inside, then outside, then the small outside reap as the retreating heel finally runs out of mat.
  Full record: https://wazabook.com/combinations/o-uchi-gari-into-o-soto-gari-into-ko-soto-gari/

O-uchi-gari into Seoi-nage.
  Combinations (Renraku-waza).
  Opens when uke pulls back; a change of direction.
  The back-then-front pair every club drills. A partner who steps back from the major inner reap pushes forward to recover; turning in under the arms takes them over the shoulder with that push.
  Full record: https://wazabook.com/combinations/o-uchi-gari-into-seoi-nage/

O-uchi-gari into Tai-otoshi.
  Combinations (Renraku-waza).
  The classic back-then-front pair. The inner reap makes your partner post their weight backwards to survive; the instant that defence lands, their weight is perfectly placed for the body drop the other way.
  Full record: https://wazabook.com/combinations/o-uchi-gari-into-tai-otoshi/

O-uchi-gari into Tate-shiho-gatame.
  Transitions (Tachi-waza into ne-waza).
  The inner reap puts your partner flat on their back with you already between their legs, which is the one throw that leads straight into the lengthwise hold.
  Full record: https://wazabook.com/transitions/o-uchi-gari-into-tate-shiho-gatame/

O-uchi-gari into Uchi-mata.
  Combinations (Renraku-waza).
  The freed leg swings back and your partner's weight tips forward between their feet, which is exactly where the inner-thigh throw lifts from.
  Full record: https://wazabook.com/combinations/o-uchi-gari-into-uchi-mata/

Okuri-ashi-harai countered by Tsubame-gaeshi.
  Counters (Kaeshi-waza).
  This pairing is the technique tsubame-gaeshi; its record carries the demonstration.
  The double sweep asks both of your feet to travel together, which is exactly the moment the swallow counter wants. You withdraw the foot they are sweeping and sweep their sweeping leg on the same line while it is still in the air. The book records the same answer to de-ashi-harai; here the timing is finer, because both of your feet were already moving when the attack came.
  Full record: https://wazabook.com/counters/okuri-ashi-harai-countered-by-tsubame-gaeshi/

Okuri-ashi-harai into Mune-gatame.
  Transitions (Tachi-waza into ne-waza).
  The double sweep lands your partner on their back side-on to you, a step from the chest hold.
  Full record: https://wazabook.com/transitions/okuri-ashi-harai-into-mune-gatame/

Sasae-tsurikomi-ashi into De-ashi-harai.
  Combinations (Renraku-waza).
  Both are ashi-waza on a moving partner. If they step over the prop, the same foot is advancing and unweighted, which is precisely what De-ashi-barai sweeps.
  Full record: https://wazabook.com/combinations/sasae-tsurikomi-ashi-into-de-ashi-harai/

Seoi-nage countered by Ura-nage.
  Counters (Kaeshi-waza).
  Against a shoulder throw that turns in a fraction slow, the defender clamps the attacker's trunk, drops their hips, and bridges backwards, throwing the attacker over their shoulder. A heavy fall to give and to take; drill it slowly and with crash mats before ever using it live.
  Full record: https://wazabook.com/counters/seoi-nage-countered-by-ura-nage/

Seoi-nage into Ko-uchi-makikomi.
  Combinations (Renraku-waza).
  Same reaction as the reaping combination, finished by wrapping: when your partner defends the shoulder throw by sitting back, their near heel can be taken inward, and because their arm is still held from the first attack you drop through the reap rather than stand over it.
  Full record: https://wazabook.com/combinations/seoi-nage-into-ko-uchi-makikomi/

Seoi-nage into Seoi-otoshi.
  Combinations (Renraku-waza).
  Same entry, different finish. When the lift will not come because their hips are low or they are heavier than you, dropping to the knee turns the throw into one that needs no lift at all.
  Full record: https://wazabook.com/combinations/seoi-nage-into-seoi-otoshi/

Sode-tsurikomi-goshi into Harai-goshi.
  Combinations (Renraku-waza).
  The high sleeve lift stays exactly where it is; only the legs change, from the blocked hip entry to the sweeping thigh.
  Full record: https://wazabook.com/combinations/sode-tsurikomi-goshi-into-harai-goshi/

Tai-otoshi countered by Ko-soto-gake.
  Counters (Kaeshi-waza).
  The extended blocking leg of a Tai-otoshi carries no weight. Hooking behind it while your partner is committed to the turn drops them backwards over their own block.
  Full record: https://wazabook.com/counters/tai-otoshi-countered-by-ko-soto-gake/

Tai-otoshi countered by Ko-soto-gari.
  Counters (Kaeshi-waza).
  The same opening answered by reaping instead of hooking. Whether you hook or reap depends on how much room their supporting foot has, and the syllabuses list both.
  Full record: https://wazabook.com/counters/tai-otoshi-countered-by-ko-soto-gari/

Tai-otoshi into Seoi-nage.
  Combinations (Renraku-waza).
  Posting against the body drop pulls your partner's chest down and forward over your shoulder line. That is the shoulder throw's opening, and the entry is only half a step away.
  Full record: https://wazabook.com/combinations/tai-otoshi-into-seoi-nage/

Tai-otoshi into Uchi-mata.
  Combinations (Renraku-waza).
  Stepping over the blocking leg opens your partner's stance. Uchi-mata attacks the inside of exactly the gap they have just made.
  Full record: https://wazabook.com/combinations/tai-otoshi-into-uchi-mata/

Tai-otoshi into Yoko-shiho-gatame.
  Transitions (Tachi-waza into ne-waza).
  Tai-otoshi turns your partner over an extended leg and lands them on their side, facing away. Following the turn brings you straight across their body into the side four quarters hold.
  Full record: https://wazabook.com/transitions/tai-otoshi-into-yoko-shiho-gatame/

Tate-shiho-gatame to Juji-gatame.
  Groundwork chains (Ne-waza chains).
  The commonest ne-waza chain in contest: they defend the lengthwise hold by pushing with an arm, and you swing a leg over to take it. Age limits apply to joint locks; learn this only under instruction.
  Full record: https://wazabook.com/chains/tate-shiho-gatame-to-juji-gatame/

Tomoe-nage into O-soto-gari.
  Combinations (Renraku-waza).
  A stalled circle throw stands both of you back up with your partner leaning away from it; regaining your feet and reaping the braced leg finishes what the sacrifice began.
  Full record: https://wazabook.com/combinations/tomoe-nage-into-o-soto-gari/

Tsurikomi-goshi countered by Utsuri-goshi.
  Counters (Kaeshi-waza).
  The lifting hip throw is answered the way utsuri-goshi answers every hip attack: you sink beneath the entry as the lapel hand drives up, wrap the waist and lift, and switch your own hips underneath before they come down. One throw becomes the other in the transfer.
  Full record: https://wazabook.com/counters/tsurikomi-goshi-countered-by-utsuri-goshi/

Tsurikomi-goshi into O-uchi-gari.
  Combinations (Renraku-waza).
  Opens when uke blocks the hip; a change of direction.
  A partner who drops their hips to stop the lifting-pulling hip throw has their weight back on the rear leg. Reaping it from the inside sends them backwards.
  Full record: https://wazabook.com/combinations/tsurikomi-goshi-into-o-uchi-gari/

Uchi-mata countered by Ko-soto-gake.
  Counters (Kaeshi-waza).
  As the inner thigh swings up, everything rests on the attacker's standing heel, and hooking it from outside takes the whole throw down backwards.
  Full record: https://wazabook.com/counters/uchi-mata-countered-by-ko-soto-gake/

Uchi-mata countered by Tai-otoshi.
  Counters (Kaeshi-waza).
  When your partner commits to Uchi-mata their lifting leg is off the mat and everything rests on one foot. Blocking that foot and turning them is the standard answer.
  Full record: https://wazabook.com/counters/uchi-mata-countered-by-tai-otoshi/

Uchi-mata countered by Uchi-mata-gaeshi.
  Counters (Kaeshi-waza).
  This pairing is the technique uchi-mata-gaeshi; its record carries the demonstration.
  As the sweeping leg rises between yours, your partner is on one leg with their back turning to you. Catching the sweeping leg on your thigh and reaping the standing one is the inner thigh counter, the named answer.
  Full record: https://wazabook.com/counters/uchi-mata-countered-by-uchi-mata-gaeshi/

Uchi-mata countered by Uchi-mata-sukashi.
  Counters (Kaeshi-waza).
  This pairing is the technique uchi-mata-sukashi; its record carries the demonstration.
  The slip: instead of blocking the throw you remove yourself from it, and your partner's own committed turn puts them on the mat. Nothing is added but timing.
  Full record: https://wazabook.com/counters/uchi-mata-countered-by-uchi-mata-sukashi/

Uchi-mata into Kesa-gatame.
  Transitions (Tachi-waza into ne-waza).
  The inner thigh throw lands your partner on their back ahead of you with the sleeve still held. Stepping in and sitting beside the head with that arm across your hip is the scarf hold.
  Full record: https://wazabook.com/transitions/uchi-mata-into-kesa-gatame/

Uchi-mata into Ko-uchi-gari.
  Combinations (Renraku-waza).
  The usual answer to Uchi-mata is to widen the stance and settle the weight back. Both of those things make the near foot easy to reap from the inside.
  Full record: https://wazabook.com/combinations/uchi-mata-into-ko-uchi-gari/

Uchi-mata into O-uchi-gari.
  Combinations (Renraku-waza).
  Opens when uke bends forward; a change of direction.
  A partner who drops the hips and bends forward to stop the inner thigh throw has the rear leg planted beneath them. Bringing the sweeping leg down and reaping that leg from the inside takes them backwards.
  Full record: https://wazabook.com/combinations/uchi-mata-into-o-uchi-gari/

Uchi-mata into Tai-otoshi.
  Combinations (Renraku-waza).
  Opens when uke pulls back; a continuation in the same direction.
  A partner who pulls off the sweeping leg by planting the other foot stays leaning forward. Dropping the sweeping leg across their shin turns the throw into the body drop.
  Full record: https://wazabook.com/combinations/uchi-mata-into-tai-otoshi/

Uki-goshi into Kuzure-kesa-gatame.
  Transitions (Tachi-waza into ne-waza).
  The floating hip turns your partner around your hip rather than over it, so they land close beside you and slightly on their side: the broken scarf hold takes that position as it is.
  Full record: https://wazabook.com/transitions/uki-goshi-into-kuzure-kesa-gatame/


Kata (11)
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Itsutsu-no-kata (五の形, いつつのかた).
  The five movements: Ippon-me; Nihon-me; Sanbon-me; Yonhon-me; Gohon-me.
  How each movement is performed is the Kodokan's and is not reproduced here. Your federation's kata syllabus is the authority for what you will be asked to do.
  Full record: https://wazabook.com/kata/itsutsu-no-kata/

Ju-no-kata (柔の形, じゅうのかた).
  Dai-ikkyo (Set 1): Tsuki-dashi; Kata-oshi; Ryote-dori; Kata-mawashi; Ago-oshi.
  Dai-nikyo (Set 2): Kiri-oroshi; Ryokata-oshi; Naname-uchi; Katate-dori; Katate-age.
  Dai-sankyo (Set 3): Obi-tori; Mune-oshi; Tsuki-age; Uchi-oroshi; Ryogan-tsuki.
  How each movement is performed is the Kodokan's and is not reproduced here. Your federation's kata syllabus is the authority for what you will be asked to do.
  Full record: https://wazabook.com/kata/ju-no-kata/

Kaeshi-kata (かえしかた).
  How each movement is performed is the Kodokan's and is not reproduced here. Your federation's kata syllabus is the authority for what you will be asked to do.
  Full record: https://wazabook.com/kata/kaeshi-kata/

Katame-no-kata (固の形, かためのかた).
  Osaekomi-waza: Kesa-gatame; Kata-gatame; Kami-shiho-gatame; Yoko-shiho-gatame; Kuzure-kami-shiho-gatame.
  Shime-waza: Kata-juji-jime; Hadaka-jime; Okuri-eri-jime; Kataha-jime; Gyaku-juji-jime.
  Kansetsu-waza: Ude-garami; Ude-hishigi-juji-gatame; Ude-hishigi-ude-gatame; Ude-hishigi-hiza-gatame; Ashi-garami.
  How each movement is performed is the Kodokan's and is not reproduced here. Your federation's kata syllabus is the authority for what you will be asked to do.
  Full record: https://wazabook.com/kata/katame-no-kata/

Kime-no-kata (極の形, きめのかた).
  Idori (Set 1): Ryote-dori; Tsukkake; Suri-age; Yoko-uchi; Ushiro-dori; Tsukkomi; Kiri-komi; Yoko-tsuki.
  Tachiai (Set 2): Ryote-dori; Sode-tori; Tsukkake; Tsuki-age; Suri-age; Yoko-uchi; Ke-age; Ushiro-dori; Tsukkomi; Kiri-komi; Nuki-gake; Kiri-oroshi.
  How each movement is performed is the Kodokan's and is not reproduced here. Your federation's kata syllabus is the authority for what you will be asked to do.
  Full record: https://wazabook.com/kata/kime-no-kata/

Kodokan Goshin-jutsu (講道館護身術, こうどうかんごしんじゅつ).
  Unarmed section: when held: Ryote-dori; Hidari-eri-dori; Migi-eri-dori; Kataude-dori; Ushiro-eri-dori; Ushiro-jime; Kakae-dori.
  Unarmed section: when attacked from a distance: Naname-uchi; Ago-tsuki; Ganmen-tsuki; Mae-geri; Yoko-geri.
  Weapons section: against a dagger: Tsukkake; Choku-tsuki; Naname-tsuki.
  Weapons section: against a staff: Furi-age; Furi-oroshi; Morote-tsuki.
  Weapons section: against a pistol: Shomen-zuke; Koshi-gamae; Haimen-zuke.
  How each movement is performed is the Kodokan's and is not reproduced here. Your federation's kata syllabus is the authority for what you will be asked to do.
  Full record: https://wazabook.com/kata/kodokan-goshin-jutsu/

Kodomo-no-kata (こどものかた).
  How each movement is performed is the Kodokan's and is not reproduced here. Your federation's kata syllabus is the authority for what you will be asked to do.
  Full record: https://wazabook.com/kata/kodomo-no-kata/

Koshiki-no-kata (古式の形, こしきのかた).
  Omote: Tai; Yume-no-uchi; Ryoku-hi; Mizu-guruma; Mizu-nagare; Hiki-otoshi; Ko-daore; Uchi-kudaki; Tani-otoshi; Kuruma-daore; Shikoro-dori; Shikoro-gaeshi; Yu-dachi; Taki-otoshi.
  Ura: Mi-kudaki; Kuruma-gaeshi; Mizu-iri; Ryu-setsu; Saka-otoshi; Yuki-ore; Iwa-nami.
  How each movement is performed is the Kodokan's and is not reproduced here. Your federation's kata syllabus is the authority for what you will be asked to do.
  Full record: https://wazabook.com/kata/koshiki-no-kata/

Nage-no-kata (投の形, なげのかた).
  Te-waza: Uki-otoshi; Seoi-nage; Kata-guruma.
  Koshi-waza: Uki-goshi; Harai-goshi; Tsurikomi-goshi.
  Ashi-waza: Okuri-ashi-harai; Sasae-tsurikomi-ashi; Uchi-mata.
  Ma-sutemi-waza: Tomoe-nage; Ura-nage; Sumi-gaeshi.
  Yoko-sutemi-waza: Yoko-gake; Yoko-guruma; Uki-waza.
  How each movement is performed is the Kodokan's and is not reproduced here. Your federation's kata syllabus is the authority for what you will be asked to do.
  Full record: https://wazabook.com/kata/nage-no-kata/

Nage-waza-ura-no-kata (なげわざうらのかた).
  How each movement is performed is the Kodokan's and is not reproduced here. Your federation's kata syllabus is the authority for what you will be asked to do.
  Full record: https://wazabook.com/kata/nage-waza-ura-no-kata/

Seiryoku-Zenyo-Kokumin-Taiiku (精力善用国民体育, せいりょくぜんようこくみんたいいく).
  How each movement is performed is the Kodokan's and is not reproduced here. Your federation's kata syllabus is the authority for what you will be asked to do.
  Full record: https://wazabook.com/kata/seiryoku-zenyo-kokumin-taiiku/


Guides (5)
----------

Bowing, the judogi and dojo etiquette.
  How to bow standing and kneeling, how the judogi is worn correctly, and the courtesies of coming onto and leaving the mat. Every grading in this reference examines them from the first grade onwards.
  Full guide: https://wazabook.com/skills/essentials/bowing-and-the-judogi/

Competition day.
  One page for the morning of a competition: what to pack, the weigh-in, the judogi check, the shido ladder and the clock, each line ticked off as you go. The rules page carries the reasoning; this carries the order of the day.
  Full guide: https://wazabook.com/competition/competition-day/

Competition rules: the basics.
  How a judo contest is won, scored and penalised, in one page, with the three scores now in use: ippon, waza-ari and yuko. A summary of the essentials; your federation's current rulebook is always the authority.
  Full guide: https://wazabook.com/competition/competition-rules-basics/

Referee commands and signals.
  What the referee says, what it means, and what happens next. The commands are spoken aloud in Japanese in every country, which makes them the most accessible part of competition: you hear everything that matters.
  Full guide: https://wazabook.com/competition/referee-commands-and-signals/

Tying your belt.
  The standard way to tie a judo belt so it stays flat, stays tied, and shows the two ends even: entirely learnable by touch.
  Full guide: https://wazabook.com/skills/essentials/tying-your-belt/


Glossary (120)
--------------

Hajime (始め, はじめ): Begin. The referee starts or restarts the contest with it, and nothing counts before it is said.

Hantei (判定, はんてい): Decision. The referee asks the officials to decide a contest that has no other result.

Matte (待て, まて): Wait. The referee stops the contest temporarily; both judoka stop where they are and return to their starting places.

Osaekomi (抑え込み, おさえこみ): Holding. The referee calls it when a hold-down is properly on, and the clock for the hold starts: yuko at five seconds, waza-ari at ten, ippon at twenty, which ends the contest.

Sono-mama (そのまま, そのまま): Do not move. Both judoka freeze exactly as they are, usually so the referee can adjust something, and neither may improve their position.

Sore-made (それまで, それまで): That is all. The referee ends the contest with it.

Toketa (解けた, とけた): Broken. The hold-down no longer counts and the clock stops; the contest continues. Whatever the clock had reached still scores: five seconds is a yuko, ten a waza-ari.

Yoshi (よし, よし): Carry on, after sono-mama. The pair resume from the position they were frozen in.

Fusen-gachi (不戦勝, ふせんがち): Win by default, given when the other contestant does not appear for the contest.

Golden score (ゴールデンスコア): The extra time played when a contest is level on both waza-ari and yuko: no time limit, and the first score of any kind - a yuko will do - or the other contestant's third shido settles it.

Hansoku-make (反則負け, はんそくまけ): Disqualification. Awarded for a serious infringement, or for a third shido, and it ends the contest immediately.

Hazumi (弾み, はずみ): Skilfulness with impetus: the sharpness or rhythm of a throw rather than its power. The companion to ikioi in the IJF's own gloss on the ippon criteria.

Hikiwake (引き分け, ひきわけ): A draw. Not a result in IJF competition, where a level contest goes to golden score, but used in team events, kohaku-shiai and some domestic rule sets that allow a contest to be tied.

Ikioi (勢い, いきおい): Momentum: force and speed together. One of the two Japanese words the IJF uses to fix what "speed and force" mean when a referee weighs a throw for ippon.

Ippon (一本, いっぽん): One full point, and the end of the contest. Awarded for a throw largely on the back with control, speed and force, a twenty-second hold-down, or a submission.

Kachi (勝ち, かち): Win. Heard as the ending of the ways a contest can be won without a score, such as fusen-gachi and kiken-gachi, and it names the referee's gesture towards the winner.

Kiken-gachi (棄権勝ち, きけんがち): Win by withdrawal, given when the other contestant retires during the contest, through injury or otherwise.

Maitta (参った, まいった): I submit. Said aloud, though tapping twice on your partner, on yourself or on the mat is the usual and safest way to submit.

Shido (指導, しどう): A penalty for a rule infringement, such as non-combativity or a false attack. Three of them mean the contest is lost.

Waza-ari (技あり, わざあり): A half point in everything but name: a throw missing one of the elements of ippon, or a hold of ten to nineteen seconds. Two of them make ippon and end the contest, and nothing smaller ever adds up to one.

Waza-ari-awasete-ippon (技あり合わせて一本, わざありあわせていっぽん): Two waza-ari combined into ippon. The contest ends there.

Yuko (有効, ゆうこう): The smallest score, below waza-ari: a landing on the side or further forward, on the upper back, on a buttock or the neck, or a hold-down of five to nine seconds. Removed from international judo in 2017 and brought back for the current Olympic cycle. Yuko are counted but never add up to a waza-ari; they separate contestants otherwise level, and the first one wins golden score.

Arigato gozaimashita (ありがとうございました, ありがとうございました): Thank you, said after practising with a partner.

Onegaishimasu (お願いします, おねがいします): Please, or literally "I make a request": said to a partner before practising together.

Rei (礼, れい): The bow. Judo begins and ends with it, on entering and leaving the mat and before and after practising with a partner.

Ritsurei (立礼, りつれい): The standing bow: from a straight standing position, bending forward from the waist about thirty degrees with the hands sliding down the thighs.

Seiza (正座, せいざ): The formal kneeling position, sitting back on the heels with a straight back, from which zarei is made.

Zarei (座礼, ざれい): The kneeling bow, made from seiza with both hands placed on the mat in front of the knees.

Judoka (柔道家, じゅうどうか): A person who practises judo, at any grade.

Kohai (後輩, こうはい): A junior member of the club, behind you in experience, whom a sempai is expected to help.

Sempai (先輩, せんぱい): A senior member of the club, ahead of you in experience.

Sensei (先生, せんせい): Teacher. The coach on the mat.

Shimpan (審判, しんぱん): The referee.

Tori (取り, とり): The one performing the technique. Every description in this reference is written from tori's side unless it says otherwise.

Uke (受け, うけ): The one receiving the technique. Being a good uke is a skill of its own: staying safe, giving honest resistance, and taking the fall well.

Dojo (道場, どうじょう): The place of training, literally "the place of the way". The room the mat is in, and by extension the club that trains there.

Gyaku-eri (逆襟, ぎゃくえり): The opposite lapel: the one on the same side as the hand that takes it. The cross grip.

Judogi (柔道着, じゅうどうぎ): The judo suit: jacket, trousers and belt. Cotton, loose enough to grip, and always clean.

Obi (帯, おび): The belt. It holds the jacket closed, carries the grade, and gives several techniques their name and their grip.

Oku-eri (奥襟, おくえり): The deep collar behind the neck, taken by reaching over the shoulder. The high collar grip.

Sode-guchi (袖口, そでぐち): The sleeve end, or cuff. Holding both sleeve ends for defence draws a shido.

Tatami (畳, たたみ): The mat. Firm enough to move on and soft enough to land on.

Zori (草履, ぞうり): Sandals, worn to and from the mat so that bare feet, and therefore the mat, stay clean.

Ai-yotsu (相四つ, あいよつ): Same stance: right-handed against right-handed or left against left, so the grips mirror each other and the fight is for the sleeve.

Hikite (引き手, ひきて): The pulling hand: usually the one on the sleeve, which draws the partner's arm and breaks their balance. The hand a breakfall depends on keeping.

Kake (掛け, かけ): The execution: the moment the throw is completed.

Kappo (活法, かっぽ): The old resuscitation and joint-mobilisation methods judo teachers and referees once practised. Their use is not permitted now and is illegal in some countries, but the IJF holds that the knowledge belongs to judo's heritage and should not be lost.

Kata (形, かた): A prearranged form, performed with a partner to a set pattern. Kata teaches the principle behind a technique rather than how to win with it.

Kenka-yotsu (喧嘩四つ, けんかよつ): Opposite stance: right-handed against left-handed. Both lead hands reach for the same lapel, and the throws that work change completely.

Kumi-kata (組み方, くみかた): Gripping: how you take hold of your partner, and how you stop them taking hold of you.

Kuzushi (崩し, くずし): Breaking the balance. The first of the three parts of a throw, and the one that decides whether the rest will work.

Nagekomi (投げ込み, なげこみ): Throwing practice: repeating a throw all the way to the mat with a partner who takes the fall.

Ne-waza (寝技, ねわざ): Groundwork: everything that happens once the contest goes to the mat. Also the name for practice restricted to the ground.

Randori (乱取り, らんどり): Free practice: both judoka attacking and defending freely, at a pace they agree. Not a contest, and the place most learning happens.

Shiai (試合, しあい): Contest. Judo under the competition rules, with a referee.

Tandoku-renshu (単独練習, たんどくれんしゅう): Practice on your own, without a partner: the movement of a technique rehearsed solo.

Tsukuri (作り, つくり): Fitting in. Placing your body where it needs to be while your partner is off balance.

Tsurite (釣り手, つりて): The lifting hand: usually the one on the lapel, which sets the partner's posture and lifts for the throw.

Uchikomi (打ち込み, うちこみ): Repetition entries: turning in to a throw again and again without completing it, to make the entry automatic.

Ukemi (受け身, うけみ): Breakfalling: the skill of landing safely. The first thing anyone learns, and the reason judo can be practised at speed.

Dan (段, だん): A black-belt grade, counted upwards from 1st Dan (shodan).

Kai (階, かい): JudoScotland's grades for children aged five to seven, nine of them, marked with a coloured stripe or tab on the belt rather than a new belt each time.

Kyu (級, きゅう): A grade below black belt, counted downwards: 6th Kyu is the first, 1st Kyu the last before dan grades.

Mon (紋, もん): The British Judo Association's junior grades, eighteen of them, taken by judoka under sixteen.

Mudansha (無段者, むだんしゃ): A judoka who does not yet hold a dan grade.

Shodan (初段, しょだん): First dan: the first black belt.

Yudansha (有段者, ゆうだんしゃ): A judoka who holds a dan grade.

Ashi-waza (足技, あしわざ): Foot and leg techniques: sweeps, hooks and reaps.

Gokyo no waza (五教の技, ごきょうのわざ): The five sets of throws, forty in all, that the Kodokan arranged as a teaching order in 1895. It is the backbone of this reference, and not the whole of judo.

Kaeshi-waza (返技, かえしわざ): Counter techniques: turning your partner's attack into your own throw.

Kansetsu-waza (関節技, かんせつわざ): Joint locks. In judo these are applied to the elbow only, and are restricted by age.

Katame-waza (固技, かためわざ): Grappling techniques, the ground family as a whole: hold-downs, strangles and joint locks together.

Koshi-waza (腰技, こしわざ): Hip techniques: throws that load your partner across your hips.

Ma-sutemi-waza (真捨身技, ますてみわざ): Rear sacrifice techniques: you fall straight onto your own back to throw.

Nage-waza (投技, なげわざ): Throwing techniques: everything that puts a standing partner on the mat.

Osaekomi-waza (抑込技, おさえこみわざ): Hold-downs: pinning your partner's back to the mat and keeping it there.

Renraku-waza (連絡技, れんらくわざ): Combination techniques: one attack linked into another with a change of direction, so the answer to the first opens the second.

Renzoku-waza (連続技, れんぞくわざ): Continuation techniques: a second attack in the same direction as the first, riding the movement your opponent gives you rather than turning it around.

Shime-waza (絞技, しめわざ): Strangles. Restricted by age in every federation, and always released the instant a partner taps.

Shinmeisho no waza (新名称の技, しんめいしょうのわざ): The techniques the Kodokan recognised after the Gokyo was set: names like Obi-otoshi, Kuchiki-taoshi and the -gaeshi counters, real techniques that simply post-date the list.

Sutemi-waza (捨身技, すてみわざ): Sacrifice techniques: throws where you give up your own standing position to make the throw work.

Tachi-waza (立技, たちわざ): Standing techniques: judo done on the feet.

Te-waza (手技, てわざ): Hand techniques: throws driven mainly by the arms and hands.

Waza (技, わざ): Technique. It ends the name of every group of techniques in judo.

Yoko-sutemi-waza (横捨身技, よこすてみわざ): Side sacrifice techniques: you fall onto your own side to throw.

Ashi (足, あし): Foot, or leg.

Eri (襟, えり): Lapel or collar.

Gaeshi (返, がえし): Reversal or counter: their attack becomes your throw. It is the ending that marks a counter technique.

Gake (掛, がけ): Hook: the leg hooks and stays, rather than sweeping through.

Garami (緘, がらみ): Entanglement: the limb is bent and wound rather than straightened.

Gari (刈, かり): Reap: the leg cuts your partner's leg away, like a scythe through grass.

Gatame (固, がため): Hold or lock: it ends the name of a hold-down and of an armlock alike. Written katame on its own.

Goshi (腰, ごし): Hip. Written koshi on its own, and goshi at the end of a name: O-goshi, Harai-goshi.

Guruma (車, くるま): Wheel: your partner rotates over a fixed point, as a wheel turns on its axle.

Harai (払, はらい): Sweep: the leg brushes your partner's leg away along the mat. Often romanised "barai" inside a name, as in De-ashi-barai.

Hiza (膝, ひざ): Knee.

Jime (絞, じめ): Strangle. Written shime on its own, and jime at the end of a name: Hadaka-jime.

Juji (十字, じゅうじ): Cross, from the shape of the character for ten. The arms cross in Juji-gatame and in the cross strangles.

Kata- (片, かた): One, or single, as in Kata-gatame (single shoulder hold). Not the same word as kata, the prearranged form.

Ko- (小, こ): Minor, or small. Ko-soto-gari is the minor outer reap, the smaller cousin of O-soto-gari.

Kubi (首, くび): Neck.

Kuzure- (崩, くずれ): Modified or broken: a variation on the standard form of a hold, as Kuzure-kesa-gatame is of Kesa-gatame.

Mae (前, まえ): Front, or forward.

Makikomi (巻込, まきこみ): Wrapping: you trap your partner's arm and roll them over with you as you fall.

Migi and hidari (右・左): Right and left. Every description in this reference is written in the standard right-handed (migi) form.

Morote (双手, もろて): Two-handed, as in Morote-gari, the two-hand reap.

Nage (投, なげ): Throw.

O- (大, おお): Major, or big. O-soto-gari is the major outer reap; O-uchi-gari the major inner one.

Otoshi (落, おとし): Drop: your partner is dropped rather than lifted.

Ryo- (両, りょう): Both, as in Ryote-jime, the two-hand strangle.

Sankaku (三角, さんかく): Triangle: the shape the legs make around head and arm.

Shiho (四方, しほう): Four quarters, or four directions: the shiho holds control your partner from above across all four.

Sode (袖, そで): Sleeve.

Soto (外, そと): Outer, or outside. In O-soto-gari the reap comes round the outside of the leg.

Te (手, て): Hand.

Tsurikomi (釣込, つりこみ): Lifting and pulling: the fishing-rod action of the hands that draws your partner up and forward onto their toes.

Uchi (内, うち): Inner, or inside. In O-uchi-gari the reaping leg comes from inside your partner's legs.

Ude (腕, うで): Arm.

Ushiro (後, うしろ): Rear, or backward.

Yoko (横, よこ): Side, or sideways.


Grading syllabuses, which are NOT in this file
---------------------------------------------
Belt progressions differ by federation, and mixing two of them produces
requirements nobody is examined against. Ask the reader which federation and
which grade, then work from that file rather than from this one.

Kai grades (Scotland) (JudoScotland):
  1st Kai: https://wazabook.com/llms/grades/judo-scotland-kai/1st-kai.txt
  2nd Kai: https://wazabook.com/llms/grades/judo-scotland-kai/2nd-kai.txt
  3rd Kai: https://wazabook.com/llms/grades/judo-scotland-kai/3rd-kai.txt
  4th Kai: https://wazabook.com/llms/grades/judo-scotland-kai/4th-kai.txt
  5th Kai: https://wazabook.com/llms/grades/judo-scotland-kai/5th-kai.txt
  6th Kai: https://wazabook.com/llms/grades/judo-scotland-kai/6th-kai.txt
  7th Kai: https://wazabook.com/llms/grades/judo-scotland-kai/7th-kai.txt
  8th Kai: https://wazabook.com/llms/grades/judo-scotland-kai/8th-kai.txt
  9th Kai: https://wazabook.com/llms/grades/judo-scotland-kai/9th-kai.txt
Mon grades (British Judo Association):
  1st Mon: https://wazabook.com/llms/grades/bja-mon/1st-mon.txt
  2nd Mon: https://wazabook.com/llms/grades/bja-mon/2nd-mon.txt
  3rd Mon: https://wazabook.com/llms/grades/bja-mon/3rd-mon.txt
  4th Mon: https://wazabook.com/llms/grades/bja-mon/4th-mon.txt
  5th Mon: https://wazabook.com/llms/grades/bja-mon/5th-mon.txt
  6th Mon: https://wazabook.com/llms/grades/bja-mon/6th-mon.txt
  7th Mon: https://wazabook.com/llms/grades/bja-mon/7th-mon.txt
  8th Mon: https://wazabook.com/llms/grades/bja-mon/8th-mon.txt
  9th Mon: https://wazabook.com/llms/grades/bja-mon/9th-mon.txt
  10th Mon: https://wazabook.com/llms/grades/bja-mon/10th-mon.txt
  11th Mon: https://wazabook.com/llms/grades/bja-mon/11th-mon.txt
  12th Mon: https://wazabook.com/llms/grades/bja-mon/12th-mon.txt
  13th Mon: https://wazabook.com/llms/grades/bja-mon/13th-mon.txt
  14th Mon: https://wazabook.com/llms/grades/bja-mon/14th-mon.txt
  15th Mon: https://wazabook.com/llms/grades/bja-mon/15th-mon.txt
  16th Mon: https://wazabook.com/llms/grades/bja-mon/16th-mon.txt
  17th Mon: https://wazabook.com/llms/grades/bja-mon/17th-mon.txt
  18th Mon: https://wazabook.com/llms/grades/bja-mon/18th-mon.txt
Kyu grades (Scotland) (JudoScotland):
  6th Kyu: https://wazabook.com/llms/grades/judo-scotland-kyu/6th-kyu.txt
  5th Kyu: https://wazabook.com/llms/grades/judo-scotland-kyu/5th-kyu.txt
  4th Kyu: https://wazabook.com/llms/grades/judo-scotland-kyu/4th-kyu.txt
  3rd Kyu: https://wazabook.com/llms/grades/judo-scotland-kyu/3rd-kyu.txt
  2nd Kyu: https://wazabook.com/llms/grades/judo-scotland-kyu/2nd-kyu.txt
  1st Kyu: https://wazabook.com/llms/grades/judo-scotland-kyu/1st-kyu.txt
Dan grades (British Judo Association):
  1st Dan: https://wazabook.com/llms/grades/bja-competitive-dan/1st-dan.txt
  2nd Dan: https://wazabook.com/llms/grades/bja-competitive-dan/2nd-dan.txt
  3rd Dan: https://wazabook.com/llms/grades/bja-competitive-dan/3rd-dan.txt
  4th Dan: https://wazabook.com/llms/grades/bja-competitive-dan/4th-dan.txt
  5th Dan: https://wazabook.com/llms/grades/bja-competitive-dan/5th-dan.txt
  6th Dan: https://wazabook.com/llms/grades/bja-competitive-dan/6th-dan.txt
  1st Dan: https://wazabook.com/llms/grades/rfejyda-dan/1st-dan.txt
  2nd Dan: https://wazabook.com/llms/grades/rfejyda-dan/2nd-dan.txt
  3rd Dan: https://wazabook.com/llms/grades/rfejyda-dan/3rd-dan.txt
  4th Dan: https://wazabook.com/llms/grades/rfejyda-dan/4th-dan.txt
  5th Dan: https://wazabook.com/llms/grades/rfejyda-dan/5th-dan.txt
  6th Dan: https://wazabook.com/llms/grades/rfejyda-dan/6th-dan.txt
Junior kyu grades (USA Judo) (USA Judo):
  10th Kyu: https://wazabook.com/llms/grades/usa-judo-junior-kyu/10th-kyu.txt
  9th Kyu: https://wazabook.com/llms/grades/usa-judo-junior-kyu/9th-kyu.txt
  8th Kyu: https://wazabook.com/llms/grades/usa-judo-junior-kyu/8th-kyu.txt
  7th Kyu: https://wazabook.com/llms/grades/usa-judo-junior-kyu/7th-kyu.txt
  6th Kyu: https://wazabook.com/llms/grades/usa-judo-junior-kyu/6th-kyu.txt
  5th Kyu: https://wazabook.com/llms/grades/usa-judo-junior-kyu/5th-kyu.txt
  4th Kyu: https://wazabook.com/llms/grades/usa-judo-junior-kyu/4th-kyu.txt
  3rd Kyu: https://wazabook.com/llms/grades/usa-judo-junior-kyu/3rd-kyu.txt
  2nd Kyu: https://wazabook.com/llms/grades/usa-judo-junior-kyu/2nd-kyu.txt
  1st Kyu: https://wazabook.com/llms/grades/usa-judo-junior-kyu/1st-kyu.txt
Dan grades (USA Judo) (USA Judo):
  1st Dan: https://wazabook.com/llms/grades/usa-judo-dan/1st-dan.txt
  2nd Dan: https://wazabook.com/llms/grades/usa-judo-dan/2nd-dan.txt
  3rd Dan: https://wazabook.com/llms/grades/usa-judo-dan/3rd-dan.txt
  4th Dan: https://wazabook.com/llms/grades/usa-judo-dan/4th-dan.txt
  5th Dan: https://wazabook.com/llms/grades/usa-judo-dan/5th-dan.txt
  6th Dan: https://wazabook.com/llms/grades/usa-judo-dan/6th-dan.txt
  7th Dan: https://wazabook.com/llms/grades/usa-judo-dan/7th-dan.txt
  8th Dan: https://wazabook.com/llms/grades/usa-judo-dan/8th-dan.txt
  9th Dan: https://wazabook.com/llms/grades/usa-judo-dan/9th-dan.txt
  10th Dan: https://wazabook.com/llms/grades/usa-judo-dan/10th-dan.txt
Junior kyu grades (USJF) (United States Judo Federation):
  Juichikyu (Rokkyu): https://wazabook.com/llms/grades/usjf-junior-kyu/11th-kyu.txt
  Jukyu (Adv. Rokkyu): https://wazabook.com/llms/grades/usjf-junior-kyu/10th-kyu.txt
  Kyukyu (Gokyu): https://wazabook.com/llms/grades/usjf-junior-kyu/9th-kyu.txt
  Hachikyu (Adv. Gokyu): https://wazabook.com/llms/grades/usjf-junior-kyu/8th-kyu.txt
  Nanakyu (Yonkyu): https://wazabook.com/llms/grades/usjf-junior-kyu/7th-kyu.txt
  Rokkyu (Adv. Yonkyu): https://wazabook.com/llms/grades/usjf-junior-kyu/6th-kyu.txt
  Gokyu (Sankyu): https://wazabook.com/llms/grades/usjf-junior-kyu/5th-kyu.txt
  Yonkyu (Adv. Sankyu): https://wazabook.com/llms/grades/usjf-junior-kyu/4th-kyu.txt
  Sankyu (Nikyu): https://wazabook.com/llms/grades/usjf-junior-kyu/3rd-kyu.txt
  Nikyu (Adv. Nikyu): https://wazabook.com/llms/grades/usjf-junior-kyu/2nd-kyu.txt
  Ikkyu: https://wazabook.com/llms/grades/usjf-junior-kyu/1st-kyu.txt
  Shodan: https://wazabook.com/llms/grades/usjf-junior-kyu/1st-dan.txt
Senior kyu grades (USJF) (United States Judo Federation):
  Rokkyu (6th Kyu): https://wazabook.com/llms/grades/usjf-senior-kyu/6th-kyu.txt
  Gokyu (5th Kyu): https://wazabook.com/llms/grades/usjf-senior-kyu/5th-kyu.txt
  Yonkyu (4th Kyu): https://wazabook.com/llms/grades/usjf-senior-kyu/4th-kyu.txt
  Sankyu (3rd Kyu): https://wazabook.com/llms/grades/usjf-senior-kyu/3rd-kyu.txt
  Nikyu (2nd Kyu): https://wazabook.com/llms/grades/usjf-senior-kyu/2nd-kyu.txt
  Ikkyu (1st Kyu): https://wazabook.com/llms/grades/usjf-senior-kyu/1st-kyu.txt
Dan grades (USJF) (United States Judo Federation):
  Shodan (1st Dan): https://wazabook.com/llms/grades/usjf-dan/1st-dan.txt
  Nidan (2nd Dan): https://wazabook.com/llms/grades/usjf-dan/2nd-dan.txt
  Sandan (3rd Dan): https://wazabook.com/llms/grades/usjf-dan/3rd-dan.txt
  Yodan (4th Dan): https://wazabook.com/llms/grades/usjf-dan/4th-dan.txt
  Godan (5th Dan): https://wazabook.com/llms/grades/usjf-dan/5th-dan.txt
  Rokudan (6th Dan): https://wazabook.com/llms/grades/usjf-dan/6th-dan.txt
  Shichidan (7th Dan): https://wazabook.com/llms/grades/usjf-dan/7th-dan.txt
  Hachidan (8th Dan): https://wazabook.com/llms/grades/usjf-dan/8th-dan.txt
  Kudan (9th Dan): https://wazabook.com/llms/grades/usjf-dan/9th-dan.txt
  Judan (10th Dan): https://wazabook.com/llms/grades/usjf-dan/10th-dan.txt
Junior ranks (USJA) (United States Judo Association):
  Junior 1st Degree (JR1): https://wazabook.com/llms/grades/usja-junior/jr1.txt
  Junior 2nd Degree (JR2): https://wazabook.com/llms/grades/usja-junior/jr2.txt
  Junior 3rd Degree (JR3): https://wazabook.com/llms/grades/usja-junior/jr3.txt
  Junior 4th Degree (JR4): https://wazabook.com/llms/grades/usja-junior/jr4.txt
  Junior 5th Degree (JR5): https://wazabook.com/llms/grades/usja-junior/jr5.txt
  Junior 6th Degree (JR6): https://wazabook.com/llms/grades/usja-junior/jr6.txt
  Junior 7th Degree (JR7): https://wazabook.com/llms/grades/usja-junior/jr7.txt
  Junior 8th Degree (JR8): https://wazabook.com/llms/grades/usja-junior/jr8.txt
  Junior 9th Degree (JR9): https://wazabook.com/llms/grades/usja-junior/jr9.txt
  Junior 10th Degree (JR10): https://wazabook.com/llms/grades/usja-junior/jr10.txt
  Junior 11th Degree (JR11): https://wazabook.com/llms/grades/usja-junior/jr11.txt
  Junior 12th Degree (JR12): https://wazabook.com/llms/grades/usja-junior/jr12.txt
Senior ranks, Kyu to Sandan (USJA) (United States Judo Association):
  6th Kyu (Rokkyu): https://wazabook.com/llms/grades/usja-senior/6th-kyu.txt
  5th Kyu (Gokyu): https://wazabook.com/llms/grades/usja-senior/5th-kyu.txt
  4th Kyu (Yonkyu): https://wazabook.com/llms/grades/usja-senior/4th-kyu.txt
  3rd Kyu (Sankyu): https://wazabook.com/llms/grades/usja-senior/3rd-kyu.txt
  2nd Kyu (Nikyu): https://wazabook.com/llms/grades/usja-senior/2nd-kyu.txt
  1st Kyu (Ikkyu): https://wazabook.com/llms/grades/usja-senior/1st-kyu.txt
  1st Dan (Shodan): https://wazabook.com/llms/grades/usja-senior/1st-dan.txt
  2nd Dan (Nidan): https://wazabook.com/llms/grades/usja-senior/2nd-dan.txt
  3rd Dan (Sandan): https://wazabook.com/llms/grades/usja-senior/3rd-dan.txt
High dan ranks (USJA) (United States Judo Association):
  4th Dan (Yodan): https://wazabook.com/llms/grades/usja-high-dan/4th-dan.txt
  5th Dan (Godan): https://wazabook.com/llms/grades/usja-high-dan/5th-dan.txt
  6th Dan (Rokudan): https://wazabook.com/llms/grades/usja-high-dan/6th-dan.txt
  7th Dan (Shichidan): https://wazabook.com/llms/grades/usja-high-dan/7th-dan.txt
  8th Dan (Hachidan): https://wazabook.com/llms/grades/usja-high-dan/8th-dan.txt
  9th Dan (Kudan): https://wazabook.com/llms/grades/usja-high-dan/9th-dan.txt
  10th Dan (Judan): https://wazabook.com/llms/grades/usja-high-dan/10th-dan.txt

Examinations, which are also separate files
-------------------------------------------

1st Dan Competitive Examination (British Judo Association):
  https://wazabook.com/llms/exams/bja-competitive-1st-dan.txt
2nd Dan Competitive Examination (British Judo Association):
  https://wazabook.com/llms/exams/bja-competitive-2nd-dan.txt
3rd Dan Competitive Examination (British Judo Association):
  https://wazabook.com/llms/exams/bja-competitive-3rd-dan.txt
4th Dan Competitive Examination (British Judo Association):
  https://wazabook.com/llms/exams/bja-competitive-4th-dan.txt
5th Dan Competitive Examination (British Judo Association):
  https://wazabook.com/llms/exams/bja-competitive-5th-dan.txt
Competitive Dan Grade Skills Examination (British Judo Association), REPLACED:
  https://wazabook.com/llms/exams/bja-competitive-dan-grade-skills.txt
BJA Kata Certification (British Judo Association):
  https://wazabook.com/llms/exams/bja-kata-certification.txt
1st Dan Technical Examination (British Judo Association):
  https://wazabook.com/llms/exams/bja-technical-1st-dan.txt
2nd Dan Technical Examination (British Judo Association):
  https://wazabook.com/llms/exams/bja-technical-2nd-dan.txt
3rd Dan Technical Examination (British Judo Association):
  https://wazabook.com/llms/exams/bja-technical-3rd-dan.txt
4th Dan Technical Examination (British Judo Association):
  https://wazabook.com/llms/exams/bja-technical-4th-dan.txt
5th Dan Technical Examination (British Judo Association):
  https://wazabook.com/llms/exams/bja-technical-5th-dan.txt

About this file
---------------
Generated by Waza Book on 2026-10-06 from the community content repository.
If the date above is old, this copy may have fallen behind the reference.
The current version is always at
https://wazabook.com/llms/wazabook.txt

Waza Book, https://wazabook.com/
Content licensed CC BY-NC-SA 4.0. Illustrations are excluded from that licence
and are not included in this file.