Vocabulary Technique 8 – Projection Techniques
| Throwing Techniques | ||
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Nage waza — Throwing techniques —
投げ技 Throw / technique
Nage waza are divided into two categories: tachi waza (standing techniques) and sutemi waza (techniques where one lets go of the body).All these techniques rely on the notion of projection, which is based on the use of the body’s energy in the direction of gravity: executing a nage waza consists of drawing the partner into a void, by committing oneself into it without losing balance. |
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| Foundations of Throwing Techniques | ||
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Shisei — Attitude —
姿勢 Form / posture / energy
Attitude concerns first the posture of the body.
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Shizentai — Natural posture —
自然体 Nature / body
Shizentai is the posture adopted in standing practice.
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Kumi kata — Connection through the arms —
組み方 Assemble / method
Kumi kata establishes the relationship between partners.
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Tsukuri — Preparation —
作り Construction
Tsukuri is the mental construction of the technique.
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Kake — Execution —
掛け Execution
Kake is the execution of the technique in one movement.
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Tai sabaki — Whole-body evasion —
体捌き Body / evasion
Tai sabaki avoids direct opposition.
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Kuzushi — Mobilisation —
崩し Transform / break
Kuzushi mobilises the partner through one’s own movement.
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Ukemi — Receiving the body —
受け身 Receive / body
Ukemi ensures safe falling and continuity.
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Irimi — Entering —
入り身 Enter / body
Irimi is the action of entering into the space of the partner at the very moment of their action.
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| Standing Techniques | ||
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Tachi waza — Standing techniques —
立ち技 Standing / technique
Tachi waza are techniques executed while standing. They are primary in the sense that a junomichi encounter begins standing: randori and shiai both start with tachi waza.Most of them are throwing techniques (nage waza). The essential point is to remain standing from the beginning to the end of the projection, ensuring maximum efficiency while preserving the physical integrity of the partner. Like all techniques in junomichi, tachi waza mobilise the whole body around the action of the hara. However, certain techniques emphasise specific areas of the body: upper body, hips, or lower body. These correspond respectively to te waza, koshi waza and ashi waza. |
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| Tachi waza — Standing techniques | ||
| Standing techniques executed while remaining upright throughout the projection. | ||
| Te waza — Upper body techniques | ||
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Seoi nage — Wrapping over the back — 背負い投げ Morote seoi nage — Two-handed back wrap — 双手背負い投げ Kubi nage — Neck projection — 首投げ Ushiro eri nage — Rear collar throw — 後襟投げ Tai otoshi — Body drop — 体落とし Uki otoshi — Floating drop — 浮き落とし Sumi otoshi — Corner drop — 隅落とし Obi otoshi — Belt drop — 帯落とし Kata guruma — Shoulder wheel — 肩車 Te guruma — Hand wheel — 手車 |
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| Koshi waza — Hip techniques | ||
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Ô goshi — Large hip — 大腰 Harai goshi — Sweeping hip — 払い腰 Tsuri komi goshi — Drawing hip — 釣り込み腰 Hane goshi — Springing hip — 跳ね腰 Uki goshi — Floating hip — 浮き腰 Ushiro goshi — Rear hip — 後腰 Utsuri goshi — Transferring hip — 移り腰 Koshi guruma — Hip wheel — 腰車 |
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| Ashi waza — Leg techniques | ||
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Uchi mata — Inner thigh — 内股 Hiza guruma — Knee wheel — 膝車 Ashi guruma — Leg wheel — 足車 Ô guruma — Large wheel — 大車 Ô soto otoshi — Large outer drop — 大外落とし Ô soto gari — Large outer reap — 大外刈り Ko soto gari — Small outer reap — 小外刈り Ô uchi gari — Large inner reap — 大内刈り Ko uchi gari — Small inner reap — 小内刈り Ko soto gake — Small outer hook — 小外掛け De ashi barai — Advancing foot sweep — 出足払い Tsubame gaeshi — Swallow counter — 燕返し Okuri ashi barai — Sliding foot sweep — 送り足払い Harai tsuri komi ashi — Sweeping drawing leg — 払い釣り込み足 Sasae tsuri komi ashi — Supporting drawing leg — 支釣り込み足 Kari kaesu — Reap return — 刈り返す |
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| Sutemi waza — Body-abandoning techniques | ||
| Techniques in which the practitioner temporarily abandons the standing position in order to execute the projection, while maintaining control of the body throughout the action. | ||
| Ma sutemi waza — Direct body-abandoning techniques | ||
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Tomoe nage — Circular throw — 巴投げ Ura nage — Rear throw — 裏投げ Sumi gaeshi — Corner reversal — 隅返し |
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| Yoko sutemi waza — Side body-abandoning techniques | ||
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Tani otoshi — Valley drop — 谷落とし Yoko otoshi — Side drop — 横落とし Yoko wakare — Side separation — 横分かれ Yoko gake — Side hook — 横掛け Yoko guruma — Side wheel — 横車 Yoko sumi gaeshi — Side corner reversal — 横隅返し Uki waza — Floating technique — 浮き技 |
| Standing Techniques | ||
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Tachi waza — Standing techniques —
立ち技 Standing / technique
Tachi waza are techniques executed while standing. They are primary in the sense that a junomichi encounter begins standing: randori and shiai both begin with tachi waza.Most of them are throwing techniques, in other words nage waza. The important point, in executing these, is to remain standing from the beginning to the end of the projection. This is the best way to exercise maximum efficiency while preserving the physical integrity of one’s partner. The execution of a tachi waza, like every technique in junomichi, mobilises the whole body around the action of the hara. Certain techniques nevertheless call more particularly upon certain areas of the body. These areas are three in number: the upper limbs, the hips, and the lower limbs. The techniques corresponding to these areas are grouped respectively into te waza, koshi waza and ashi waza. |
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| Te waza | ||
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Te waza — Techniques performed through the upper part of the body —
手技 Upper limb / technique
Te waza consist in transmitting the mobility of the hara from one partner to the other through the upper body. The practitioner who initiates the projection produces a floating of the upper part of the partner’s body, from which various techniques may be executed in several directions.Among the te waza most commonly used in junomichi are: Seoi nage — Wrapping the partner over the back in order to project — 背負い投げ Back / carry / projection Morote seoi nage — Wrapping the partner over the back in order to project downward with both arms — 双手背負い投げ Two upper limbs / carry / projection Kubi nage — Wrapping the partner by the neck in order to project — 首投げ Neck / projection Ushiro eri nage — Projection from behind the collar — 後襟投げ Behind / collar / projection Tai otoshi — Bringing down the body — 体落とし Body / bring down Uki otoshi — Bringing down by floating — 浮き落とし Float / bring down Sumi otoshi — Bringing down into the corner — 隅落とし Corner / bring down Obi otoshi — Bringing down with the belt — 帯落とし Belt / bring down Kata guruma — Wheel through the shoulders — 肩車 Shoulder / wheel Te guruma — Wheel performed with the upper limbs — 手車 Upper limb / wheel |
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| Koshi waza | ||
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Koshi waza — Techniques performed through the central area of the body —
腰技 Hip / technique
Koshi waza instantly connect the hara of both partners, because the floating takes place in the central area of the body. The hara of the one who projects immediately draws the other into the void of the projection.Ô goshi — Great hip — 大腰 Great / hip Harai goshi — Sweeping hip — 払い腰 Sweep / hip Tsuri komi goshi — Drawing hip — 釣り込み腰 Draw / hip Hane goshi — Springing hip — 跳ね腰 Spring / hip Uki goshi — Floating hip — 浮き腰 Float / hip Ushiro goshi — Rear hip — 後腰 Rear / hip Utsuri goshi — Passing hip — 移り腰 Pass / hip Koshi guruma — Wheel through the hips — 腰車 Hip / wheel |
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| Ashi waza | ||
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Ashi waza — Techniques performed through the lower area of the body —
足技 Lower limb / technique
Ashi waza make the supports float on the ground. They give the one who is about to fall a sensation of a wave overflowing or sweeping the lower part of the body.Uchi mata — Inner thigh — 内股 Inner / thigh Hiza guruma — Wheel through the knee — 膝車 Knee / wheel Ashi guruma — Wheel through the leg — 足車 Lower limb / wheel Ô guruma — Great wheel — 大車 Great / wheel Ô soto otoshi — Great outer drop — 大外落とし Great / outer / bring down Ô soto gari — Great outer reap — 大外刈り Great / outer / reap Ko soto gari — Small outer reap — 小外刈り Small / outer / reap Ô uchi gari — Great inner reap — 大内刈り Great / inner / reap Ko uchi gari — Small inner reap — 小内刈り Small / inner / reap Ko soto gake — Small outer hook — 小外掛け Small / outer / hook De ashi barai — Sweep of the advancing foot — 出足払い Advance / lower limb / sweep Tsubame gaeshi — Return of the swallow — 燕返し Swallow / return Okuri ashi barai — Accompanying foot sweep — 送り足払い Accompany / lower limb / sweep Harai tsuri komi ashi — Leg that draws the sweep — 払い釣り込み足 Sweep / draw / lower limb Sasae tsuri komi ashi — Leg that removes the support — 支釣り込み足 Support / draw / lower limb Kari kaesu — Returning the reap — 刈り返す Reap / return |
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| Techniques Involving Body Abandonment | ||
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Sutemi waza — Body-abandoning techniques —
捨て身技 Abandon / body / technique
Sutemi waza require, in order to execute a projection, a temporary abandonment of the standing position. Not that one loses one’s balance in order to carry the partner with it: these techniques, like all other nage waza, require control of the body throughout the action.The difference is that, at the end of a sutemi waza, the one who projects is on the ground while the partner falls. They are divided into ma sutemi waza and yoko sutemi waza. |
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| Ma sutemi waza | ||
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Ma sutemi waza — Direct body-abandoning techniques —
真捨て身技 True / body abandonment / technique
In ma sutemi waza, the one who projects remains facing the partner throughout the action. The partner is projected along the same axis.Tomoe nage — Circular projection — 巴投げ Comma / projection Ura nage — Projection into the reverse side — 裏投げ Reverse side / projection Sumi gaeshi — Return into the corner — 隅返し Corner / return |
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| Yoko sutemi waza | ||
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Yoko sutemi waza — Side body-abandoning techniques —
横捨て身技 Side / body abandonment / technique
In yoko sutemi waza, the one who projects does so outside the axis of their own body, through a sideways action.Tani otoshi — Drop into the valley — 谷落とし Valley / drop Yoko otoshi — Side drop — 横落とし Side / drop Yoko wakare — Side separation — 横分かれ Side / separation Yoko gake — Side hook — 横掛け Side / hook Yoko guruma — Side wheel — 横車 Side / wheel Yoko sumi gaeshi — Return into the corner by the side — 横隅返し Side / corner / return Uki waza — Floating technique — 浮き技 Floating / technique |