ILLUSTRATION BY OSCAR RATTI. © 2001 Futuro Designs & Publications.

72 Art of Judo ◊ Llyr C. Jones

COMPETITION, KATA
AND THE ART OF JUDO
LLYR C. JONES, PH.D.

▲▼▲

INTRODUCTION
The word “judo” comes from a combination of two Japanese words—ju
meaning gentle or supple and do meaning path or way. This literally defines
judo as the “gentle way.”
At the level of first principles, the essence of Kodokan* judo is turning an
opponent’s strength against himself and overcoming the opponent through
skill rather than sheer strength (Kano, 1986). This theory is captured by the
Japanese expression ju yoku go o seisu—usually translated as “softness over-
comes hardness,” “flexibility overcomes stiffness,” “gentleness controls
strength,” or “win by yielding.”
Watching the seemingly effortless combination of grace, technique, and
power of a true judo expert in action, it would be very easy (but very wrong) to
underestimate the intense physical and mental demands that judo makes upon
its exponents. Achieving excellence in judo demands considerable single
mindedness. Achieving mastery of all of the throwing, grappling, and striking
techniques that makes up the system demands intensive and demanding train-
ing over an extended period of time under the guidance of an experienced and
knowledgeable teacher.
Judo has been well established in the West since the early 1900’s and is
now practiced in almost every country in the world. The aim of this paper,
however, is to question the direction that judo has taken in the West (espe-
cially in the United Kingdom) and to challenge whether a significant re-ori-
entation is now required. Where specific statistics or statements are used to * KODOKAN: THE HEADQUARTERS
support an argument, data and examples from the British Judo Association OF JUDO, ORIGINALLY FOUNDED
(BJA)—the national governing body for the Olympic sport of judo in the IN 1882 BY KANO JIGORO WHO
United Kingdom—are used. HIMSELF HAD ESTABLISHED JUDO.

Journal of Asian Martial Arts ◊ Volume 14 Number 3 - 2005 73

 THE STATE OF JUDO TODAY
As a starting point, it is worthwhile stating the definition of judo as pro-
vided by the Kodokan New Japanese-English Dictionary of Judo (Kawamura &
Daigo, 2000):

Judo: A martial art formulated by Jigoro Kano based on his

reformulation and adaptation of several classical jujutsu systems
as well as his own philosophical ideals.

Such a definition may not resonate well with the image of judo promoted
by the official accredited national governing bodies—i.e., those belonging to
the International Judo Federation (IJF)—the majority of whom seem to be
actively encouraging the distancing of judo from its martial arts origins. In
these early years of the 21st century, it is difficult to challenge the view that in
the West (and in the United Kingdom in particular) judo is promoted one
dimensionally, as a combat sport—organized around championships and com-
petition—often for competition’s sake. To reinforce this sporting dimension,
the competitive style of judo is often referred to as Olympic Judo or Performance
Judo (a style in its own right).
A direct consequence of the leadership and policies of the accredited
judo governing bodies is that, for the majority of judo practitioners, judo is
now just about medals and prizes. These bodies measure the health of their
country’s judo simply in terms of results at major championships and accord-
ingly focus their investment only on the handful of elite athletes who have
the potential to be World or Olympic medalists. Bethers (n.d.) recognizes
this issue:

It seems that some modern judo leaders have narrowed the

objective of judo to only “Contest Proficiency.” For many,
world-wide judo has become equated with contest proficiency.
Although this belief is today wide-spread, it is the very thing that
Dr. Kano warned against throughout his life. Dr. Kano stated,
“Judo should only be a means to the end of skill and principles
for higher self-development, and any ‘drift’ toward ‘contest’ judo
as the ‘sole’ interpretation of judo should be carefully regulated.”
This “drift” has become a major focus among many well intended
judoka [practitioners], but in the minds of many sensei [teachers],
technique has suffered and judo has become (more often than not)
a sport in which “win at all costs” is the underlying objective.

It is evident that the strategy of focusing on Performance Judo must

now be challenged, as judo today is an activity in decline. In the United
Kingdom, this is manifested by decreasing adult membership of the British
Judo Association—75% of the BJA membership is under the age of 16
(British Judo Association, n.d.)—and the continuing lack of consistent and
substantial success of British judo players in international competition
despite all the effort directed to this end.

74 Art of Judo ◊ Llyr C. Jones

 It is a matter of additional concern that the governing bodies have
overwhelmingly biased their rank promotion structures (i.e. grading) toward
accelerating the grade advancement of those who are successful in competi-
tion, with often only lip service being plaid to the breadth and depth of an
individual’s technical judo knowledge. Again, Bethers (n.d.) writes:

This emphasis on “Contest Proficiency” has caused the true meaning

or purpose of judo to be unclear and somewhat out of proportion to
what was intended by Dr. Kano. This problem is surfaced nowhere
more clearly than in “notion” that contest victories are rewarded with
rapid rank promotions.

Currently there is little prospect for grade advancement for those who
(through age, physical condition, or personal preference) wish to practice
judo as an art as opposed to a sport. This is, of course, with the notable excep-
tion of the promotions that governing body officials and administrators seem
to receive as a matter of course. The risk one runs with such a policy is a
resultant judo hierarchy that is both one-dimensional in its knowledge and
skewed in its priorities.
It is especially disappointing that those judo players who prefer to focus
their study on the more traditional and technical aspects of judo (e.g. forms
or kata) have become tagged with the label recreational players—implying
that they are somehow inferior to contest players and not worthy of attention
or recognition.

BACK TO BASICS
This author and other writers (Watanabe, 2003; Burkland, 1998) advo-
cate the thesis that judo in the West has lost its way and that there is a real
need for it to return to its martial art roots. In doing so, the author’s aim for this
paper is not to decry the considerable merits of Performance Judo—indeed suc-
cess in contest over several traditional jujutsu schools was key in establishing
Kodokan judo as an effective combat system (Kano, 1986). Rather, it is to
argue that judo based solely on sport is not judo in toto and that the original and
arguably truer meaning of the art lies elsewhere.
Elementary research will reveal that the underlying concept of judo as
envisioned by Kano was that it was to be a means of (cooperative) physical and
social education—in simple terms, a training for life. Kano captured this prin-
ciple of mutual welfare and prosperity via the maxim: you and I shining togeth-
er (jita kyo ei, mutual welfare and prosperity) (Kano, 1986).
Indeed, with the overwhelming majority of those now practicing
Performance Judo, it is reasonable to conclude that mainstream contempo-
rary judo has now deviated significantly (and quite possibly permanently)
from Kano’s original ideas. Smith (1999: 221) notes:

The popularization and spread of judo has weakened Kano’s base so

greatly, I see no chance of it ever recovering. Judo is now merely a
jacketed wrestling sport. The competitive has ousted the cooperative.

Journal of Asian Martial Arts ◊ Volume 14 Number 3 - 2005 75

 Figure 1
Nage no Kata

© Photography by
Bob Willingham.
bob@[Link]

Bates (n.d.) argues that judo has two essential components—martial and
art. The martial component of judo can be related to combat through the way
of the warrior (budo)—the contemporary representation of which is competi-
tion (shiai). In preparation for contest, the modern judo player focuses on the
development of physical conditioning and fitness, motivation, tactics, and
technique for the sole purpose of securing victory. Conversely, art can be
defined as technical excellence and understanding of techniques developed
through repeated practice (uchi-komi and nage-komi), free-practice (randori),
and kata.
Judo is, of course, both martial and art, but today the concept most peo-
ple have of judo is martial. Martial represents but one small element of judo,
yet almost without exception, most judo teachers focus on developing their
students’ contest prowess and many believe it unnecessary to practice or even
know any kata.

REDISCOVERING KATA
In the most general sense, any cooperative judo training between part-
ners—e.g. a sequence of combinations or counters etc.—can be considered
kata. However, a greater degree of focus is provided in a dictionary of judo
(Kawamura & Daigo, 2000), which defines kata as follows:

Kata: Formal movement pattern exercises containing idealised model

movements illustrating specific combative principles.

Kata is not unique to judo—it is recognized as a valuable training drill

in most Japanese martial arts. The exact nature of kata training, however,

76 Art of Judo ◊ Llyr C. Jones

 Figure 2
Katame no Kata

varies from art to art. For example, karate kata is a solo form (like shadow box-
ing), whereas the judo kata are usually performed with partner—each partner
having a specific role and performance objective depending on the kata. In
judo, there are kata for throwing techniques, groundwork techniques, self-
defense, as well as others that illustrate the fundamental principles of judo
(Kano, 1986; Otaki & Draeger, 1983; Leggett & Kano, 1982; Kawaishihi, Figure 3
1982; Fromm & Soames, 1982; Ohlenkamp, 2005). Kime no Kata
For completeness, a comprehensive list of the kata prac-
ticed in judo follows, together with a summary description of
each (Ohlenkamp, 2005). Illustrations of techniques from the
seven most common kata are provided in Figures 1 to 7.
Note that not all of these kata were created by Kano or at
the Kodokan and, as such, some are not official Kodokan kata.
Note also that the last six kata in the list are seldom practiced
outside Japan and, even in Japan, few judo players would be
familiar with them.

• Nage no Kata: The kata of throws. Includes examples of hand,

hip, leg, and sacrifice throws (Figure 1).
• Katame no Kata: The kata of grappling. Includes examples of
holds, strangles, and chokes and joint locks (Figure 2).
• Kime no Kata: The kata of decision. This is the traditional judo
self-defense kata. It includes both standing and kneeling defense
against empty handed, knife, and sword attacks using strikes,
chokes, joint locks, and throws (Figure 3). Kime no Kata is also
known as Shinken Shobu no Kata (Combat Forms).

Journal of Asian Martial Arts ◊ Volume 14 Number 3 - 2005 77

 • Kodokan Goshinjutsu: The modern Kodokan
Figure 4
self-defense kata (Figure 4). It includes defense
Kodokan Goshinjutsu
against empty hand, knife, stick (jo), and pistol
attacks using strikes, joint locks, and throws.
• Ju no Kata: The kata of gentleness.
It includes a number of attacks and defenses
demonstrating the efficient redirection of
force and movement (Figure 5).
• Itsutsu no Kata: The kata of five principles.
This kata is intended for the demonstration
and practice of body movement (tai sabaki)
and for the application and redirection of
energy as in nature (Figure 6).
• Koshiki no Kata: The ancient kata.
This kata has its origins in Kito-ryu Jujutsu
and demonstrates the techniques of fighting
while wearing armor (kumiuchi), and is
intended to illustrate the ancient origins
of judo techniques (Figure 7).
• Go no Sen no Kata: The kata of counters.
This kata includes counter throws for a
number of common techniques.
• Kaeshi no Kata: An alternative kata
of counters.
Figure 5 • Seiryoku Zenyo Kokumin Taiiku:
Ju no Kata The national exercise based on the principles
of maximum efficiency. This kata is atypical
of judo in being a completely solo kata
and comprises a variety of striking and
kicking techniques.
• Kodokan Joshi Goshin-Ho:
The Kodokan’s women’s self-defense kata.
This kata includes a number of escapes
from holds and grabs, some basic striking
techniques, and one throw.
• Renkoho: The kata of arresting techniques.
This kata includes a number of control and
submission holds useful in restraining criminals.
• Kimi Shiki: The kata of decision. This
kata emphasizes the use of body movement
in responding to attacks and includes both
kneeling and standing defenses against
empty hand, knife, and sword attacks.
• Shobu no Kata: The kata of attack or contest.
• Go no Kata: The kata of force or blows.
This kata includes a variety of striking
techniques (atemi waza).

78 Art of Judo ◊ Llyr C. Jones

 Figure 6
Itsutsu no Kata

In nearly all martial art styles, © Photography by Bob Willingham. Figure 7

forms are used as training tools from bob@[Link] Koshiki no Kata
the novice stage upwards. In judo,
however, its significance has long been
under-emphasized and kata practice is
now largely confined to very high
grades or those who are not contest-
inclined. It is a tragedy of modern judo
that, in the headlong rush into
Olympic-type competition, most
ranked black belt holders regard forms
as an anachronism of little relevance to
competition that should be discarded.
The late Charles Palmer (then BJA
president) anticipated this situation
when he wrote his 1982 foreword to
Leggett and Kano’s kata text (Leggett
& Kano, 1982):

... too much emphasis is being

placed on winning at all costs.
Not enough time is being spent
by judo players on acquiring the
vital self-discipline necessary
to proper performance of the
sport, and the ability to
continue enjoying it later in
life after the ability to win
contests has decreased.

Journal of Asian Martial Arts ◊ Volume 14 Number 3 - 2005 79

 It was particularly insightful of Palmer to recognize that Performance
Judo is age limited. Such sport judo is the domain of the young, whereas
Kodokan judo (especially kata) can be done up until a very advanced age.
A direct consequence of kata not being part of the normal activity of
most judo clubs is that the availability of people with the required knowledge
and teaching skills is very limited. Today some of the better known judo forms
are in serious danger of becoming extinct.
For the reader’s interest, teaching sequences for two techniques from
Kodokan Goshinjutsu—two-hands hold (ryote dori) and uppercut (ago tsuki)—
are provided in Figures 8 and 9. Similarly, teaching sequences for two tech-
niques from the Koshiki no Kata—strength dodging (ryokuhi) and water wheel
(mizu guruma)—are provided in Figures 10 and 11. These sequences were per-
formed under the technical direction of world masters international kata judge
Bob Thomas.

Two-Hand Hold
8a Bob Thomas (right) and Eddie 8c The defender bends his right arm hard toward his chest to free it and,
Cassidy approach each other. 8d continues his motion to strike the attacker’s right temple with the
8b The attacker steps with his knife-edge of his right hand.
left foot forward into the proper 8e The defender grabs the attackers right wrist from the top with his right hand and applies
distance to simultaneously grab the an armlock (kote hineri). He steps back with his right foot and opens his body to his right.
defender’s wrists and tries to strike The defender clamps the attacker’s right arm under his left arm and twists the attacker’s wrist.
with his right knee to the groin. The attacker is forced to submit, or have his arm broken.

8a 8b 8c

8d 8e

80 Art of Judo ◊ Llyr C. Jones

9a 9b Uppercut
9a Eddie Cassidy (right) and Bob
Thomas approach each other.
9b The attacker steps with his
right foot forward into the proper
distance to simultaneously throw a
right uppercut. The defender steps
slightly back with his left foot and
deflects the attacker’s uppercut
from below with his right hand.
9c Immediately, the defender grabs
the attacker’s right wrist with his
9c 9d
right hand, thumb down, and the
attacker’s elbow with his left hand.
He twists the attacker’s wrist away
from him and pushed the attacker’s
elbow toward his face.
9d While keeping his arm extended
and locking the attacker’s elbow,
the defender takes a big step
forward with his left foot and
throws the attacker forward.

10a 10b
Strength Dodging
10a Eddie Cassidy (right) and
Bob Thomas approach each other.
10b The attacker steps forward,
left foot then right, and attempts
to grab the defender’s belt with a
cross grip—right hand uppermost.
The defender simultaneously pulls
the attacker’s right arm forward.

10c
10c The defender pulls the attacker forward to his right side, while 10d The defender pulls the attacker
placing himself behind the attacker. He holds the attacker’s elbow backward to the right side while
bringing the arm upwards while holding the attacker’s upper left arm. dropping to his left knee as the
10d 10e attacker falls to
the ground.
10e As the defender
kneels, the attacker
sits up, keeping his
legs spread with
straight legs, toes up.

Journal of Asian Martial Arts ◊ Volume 14 Number 3 - 2005 81

Water Wheel 11a 11b
11a Eddie Cassidy (right) and
Bob Thomas approach each other.
11b The attacker steps forward with
his left foot then right, and attempts
to seize the defender’s belt with a
cross grip—right hand uppermost.
The defender simultaneously pulls
the attacker’s right arm forward.
11c The attacker resists by pulling
backward. The defender responds by
changing his direction of movement,
lifting the attacker’s right arm, and 11C 11D
presses it toward the attacker’s fore-
head.
11d The defender moves in closer
and unbalances the attacker by bend-
ing the attacker at the waist with his
left hand and pressing the attacker’s
right arm against his own forehead
with his right hand. This makes it
easy to push to attacker backward.
11e The defender bends the attacker
backward and the attacker responds 11e 11f
by resisting and straightening up
and inclining forward a little. The
defender then takes advantage of
the attacker's forward inclination
and changes his grip. He also
adjusts the position of his feet.
11f The defender then falls backward
and executes a sacrifice throw.
11g The attacker rolls over the
defender in mid-air.
11h The attacker
comes onto 11g 11h
his feet and
the defender
remains on
his back with
legs and
hands spread
for about
three seconds.
This concludes
the action.

82 Art of Judo ◊ Llyr C. Jones

THE IMPORTANCE OF KATA
To gain a true understanding of judo as envisioned by Kano, it is nec-
essary to look beyond competition to kata. This author believes that the link
between judo’s past and future is embodied in the accurate teaching of kata
for it is only in kata that the totality of judo has been preserved—especially
the traditional and more dangerous self-defense techniques that are also pre-
sent in judo.
Kano identified two types of training for judo—forms and free-practice—
and held the firm belief that these two training systems had to co-exist in par-
allel. Kano envisaged kata being the laboratory for judo development and free-
practice as the testing ground (Otaki & Draeger, 1983).
In particular, Kano developed kata to demonstrate the principles of judo
and to provide a type of training in which students could examine techniques
under ideal circumstances—thus penetrating their very essence.
Through repeated practice, the techniques of the various forms can be
performed without thinking and, in the extreme, kata can unify mind, body
and spirit—arguably the purest goal of a martial art. Indeed, many judo practi-
tioners claim to have experienced moments of enlightenment and insight as a
result of a perfect kata performance. Notwithstanding the subjective spiritual
dimension, it is certainly true that all judo players involved can derive a great
deal of self-satisfaction from a high-quality kata performance and the associ-
ated focus, awareness, attention to detail, and self-discipline demanded.
Furthermore, students and teachers should also not overlook the significance of
forms as purely a part of general instruction: kata teaches movement, timing,
and coordination. Kata was, and remains, the basis of judo, and provides the
vehicle for perfecting many throws, holds, and other techniques in a finer way
than individual technical instruction or general free-practice.
Critics of kata argue that forms bear very little resemblance to competi-
tion in that the techniques are performed at a standard pace with a predeter-
mined outcome in an overly symbolized style. It is not widely known that most
high-grade Japanese teachers still emphasize the importance of kata for a judo
practitioner’s development and that many consider the study of the Randori no
Kata (Nage no Kata and Katame no Kata) in particular to be an essential part of
training for the highest level of contest success (Watanabe, 2003; Otaki &
Draeger, 1983; Kawaishihi, 1982).
In their seminal text Judo Formal Techniques, Otaki and Draeger (1983)
state:

Sufficient kata study and practice impose a well-defined

technical discipline on the judoist, one that is unattainable
by only randori and contest methods. This discipline, instead

=
of hampering the judoist, actually frees him from undue
restrictions, liberates his bodily expression in movement,
and teaches him economy of mental and physical energy.
This process can only be understood through experience,
and only through kata performance can judoist come to
appreciate judo in its fullest sense.

Journal of Asian Martial Arts ◊ Volume 14 Number 3 - 2005 83

 Kawaishi (1982) reinforces the point:

The kata will temper the combative ardor of the young performer and
will undoubtedly also enable him to discover the reason for certain
errors he commits in competition… Thus the kata is a valuable source
of technical progress.

Accordingly, the contest player should consider kata as part of his train-
ing for physical, mental, and contest proficiency in an identical fashion to free-
practice and conditioning work, etc.

CONCLUDING REMARKS
Given the substantial decline in the number of adults practicing judo, it
can be argued that there is a real need to re-examine the value system associ-
ated with judo. A way must be found to retain and ideally attract more adults
into judo. As part of this exercise, the emphasis between the martial and art
strands of judo should be examined simultaneously because the strands should
not be separated. In doing so, one would be well served to note Burkland’s
(1998) conclusions:

Judo must focus on its heritage as a traditional martial way by emphasising

randori [free-practice] and kata as the primary training vehicles for the
development…. Shiai [competition] must be returned to its proper perspective
and cannot be allowed to dominate our thinking and our efforts.

Gleeson (1976) showed that there was a close connection between the
three dimensions of judo and argued that free-practice, competition, and forms
were all essential to each other. Gleeson recognized that, through ignorance
and neglect, artificial boundaries had been built between the dimensions, pre-
venting people from moving easily from one to another. Gleeson also acknowl-
edged the need to deconstruct these boundaries for judo to prosper
A similar idea has been expressed metaphorically by relating judo to a
three-legged stool—the three legs being free-practice, competition, and forms
(Kin Ryu Judo, n.d.). The metaphor proceeds to argue that if any one leg is
removed, the stool falls over. Therefore, without equal emphasis on all three
elements, judo will be flawed. The interested reader requiring a further per-
spective on Kodokan judo—including the introduction of a concept of four
overlapping areas for study (i.e. physical education, sport, unarmed combat,
and philosophy) is also directed to Anderson (n.d.).
Additionally implicit in the re-evaluation of judo’s value structure is a
real need to reassess and reformulate the promotion system. In doing so, a fun-
damental tenet of Kano’s philosophy should be at the fore:

It’s not that you are better than someone else that’s important,
but that you are better than you were yesterday.
7
—British Judo Association, 2004

84 Art of Judo ◊ Llyr C. Jones

 The principles expounded in this paper are already starting to come to
the fore with the emergence of a number of bodies dedicated to the preserva-
tion of the traditional techniques and values of judo as a martial art. Such bod-
ies could provide a more natural home for the judo purist than the official
sport-orientated governing bodies.
Judo today faces a crisis no different than that facing Kano Jigoro in 1882
when he founded judo from jujutsu. In evolving judo from jujutsu, Kano
endeavored to preserve jujutsu’s fundamental elements unless they be lost for-
ever. In the West, similar radical steps are needed to re-establish and preserve
the heritage, traditions, and forms of judo that were Kano’s true genius.

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