Danzanryu

Nage no Kata


O Goshi

Major Hip

From referee's position, step forward with right foot to uke's right foot. Tori puts right arm through uke's armpit, turns and rotate hips while leaning to left, throwing Uke over right hip.

Log: Jerrold Kunzman 6/30/00: Kazushi uke to his toes. Create a circle over the hip. Keep the feeling of pulling, don't switch to pushing.

Log: Various 4/17/03: For all hip throws. Less hoisting. Give Uke some of your weight as you enter, to create kazushi. Bend knees appropriately to get out of their way.

Log: Nancy Bigham 8/1/03: There is no lifting with hip if this is properly thrown, though there is rolling. Updated description.


Seoi Goshi

Back Carry Hip

Begin in referee's position. Tori's right hand holds front of uke's gi. Step in and across with right foot, moving right elbow to under uke's right armpit, rolling up gi and keeping wrist straight. Lift in with hip to create rotation.

Log: Jerrold Kunzman 6/30/00: Kazushi is to toes. Continue pulling. Keep movement of right arm free, don't get blocked on uke's chest. Arm is merely an anchor; don't lift with arms.


Seoi Nage

Back Carry Throw

From referee's position. Step in and across with right foot. Right hand releases and reaches around uke's right upper arm, which is pulled over shoulder, clamping it in position. Tori's hips come into contact with uke's, but not with Tori backing in. Tori's hips rotate, bringing left back and around, while right rolls forward. Tori must be careful not to block uke.

Log: Nancy Bigham 9/1/01: Throw by turning upper body, not by bending over. Bending over creates low fall.

Log: Matt Bigham 1/1/02: Can pull arm over point of shoulder for greater effectiveness, but straight over top of shoulder is better training for Maeyamakage.

Log: Matt Bigham 12/5/02: Throw is with left hip. Right hip/femur joint acts as fulcrum as left hip scoops back and in to Uki. Think of connection between hands and hips having both move as one piece to get right pressure in hands. Most of weight is on left leg, think of making it into a one-legged throw.

Log: Nancy Bigham 8/1/03: Updated description, previous description promoted "backing in". The correct action is more of a hip roll as in previous log. Uke's and Tori's hips and upper bodies must come into contact, but that is more of a consequence of kazushi.


Tsurikomi Goshi

Lift Pull Hip

Uke chokes tori, from face-to-face. Tori presses up on uke's left elbow with right palm, fingers out, and pulls down on uke's right elbow with left hand on sleeve. With sufficient kazushi, step in with right, and throw over hip. Right hand makes a circle with uke's elbow.

Variation: Prof. Lee Eichelberger 5/20/03: Uke chokes Tori. Tori takes his left hand over top of Uke's right elbows; then scoops down and clamps to body. Step back with left and turn body to throw. If Uke resists, lift upon his other elbow as distraction.

Variation: Prof. Lee Eichelberger 5/20/03: From choke position, Tori lifts right arm over Uke's arm, while taking Katate Tori with left. Tori traps Uki's left to body, and gets Kotemaki Tori on Uke's right arm.


Ushiro Goshi

Rear Hip

Uke throws Seoi Nage. As he comes in, Tori's right hand goes on pelvis somewhere from right hip to back (pelvis, not small of back, though), both pushing it through and preventing contact with tori's body. Tori turns body in same direction as uke and applys some pressure to uke's far shoulder, creating back fall for uke.

Log: Matt Bigham : Safety note: Keep thumb of left hand close to rest of hand, don't let it stick out.


Deashi Harai

Advancing Foot Sweep

From referee's position, walk forward (uke backward). Tori closes the gap with each step, planting his right foot with toes pointing 45 degrees to left, and then sweeping uke's right foot with tori's left sole, outside blade of foot is the only part that brushes the mat. Uke's leg is carried past other leg this way, while hands maintain uke's body orientation. This feels like pulling his upper body to twist in opposite direction of lower, but really it is merely anchored.


Soto Gama

Outside Sickle

From referee's position, tori walks uke backward. Tori closes the gap to the point where his left foot can be formed into a hook, or "sickle" behind uke's right heel. With right foot planted and toes pointed 45 degrees to the right, tor lifts knee and turns to right, pulling uke's leg out from under him.

Variation: Janet Gee 3/28/03: Uki kicks with right front kick to Tori's stomach. Tori blocks by lifting right knee circling up across body and nagashi uke against kick. Tori catches Uki's ankle with his sickle foot and extends it, exposing Uki's back and giving him the splits, with limited mobility.


Uchi Gama

Inside Sickle

From referee's position, tori walks uke backward. Tori's right lower leg and heel form sickle, reaching between uke's legs, and hooking uke's right leg. Tori pulls right leg back and up, to figure four with right ankle behind left knee.


Sasae Ashi

Propping Leg

From referee's position, tori walks backward, uke forward. As uke's right foot comes forward, tori blocks it by holding left foot in front of it, with toe flexed. Hands provide kazushi in direction of travel and up. Pivot on right foot as uke sutemis.

Log: : This can be done from standing also.

Log: Matt Bigham 8/5/00: Stay close to uke, bring him closer. Step right foot behind left almost, like a hidden step. Right elbow goes through, right hand pulls then pushes.

Log: Matt Bigham 8/19/00: Left hand does circle with uke's right -- like an assisted straightover, then lifts for soft landing. Right hand pulls into elbow, palm up, then expands along right side pushing out, not down.

Log: Matt Bigham 2/23/01: Pulling down on L shoulder will jam uke, forcing them to make a better sutemi or else take a bad fall.

Log: Nancy Bigham 5/19/01: Step to side with right foot, clear a path for uke.

Log: 3/27/02: The advice in the previous entry is somewhat suspect, since I've seen Nancy doing this art while stepping right foot behind left as earlier entries suggest. I suspect it is important to unblock uke, but this is done perhaps by squatting or leaning rather than by foot placement.

Log: Nancy Bigham 8/1/03: Nancy assures me that the steps are always left back, then right back and to the side, then prop foot and throw.


Okuri Harai

Sending Sweep

From referee's position, tori starts uke slide stepping to tori's right. As uke's weight rises for a slide step, tori's left foot sweeps tori's right in the direction of travel. Typically the sweep will catch the other leg as well. The correct fall is for uke to turn and do a side fall on the side opposite the one swept.

Log: Matt Bigham 8/5/00: Must stay close to uke for proper reach. Adjust for leg length by adjusting how much tori is in front or behind of uke.


Harai Goshi

Sweeping Hip

From referee's position, tori steps in and across with right foot, sliding right arm under armpit as in O Goshi. Weight transfers back to left foot, and right leg contacts uke's right leg the entire length. Throw is from sweeping action of right leg back and up, while upper body turns.

Log: Nancy Bigham 4/17/03: Specifically, Tori's right heel goes outside of Uke's ankle, the sole of Tori's foot on top of Uki's.


Soto Momo Harai

Outside Thigh Sweep

From referee's position, step in and across with right leg, then hidden step left to under uke's center of gravity, and away from his base enough so that tori's left foot and both of uke's form an equilateral triangle. Tori maintains grip with right hand, and extends elbow under uke's armpit. Tori chambers right leg and then extends it across uke's outside of thigh. Maintain good one-leg balance with right leg extended, no bending.

Log: Nancy Bigham 4/17/03: This is the old style of this art. Current kata is to keep the knee extended, sweeping the thigh through Uki's thigh to throw.


Uchi Momo Harai

Inside Thigh Sweep

Similar to Soto Momo Harai, except tori's right leg extends between uke's leg, brushing inside of uke's left thigh.

Log: Matt Bigham 8/5/00: Tori must place left foot under combined center of gravity. Right leg is extended, not swung.

Log: Jerrold Kunzman : Form equilateral triangle with uke's feet and tori's left foot. Don't step too close.

Log: Jeff Penner : For successful throws, get good body engagement while upright. Tori wraps Uke's arm around Tori's body. Then turn more, past 180 degrees, trying for more like 270 degrees. At least, look that way.


Utsuri Goshi

Changing Hip

Tori throws O Goshi. Uke counters by placing left hand on tori's hip and hopping around. Repeat. Throw Utsuri Goshi by lifting right leg in front of Uke instead of stepping in with right for O Goshi. Uke will jump into throw, upper body turn pulls uke over leg, which blocks lower body.

Log: Matt Bigham 9/29/00: First learned.


Hane Goshi

Springing Hip

Begin with step in and arm through as in O Goshi. With weight on left but only about 90 degree body turn, bend right leg and place it along front of uke's legs. Spring lower body under uke's center of gravity, and pull on upper body to create torque about center of gravity.

Log: Matt Bigham 7/10/05: The critical step to making this an Oku art, rather than a muscle art is for Uke to attach to Uke during "fitting in", and then for Tori to unbalance himself while stepping the left foot into position, falling just a bit. Then as Tori's foot makes contact with the ground, the right leg can come up as described, as part of the kake.

Log: Jeff Penner 6/23/06: Tori's hip must attach not at Uke's centerline but closer to Uke's right hip, leaving Uke very little wiggle room.


Makikomi

Winding In

From referee's position, uke steps in with left foot turning it out 90 degrees. Right arm comes over uke's right upper arm and clamps uke's arm. Right leg swings through and up. Tori turns body to left, landing on right knee in kneeling position. After uke lands, tori applys arm lock to arm over knee.

Log: John Kirby 9/30/00: First learned.

Log: Francis Starmack 4/17/03: Tori's left foot must be under Uki's center or perhaps even more to the right. Then as Tori turns, he moves out of Uki's way.

Log: Matt Bigham sometime in 2004: More emphasis on the turning and sinking part. Tori should attempt to bury his left shoulder in Uke's stomach or even lower, turning this into a shoulder wheel of sorts, ending up much like Kin Katsugi or Kine Katsugi.

Variation: Jeff Penner 6/23/06: Instead of stepping across with left foot, step across with right foot, engaging Uke's arm as usual. Then reach back with left foot, and drop weight to kneeling on left knee, staying upright.


Uki Otoshi

Floating Drop

From referee's position, tori walks backward, uke forward. Tori steps behind left foot with right then pivots using leg action with left leg, throwing.

Log: Matt Bigham 8/5/00: Right foot goes behind left, like a hidden step

Log: Nancy Bigham 5/19/01: Uke's stepping foot must be planted, pull on elbow, or perhaps with timing


Kani Sute

Crab Sacrifice Throw

Jump in from uke's left side. Right leg across midsection, left leg behind knees. Get as deep as you can, and stick to uke. Put hand down to enhance stickiness.

Log: Jerrold Kunzman Unknown: First learned.

Log: Nancy Bigham 12/12/02: Kata manual shows this from referee's position. Reverse right hand grip on collar so that thumb is down. Step to side, then do art as before.


Tomoe Nage

Circle Throw

From referee's position, swing under uke, between legs. Place right foot on hip bone for safety and distancing.


Yama Arashi

Mountain Storm

Uke strikes with right roundhouse. Tori kiais, blocks with left (shuto) and strikes collarbone of uke with right shuto. Meanwhile, tori steps with left deeply enough to be even or past uke's body. Roll shoulder back, step right leg through and throw with action similar to Soto Momo Harai. Stay attached to uke as he goes down, grabbing collar behind head with right hand. Apply choke/pressure to vagus nerve with right forearm, and armlock over knee with left arm.

Log: Francis Starmack 8/5/00: Learned finishing details.