Kodokan KATA Textbook
















“Kata is an expression of the Japanese spirit intimately connected to the artistic achievements of the Japanese people; it is virtually their ‘form language’. Kata touches almost everything in the Japanese sphere of daily activities writing, architecture, bearing and demeanor, etiquette and art included. Art is the form language of humanity without exception, and therefore, on the Japanese scene, art traditionally includes the classical BUGEI (also called bu-jutsu), the martial arts or formalized martial disciplines; it also includes the classical BUDO, the martial ways or spiritual disciplines which stem from martial sources. Within the classical martial arts and ways are found the elements of simplicity, natural efficienty, harmony, intuition, economy of movement, and “softness” of principle that characterize all traditional Japanese art forms. It is important to grasp this significant relationship in order to comprehend the true meaning and fullness of the Japanese martial arts and ways, and, further, to understand their ancestral relationship to Kodokan Judo Kata.”


                                (Otaki- Draeger JUDO FORMAL TECHNIQUES, 15)


 "Style is the man himself."

              George, Count de Buffon, an illustrious French naturalist and philosopher;




For Reading

  • 1.Kotani, Sumiyuki: Hirose, Yuichi, „Formal techniques of Kodokan judo”, Manila, Philippines, National Athletic Supply, 1957, 169p,
  • 2. KAWAISHI Mikonosuke: HARRISON E.J. „The Complete 7 Katas of  Judo”, London, United Kingdom, W. Foulsham & Co., 1982, LIB, ISBN 0879511567.
  • 3. LEGGETT, Trevor P., „Kata judo”, London, United Kingdom, Foulsham, 1982, 179p, ISBN 057201175X.
  • KOTANI Sumiyuki: Osawa Yoshimi: Hirose Yuichi, „Kata of Kodokan Judo”, Kobe, Japan, Koyano Bussan Kaisha, 1968
  • Otaki Tadao: DRAEGER, Donn F., Judo formal techniques: a complete guide to Kodokan Randori no Kata”, Tokyo, Japan, Tuttle, 1983, 451p






Nine different KATA have been established as traditional standards at the KODOKAN.

The following list the nine standard KODOKAN KATA:

Free Exercise:

NAGE NO KATA (Forms of Throwing)

KATAME NO KATA (Forms of Grappling)



KIME NO KATA (Classical Forms of Self-Defense)

GOSHIN-JUTSU (no KATA) (Modern Forms of Self-Defense)

GOSHIN-HO (no KATA) (Modern Forms of Women`s Self-Defense)


Physical Education:

SEIRYOKU ZEN`YO KOKUMIN TAIIKU (no KATA) (Forms of National Physical Education)

JU NO KATA (Forms of Flexibility)



ITSUTSU NO KATA (Forms of Five)

KOSHIKI NO KATA (Forms of Antiquity)


The following RYUs (combative arts) influenced most directly the development of KODOKAN JUDO: Fukuno Ryu, JIKISHIN RYU, Kashin Ryu, KITO RYU, Kyushin Ryu, Miura ryu, SEKIGUCHI RYU, Shibukawa Ryu, SHIN-NO-SHINTO RYU, TENJIN-SHIN’YO RYU, and YOSHIN RYU.

KATA outside of Japan is generally not emphasized as a part of JUDO training. Most judoist tend to only study or perform KATA prior to a belt examination. KATA training after couple of years of RANDORI practice seems strange. Different practices and uses for KATA have been established by JUDOists outside of the KODOKAN. These KATA can be referred to as private variation patterns


Free exercise

1. NAGE no KATA 投の形




Early 20th century. From Japanese nagenokata from nage a throw, nominalized stem of nageru to throw + no, possessive particle + kata form.


 It is the first KATA of JUDO.  The NAGE no KATA (Throwing Forms), the First Part of the RANDORI-NO-KATA (乱取りの形/Free Exercise Forms). This KATA is attack-based and self-defense oriented. It teaches the principles in the context of strategies of combat. It was created by Professor Jigoro KANO in 1888, and it was modified and standardized in 1905 and 1907.

  This KATA consists of 15 representative techniques, divided into five groups of three. Each group illustrates three throws of a particular type. Each technique is performed in both right- and left- hand applications before proceeding to the next technique; all except UKI-GOSHI are executed first on the right

Each throw starts with an attack of Uke on Tori. To be successful in this kata a good understanding of the principles of judo is necessary; disrupting of balance and coordination are important aspects.



The groups are:

 TACHI WAZA (standing techniques)


1. TE WAZA (Arm-throws)

  • UKI OTOSHI (Floating drop)
  • SEOINAGE    (Shoulder throw)
  • KATA-GURUMA (Shoulder wheel)


2. KOSHI WAZA (hip throws)

  • UKI GOSHI (Floating hip throw)
  • HARAI GOSHI (Hip sweep)
  • TSURI KOMIGOSHI (Lift-pull hip throw)



3. ASHI WAZA (Leg-throws)

  • OKURI ASHI BARAI (Foot sweep)
  • SASAE TSURIKOMIGOSHI (Supporting foot lift-pull throw)
  • UCHI MATA (Inner-thigh reaping throw)

SUTEMI WAZA (sacrifice techniques)


4. MA SUTEMI WAZA (Front-sacrifice throws)

  • TOMOE NAGE (Circular throw)
  • URA NAGE  (Back throw)
  • SUMI GAESHI  (Corner throw)


5. YOKO SUTEMI WAZA (Side sacrifice-throws)


  • YOKO GAKE (Side body drop)
  • YOKO GURUMA (Side wheel)
  • UKI WAZA (Floating throw)



2. KATAME no KATA (Grappling Forms) 固の形



It is the second part of the RANDORI NO KATA. It teaches ways and means of grappling (KATAME WAZA), including five representative techniques each  from hold down (OSAEKOMI), strangulation (SHIME), and joint (KANSETSU) techniques. It was created by Professor Jigoro KANO.


Osaekomi Waza


  • Kuzure Kesa-gatame (Modified scarf hold)
  • Kata-gatame  (Shoulder hold)
  • Kami-shiho-gatame (Top four-corner hold)
  • Yoko-shiho-gatame  (Side four-corner hold)
  • Kuzure Kami-shiho-gatame (Modified top four-corner)



Shime Waza

  • Kata-juji-jime  (Half cross strangle)
  • Hadaka-jime    (Naked strangle)
  • Okuri-eri-jime  (Sliding collar strangle)
  • Kataha-jime      (Single-wing strangle)
  • Gyaku-juji-jime (Reverse cross strangle)


Kansetsu Waza

  • Ude-garami (Entangled arm lock)                   
  • Ude Hishigi Juji-gatame  (Cross lock)
  • Ude Hishigi Ude-gatame ( Arm lock)
  • Ude Hishigi Hiza-gatame (Knee lock)
  • Ashi-garami (Entangled leg lock)


  • Kano, Jigoro (2008), "Kata Research", in Watson, Brian N., Judo Memoirs of Jigoro Kano, Victoria, BC, Canada: Trafford, pp. 78–79
  • Jigoro Kano, Kodokan Judo, Kodansha International.
  • Tadao Otaki and F. Draeger, Judo Formal Techniques, Tuttle Martial Arts.










Kata of Self-Defence


The KIME NO KATA, KATA of Self-Defence, is also called SHINKEN-SHOBU NO KATA (It means the form of  real fighting). This KATA teaches the fundamentals of attack and defense in an actual combat situation. These twenty techniques, which include strikes at vital spots (they are real situations). Eight of these techniques are performed seated or kneeling (IDORI) and twelve are performed standing (TACHI-AI).

The KIME NO KATA was constructed by Jigoro KANO (1860-1938) but it is designed to embody the TENSHINSHIN’YO RYU information, it is a bit of a conglomaration of KATA  from TENSHIN SHIN’YO RYU. The form incorporates various weapons and what were real world attacks in  Jigoro KANO’s time. It constitutes the physical and moral preparation for hand-to-hand combat.


IDORI (Defence seated)

8 Movements


  1. Ryote-dori         Hold with both hands
  2. Tsukkake           Blow with fist to the stomach
  3. Suri-age             Glancing blow against the face
  4. Yoko-uchi          Blow with fist from the side
  5. Ushiro-dori        Hold on shoulders from behind
  6. Tsukkomi          Thrust to the stomach
  7. Kiri-komi           Cut with edge ont he head
  8. Yoko-tsuki         Thrust with point from the side


TACHI-AI (Defence standing)

12 Movements

  1. Ryote-dori          Hold with both hands
  2. Sode-tori             Hold ont he sleeve
  3. Tsukkake            Blow with fist to the face
  4. Tsuki-age            Blow with fist from below upwards
  5. Suri-age              Glancing blow against the face
  6. Yoko-uchi           Blow with fist from the side
  7. Ke-age                Kick to the lower abdomen
  8. Ushiro-dori         Hold on shoulders from behind
  9. Tsukkomi           Thrust to the stomach
  10. Kiri-komi            Cut with edge ont he head
  11. Nuki-kake           Blockage of sword int he sheath
  12. Kiri-oroshi          To cleave with the sword




4. Goshin Jutsu


(Kodokan Self-defense Forms)

The KODOKAN Goshin Jutsu is the most recent KATA, which was created in 1956 by a KODOKAN working group. This KATA is closely related to KIME no KATA and consists

of 21 techniques against an unarmed, as well armed attacker. It shows the influence of Kenji TOMIKI (1900-1979), one of Jigoro KANO’s students, who also studied AIKIDO under the founder of AIKIDO, Morihei UESHIBA (1883-1969).


Unarmed Close-in Attacks by Holding

Ryote dori - two hand hold

Hidari eri dori- left lapel hold

Migi eri dori - right lapel hold

Kata ude dori - single hand hold

Ushiro eri dori- back collar hold

Ushiro jime - rear choke

Kakae dori - rear seizure


Unarmed Attack at a Distance

Naname uchi - slanting strike

Ago tsuki - uppercut

Gammen tsuki- thrust punch or jab

Mae geri- front kick

Yoko geri - side kick

Armed Attack - Knife

Tsukkake - close in thrust

Choku zuki - straight thrust

Naname zuki - slanting stab


Armed Attack – Stick

Furiage- upswing against a stick

Furioroshi- downswing against a stick

Morote zuke - two hand thrust


Armed Attack - Gun

Shomen zuke - pistol held to abdomen

Koshi gamae - pistol at side

Haimen zuke - pistol against the back


For Reading

Cornish, J.P., „Go-shin-jutsu: judo self defence Kata”, UL United kingdom, British Judo Association, 1984














5. Goshin-ho (no Kata) Self Defense for Women






This kata originated in 1943 and was created by the second president of the Kodokan Judo Institute. According to Steven R. Cunningham, "The Joshi Goshinho was the construction of Jiro Nango, who was Kanos nephew and who took over the directorship of the Kodokan after Kano died. He managed the Kodokan through the World War II years. Kano had been concerned about the Kodokan being taken over by the military as a place to train soldiers for combat. To that end, a lot of the old methods of goshinjutsu were hidden away and werent publicly taught any more. And after WWII ended, with the Occupation forces, the Kodokan couldnt operate at all for a while. When it did operate, it was under some restrictions so the goshin waza werent taught. Jiro Nango constructed the Joshi Goshinho because he thought there was a need to preserve the self-defense techniques for the women in the Womens Division."






  • Tai-no-ido (body movement)
  • Tsugi-ashi (following foot)
  • Migi-sabaki, Hidari-sabaki (right and left movement)
  • Migi-mae-sabaki, Hidari-mae-sabaki (right and left forward movement)
  • Migi-harai, Hidari-harai (right and left sweep)
  • Migi-maware, Hidari-maware (right and left turn about)
  • Mae-shizume, Migi-shizume, Hidari-shizume (front, right and left sinking down)
  • Hiza-ate (knee strike)


  • Kata-te-tekubi-dori (single hand wrist hold)
  • Ryo-te-kata-te-dori (double hand wrist hold)
  • Shishi-gyaku-dori (reverse four finger hold)
  • Ude-kakae-dori (arm wrap hold)
  • Ushiro-dori (rear hold)


  • Ude-gyaku-dori (reverse arm hold)
  • Ushiro-eri-dori (rear collar hold)
  • Ushiro-kubi-himo-jime (rear neck rope choke)
  • Ushiro-dori (rear hold)
  • Kyohaku-dori (frontal hold)






6. JU NO KATA 柔の形

(Forms of Gentleness)



This KATA is composed of 3 Series of 5 Movements each. It is executed  in slow motion, in acontinuous, supple and linked  manner. Usually the performers less strong, women and children. In Japan it is often performed by women. Ju no KATA was developed at the KODOKAN in 1887.


IKKYO (1st Series)

  1. Tsuki-Dashi (Hand Thrusting)
  2. Kata-Oshi (Shoulder Push)
  3. Ryote-Dori (Seizure of Both Hands)
  4. Kata-Mawashi (Shoulder Turn)
  5. Ago-Oshi (Jaw Thrusting)

NIKYO (2nd Series)

  1. Kiri-Oroshi (Head Cut with hand Sword)
  2. Ryokata-Oshi (Pressing Down on both Shoulders)
  3. Naname-uchi (Nasion Strike)
  4. Katate-Dori (Single Hand Seizure from the Side)
  5. Katate-Age (Single Hand Raising)


SANKYO (3rd Series)

  1. Obi-Tori (Belt Seizure)
  2. Mune-Oshi (Chest Push)
  3. Tsuki-Age (Uppercut)
  4. Uchi-Oroshi (Direct Head Strike)
  5. Ryogan-Tsuki (Both Eyes Poke)


For Reading

Fukuda Keiko, „Ju-No-Kata: a Kodokan textbook”, Berkeley, CA, USA, North Atlantic Books, 2004, 176p



7. Seiryoku Zenyo Kokumin Taiku



(Maximum-efficiency physical education)

A system of physical education ideally possesses three characteristics: it promotes the development of strong, healthy minds and bodies, is interesting, and is useful. Not only does Seiryoku Zenyo Kokumin Taiku (Maximum-Efficiency Physical Education) meet all three requirements admirably, it goes well beyond being merely gymnastics or simply a martial art.

This kata was developed around 1924 and consists of two groups of exercises. One is practiced alone, the other with a partner. All but one of the exercises have direct application to self-defense. This kata is ideal to use with judoka to warm-up with or warm-down from judo practice. Each of these exercises should be performed powerfully, and with maximum speed at the moment of impact. When striking with the fist, your arm should make contact with the surface of your target at a right angle. Do right and left-handed forms of each exercise at least five times each.

Tandoku Renshu

Goho-ate Five-direction Strike

Hidari-mae-naname-ate (Left-front Crossing Blow)

  • ·  Start in the basic natural posture.
  • ·  Clench your right fist and draw it back to your side, the back of your hand to the right.
  • ·  Punch to your front corner and fix your eyes on your fist. Your right arm should be level with your shoulder. Draw your left arm back a bit.

Migi-ate (Right Side Blow)

  • ·  Bring your right fist to the front of your shoulder, with the back of the hand up.
  • ·  Strike to your right with the side of your fist, then fix your eyes on the fist. Again your arm should be at shoulder level.
  • ·  Put your right arm in front of you. Open the hand and turn your palm up.
  • ·  Immediately strike to your rear with your elbow. Be sure the elbow passes close to your side.

Ushiro-ate (Rear Strike)

  • ·  Put your right arm out in front of you. Open the hand and turn your palm up.
  • ·  Immediately strike to your rear with your elbow close to your side.

Mae-ate (Front Blow)

  • ·  Turn the palm of your right hand down and clench your fist. Punch to the front and fix your eyes on your fist. Your arm should be at shoulder level, with the back of your hand up.

Ue-ate (Upward Blow)

  • ·  Draw your right fist to your right chest.
  • ·  Tilt your hand upward to the right and punch directly up, keeping your eyes on your fist. The back of your fist should be to the right. Bring your fist back down to your shoulder, then down to your side. Unclench your fist.  

Ogoho-ate Large Five-direction Strike

(This group differs from Goho-ate in that (except for the last exercise) you take a step in the direction you strike in.)

Ohidari-mae-naname-ate (Large Left-front Crossing Blow)

  • ·  Step to your left front corner with your right foot and punch as in hidari mae naname ate.
  • ·  Omigi-ate (Large Right Side Blow)
  • ·  Bring your fist back to your left shoulder.
  • ·  Step back to your original position with your right foot and strike to your right.

Omigi-ate (Large Right Side Blow)

  • ·  Bring your right fist to the front of your left shoulder, step to the right and strike to the right.

Oushiro-ate (Large Rear Strike)

  • ·  Drop your right arm to your side and unclench your fist. Step back with your right foot and strike to your rear with your right elbow.

Omae-ate (Large Front Blow)

  • ·  Step forward with your right foot and punch to your front.

Oue-ate (Large Upward Blow)

  • ·  Bring your right foot back to its original position and position your right fist at the level of your right shoulder.
  • ·  Bend your knees a little. Jump up or rise to your tiptoes and punch straight up.  

Goho-geri: Five-direction Kick

(Effectiveness in kicking depends directly on stability of the body as a whole. Keep your hips firm and steady.)

Mae-geri (Front Kick)

  • ·  Shift your weight to your left foot, bend your right knee slightly, draw the toes of your right foot back, and kick with the ball of your right foot at your opponents kneecap. Keep your eyes on your toes.

Ushiro-geri (Rear Kick)

  • ·  Bring your right foot up to your thigh and raise the leg until the thigh is horizontal.
  • ·  Kick straight back at your opponents kneecap or shin with your heel. Be sure you kick with the bottom of your heel, not the area near the Achilles tendon.

Hidari-mae-naname-geri (Left-front Crossing Kick)

  • ·  Bending your right leg, raise the foot to your right back corner.
  • ·  Kick with the ball of your foot to the kneecap of an opponent standing at your left front corner. Look at your toes.

Migi-mae-naname-geri (Right-front Crossing Kick)

  • ·  Bring your right foot across to the outside of yor left leg.
  • ·  Kick with the ball of your foot to the kneecap of an opponent standing at your right front corner.

Taka geri (High Front Kick)

  • ·  Bring your right foot back.
  • ·  Kick with the ball of your foot to the midsection of an opponent standing in front of you. Fix your eyes on your toes. (Note: To put power into your kicks, you must keep your hips steady.)

Kagami-migaki (Mirror Polishing)

  • ·  Spread your elbows to your sides and bring your hands in front of your chest, palms out, fingers spread apart.
  • ·  Raise your hands in front of your face, at first letting your fingers overlap, right fingers in front of left.
  • ·  Move your hands in opposite circles, up, out, and down, then back up. Let the fingers of your left hand come in front of those of your right as you bring your hands up to your face. Repeat the polishing movement several times.
  • ·  Now polish in the opposite direction, down, out, up, and back down, again alternating the hand whose fingers go before those of the other hand.
  • ·  The mirror represents the mind, the act of polishing the ethics by which our minds are refined. Whether against enemies seen or unseen, execute every technique with true fighting spirit.

Sayu-uchi (Strike to Both Sides)

  • ·  Clench your fists and bring your forearms to your chest, palms down, right arm on top.
  • ·  Strike to both arms and bring them across your chest again, left arm on top. Strike again. After doing several sets, lower your arms and stand in the basic natural posture.

Zengo-tsuki (Front-Rear Strikes)

  • ·  Clench your fists and draw them back to your chest, palms down.
  • ·  Punch with both hands at once to the front, keeping your eyes on your fists. Your arms should be at shoulder level.
  • ·  Open your hands, turn your palms up, and strike to your rear with both elbows. Repeat the exercise several times, then lower your arms.

Ryote-ue-tsuki (Two-Hand Upward Blow)

  • ·  Clench your fists and raise them to your chest, palms inward.
  • ·  Look up and punch straight up with both hands at once.

Oryote-ue-tsuki (Large Two-hand Upward Blow)

  • ·  Go through the same motions as in the previous exercise, but jump up or rise on your tiptoes as you punch.

Sayu-kogo-shita-tsuki (Left-Right Downward Blows)

  • ·  Bring your right fist up to your armpit as though lifting a bag.
  • ·  Bend to your right and punch down while drawing your left fist up into your left armpit. Keep your eyes on your right fist. The back of your right hand should face to your right.
  • ·  Repeat the movements to your left. Do several sets, then lower your arms.

Ryote-shita-tsuki (Two-hand Downward Blow)

  • ·  Raise both fists to your armpits.
  • ·  Raise you heels, bend your knees, and punch directly downward with both fists at the same time. Stand and repeat the exercise several times, then return to the natural posture.

Naname-ue-uchi (Front-Side Upward Cut)

  • ·  Bring your right hand up to your left shoulder, palm down, thumb and fingers straight and held together.
  • ·  With the knife edge of your hand, strike the right temple of an opponent standing to your right front corner who is taller than you. Fix your eyes on the hand.
  • ·  Lower your right hand and go through the movements with your left hand. Do several sets, then take the natural posture.

Naname-shita-uchi (Front-Side Downward Cut)

  • ·  Raise your right hand to your left shoulder as in the previous exercise.
  • ·  Strike with the knife edge of your hand at your opponents wrist, which is at your right front corner. Keep your eyes on your hand. Lower your right hand and go through the movements with your left hand. After several sets, return to the natural posture.

Onaname-ue-uchi (Large Slanting Upward Cut)

  • ·  Raise your right hand to your left shoulder as in the previous exercises.
  • ·  Stretch to your right, coming up on your left toes, and strike with the knife edge of your right hand at an opponent who is above you.
  • ·  Alternatively, bring your right hand to your upper left chest, twist as far to your right as possible, letting your left arm come forward, and strike at an opponent directly behind you.
  • ·  Repeat the exercise with your left hand and do several sets, then return to the natural posture.

Ushiro-sumi-tsuki (Rear-corner Blow)

  • ·  Bring your right fist above your shoulder, your elbow out to the right.
  • ·  Pivot as far to the left as you can on the ball of your right foot while leaving your left leg where it is.
  • ·  Punch down to your left rear with your right fist.
  • ·  Repeat the exercise with your left hand and do several sets. Return to your natural posture afterward.

Ushiro-uchi (Rear Blow)

  • ·  Moving your right arm clockwise in a large circle in front of you, bring it up as if to wipe your brow with the back of your right rear.
  • ·  As you punch, twist your body and neck as far to the right as you can. Fix your eyes on fist.
  • ·  Repeat the movements with your left arm and do several sets, then assume the natural posture.

Ushiro-tsuki/mae-shita-tsuki (Rear/Downward Blows)

  • ·  Bend both arms and bring the fists up in front of your shoulders, the backs of the hands facing forward. Bend backward and punch over your shoulders at an opponent standing behind you. Your fists, the backs of the hands upward, should pass close to your ears.
  • ·  Spread your elbows to the sides and return to an upright position.
  • ·  Bend forward and punch straight down, the backs of your fists facing forward.
  • ·  Repeat the movements several times, then return to the natural posture.

Sotai-Renshu (Joint Exercises)

Kime Shiki: Forms of Decision

Idori: Kneeling Techniques

Ryote-dori (Two-Hand Hold)

  • ·  Sit and bow to your partner at a distance of about 1.8 meters. You, the tori, should be on the left.
  • ·  Clench your fists and move forward together, using your arms like crutches, until your knees are 10-12 centimeters apart, then place your fists on your thighs.
  • ·  Your partner grabs both your wrists, thumbs on the inside.
  • ·  Pull your hands to your sides and come up on your toes.
  • ·  Move your left knee out to the left.
  • ·  Step to the outside of your partners right knee with your right foot and free your right hand by pushing it toward your left shoulder.
  • ·  Sit back down and put your fists on your thighs.

Furihanashi (Shaking Loose)

Gyakute-dori (Reverse Two-Hand Hold)

Tsukkake (Stomach Punch)

Kiri-gake (Head Cut)

Tachiai: Standing Techniques

Tsuki-age (Uppercut)

Yoko-uchi (Side Blow)

Ushiro-dori (Hold from Behind)

Naname-tsuki (Carotid Cut)

Kiroroshi (Downward Cut)

Ju Shiki: Forms of Gentleness

The starting distance is about 2 meters apart. The exercises are divided into two sets. This group of exercises is made up of ten techniques from the Ju no Kata. Each is performed as in the kata.

Set 1

  • ·  Tsuki-dashi
  • ·  Kata-oshi
  • ·  Kata-mawashi
  • ·  Kiri-oroshi
  • ·  Katate-dori

Set 2

  • ·  Katate-age
  • ·  Obi-tori
  • ·  Mune-oshi
  • ·  Tsuki-age
  • ·  Ryogan-tsuki







The Itsutsu no Kata, or KATA of the 5 Principles, is the first of the superior KATAs. It represented for KANO Jigoro, who created it, the „heart” even of JUDO.

It constitutes the syntesis of all the fundamental forms of TAI-SABAKI. But beyond this appearance the Itsutsu no Kata is meant to illustrate the correspondence, the communion of these basic forms of JUDO with the great cosmic principles of harmony and universal stability in their continuity and their cyclic alternation.


  1. Principle of concentration of energy and of action (direct push).
  2. Principle of reaction and of nonresistance.
  3. Cyclic principle of the circle or of the whirlwind (centripetal and centrifugal forces).
  4. Principle of alternation of the pendulum (flux and reflux).
  5. Principle of the Void or of inertia.




The KOSHIKI NO KATA (Antique Form), originated from  the KITO RYU School of JUJUTSU, one of the most celebrated and most ancient Schools of JUJUTSU of Japan. The KATA is separated into two parts, OMOTE (front) and URA (back). Also known as the KITO-RYU NO KATA, it consists of 21 techniques.


OMOTE (Front)


  1. Tai (Ready Posture)
  2. Yume-no-uchi (Dreaming)
  3. Ryokuhi (Strength Dodging)
  4. Mizu guruma (Water Wheel)
  5. Mizu-nagare (Water Flow)
  6. Hikiotoshi (Draw Drop)
  7. Ko-daore (Log Fall)
  8. Uchikudaki (Smashing)
  9. TANI OTOSHI (Valley Drop)

10.  Kuruma-daore (Wheel Throw)

11.  Shikoro-dori (Grabbing the Neckplates)

12.  Shikoro-gaeshi (Twisting the Neckplates)

13.  Yudachi (Shower)

14.  Taki-otoshi (Waterfall Drop)


URA (Back)

  1. Mi-kudaki (Body Smashing)
  2. Kuruma-gaeshi (Wheel Throw)
  3. Mizu-iri (Water Plunge)
  4. Ryusetsu (Willow Snow)
  5. Sakaotoshi (Headlong Fall)
  6. Yukiore (Snowbreak)
  7. Iwa-nami (Wave ont he Rocks)