©Journal of Sports Science and Medicine (2009) 8(CSSI 3), 36-46

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Research article

Most frequent errors in judo Uki Goshi technique and the existing relations
among them analysed through T-patterns

Alfonso Gutiérrez , Iván Prieto and José M. Cancela

Faculty of Education and Sports Sciences, University of Vigo, Spain

these studies corroborate Gentile’s conclusions (1972),

Abstract suggesting that it is far more useful to correct a movement
The purpose of this study is to provide a tool, based on the or technical gesture from the error’s perspective if there is
knowledge of technical errors, which helps to improve the information about the nature of these mistakes than sim-
teaching and learning process of the Uki Goshi technique. With ply to point out the result of the execution.
this aim, we set out to determine the most frequent errors made The analysis of technical errors through observa-
by 44 students when performing this technique and how these tional methodology (Anguera et al., 2001) allows us, in
mistakes relate. In order to do so, an observational analysis was
carried out using the OSJUDO-UKG instrument and the data
the case of this particular study, to obtain a tool which
were registered using Match Vision Studio (Castellano, Perea, helps to improve the teaching and learning process of the
Alday and Hernández, 2008). The results, analyzed through Uki Goshi judo technique in those subjects whose charac-
descriptive statistics, show that the absence of a correct initial teristics are similar to the ones studied in this piece of
unbalancing movement (45,5%), the lack of proper right-arm research. To this end, two fundamental goals are pro-
pull (56,8%), not blocking the faller’s body (Uke) against the posed: first, to obtain the frequency of the errors during
thrower’s hip -Tori- (54,5%) and throwing the Uke through the the technique’s execution and second, to prove the exis-
Tori’s side are the most usual mistakes (72,7%). Through the tence of important relations among said errors, in order to
sequencial analysis of T-Patterns obtained with the THÈME be able to confirm if certain mistakes lead to others.
program (Magnusson, 1996, 2000) we have concluded that not
blocking the body with the Tori’s hip provokes the Uke’s throw
With the intention of analysing the different ap-
through the Tori’s side during the final phase of the technique proaches to the Uki Goshi technique in depth we have
(95,8%), and positioning the right arm on the dorsal region of observed that the existing publications on judo follow five
the Uke’s back during the Tsukuri entails the absence of a sub- different trends:
sequent pull of the Uke’s body (73,3%). • In the first one, most of these manuals only describe, in
a more or less detailed way, how the different techniques
Key Words: Uki Goshi, observational methodology, error, T- should be executed (Habersetzer, 1988; Hoare, 1980;
Patterns, sequential study. Reay, 1987; etc.).
• The second trend points out the fundamental steps of
Introduction the aforementioned techniques (Daigo, 2005; Federation
Française de Judo et Ju-Jitsu et Disciplines Asocies, 1967;
Many scientific publications on combat sports have dealt Inogai and Habersetzer, 2002; Kobayashi and Sharp,
with physiological, biomechanical, psychological and 1995; Koizumi, 1960; Kolychkine, 1989; Kudo, 1967;
training issues. Different physiological parameters have Mifune, 2004; Ohlenkamp, 2006; Taira, Herguedas and
been studied in disparate combat sports such as silat (Aziz Román, 1992; Uzawa, 1981; Watanabe and Avakian,
et al., 2002), judo (Borkowski et al., 2001; Callister et al., 2001).
1991; Kalayci, I., 2008, Taylor and Brassard, 1981; Tho- • The third one, besides describing the technique and its
mas et al., 1989), boxing (Smith, 2006), wushu (Ribeiro fundamental points, also mentions the typical errors that
et al., 2006), and wrestling (McGuigan et al., 2006). can be found when executing a particular technique. This
As far as judo is concerned, research has been fo- information is supposed to be based on the authors’ per-
cused on training (Blais and Trilles, 2006; Azevedo et al., sonal expericence in the matter (Carmeni, 1989; Federa-
2007), on the influence of psychological variables during tion Française de Judo et Ju-Jitsu et Disciplines Asocies,
the competition (Stevens et al., 2006) and in several bio- 1967).
mechanical aspects (Imamura et al, 2006; 2007). • In the fourth trend, the authors include observations and
During the 1970’s the study of the knowledge of clarifying notes. They also emphasise some aspects of the
performance of a sport and particularly the study of the execution when describing the technique (Inman, 1997;
technical errors made during said execution has turned out Kano, 1994; Kawaishi, 1955; Mifune, 2004; Nakabayashi,
to be auseful tool to learn the basics at the initiation stage 1968; Ohlenkamp, 2006; Thompson, 2001).
of sport techniques (Newell and Walter, 1981; Pieron, • And lastly, the fifth trend groups together those authors
1976; Schmidt, 1988; Schmidt and Gordon, 1977; who use the Uki Goshi throw for the explanation of other
Schmidt and Lee, 2005) and a valuable help for the later aspects which are different from the technical model such
development of specific disciplines such as tennis (De as counterattacks, combinations, kinds of grip, training
Knop, 1983), gymnastics (Magil and Schoenfelder-Zohdi, methods, groups of techniques, e.g., Cadière and Trilles,
1996) and recently judo (Gutiérrez and Prieto, 2007). All (1998); Iatskevich, (1999); Takahashi and family, (2005).

Received: 27 February 2009 / Accepted: 31July 2009 / Published (online): 01 November 2009
Gutierrez et al. 37

The reason why Uki Goshi is the object of this The execution of the Uki Goshi technique was
study is that the usage of this technique in the early stages filmed after a training period of approximately four
of the initation to judo has been strongly recommended months. The data were recorded with two digital video
since its creation in 1882 until present day by the most cameras using in both cases a full shot and a normal fo-
prestigious authors of this sport in their teaching propos- cus. The cameras were placed on two tripods, at a height
als. Thus, Jigoro Kano included this throw in 1895 in the of 1,50 metres, forming an angle one in front of the other
first Gokio group, which can be considered as the first and approximately 2m away from the tatami. Afterwards,
manual on the organisation of the process of teaching and the different filmed throws were edited with Pinnacle
learning the throws. From that moment on, new proposals Studio software (version 8, 9, 11 and 12).
have come into being, keeping this technique in the same
group. These new plans are adapted to the pedagogical Observation instrument
reality of the time and try to overcome the difficulties in Appendix 1 describes the technical model used for the
the learning process that this classification entails. In this teaching of this throwing technique which was also used
respect, Castarlenas and Calmet (1999), Geesink (1967), for the elaboration process of the system of categories
Kawaishi (1995), Sacripanti (1989) and even the Federa- with which the observation was carried out. For this pur-
tion Française de Judo et Ju-Jitsu et Disciplines Associés pose and due to the difficulty pointed out by different
[FFJDA] (1967) have established new organizational authors (Imamura et al., 2007; Kano, 1994; Koizumi,
systems for the teaching of this sport, where Uki Goshi is 1960) to divide the technique into the three traditional
always present in the early stages of the initiation. phases Kuzushi, Tusukuri and Kake, this division will not
In view of the exposed antecedents, it can be con- be strictly used, but rather a general description of it fol-
cluded that this research comes into being as a conse- lowing the sequence of the different movements.
quence of the lack of scientific studies on judo aiming to A continuous development of the observation in-
determine technical errors in the throws and the relations struments will allow us to deepen our knowledge of the
among them, and also as a complement to new teaching teaching process of the judo technique. The chosen obser-
trends created to facilitate the work of teachers and pro- vation instrument for this study is OSJUDO-UKG, which
fessionals of this sport. combines field format and category systems (Jonsson et
Thus, the final purpose of the present study is to al., 2006). OSJUDO-UKG includes in its criteria the ob-
analyze the most frequent mistakes made in the execution jectives of our study: different technical errors and their
of the Uki Goshi hip throw by adults who have no previ- interrelation.
ous experience in judo techniques, showing how the ob- OSJUDO-UKG fits the proposed observational de-
served errors relate in order to provide judo professionals sign, is multidimentional and consists of the following
with a useful technical support tool for the teaching- structure of criteria, dimensions and categories:
learning process of subjects of similar characteristics. Fixed criteria (FC): course and sex.
Variable criteria: grip, unbalancing, right foot po-
Methods sitions, right arm position, hip position, right arm action,
left foot position, leg action, blocking action, throwing
Design stage, control stage, rebalance and globality. Each of
Observational methodology (Anguera, 1999) was used as these criteria gives rise to their respective category sys-
it has the necessary rigour and flexibility to study the tems which comply with the conditions of thoroughness
situations which present themselves during the teaching- and mutual exclusivity (T/ME).
learning processs of the judo technique. Specifically, this The dimensions considered in this study have
method can affirm that the kind of observation carried out given rise to the following system of categories (thorough
was standardized, open and non-participant (Heinemann, and mutually exclusive in every dimension), which is
2003). described in Appendix 2 of this article.
Likewise, the observational design (Anguera et al.,
2001) is nomothetic (several participants execute the Uki Registering instrument
Goshi throw at the same time) monitoring (a technical Uki A continuous registering process was carried out during
Goshi gesture developed during five academic years) and the observation of all the filmed sessions, using the soft-
multidimensional (the dimensions correspond to the crite- ware Match Vision Studio Premium v.1.0. (Castellano,
ria of the observation instrument). From the N/M/M ap- Perea, Alday and Hernández, 2008). This is an interactive
proach (nomometic/ monitoring/ multidimensional) the multimedia computer program which allows watching and
following decisions derive: participants, observation in- registering in the computer’s screen itself the digitalized
strument -OSJUDO-UKG (Uki Goshi Judo Technique recording of the videos in avi, mpg or wmv format.
Observation System)-, registering instrument and proce- This program is highly flexible, and enables the in-
dure. put of all of the corresponding codes for each one of the
variable dimensions criteria of the observation instrument
Participants OSJUDO-UKG (Table 1) in order to register their se-
The group of study was formed by 44 pupils of the Fac- quence. It must be pointed out also that when one of those
ulty of Education and Sports Sciences (21 men and 23 In addition, the quality of the data (Blanco-Villaseñor and
women) who belong to the 2003/2004, 2004/2005, Anguera, 2000) was calculated through the kappa coeffi-
2005/2006, 2006/2007 and 2007/2008 academic years. cient -obtained using the program SDIS-GSEQ, version
38 T-patterns in Uki Goshi

Table 1. Frequency (Freq.) and percentage (%) of Uki Goshi technical mistakes.
Frequent Uki Goshi errors
Error Freq. Percentage Error Freq. Percentage Error Freq. Percentage
GRIP HIP POSITION BLOCK
AGR 5 11.4 MRS 7 15.9 NBLC 24 54.5
FAGR 1 2.3 OLSH 4 9.1 RLBLC 5 11.4
UNBALANCE OMRS 4 9.1 HLO 4 9.1
LARU 1 2.3 TBP 5 11.4 THROWING STAGE
NLU 6 13.6 PCR 8 18.2 IATR 8 18.2
NRU 1 2.3 RIGHT ARM ACTION IRATR 9 20.5
NU 20 45.5 NT 25 56,8 ILATR 3 6.8
DU 7 15.9 LEFT FOOT POSITION RAOT 2 4.5
UU 1 2.3 FLF 3 6.8 TRFL 24 54.5
RIGHT FOOT POSITION FFLF 5 11.4 ITRT 10 22.7
IRF 3 6.8 ILF 6 13.6 STH 32 72.7
FRF 1 2.3 FILF 2 4.5 CONTROL STAGE
ORF 1 2.3 FFILF 1 2.3 FOFA 12 27.3
FIRF 1 2.3 FOLF 3 6.8 ULAFA 6 13.6
ITRRF 1 2.3 PILF 5 11.4 PTRFL 6 13.6
ITRF 7 15.9 OBLF 3 6.8 REBALANCE
BTRF 5 11.4 LEG ACTION FRFRB 5 11.4
FTRF 1 2.3 LFLEX 4 9.1 RRFRB 1 2.3
RIGHT ARM POSITION LFL 3 6.8 BRFRB 2 4.5
AB 15 34.1 RLFL 4 9.1 FLFRB 4 9.1
AW 10 22.7 FLFAT 10 22.7 BLFRB 13 29.5
AWGR 1 2.3 PLFAT 9 20.5 GLOBALITY
SBGR 2 4.5 ILFL 1 2.3 SLEX 0 0%
ALAP 1 2.3

4.2 (Bakeman and Quera, 1992; 2001)- getting a value of

0.91. MOST FREQUENT ERRORS IN JUDO
UKI GOSHI TECHNIQUE
Procedure
Following the registering of the 44 Uki Goshi throws 8/59 Errores
performed by the participants, a first descriptive analysis -13,6%-
of the frequencies and percentages of the occurrence of
the technical mistakes was carried out. Afterwards, time
patterns -sequential in this case-(Magnusson, 1996; 2000)
were analyzed using the THÈME software, obtaining the 51/59 Errores
corresponding dendogrames, which show the occurrence -86,4%-
of mistakes in the execution of the studied technique.
Observed errors in more than 10 of the analyzed subjects (n=44)
Results Observed errors in less than 10 of the analyzed subjects (n=44)

Table 1 shows that the participants made a large number Figure 1. Percentage of observed errors in more than 10 of
of different mistakes. It is apparent how some of these the analyzed subjects.
mistakes occurred more often than others. Out of 59 mis-
takes observed by the researchers, more than half (37) had As a result of this T-Pattern represented in Figure 2, it can
a very low frequency of occurrence (only 1 to 5 partici- be deduced that a possible chained sequence of Uki Goshi
pants). Therefore, it can be stated a priori that there exist a errors could be as follows: At the beginning of the throw,
few mistakes which could be considered as common, due the Tori does not unbalance his opponent correctly (NU)
to the high frequency with which they were observed, and and afterwards, he places his right arm (skilled arm) under
many others which cannot be considered as significant or his opponent’s left armpit surrounding the dorsal region
important because they were scarcely registered in the of the back instead of the lumbar region (AB). These last
videographic analysis. In fact, as it can be observed in two mistakes bring about another two new ones,
Figure 1, only 8 of them were made by more than 10 specifiaclly, the Tori places his left foot after the Tai
participants out of the total 44 people who participated in Sabaki on the inner part of the Uke’s same foot (ILF) and
the study. his iliac crests are parallel to those of his adversary (PCR)
In the analysis of the T-Patterns (temporary behav- instead of occupying the right position described by the
iour patterns) a series of important links related to the ideal technical model.
occurrence of chained mistakes, were observed which These mistakes lead firstly to an insufficient pull
enable us to deepen our knowledge of the Uki Goshi tech- with the skilled arm (NT) probably due to its incorrect
nique. initial position (AB), and secondly to an inefficient block,
Gutierrez et al. 39

Figure 2. Uki Goshi dendrograme.

thus the Uke’s body is not throwed down (by blocking it) irregular trajectory (STH) instead of throwing the Uke
over the Tori’s hip’s right side, but through the attacker’s down over the Tori’s hip perpendicularly.
body’s right side (STH), not existing a close contact with A Mann Whitney U Test found significant differ-
the Tori’s right iliac crest. ences between males and females in the amount of ob-
According to what has been observed in the pre- served mistakes in the Uki Goshi technique (p < 0.05). In
sented T-Pattern, it can be concluded that this last error is the AB mistake (Tori puts his right hand under the Uke’s
originated by the Tori following his opponent’s body body’s left armpit, holding the dorsal region of his oppo-
while it falls instead of blocking it (FOFA) and by the nent’s back in order to throw him down). Specifically, the
absence of a spin movement of his body in the Tsukuri highest percentage of mistakes was observed in the male
stage (ITRT), a fundamental task in this hip throw. participants.
The following dendrograme, Figure 3, shows the It is not easy to justify the reason for this, but after
close relation that exists, as we pointed out before, be- a close observation of the videos, a possible explanation
tween the incorrect position of the right arm during the could be that males who make this mistake performed the
initial stage of the throw (AB) and its lack of pull after- technique with an Uke who was shorter than them. The
wards (NT) difference in the partner’s height makes it more difficult
Lastly, it must be emphasized that another impor- for the Tori to surround the Uke’s lumbar region with his
tant relation, not observed in the previous dendrogrames, hand. Female participants performed the technique with a
is probably fundamental in order to determine the chain of partner who was either similar in height or taller than
erros and incorrect actions that lead to mistakes during the them, thus reducing the chances of making the same mis-
throw. As it can be observed in the next dendrogram, take.
Figure 4, the existing relation between NBLC and STH, is
high, since, every time the first error happens, the second Discussion
one follows. Not blocking the opponent’s hip (NBLC),
which is the primary movement in this technique, leads to As it was previously pointed out different researchers (De
throw the Uke down through the Tori’s side, following an Knop, 1983; Gutiérrez and Prieto, 2007; Magil and

Figure 3. Uki Goshi T-Pattern associated to AB and NT mistakes.

40 T-patterns in Uki Goshi

Figure 4. T-Pattern related to the observed mistakes NBLC and STH.

Schoenfelder-Zohdi, 1996; Newell and Walter, 1981; tiation in order to favour the body’s spinning movement -
Pieron, 1976; Schmidt, 1988; Schmidt and Gordon, 1977; FLFAT, PLFAT and ILFL errors-). Many of the most
Schmidt and Lee, 2005) have dealt with the study of relevant consulted international authors agree that this
knowledge of performance (Schmidt, 1988) of the tech- spinning action is vital for the succesful performance of
nique and particularly the technical mistakes made in it. Uki Goshi technique (Daigo, 2005; Kawaishi, 1955; Ko-
However, there are very few scientific studies which have bayashi and Sharp, 1995; Koizumi, 1960; Ohlenkamp,
used observational methodology as a tool to obtain the 2006; Taira, Heguedas and Román, 1992; Uzawa, 1981;
best results in the early stages of the teaching learning Watanabe and Avakain, 2001).
process of judo (Gutiérrez and Prieto, 2006; 2007). In On the other hand, there are two key points in the
fact, after a long research in specific databases and spe- technique which are conspicuously reflected, in the form
cialized magazines, we did not found any article which of mistakes, in the videographic analysis. The first of
focused on the Uki Goshi technique nor any scientific them is the lack of a blocking movement performed with
studies linked to the sequential analysis of judo tech- the Tori’s hip on the opponent’s body (NBLC) and the
niques. second one is related to the trajectory that Uke’s body
Several of the most prestigious judo experts do re- follows during the throw (STH). In accordance with the
flect in their works on the most essential points to de- technical model’s recommendations and following the
scribe the Uki Goshi technique and offer a specific section premises of the world’s most prestigious authors, the
on technical errors. Their conclusions are probably based Uke’s body must be blocked by the Tori’s right iliac crest,
on their own personal and professional experience, and and afterwards, he must be thrown down forwards over
the typical mistakes observed in the current study coin- the hip, following a perpendicular trajectory (Daigo,
cide in many cases. For example, many of these authors 2005; Kolychkine, 1989, Ohlenkamp, 2006; Taira et al.,
point out as a fundamental aspect or frequent mistake the 1992; Watanabe and Avakain, 2001).
incorrect performance of the initial unbalancing move- One of the original aspects of this study which will
ment with both arms forward after the kumikata (NU provide information concerning chained technical mis-
error) (Daigo, 2005; Inman, 1997; Kobayashi and Sharp, takes in the Uki Goshi throw (that is, the existing relations
1995; Kolychkine, 1989; Mifune, 2004). In a similar vein, among the different technical errors) is the analysis of the
some authors pay attention to the position of the Tori’s sequential patterns in the occurrence of mistakes in this
right arm on the Uke’s body (AB, AW, AWGR, SBGR technique.
and ALAP errors), and claim that the Tori must never Undoubtedly, one of the most important sequencies
hold the Uke’s belt or judogi, he must firmly embrace his found in this piece of research has been the existing rela-
opponent’s waist (Daigo, 2005; Kolychkine, 1989; Kudo, tion between the lack of the Uke’s body’s block (NBLC)
1967; Ohlenkamp, 2006; Taira et al., 1992). In this par- and the incorrect trajectory which the body follows during
ticular case, we observed that it is an error which mani- the throw (STH). The consulted bibliography does not
fests itself frequently, especially referring to the position mention this behaviour specifically, although most au-
of Tori’s right arm on the Uke’s back’s middle dorsal thors do point out the importance of the block in order to
region, in more than 1 out of 3 of the analyzed partici- perform a successful throw (Daigo, 2005; Kolychkine,
pants (AB error). 1989; Ohlenkamp, 2006; Taira et al., 1992; Watanabe and
Another group of authors consider the pulling of Avakain, 2001).
the Tori’s free body inwards very important in order to It also seems relevant the existing relation between
attract the Uke towards his own hip’s right side (NT) and the incorrect positions of the Tori’s right hand on the
block him with it (NBLC) (Kudo, 1967; Mifune, 2004; Uke’s back (AB) and the deficient subsequent pulling
Uzawa, 1981). One of the most frequently observed mis- inwards of the Tori’s free body (NT). Due to biomechani-
takes in this technique’s analysis is the lack of a left foot cal reasons, pulling the Uke’s body towards the Tori’s hip
pivot during the final stage of the throw (used in the ini- is more complicated from a higher position (the back)
Gutierrez et al. 41

than from a lower position (the hip). Both Kudo (1967) technique and an adapted lactate minimum test. Journal of
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and Taira et al. (1992) in their section on most important Aziz, A.R., Tan, B. and Teh, K.C. (2002) Physiological responses
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Gutierrez et al. 43

Appendix 1

Both judokas are facing each other in a natural position with a fundamental right-handed kumikata. The thrower (Tori)
performs a forward unbalancing movement to the right with both hands, pulling with his left hand, which is placed at
the opponent’s elbow, specifically at the outer side of the sleeve, pulling at the same time the faller’s body (Uke) to-
wards his own with his right hand, which is placed on the imaginary line which links his shoulder with the judogi’s
lapel of the Uke, provoking the frontal-lateral unbalancing of his partner.
Next, the Tori performs the Tai Sabaki movement, putting his right foot forward next to the inner side of the
Uke’s right foot; simultaneously, he places his right hand under the Uke’s left arm, firmly embracing the Uke’s hip with
the palm. At the same time, he places his left foot further forward than his own right foot (about 30 cm in the sagittal
plane) and in the outer side or even at the same level as the Uke’s left foot (frontal plane). From this position, with his
back turned on his adversary, Tori, bending his own free body inwards, pulls Uke’s body towards his right hip.The
central part of the Uke’s abdomen is situated on the right side of the Tori’s hip, therefore, the Tori’s hip must never
stick out over the Uke’s hip. At the same time, without loading at any moment the Uke’s body on the Tori’s hip, and
using the right foot as a spin axis, the Tori must put his left foot on the outer side of the Uke’s same foot (frontal plane)
just in front of it (sagittal plane), performing a spin-torsion movement to the left of his body in order to throw the Uke
forward (Taira, Herguedas and Román, 1992) (Figure 5).

Figure 5. Uki Goshi (floating hip) technique (Inogai and Habersetzer, 2002).

Appendix 2

Grip:
AGR. Tori grips with his left hand, during the execution of the throw, the Uke’s judogi by the middle part of the biceps
brachii muscle.
FAGR. Tori grips with his left hand, during the execution of the throw, the Uke’s judogi by the middle part of the fore-
arm.

Unbalancing:
LARU. Tori’s left hand unbalances to the right during the technique’s Kuzushi stage.
NLU. Tori’s left hand maintains the gripping position, without performing any unbalancing action during the first stage
of the throw.
NRU. Tori’s right hand maintains the gripping position, without performing any unbalancing action during the first
stage or the throw.
NU. Tori’s right and left hands maintain the gripping position, without performing any unbalancing action during the
first stage of the throw.
DU. The execution of the frontal unbalancing and the subsequent Tai Sabaki movement are performed without interrup-
tion.
UU. Tori performs an unbalancing action with both hands palms facing up when both judokas are in a natural gripping
position.

Right foot position:

IRF. At the moment when the Tori is performing the Tai Sabaki movement to turn his back on his partner, he places his
right foot on the inner part (frontal plane) of the position occupied bye the Uke’s right foot and, at the same time, in the
middle point situated between the Uke’s feet.
FRF. At the moment when the Tori, after the initial grip, performs a semi-turn around the longitudinal axis- Tai Sabaki-
to turn his back on his partner, he places his right foot just before the Uke’s right foot (sagittal plane) less than 10 cm
away.
ORF. When the judoka performs the Tai Sabaki movement with the purpose of turning his back on his partner, he
places his right foot on the outer part (frontal plane) of the postion occupied by the Uke’s same foot.
44 T-patterns in Uki Goshi

FIRF. When the Tori performs the Tai Sabaki movement to turn his back on his partner, he places his right foot on the
inner part (sagittal plane) of the position occupied by the Uke’s right foot, although more than 10 cm forward (sagittal
plane).
ITRRF. When the Tori, after the initial grip, spins around the longitudinal axis (Tai Sabaki) to turn his back on his part-
ner, he places his right foot on the inner part (frontal plane) of the Uke’s right foot in a transverse manner (heel facing
inside) modifying this position during the technique’s performance.
ITRF. The Tori, after performing the Tai Sabaki movement to turn his back on his partner, places his right foot on the
proper place according to the ideal technical model (sagittal and frontal planes) although transversally (heel facing in-
side) keeping it this way during the whole execution of the throw (Figure 6).

Figure 6. ITRF and BTRF Uki Goshi errors.

BTRF. After a spin around the longitudinal axis –Tai Sabaki- the Tori places his right foot behind the ideal position-
sagital plane- in a transversal manner (heel facing inside) keeping this position during the technique’s execution, al-
though in the correct place as far as the frontal plane is concerned (Figure 6).
FTRF. When the Tori, after the initial grip, performs a semi-spin around the longitudinal axis-Tai Sabaki- to turn his
back on his partner, he places his right foot just before the Uke’s right foot (sagittal plane) in a transversal manner (heel
facing inside), correcting the position during the technique’s execution.

Right arm position:

AB. The Tori places his right hand under the Uke’s body’s left armpit, embracing the dorsal region of his opponent’s
back to throw him down.
AW.The Tori, turning his back on the Uke, and putting his right hand under the Uke’s left armpit, places his right hand
at his adversary’s belt level, but in the middle of the body.
AWGR. The Tori’s right hand holds the Uke’s belt, performing a “fishing” action –Tsuri-, that is, pulling the belt up-
wards in order to throw him down.
SBGR.The Tori puts his right hand under the Uke’s body’s left armpit, placing that hand on the left side of the Uke’s
hip, without holding it at any moment.
ALAP. The Tori’s right hand holds the Uke’s left lapel, keeping that position for the whole execution of the throw.
Hip position:
OLSH. The left side of the Tori’s hip is outside the space between the Uke’s two iliac crests (frontal plane).
MRS. Despite the correct position of the Tori’s right iliac crest, there is an accentuated gap (sagittal plane) between the
posterior part of the Tori’s left iliac crest and the Uke’s body’s anterior left half during the second stage of the throw
(Figure 7).

Figure 7. MRS and PCR Uki Goshi errors.

Gutierrez et al. 45

OMRS. The Tori’s right iliac crest is situated in the middle part of the Uke’s hip but his left iliac crest is separated (sag-
ittal plane) from the left half of the Uke’s body and outside the line of the Uke’s feet (frontal plane).
TBP. Despite the correct position of the Tori’s right iliac crest, there is a maximum separation (sagittal plane) between
the Tori’s right iliac crest and the Uke’s body’s anterior left half, so the Tori’s body is perpendicular to the Uke’s body.
PCR. The Tori’s and the Uke’s hips are facing each other (frontal plane) and parallel to each other (sagittal plane).
Right arm action (Figure 7).
NT. The right hand which surrounds firmly the Uke’s hip does not carry out the action of bending the Tori’s free body
inwards, that is, it does not pull the Uke towards his the Tori’s hip’s right side.

Left foot position:

FLF. When the Tori, after the inital grip, performs a Tai Sabaki movement in order to turn his back on his partner, he
places his left foot just before (sagittal plane) the technical model’s ideal position, although less than 10 cm away.
FFLF. When the Tori, after the initial grip, performs the Tai Sabaki movement in order to turn his back on his opponent,
he places his left foot before (sagittal plane) the technical model’s ideal position, more than 10 cm away, but less than
30 cm. (Figure 8).
ILF. When the Tori, after the initial grip, performs the Tai Sabaki movement in order to turn his back on his partner, he
places his left foot on the inner side of the Uke’s same foot (Figure 8).

Figure 8. FFLF and ILF de Uki Goshi errors

FILF. When the Tori, after the initial grip, performs the Tai Sabaki movement in order to turn his back on his opponent,
he places his left foot on the inner side of the position occupied by the Uke’s left foot (frontal plane) and just before
(sagittal plane) the Uke’s foot.
FFILF. When the Tori, after the initial grip, performs the Tai Sabaki movement in order to turn his back on his partner,
he places his left foot on the inner side of the position occupied by the Uke’s left foot (frontal plane) but more than10
cm forward (sagittal plane).
FOLF. When the Tori, after the initial grip, performs the Tai Sabaki movement in order to turn his back on his partner,
he places his left foot in an accentuated way on the outside of the position occupied by the Uke’s left foot (frontal plane)
but no more than 30 cm forward (sagittal plane).
PILF. Tori’s left foot stays in the initial position, despite the fact that the right foot starts the Tai Sabaki movement,
spining around itself without any displacement during the technique’s execution.
OBLF. When the Tori, after the initial grip, performs the Tai Sabaki movement in order to turn his back on his oppo-
nent, he places his left foot on the outer side (frontal plane) of the Uke’s same foot and slightly behind it (sagittal plane)

Leg action:
LFLEX. The Tori, in the final stage of the movement, when he is using his right foot as a spin axis to take his left foot
to the outer zone of the Uke’s same foot (frontal plane) performs a flexion and extension action with his knee.
LFL.The Tori, in the final stage of the movement, when he is throwing the Uke forward, bends his knees, keeping them
in this position until the end of the technique.
RLFL. The Tori, in the final stage of the movement, when he is throwing the Uke forward, bends his right knee, keep-
ing it in this position until the end of the technique.
FLFAT. The Tori, in the final stage of the movement, whe he is using his right foot as a spin axis, keeps his left foot in
front of the Uke’s same foot, and does not take it to the outer side of the Uke’s same foot (frontal plane).
PLFAT. The Tori, in the final stage of the movement, when he is using his right foot as a spin axis, and despite starting
the movement with his left foot, does not take it to the outer side of the Uke’s same foot (frontal plane)
46 T-patterns in Uki Goshi

ILFL. The Tori, in the final stage of the movement, when using his right foot as a spin axis to take his left foot to the
outer side of the Uke’s same foot (frontal plane), leans on his left foot.

Blocking action:
NBLC. The Tori, during the technique’s execution, does not block at all Uke’s body with his hip.
RLBLC. The Tori, when he performs the spin-torsion movement towards the left side of his body in order to throw Uke
forward, uses his right leg to block the Uke’s body.
HLO. The Tori, when pulling the Uke towards his own hip’s right side, loads him onto it and then throws him down.
Throwing stage:
IRATR. During the final stage of the throwing technique, Tori’s right arm does not pull strongly enough the Uke’s body
towards the floor.
ILATR. The Tori, in the final stage of the technique, when trying to throw the Uke down, does not pull strongly enough
with his left arm.
IATR. The Tori, in the final stage of the technique, when trying to throw the Uke down, does not pull strongly enough
with his left arm, and his right arm does not exert enough strength to pull the Uke’s body towards the floor.
RAOT. The Tori’s right arm, instead of pulling the Uke towards his own hip’s right side, takes him directly down
against the floor (in an Otoshi manner)
TRFL. The Tori, during the final stage of the throw, bends his trunk down around 90º.
ITRT.The Tori does not turn his trunk left enough in the Kake stage of the technique.
STH. The Tori throws the Uke down through his body’s side instead of performing this action over and in front of his
hip (following a linear trajectory, perpendicular to the frontal plane itself) The Uke is thrown down and his body lays in
a cross direction with respect to the Tori (parallel to the frontal plane).

Control stage:
FOFA. The Tori’s right arm follows the Uke’s body during the final stage of the throw until his partner’s body hits the
floor.
ULAFA. During the final stage of the throw, the Tori does not perform any action with his left hand, therefore he does
not control his partner’s body’s fall.
PTRFL. The Tori bends down 90º from the vertical during the final stage of the throw, keeping this position after fin-
ishing the technique.
Rebalancing manoeuvre:
BRFRB. After performing the throw, the Tori, as a rebalancing manoeuvre, leans his right leg backwards (sagittal
plane)
FRFRB. The Tori loses his balance forward (sagittal plane) after throwing his partner, and corrects his position with the
help of his right foot.
RRFRB. The Tori loses his balance to the right (sagittal plane) after throwing his partner, and corrects his position with
the help of his right foot.
BLFRB. The Tori loses his balance backwards (sagittal plane) after throwing his partner, and corrects his position with
the help of his left foot.
FLFRB. After performing the throw, the Tori, as a rebalanceing manoeuvre, leans his left leg forward (sagittal plane).
Globality:
SLEX. The execution of the technique is slow and discontinuous.