Kime no Kata is composed of 8 techniques applicable by kneeling posture, and 12 techniques by standing posture. The practice of Kime no Kata aims to study not only the principle of defense and counterattack but also the principle of manipulative body movement. In the practice of Kime no Kata, tori and uke should breathe in good harmony with each other, and further, tori has to work his body manipulatively without laying himself open to to an attack of uke. Idori kneeling techniques Ryote dori — two hand hold Tsukkake — stomach punch Suri age — thrust at forehead Yoko uchi — blow at left temple Ushiro dori — shoulder grab from behind Against armed attacks Tsukkomi — dagger thrust at stomach Kiri komi — downward thrust at head with dagger Yoko tsuki — side thrust with a dagger Tachiai standing techniques Ryote dori — two hand hold Sode dori — sleeve seizure from side Tsukakke — straight strike to face Tsuki age — upper cut Suri age — thrust at forehead Yoko uchi — blow at left temple Keage — groin kick Ushiro dori — shoulder grab from behind Against armed attacks Tsukkomi — dagger thrust at stomach Kiri komi — downward thrust at head with dagger Nuki kake — sword unsheathing Kiri oroshi — straight cut down with a sword Vital attack points used in Kime no Kata are: Uto between the eyes.
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Costantino Brandozzi Giuseppe De Berardinis Kime no Kata The present importance of some traditional principles The Sword Kata of Kime no Kata In recent years, attention to Judo kata — long considered an old technical curiosity, to be brushed up only for the occasion of the dan examination — has grown significantly, thanks to the farsightedness of the federal leadership, which has involved a wide group of practitioners and enthusiasts.
The deepening of the study was stimulated by the organization of the first official kata competitions, both at the national and international level, resulting in the creation of technical experts and referees, and the flourishing of discussions with often different points of view, which have enriched confrontation at every level.
Within this framework, we the authors of this technical book were encouraged to give a first contribution to a matter which has become the subject of a lively and constructive debate.
Different interpretations have been given by reliable teachers and practitioners, but not always providing a clear and comprehensive view; therefore, we will try to shed light on some dark corners. Also the use of atemi blows to vital points of the human body -- which is normally omitted, for lack of time, by the practitioners of judo steered into shiai fight competition -- deserves particular attention.
We think it right, therefore, that enthusiasts and practitioners of Kime no Kata gain basic knowledge about the use of side arms and blows, in order to understand first the meaning of what they are about to study and perform, and then judge or teach.
In fact, there has been nothing new under the sun, since the farsighted Jigoro Kano, in his writings, stimulated Judo practitioners to widen their knowledge of all aspects of fighting, drawing on the rich and ancient warrior tradition of Japan.
The genesis of Kime no Kata itself is evidence of competition of different technical expertise to the definition of the model. The photo of , which depicts Jigoro Kano together with the members of the Committee of the Dai Nippon Butokukai, is widely known.
We hope that our contribution can make ideas and concepts more clear, which, in some way, stimulate a wider debate that will be reported at different times in all the kata of Kime no Kata; note, in fact, that the topics covered in these cards will be collected in a manuscript that will be made public. Any movement, therefore, to be appreciated as consistent with the principles of the kata, must correspond to this requirement that can be defined fundamentally.
Indeed, Uke tries to draw the sword katana out from the saya sheath to cut Tori who faces up to him; Tori moves with his right leg forward and on the right side of Uke, grabbing top-down and always pressing down the right wrist of Uke, who grasps the sword katana to unsheathe it.
The idea that Uke draws the sword out not to cut, but to beat Tori with the end of the hilt, is widespread. For the atemi blow , in summary, both hands must be moved together and tightly coordinated for an effective action of the entire weapon, which is, in this way, a unique and efficient means of percussion.
In the case of Nukigake, in the light of the above, it seems clear that Uke has the intention to draw in order to cut Tori, who blocks him immediately. A A This distance has to be related to the anthropometric size of the person who acts. This implies a number of consequences that concern the proper attention, the real intention, the timing, the technical movements. However, it is just of primary importance the right distance, which should have its relevance in the assessment of Kata competitions.
The significance of the counterattack by Tori toward the right side of Uke: Why does Tori attack toward that side and move quickly behind Uke? Description of the whole action Tori and Uke face each other from the broad distance "toma". Uke, while advancing the right foot, lays his right hand on the tsuka hilt of the sword with the intention to draw it out. Tori puts the right foot forward quickly, behind and outside the right foot of Uke; then 3 moves his left foot, bringing it with a wide movement behind Uke; with the left hand passes over the left shoulder of Uke and promptly goes to grab his right lapel, unbalancing Uke backward.
In fact, Uke takes a step forward and draws out to cut and Tori must begin the movement before the drawing, while Uke moves forward. For the benefit of further investigation, we quote an abstract of texts on the judo, related to the first distance A of Nukigake and to the intention B of Uke: A the broad distance "toma" B " A a distance of 1.
Mifune, K. Kudo, Y. Hakusuisha - Japan - A a distance of 6 feet, about cm. Flaminia, A a distance of about 2 m. Mondatori Editore — trad. Mondadori Edit. Uke, in right guard, glides a little forward with tsugi-ashi gliding step with the same leg ahead , continuing to threaten and control Tori. It is now an established practice, also in kendo and iaido, to assume the inclined position.
The left hand is taken to the left side, miming a grip on the sheath saya , while the right hand remains holding the hilt, without changing the guard. Uke takes the distance of about 2. Tori moves his left foot forward and diagonally on the left and draws the right foot as he opens the body to the right. Uke leaves the tsuka with his left hand and goes with the same to beat the body of Tori left thigh twice, as a sign of surrender.
In , measures were respectively