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Performing Katame-no-kata (2009)

Katame-no-kata

  • In Nage-no-kata the elements of kuzushi (unbalancing), tsukuri (fitting your body to uki) and kake (execution, ) are demonstrated. Similarly in performing  katame-no-kata, kuzushi and tsukuri must be shown, but in katame the execution is known as kime

  • Tori’s posture should at all times look strong and controlled.

  • Tori should avoid kneeling on two knees as  this is a weak posture.

  • During kata uki may rest her /his head on the tatami but it should be raised as tori comes in for her /his attack.

  • Uki is not a passive puppet; s/he must appear to be an active participant in this kata.

Salutation

Starting

Rei if stepping onto the mat

  • Come to 2 mat lengths apart, turn and tachi-rei to joseki, Tori has joseki on her R-Hand side.

  • Face each other and Kneel, za-rei to each other.

  • Uki lowers her self onto her back with left knee slightly raised, whilst tori stands and walks round to uki’s R side, her back is to joseki.

To finish

  • Having stood up both retreat to 2 mats apart,  kneel, kyoshi (open) as tidy their gi’s

  • Kneeling rei to each other.

  • Stand turn to face joseki and tachi-rei

  • If leaving tatami, walk to edge and rei ‘off the mat’.

Osae-komi-waza

Kesa-gatame

Tori should show changes of leg position to maintain balance against uki’s attempts to escape.

Uki must use whole body and show use of grip on tori’s gi when attempting to escape

Kata-gatame Tori clasps own hands not uki’s jacket
Kami-shiho-gatame Tori has legs out, apart
Yoko- shiho-gatame Tori uses L grip on belt to feed it into R hand between legs Tori has right leg straight, front left leg is bent.
Kuzure-Kami-shiho-gatame Entering at 45o Tori has  right leg staight, L leg bent

  • Tori moves out one, and takes up kyoshi (open), as uki sits and turns coming into kyoshi (open) as both adjust gi.

  • Pause and adjust breathing. Both close.

  • Tori retreats two steps as uki returns to prone position.

Shime-waza – uki should show attempt to break strangle before it is applied.

Kata-juji-jime Tori moves uki’s arm out of way Tori’s forehead should end up resting on mat Heels tucked under uki’s legs
Hadaka-jime Uki sits up as tori stands up Tori’s r knee should make contact with uki’s spine and head supports neck Tori  takes small step back to rock uki backwards to break balance.
Okuri-eri-jime L hand feeds under armpit R knee to side of uki, so can sit back Unbalance uki to right rear corner
Kata-ha-jime Tori is more upright for this choke Rotates uki more to right and rear to apply choke
Gyaku- juji-jime

Tori moves uki’s arm out of way, does not circle round head

Uki bridges as pushes uki’s elbows in circular motion (one up, one down) Uki succeeds in rolling tori onto back when tori reapplies strangle

Kansetsu-waza – uki should show attacking move and attempt to resist lock before it is applied.

Ude-garame Tori moves uki’s R arm out of way Uki attacks with Left to tori’s shoulder get in close
Juji-gatame Left leg should circle round uki’s head not step across neck.
Ude-gatame Tori moves uki’s R arm out of way Uki attacks with L to tori’s R shoulder. Tori’s R hand is higher than her L. Tori’s right knee kneels on uki as turns to face uki’s head.
Hiza-gatame Uki on both knees.Tori grips under arm pit NOT taking lapel Tori place R foot  against uki’s L knee.As twists uki onto ground ukii’s hips are trapped and controlled by tori’s feet.
Ashi-garami

Both stand in R shizenhontei.

Tori attempts L tomoenage,

uki steps to regain balance and tries to lift tori off mat Tori swings deeper under uki and entangles uki’s leg. Pushing other leg away.

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