HANE GOSHI

Analysis and technical applications

By Pascal DUPRÉ – IMAF Switzerland

Applicant for the title of “ Renshi ” Kokusai Budoin IMAF

Copyright IMAF (Suisse) – Version of October 8, 2011

 HANE GOSHI : definition and aims
Hane Goshi (Haneru : to spring up, to leap, to jump inside, and Koshi: hip)
is a hip technique [Koshi Waza] integrated into the Gokyo no Waza deve-
lopped by Judo founder Master Jigoro Kano. Hane Goshi is the 5th hip
Master Jigoro Kano
throw of the ten movements that compose the Gokyo.

The following paper aims to explore and (again) emphasize the importance of the technique
of Hane Goshi. It is at once an ancient technique and a modern one, and can be adapted to
various situations. It is a great technique.

HANE GOSHI : history and origins ring the creation of Kodokan Judo, but is derived, wit-
hout a doubt, from the traditional Ju-Jutsu which Master
Beginning from 1895, this hip technique was part of the Jigoro Kano practiced. Moreover, we find it demonstra-
syllabus of techniques of the Gokyo no Waza in the Dai ted in the work of Mr. K. Higashi and Mr. I. Hancock
Sankyo, along with the techniques of Okuri Ashi Barai, entitled “ The Kano Jujitsu ” under technique 33 (a tech-
Harai Goshi, Ushiro Goshi, Uchimata, and Obi Otoshi. nique which is furthermore unnamed). With the help of
his first students, Master Kano drew from this ancestral
According to Master K. Watanabe1, 6th Dan, the crea- knowledge of these forms, and then refined them so that
tion of Hane Goshi should be attri- they conformed to his needs.
buted to Master K. Iizuka, 10th Dan
Even if the exact origns of the technique are not com-
(1875–1958) : “ The return of Hane
pletely clear, it still seems that Hane
Goshi must please the spirit of its
Goshi had its devotees in the past.
first inventor, Master Iizuka. ” But
Master H. Courtine4, 10th Dan
in an article published in 19572 and
(1930– ) states that “ it is a great
entitled, “ I remember… by Mas-
technique which was widely prac-
ter  Iisuka”, he denies this claim :
ticed in the past, but which is cur-
“ Isogai Hajime, 10th  Dan (1871–
rently less so ; the reason for this is
Master K. Iizuka 1947), the inventor of the Hane
simple : its execution necessitates a
Goshi, had a very strong body. ” Mas-
very academic style of Judo, and in
ter K. Iisuka then specifies, with regards to this tech- Master H. Courtine
competition, this is less and less the
nique : “ The Hane Goshi of this time was not as tech-
case. ”
nical as that of today. This throw consisted of pulling
the adversary strongly towards oneself and to throw him
while giving a blow from the hip and raising one leg. ”
HANE GOSHI : understanding the
Master M. Yoda, 8th Dan, proposes another source in
technique
an article published in 19563 entitled, My Hane Goshi :
“ his throw, the 5th of the 3rd Kyo, is attributed to Mas-
In the list of ways to perform throws compiled by Master
ter Suzuki, one of Master Kano’s students. ” He also
T. Kawakami, 8th Dan, we find :
adds in this same article : “ Its basis is either Uki Goshi or
Tsurikomi Goshi, whether one does not engage the hip • Hiki-Otosu (making one’s opponent fall by lowe-
(principle of Uki Goshi) or whether one does (principle ring),
of O Goshi from whence Tsurikomi Goshi is derived). ” • Hane-Ageru (making one’s opponent jump through
a movement of the leg and hip),
Thus, this technique seems to have been formalized du-
• Tsuri-Komu (pulling one’s opponent near oneself as
1 Judo Kodokan Magazine, Vol. XI – No 1, Jan. 1961

2 Judo Kodokan Magazine, Vol. III – 15 May 1957

if fishing), and finally,
3 Judo Kodokan Magazine, Vol. VII - No 2, 15 March 1956 4 Henri Courtine, Judo et Jiu-Jitsu, 1977, Éd. Denoël

–2–
• Okuri-Komu (throwing while accompanying the
opponent).
We will see in the present analysis that Hane Goshi can
associate different combinations of these different ways
of throwing.
Let us now explore the different forms of Hane Goshi.
We will start with its fundamentals, followed by its va-
riants (Kuzure), and finally address its counter-attacks
(Kaeshi).
As we have seen in the discussion about its history and
origins, it is evident that this technique is adapted from
Uki Goshi, Master Kano’s favorite technique.
In the text written by Master T. Daigo5, 10th Dan
(1926– ), we discover : “ The impor-
tance of ‘bending back’ is explained
in Hane Goshi Renshuho (Sakko,
published by Kodokan Bunkakai ;
March 1926 issue). …To practice
this technique, prepare by throwing
with Uki Goshi first. Uki Goshi is
the key to understanding the action
of bending back. ” This notion of Master T. Daigo
Tori’s body position is difficult to understand and espe-
cially difficult to put into practice, because Tori obvious-
ly risks being thrown backwards. This point is evoked
by Master S. Nagaoka (1876–1952) and Master K. Sa-
mura (1880–1964), both 10th  Dan6, with reference to
Uki Goshi : “ Tsukuri : In order to perfome Tsukuri, one
must employ Tai Sabaki (turning movement) quickly
and decisively. One must take small steps, for if one
strides out the movement will be slow and without effect.
It can be countered (Ura Waza) for example by Ushiro
Goshi or Ura Nage … it is easy to throw him with the
movement of the hands and the twisting of the body ”.
Let us now specifically address Hane Goshi. We will
draw from the perspectives of different Judo masters
from different eras to help us.
In 19607, the technical Commission of the Kodokan
proposed a very detailed technical explanation of this
movement : “ Principles : By breaking the opponent’s
balance so that he tips forward or to his right front cor-
ner (or left), you slide under his body comes into close
contact with the lower part of the opponent’s abdomen.
By using a swinging movement of the hips, you throw
5 Toshiro Daigo, Kodokan Judo : throwing techniques, 2005, Kodansha
International
6 Judo Kodokan Magazine, Vol. XXI, Spring 1951 Chiron, 1969
7 Judo Kodokan Magazine, Vol. X, No 5, 15 November 1960
–3–
your opponent by pushing one of his legs upwards with
your corresponding leg bent. ” Here, the basic principles
of Hane Goshi are revealed.
According to the previously cited Master Yoda, “ At the
same time as you leap under your opponent’s abdomen,
throwing your body (and only slightly bent, toes skim-
ming the ground), you brush away his right leg with your
right calf as ping both bodies in close contact, your trunk
inclines toward the ground at the same time as your leg
rising (in the extension of your trunk, as in letter T) and
your opponent falls forward …The whole movement is
to be done with your whole body, bending your right
leg away, lowering yourself to the maximum under your
opponent’s belly and keeping close contact between both
bodies until the end of the fall. ”
Master Mikinosuke Kawaishi8, 10th Dan (1899–1969),
proposes the following point of view : “ the torso and the
bent right leg of Tori stay in exten-
sion during the entire throw. Tori’s
right leg and hip form a sort of plat-
form on which Uke topples over ...
But the important thing is the way
Tori rotates with respect to the
attack from his own right leg and
his hip. ” This is very close to Uki
Goshi in form, especially as Master
Kawaishi insists that : “ Tori, taking
advantage of Uke’s loss of balance,
bends forward in a single, united
movement, and using his right leg, Master M. Kawaishi
aims upwards for Uke’s leg while
bending his left leg. ”
Let us study more in depth a point which I consider to
be of utmost importance. Master Kawaishi and Mas-
ter Shinzo Takagaki9 suggest bending the supporting
leg rather than extending it. Numerous other experts
would say that Tori’s left leg throws Uke upwards just
as a spring releases. Master Ichiro Abe10 tells us the
following : “ by extending their left leg, Tori raises the
opponent with their hip, the right leg following and am-
plifying this action. ”
Master T. Inogai11, 8th Dan (1908–1978), specifies : “ at
the moment where I throw the opponent backwards and
upwards, foot extended, I turn towards the left and pin
8 Ma Méthode de Judo, M. Kawaishi, Éd. Cedam
9 Shizo Takagaki & Harold E. Sharp, The Techniques Of Judo, Éd Tuttle
Publishing, 1957
10 Ichiro Abe, Judo By Ichiro Abe, Presses Universitaires de Bruxelles, Éd.
11 Judo pratique, T. Inogai- R. Habersetzer , Éd. Amphora , 2002
Uke against me as much as possible while straightening • the planning of knocking Uke’s body off balance,
my supporting leg. ” with the hips as the rotation point.

Master Kuyzo Mifune12, 10th Dan Certain instructors insist on this

(1883–1965) and cofounder of notion of contact with the hips,
Kokusai Budoin, IMAF in 1952, including Master Michel Novo-
explains : “Quickly raise your hips vitch14, 6th Dan, who highlights the
(by projecting energy from straigh- principle of kinetic energy involved :
tening your left knee) and throw “ It is the energy of a bowling ball
him. ” striking a pin, of a swinging pendu-
lum, it is the impact of a stone that
Master Jigoro Kano13 suggests to has been thrown or of an arrow that
us : “ You break your opponent’s ba- Master M. Novovitch
Master K. Mifune has been shot … ” It is a more per-
lance to his right front corner, pull cussive approach to the movement. He is not alone in
him to your right hip, and throw him with an upward promoting this way of performing the movement, since
springing action of your right hip and leg combined with Master Henri Courtine explains in concluding his expla-
a downward pull by both hands. ” nation of the technique : “ It is necessary to perfectly syn-
chronize the movement of the right foot, the movement
This way of making Uke “ jump ” thanks to the supporting
of ‘percussion’, and the knocking over of the chest. ”
leg’s movement of extension, reminds us of the purpose
of the technique Hane-Ageru. In this specific case, if one
Master T. Inogai reminds us that : “the right leg is more
wishes to keep Uke off balance, the movement of hand-
or less bent. It was even more so in the older forms of the
hip-leg must be executed at the same time, otherwise the
technique where Tori hits the inside of Uke, their calf at
rotation point formed by Tori’s hips will be transformed
the level of the knee. ”
into a “ stopping point ”. Uke risks keeping his feet on
the ground, stuck as he is at the level of his hips by this
sudden jolt and bent forward by the movement of Tori’s This way of executing the movement was described by
hands. Uke and Tori are not able to move further due to Master Iizuka in the historical background which intro-
the contradicting direction of the two forces. duces the analysis of the present paper.
For it to be a Koshi Waza, the most important notion is
Thus, we have here two different ways of considering that the hips must be used, both those of Uke and those
Kake : one in which Tori’s supporting leg is extended ; of Tori.
the other, where it is bent. In my opinion, the action of
In an article, Master Kenshiro Abe15, 8th Dan, reminds
bending the supporting leg for Kake, rather than exten-
us of the foundations of Nage Waza.
ding it, throws Uke much more efficiently. This results
He insists on the following point :
from the fact that Uke must not go up before coming
“ In such techniques as those of the
back down. The movement of throwing is more direct
waist, the center of gravity of one
going downwards from a higher point, rather than origi-
is put upon the body of the other
nating from a lower point, going upwards, and then re-
who executes the technique. In this
turning back down. However, extending the supporting
case the latter should see to it that
leg is possible when the body of Uke has already started
the two centers of gravity are found,
falling. Through the action of this leg, as well as the action
otherwise his force is dispersed and
of Tori’s hands and body, Uke will be thrown with even
is not used effectively. Moreover,
more force, and even more surely towards the ground ; in
the distance between the two cen-
fact, this supporting leg pushes Uke downwards. Master Kenshiro Abe
ters of gravity should be as small as
One finds, in these different technical forms, the funda- possible, so that the effect of friction may be produced. ”
mental notions which allow for the correct execution of
Hane Goshi : In Master Jigoro Kano’s book, in the description of Hane
Goshi, we still find “ unbalancing Uke on the front right,
• the action of sliding under the partner, Tori brings him against his right hip and action plans for
12 K. Mifune, The Canon Of Judo By K. Mifune, Éd. Kodansha International,

14 M. Novovitch, Judo Zero Gravity , Éd Pupliday-Multidia 2003

2004 ISBN-10 4-7700-2979-9, 224 p.
13 J. Kano, Judo Kodokan, Éd. Kodansha, 1956 15 K. Abe, Judo Kodokan Magazine, Spring 1951

–4–
a spring up his right hip and his right leg, associated with
a downward pull with both hands. ”
At this stage of the analysis, we identified only two ways
to project.
Let us come back to this very idea of the hands and the
actions they execute : the movements that Tori’s hands
perform can vary according to the advice of different
experts, and depending on the moment of Tsukuri,
Kuzushi, and Kake.
Master Ishiro Abe declares that “ by
pulling their left hand towards the
armpit and through the lifting ac-
tion of their the right hand towards
the right front corner, Tori brings
the right side of Uke’s chest into
contact with their own (Migi Shi-
zen Tai position). ”
Master Ishiro Abe
This manner of “ pulling - pushing ”
with the hands is without a doubt greatly inspired by
Tsuri Komi Goshi.
Master Inogai adds : “ I lift Uke by pulling with the left
hand (with about 70% force) and lifting with the right
hand (about 30% force), the right arm folded, elbow
under the armpit of the opponent to create a sort of le-
ver arm. ” Master Inogai is amongst those that favor the
action of Tsurite.
However, in an article written by the technical Com-
mission of the Kodokan16, a warning is mentioned : “ If
the action of my left hand is too strong, in Migi Hane
Goshi (to the right) this has for consequence to restore
the opponent’s balance by its reaction. ” It is understood
that making Uke’s right foot step forward must be done
in such a way that he is invited, rather than forced, to
move forward, so as to not provoke an opposing reaction
in him.
Master Kano does not insist much on Kuzushi in his
paper on the technique ; nevertheless, he does express a
piece of essential information which is that of “ ...[asso-
ciation] with a pulling downwards of the two hands. ”
This notion is of great importance. This clearly signifies
that Tori must not find himself on the same trajectory
that Uke takes toward the ground. If he did not respect
this, the joint movement of his two hands would be im-
possible. In the end, this suggests that Tori’s movement
is undeniably to throw Uke downwards in the most di-
rect manner possible.
16 Judo Kodokan Magazine, Vol. X, No 5, 15 November 1960
–5–
HANE GOSHI : technical
opportunities
Let us now study the situations which favor the execu-
tion of Hane Goshi.
Uke will be in Shizen Tai, in Migi Shizen Tai, or Hidari
Shizen Tai, or even in a defensive position, slightly bent
forwards. Tori will be able to adapt himself to Uke’s body
position, i.e., by extending his stride backwards so as to
enter underneath Uke’s body. This particular manner of
execution could remind one of Harai Tsurikomi Ashi.
For example, when one performs a larger Tai Sabaki
with the left foot while being careful not to find himself
unbalanced backwards (i.e., Tori must always keep their
balance in a forward direction, even if he performs a Tai
Sabaki). This could also remind one of Harai Tsurikomi
Ashi when one executes a direct attack on Uke’s right leg
(Migi Shizen Tai). During this action, one must “ open
the door ” for Uke by performing a bodily rotation from
right to left so as not to hit his leg.
I would also like to suggest a way of attacking that I am
personally fond of, and which I call “ passing ” your op-
ponent. Starting from a basic hold in the right natural
posture, at the moment where Uke steps back or moves
his right foot to the side, step, or “ pass ” quickly in front
of him and continue advancing (Ayumi Ashi) while
keeping Uke’s weight on his right foot. Through Tori’s
advancing movement, Uke finds himself swept forward
through a pivoting motion around this pressure point. It
is then easy to execute the technique while being careful
not to stop in front of Uke, but rather to practice Hane
Goshi by “passing” your opponent without stopping.
Tori can also attack the Uke’s right leg on his transfer
“ in circle ”, as in the execution of Uchi Mata in the Nage
no Kata.
Master Shinzo Takagaki provides us with further inte-
resting details : “ If the balance of your opponent is on
the center or lower part of his body, it will be difficult to
lift him with the power from your hip and leg. You must
shift his balance to the upper part of his body by pulling
him toward his front side. ”
The techniques presented in the photographs on the
following pages are executed by :
Tori : Pascal Dupré
Uke : Adrien Beck
Throw performed as Uke steps backwards

1 2

3 4

5 6

–6–
Throw, Uke in Shizen Tai position

1 2

3 4

5 6

–7–
Throw, Uke in Migi Shizen Tai position
1 2

3 4

5 6

–8–
Throw executed by “ passing ” the partner

1 2

3 4

5 6

–9–
Throw executed in “ circle ”

1 2

3 4

5 6

– 10 –
HANE GOSHI : counter-attacks and
combination attacks

According to the basic principles of Judo, the practice of

counter-attacks should respect the notion of non-oppo-
sition. Tori will exploit Uke’s body position in order to
produce the best counter possible.

The counter-attack can be practically done in Sen no Sen,

or in Go no Sen.

Again, the most important principle – which will charac-

terize the counter-attack – is not to interrupt the initial
movement, but to prolong it and to direct it in one’s own
favor. For example, in the Go no Sen no Kata17, Sasae
Tsuri Komi Ashi is proposed as a counter when one is
attacked with Hane Goshi at the moment where Uke
seeks to get out of his movement and regain his balance
(Go no Sen). In a similar way, one can also follow up with
Ushiro Goshi or Utsuri Goshi at the moment where the
attacking opponent attempts to return to his starting
position. It is also possible to go around the opponent’s
back and counter-attack his supporting leg with Kosoto
Gake, or Tani Otoshi, for example.

With regards to combination attacks, the effenciency

of such techniques is guaranteed only when one follows
Uke’s defensive movements – his body position as well
as the energy he puts into his movements. Thus, after
taking note of such criteria, Tori can follow up with
O Uchi Gari, Hane Makikomi, or even Koshi Guruma.

Old Kodokan

17Kata not identified by the Kodokan, founded in 1910 by the Masters of

Waseda University (Tokyo), which studied Master Kawaishi from 1919 to
1923

– 11 –
Counter-attack Ushiro Goshi
1 2

3 4

5 6

– 12 –
Counter-attack Utsuri Goshi
1 2

3 4

5 6

– 13 –
Counter-attack Kosoto Gake
1 2

3 4

5 6

– 14 –
Counter-attack Tani Otoshi

1 2

3 4

5 6

– 15 –
Combination attack O Uchi Gari
1 2

3 4

5 6

– 16 –
Combination attack Hane Makikomi
1 2

3 4

5 6

– 17 –
Combination attack Koshi Guruma
1 2

3 4

5 6

– 18 –
HANE GOSHI : concluding remarks
Personally, I practice Hane Goshi very carefully, because
despite several decades of Judo practice, I have only just
begun to understand its subtleties.
I am aware that explaining a movement, transcribing it,
is difficult and limiting. Only through contact with an
instructor can one begin to understand all the nuances
of a technique ; the same naturally applies to the general
practice of Judo itself.
As for me, I prefer to practice Hane Goshi similarly to
Uki Goshi, which relies on the action of “ Hikite ”, rather
than Hane Goshi in the the “ Tsurite ” manner, where
the use of a certain level of force is required.
Earlier, I mentioned Hane Goshi in the “ passing ” man-
ner, because this technique corresponds well with my
current vision of Judo. I believe that this way of executing
the technique should be part of a time continuum – just
as a walker that continues along a given path. The se-
conds which follow without stopping resemble the prac-
tice of Hane Goshi in the “ passing ” manner. As for the
form which consists of prolonging Uke’s step backwards,
one must employ a great sensitivity of movement ; this is
moreover the case with all reaping and sweeping tech-
niques. It is for this reason that this form is very dear to
me.
Hane Goshi, as I see it, is inscribed in a curve which
seeks to avoid a broken line at all costs ; I try my utmost
not to hit against my partner, but rather to “ accelerate ”
his movements :
• acceleration of his own movement without allowing
him to escape from this very acceleration,
• acceleration of his body’s movement by my at-
tack, through the usage of my own body – himself
launched into space – and through the joint action
of my hands.
In this respect, I insist on the fact that “ throwing into
space ” is a controlled action. It must be controlled so as
to protect the partner (Uke) so that he can always find
the path of the fall (Ukemi) safely and with complete
confidence. Tori always stays in control of the action.
Harmony between the two partners is the first and fo-
remost condition for correctly practicing Judo. Neither
winner nor loser, the two participants study and practice
together and, thanks to one another, manage to find ful-
fillment in mutual benefit and respect (Jita Kyoe).
– 19 –
I strive to practice a “ fluid ” and jolt-free Judo. This al-
lows the participant to be in contact with what a mo-
vement should be : one that continues on and does not
lapse into inertia. This also allows oneself to preserve
the body so as to be able to practice this type of Judo
as long as possible. Each time movement stops, inertia
takes over and one must start over again ; however, if one
keeps movement going, transitioning to another action
becomes easier. One finds this notion in the practice of
Tachi Waza (standing techniques) just as in Ne Waza
(ground techniques).
With regard to this analysis, one discovers that Hane
Goshi is a technique of particular interest. First of all,
this movement – whose probable origin is Uki Goshi –,
brings us into contact with the fundamental work of
Koshi Waza. Next, Hane Goshi presents several va-
riants, in Uke’s actions just as in those of Tori’s. It is a
movement which can be adapted to the different builds
of participants. If it is executed unsuccessfully, Tori can
transition into another technique.
For all of these reasons, it is unfortunate that this won-
derful technique, which one could mistake as belonging
to a past era, is not taught and practiced more. It is part
of those techniques which are not easily accessible, but
which allow, through their practice, to reach the heart of
the fundamentals of Judo.
Pascal Dupré, August 2011
Acknowledgements
I respectfully thank my Judo instructors, in chronological
order : Norbert Jacob, Master Pascal  Krieger, Master
Igor Correa, Master Kazuhiro Mikami, Master Christian
Demarre, Master Jacques Le Berre, Master Mitsuhiro
Kondo, as well as all those who have passed on to me the
Art and the passion of Judo.
I would also like to warmly thank my partners and students
and most particularly Robert, Adrien, Christophe,
Rodolphe – without them, practicing Judo would have
been impossible. I thank Robert  Rapin, Branch Director
IMAF-Switzerland (cf. www.imaf-ch.org) and President
of the IMAF association of Switzerland, for : his unfailing
support, the graphic design, desktop publishing and for his
photos.
All of my gratitude to Master Pascal Krieger, 10th  Dan
Shodo, for his calligraphy “ Hane Goshi ”.
Many thanks also to Richard Toth for his contribution to
the production of this document.