Koshi Waza – Hip Techniques

1. O Goshi – Major Hip
2. Koshi Guruma – Hip Wheel
3. Uki Goshi – Floating Hip
4. Harai Goshi – Sweeping Hip
5. Tsurikomi Goshi – Lift and Pull Hip
6. Sode Tsurikomi Goshi – Sleeve Lift and Pull Hip
7. Ushiro Goshi – Rear Hip
8. Ura Goshi – Back Hip
9. Kubi Nage – Neck Throw
10. Tsuri Goshi – Lifting Hip
11. Utsuri Goshi – Changing Hip

Ashi Waza – Leg Techniques

1. O Soto Gari – Major Outer Reap
2. O Uchi Gari – Major Inner Reap
3. Hiza Guruma – Knee Wheel
4. Sasae Tsurikomi Ashi – Prop-Drawing Ankle
5. Ko Soto Gari – Minor Outer Reap
6. Ko Uchi Gari – Minor Inner Reap
7. Ko Soto Gake – Minor Outer Hook
8. De Ashi Barai – Advanced Foot Sweep
9. Okuri Ashi Barai – Sliding Foot Sweep
10. Harai Tsurikomi Ashi – Lift and Pull Foot Sweep
11. Uchi Mata – Inner Thigh
12. O Soto Otoshi – Major Outer Drop
13. O Soto Guruma – Major Outer Wheel

Kata Waza – Shoulder Techniques

1. Ippon Seoi Nage – One-arm Shoulder Throw
2. Seoi Otoshi – Shoulder Drop
3. Morote Seoi Nage – Two-hand Shoulder Throw
4. Kata Guruma – Shoulder Wheel
5. Ganseki Otoshi – Rock Drop

Te Waza – Hand Techniques

1. Tai Otoshi – Body Drop
2. Morote Gari – Two-hand Reap
3. Yama Arashi – Mountain Storm
4. Sukui Nage – Scooping Throw
5. Uki Otoshi – Floating Drop
6. Sumi Otoshi – Corner Drop
7. Ude Gaeshi – Arm Counter
8. Ashi Guruma – Leg Wheel
9. O Guruma – Major Wheel
10. Tai Guruma – Body Wheel
11. Shiho Nage – Four-corner Throw
12. Ushiro Otoshi – Rear Drop
13. Kibisu Gaeshi – Heel Clip
14. Te Guruma – Hand Wheel
15. Kuchiki Taoshi – One-hand Drop
16. Sukui Otoshi – Scooping Drop

Sutemi Waza – Sacrifice Techniques

1. Tomoe Nage – Stomach Throw
2. Tani Otoshi – Valley Drop
3. Yoko Otoshi – Side Drop
4. Kani Basami – Crab Scissors
5. Ura Nage – Back Throw
6. Yoko Gake – Side Hook
7. Yoko Guruma – Side Wheel
8. Uki Waza – Floating Technique
9. Sumi Gaeshi – Corner Counter
10. Yoko Wakare – Side Separation
11. Tawara Gaeshi – Bale Counter
12. Hikikomi Gaeshi – Pull and Roll Counter
13. Soto Makikomi – Outer Winding
14. Uchi Makikomi – Inner Winding
15. O Soto Makikomi – Major Outer Winding
16. O Uchi Makikomi – Major Inner Winding
17. Ko Uchi Makikomi – Minor Inner Winding

1. Wristlock Takedown – Kote Gaeshi
   1. Rear
   2. Side
   3. Front
2. Fingerlock Takedown
3. Upper Bent Armlock Takedown – Ude Garami
4. Straight Arm Foward Drop Takedown – Ude Gatame
5. Pull and Push Takedown
6. Armpit Armlock Takedown – Waki Gatame
7. Rear Collar Drag Takedown
8. Revers Bent Armlock Takedown – Gyaku Ude Garami
9. Forward Hammerlock Takedown – Ushiro Ude Garami
10. Forward Dive Takedown

Tsuki Waza – Punching Techniques

1. Oi Zuki – Lunge Punch
2. Gyaku Zuki – Reverse Punch
3. Morote Zuki – Two-hand Punch
4. Riken Zuki – Backfist Punch
5. Ushiro Zuki – Rear Punch
6. Mawashi Zuki – Roundhouse Punch
7. Ura Zuki – Back Punch “Uppercut”
8. Shuto Uchi – Knifehand Strike
9. Empi Uchi – Elbow Strike
10. Tettsui Uchi – Hammerfist Strike
11. Shotei Uchi – Heel Palm Strike

Keri Waza – Kicking Techniques

1. Mae Geri – Front Kick
2. Mawashi Geri – Roundhouse Kick
3. Yoko Geri – Side Kick
4. Hittsui Geri – Knee Kick
5. Mikazuki Geri – Crescent Kick
6. Gyaku Mikazuki Geri – Reverse Crescent Kick
7. Ushiro Geri – Rear Kick
8. Mae Tobi Geri – Flying Front Kick
9. Mae Yoko Geri – Flying Side Kick
10. Kakato Geri – Axe Kick
11. Gyaku Mawashi Geri – Reverse Roundhouse Kick

Uke Waza – Blocking Techniques

1. Harai Uke – Sweeping Block
2. Haishu Uke – Backhand Block
3. Sukui Uke – Scooping Block
4. Tsuri Uke – Lifting Block
5. Ude Uke – Forearm Block
6. Shuto Uke – Knifehand Block
7. Gedan Barai – Downward Swing
8. Juji Uke – Cross Block
9. Hiza Uke – Knee Block
10. Jodan Uke – Upper Block
11. Chudan Uke – Middle Block

Ude Kansetsu Waza – Armlocking Techniques

6 Sets of Armlocks

*Sets 1-5 from Kuzure Kesa Gatame

Set 1

1. Straight Armlock over Thigh (Ude Garami)
2. Bent Armlock under the Knee (Hiza Garami)
3. Upper Bent Armlock (Ude Garami)
4. Straight Armlock with knee on Ribs (Ude Gatame)

Set 2

1. Straight Armlock with Leg across Neck (Ude Gatame)
2. Upper Bent Armlock from Kesa Gatame (Ude Garami)
3. Lower Bent Armlock (Gyaku Ude Garami)
4. Armpit Armlock when pushed away (Waki Gatame)

Set 3

1. Straight Armlock with foot on Thigh (Ude Gatame)
2. Lower Bent Armlock on same side (Gyaku Ude Garami)
3. One-handed Lower Bent Armlock on opposite side (Gyaku Ude Garami)
4. Straight Fig 4 Armlock (Ude Gatame)

Set 4

1. Straight Armlock using Chest (Mune Gatame)
2. Bent Armlock under outside leg (Ashi Garami)
3. One-handed Upper Bent Armlock (Ude Garami)
4. Straight Armlock using Knee (Hiza Gatame)

Set 5

1. Half Cross Armlock (Juji Gatame)
2. Rear Bent Armlock after turning away (Ushiro Ude Garami)
3. Rear Bent Armlock after pulling towards (Ushiro Ude Garami)
4. Full Cross Armlock (Juji Gatame)

Set 6 (from Tate Shiho Gatame)

1. Straight Fig 4 Armlock  (Ude Gatame)
2. Cramping Armlock (Ude Garami)
3. Knee on Tricep Bent Armlock (Hiza Garami)
4. Straight Armlock over Thigh (Ashi Gatame)

Additional Armlocks

1. Twisting Armlock from Juji Gatame
2. Belly Armlock (Hara Gatame)
3. Straight Fig 4 Armlock from front
4. Straight Fig 4 Armlock from side
5. Two-handed Armlock from front
6. Two-handed Armlock from rear
7. Straight Armlock over Shoulder
8. Straight Armlock with hand behind neck (Te Gatame)
9. Twisting Straight Armlock on the ground
10. Two-handed Armlock from behind Uke
11. Knee on Shoulderblade Armlock
12. Straight Armlock between Legs
13. Straight Twisting Armlock from behind Uke

Ashi Kansetsu Waza – Leglocking Techniques

Uke on Back

1. Straight Ankle Lock (Achilles Lock)
   1. Standing
   2. Kneeling
   3. Sitting Back
2. Kneecap Dislocation
3. Ankle Lock grabbing the foot (Toe Hold)
4. Cross-legged Ankle Lock with foot under Chin
5. Bent Knee Lock
6. Straight Knee Lock
7. Double Ankle Lock

Uke on Front

1. Double Ankle Lock
2. Straight Ankle Lock
3. Cramping Knee Lock
4. Fig 4 Leg Lock
5. Outside Leg Entanglement
6. Inside Leg Entanglement

Kubi Kansetsu Waza – Necklocking Techniques

Standing

1. Front the front across the jaw
2. Front he front under both arms
3. From the side across the eye socket
4. From behind under the arms (full nelson)
5. From the side around the neck

Ground

1. From Kesa Gatame with arm under armpit
2. From behind using the chest
3. From between the legs lifting up
4. From behind pulling the head back
5. From between the legs using the legs (scissor action)

From the Front

1. Nami Juji Jime – Natural Cross Strangle
2. Gyaku Juji Jime – Reverse Cross Strangle
3. Kata Juji Jime – Shoulder Cross Strangle
4. Tsurikomi Jime – Lift and Pull Strangle
5. Tsukikomi Jime – Poking Strangle
6. Kata Eri Jime – Shoulder Lapel Strangle
7. Kubi Eri Jime – Neck Lapel Strangle
8. Mae Hadaka Jime – Front Naked Strangle

From Behind

1. Hadaka Jime – Naked Strangle
2. Ushiro Jime – Rear Strangle
3. Okuri Eri Jime – Sliding Lapel Strangle
4. Sode Guruma Jime – Sleeve Wheel Strangle
5. Kataha Jime – Single Wing Strangle
6. Jigoku Jime – Hell Strangle
7. Tsuri Eri Jime – Lifting Lapel Strangle
8. Tsuri Juji Jime – Lifting Cross Strangle

Sankaku-Jime (Triangle Strangle)

1. From the Front, Uke between legs
2. From the rear, Sitting behind Uke
3. From the front, Uke on their Back
4. From the rear, Uke on their front
5. From the front, Uke in turtle position
6. From the rear, Uke in turtle position
7. From the side, Uke in turtle position
8. From the side, being held in Yoko Shiho Gatame
9. From the front, after failed Juji Gatame
10. From the front, standing position

Ground

1. Kesa Gatame – Scarf Hold
2. Ude Gatame – Arm Hold
3. Kuzure Kesa Gatame – Modified Scarf Hold
4. Makura Kesa Gatame – Pillow Scarf Hold
5. Ura Kesa Gatame – Back Scarf Hold
6. Mune Gatame – Chest Hold
7. Yoko Shiho Gatame – Side Four-corner Hold
8. Kuzure Yoko Shiho Gatame – Modified Side Four-corner Hold
9. Kami Shiho Gatame – Upper Four-corner Hold
10. Kuzure Kami Shiho Gatame – Modified Upper Four-corner Hold
11. Ushiro Kesa Gatame – Rear Scarf Hold
12. Tate Shiho Gatame – Vertical Four-corner Hold
13. Kuzure Tate Shiho Gatame – Modified Vertical Four-corner Hold
14. Kata Gatame – Shoulder Hold
15. Uki Gatame – Floating Hold

Standing

1. Straight Armlock over both Shoulders
2. Wristlock holding Bicep
3. Gooseneck Wristlock
4. Rear Wristlock
5. Hammerlock
   1. Using Outside Hand
   2. Using Inside Hand
6. Upper Bent Armlock
7. Straight Armlock with hand behind Neck
8. Arm around front of neck *see standing headlock #5
9. Straight Armlock between legs
10. Straight Armlock over Shoulder
11. Upper Bent Armlock, hand on chest
12. Naked Strangle Restraint

If you have ever been on the end of a good strangling technique, you will vividly remember the pressure and pain as the opponent’s arms (or your own uniform) tighten around your neck. If executed properly it is a safe technique although it is also difficult to resist. If you don’t submit you can quickly lapse into unconsciousness. So if you are the person who applied the technique, know the signs of unconsciousness. Also know what to do to help your opponent if they should lapse into that state.

If the person against whom you applied a strangle becomes unconscious, immediately release the victim and place them flat so that blood may flow naturally back to the brain. Placing the victim on their side, with the head resting on the arm, will prevent vomit aspiration and facilitate breathing if necessary. Monitor the victim closely to make sure the airway is open and the they are breathing. They will generally regain consciousness spontaneously and be unharmed. If they not regain consciousness in 20 to 30 seconds and remains unresponsive to your efforts to revive them, medical assistance should be sought immediately.

Try to awaken the patient with vocal or physical stimuli such as tapping or shouting. Check for breathing by putting your face close to the patient’s mouth and looking at the chest, listening for air exchange, and feeling for a breath. Keep the airway open and initiate rescue breathing if there is no breathing. If a pulse is absent, commence chest compressions.

There are many old methods of traditional resuscitation that can also assist the victim in recovery. If the outcome is less than desirable these interventions may not be defensible in the courts. They have generally been replaced by CPR which is based on more modern medical knowledge. Among sports’ coaches and medical professionals in Australia, CPR is commonly recognised as the appropriate response to a medical emergency of this nature.

Nevertheless, the traditional forms of resuscitation are considered advanced techniques of Jujitsu and instructors may wish to study them to complete their training for historical purposes or for use in special circumstances.

Traditional resuscitation techniques include:

• The direct massage of the carotid triangle on the neck to open up a collapsed artery or to manually stimulate the carotid sinus.

• Methods of assisting the victim in waking up and focusing attention such as slapping the victim, striking the sole of the foot, or yelling.

• Methods of inducing or simulating breathing through massage of the chest or diaphragm, expanding and contracting the lungs.

Sasoi Katsu with the patient sitting before you: From behind, bend your right knee and place the kneecap against the patient’s spine. Spread your fingers and place your hands on their lower chest, hooking your fingers under the lower ribs. Pull back as if opening the ribs to either side, put your weight on the shoulders to bend the body back, and press with your right knee. This will draw air into the lungs. When the ribs have opened as far as they will go, release them. Air will be exhaled from the lungs. Repeat the process slowly and regularly.

For traditional Eri Katsu kneel to the right of the victim and support their upper body with your left arm around the shoulder. Put the palm of your right hand on the abdomen, just above the navel, and press up against the solar plexus or pit of the stomach. This will cause the diaphragm to rise, expelling air from the lungs. Reinforce the action by bending the upper body forward with your left arm. Gently release your pressure to allow air to enter the lungs. Repeat this procedure until respiration is restored.

For So Katsu, place the victim on their back and kneel astride the hips. Place your hands, fingers spread apart and pointing toward their head, on the bottom of the rib cage. Lean forward and press against the ribs to make them exhale, then relax the pressure. Repeat this procedure, rocking forward and back, until the victim can breathe without assistance. Similarly this can be done with the victim on their stomach.

Note that these resuscitation methods are used for those who have lost consciousness through a strangle and no other reasons. They are not to be used when the person is unconscious due to a trauma, throw or fall where a spinal injury is possible or suspected.

As with other martial arts and most aggressive competitive sports, Jujitsu practice includes the risk of serious injury. Of all the types of techniques practiced in Jujitsu however, strangling techniques have proven to be among the safest resulting in relatively few injuries.

Jujitsu or other martial arts instructors who teach strangling techniques should obtain CPR training and certification for use in case of a breathing or other emergency. Even without strangles, Jujitsu and other martial arts are strenuous physical activities that carry some risks for which the instructor should be prepared

Ukemi no Kata (Forms of Breakfalls)

COMMENCEMENT

Both Tori and Uke walk onto the mat from opposite sides, and stand facing each other, about 5 metres apart. Together, they turn towards the joseki and perform a standing bow.

In that position, they then kneel down to a sitting position at the same time, in these movements:

kneel on the left knee; kneel on both knees; all toes flat on the mat; sit facing each other; perform a sitting bow.

Tori and Uke then stand, rising from the seated position in the opposite sequence. Tori and Uke then take one pace forward, commencing on the left foot, and adopt a position of readiness.

FIRST SET

Tori and Uke take one step towards each other, so as to pass each other on their right hand sides. Both perform a right side breakfall, and then stand up. They then take two more steps forward and perform a left side breakfall. They both stand, turn and face each other.

Tori and Uke both perform a right forward roll, passing each other on their left hand sides. When rolling out of the roll and turning towards the direction from where they started the roll, they follow on into a rolling back breakfall, rising to their feet and adopt a fighting stance with kiai.

Tori and Uke face each other, and adjust their gi.

SECOND SET

Tori and Uke both perform a left forward roll, passing each other on their right hand sides. When rolling out of the roll, they continue in the same direction of travel, and perform a forward dive breakfall.

Tori and Uke take a step toward each other and turn into two rolling back breakfalls, passing each other on their left hand sides. After completing the second fall, they rise to their feet and adopt a fighting stance with kiai.

Tori and Uke face each other, and adjust their gi.

THIRD SET

Tori and Uke both perform a left forward roll, passing each other on their right hand sides. When rolling out of the roll, they continue in the same direction of travel, and perform a hand-stand back breakfall.

Tori and Uke both perform a right forward roll, passing each other on their left hand sides. When rolling out of the roll and turning towards the direction from where they started the roll, they follow on into a rolling back breakfall, rising to their feet and continue into a forward dive breakfall with kiai.

Tori and Uke face each other, and adjust their gi.

ENDING

Tori and Uke stand facing each other, and take one step backwards, commencing on the right foot, and prepare to perform a sitting bow.

In that position, they then kneel down to a sitting position at the same time, in these movements:

kneel on the left knee; kneel on both knees; all toes flat on the mat;
sit facing each other; perform a sitting bow.

Tori and Uke then stand, rising from the seated position in the opposite sequence. Together, they turn towards the joseki and perform a standing bow. They then turn to face each other, and step backwards off the mat area, to end the kata.

Kyushin Jitsu Kata

COMMENCEMENT

Tori and Uke walk onto the mat from opposite sides, and stand facing each other, about 6 metres apart. Together, they turn towards the joseki and perform a standing bow.

In that position, they then kneel down to a sitting position at the same time, in these movements: kneel on the left knee; kneel on both knees; all toes flat on the mat; sit facing each other; perform a sitting bow.

Tori and Uke then stand, rising from the seated position in the opposite sequence. Tori and Uke then take one pace forward, commencing on the left foot, and adopt a position of readiness.

FIRST SET

In preparation for the commencement of the first set of techniques, Uke turns his back on Tori, kneels down, withdraws the club from the belt and places it on the side of the mat. Uke then stands and turns to face Tori.

Tori and Uke approach each other until they are almost two metres apart, in the centre of the mat. Uke raises the right arm, with a clenched fist and steps forward with the left foot in an attempt to strike Tori in a downward swinging blow to the left temple. Tori steps forward and moves inside the blow into position for Ippon Seoinage, and throws Uke to the mat.

Uke steps with the right foot towards Tori and attempts to strike Tori with the back of an open right hand towards the face. Tori quickly blocks the arm with his open left hand and steps into position for O Soto Gari, with his right hand under Uke’s chin, and throws Uke to the mat.

Uke approaches Tori and attempts to strike Tori with a right Mawashi Zuki to the face. Tori steps inside the blow and throws Uke to the mat with O Goshi. Upon landing, Tori applies Ude Gatame to Uke’s right arm, while applying pressure to Uke’s ribs with the right knee. Uke indicates submission.

Tori and Uke face each other, and adjust their gi.

SECOND SET

Tori and Uke approach each other until they are almost two metres apart, in the centre of the mat. Uke attempts a Mae Geri to Tori’s abdomen. Tori moves forward to his right, and catches the approaching kick with a left Tsuri Uke. Tori then steps forward with the right foot and performs Kibisu Gaeshi on Uke. Tori withdraws two paces.

Uke approaches Tori and attempts a front bear hug, over both of Tori’s arms. Tori performs a Shuto Zuki to Uke’s ribs to break the grasp, and steps in between Uke’s feet with the right foot. Tori then throws Uke to the mat with Morote Gari. Tori withdraws two paces.

Uke steps towards Tori and attempts to apply a straight arm strangle from directly in front of Tori. Tori disengages the strangle with both arms in an upward direction, and takes hold of each lapel of Uke’s jacket. Tori then throws Uke with Tomoe Nage. Tori rolls over to land straddling Uke’s chest, and applies Nami Juji Jime. Uke indicates submission.

Tori and Uke face each other, and adjust their gi.

THIRD SET

In preparation for this set of techniques, Uke turns his back on Tori, kneels down and takes hold of a club on the side of the mat. Uke then stands and turns to face Tori.

Tori and Uke approach each other until they are almost two metres apart, in the centre of the mat. Uke holds the club in the right hand and steps forward with his right foot in an attempt to thrust the club into Tori’s stomach. Tori steps forward to his left, outside the blow, and blocks Uke’s movement with a downward left Shuto Uke. Tori then takes hold of Uke’s right hand with both hands and applies a forward wrist lock takedown, throwing Uke to his right front. Tori extracts the club from Uke’s hand, and places it on Uke’s side of the mat.

Uke regains possession of the club, and approaches Tori in the centre of the mat. Uke attempts to strike Tori with a swinging blow to the front of the body. Tori steps to his left to avoid the blow and controls the blow with a double Harai Uke. Tori then delivers a right Mawashi Geri (with kiai) to Uke’s mid section, causing Uke to fall backwards.

Uke approaches Tori in the centre of the mat. Uke raises the club over his head and attempts to strike Tori with a downward blow to the top of the head. Tori steps inside the blow and blocks Uke’s arm with a left Shuto Uke, and throws Uke to the mat with Tai Otoshi. Tori then delivers a backward heel kick to Uke’s solar plexus with his right heel (with kiai), extracts the club from Uke’s hand and retains possession of the club.

Tori and Uke face each other Tori displays the club towards Uke and places it in his belt, then both adjust their gi.

ENDING

Tori and Uke stand facing each other, and take one step backwards, commencing on the right foot, and prepare to perform a sitting bow.

In that position, they then kneel down to a sitting position at the same time, in these movements:

kneel on the left knee; kneel on both knees; all toes flat on the mat; sit facing each other; perform a sitting bow.

Tori and Uke then stand, rising from the seated position in the opposite sequence. Together, they turn towards the joseki and perform a standing bow. They then turn to face each other, and step backwards off the mat area, to end the kata.

Nage no Kata (Forms of Throwing)

1st Set (Te Waza)

 

1. Uki Otoshi Floating Drop Throw

2. Ippon Seoinage One Arm Shoulder Throw

3. Kata Guruma Shoulder Wheel

 

2nd Set (Koshi Waza)

1. Uki Goshi Floating Hip Throw

2. Harai Goshi Sweeping Hip Throw

3. Tsurikomi Goshi Lift and Pull Hip Throw

 

3rd Set (Ashi Waza)

1. Okuri Ashi Barai Sliding Foot Sweep

2. Sasae Tsurikomi Ashi Prop Drawing Ankle Throw

3. Uchi Mata Inner Thigh Throw

 

4th Set (Masutemi Waza)

1. Tomoe Nage Stomach Throw

2. Ura Nage Back Throw

3. Sumi Gaeshi Corner Counter

 

5th Set (Yoko Sutemi Waza)

1. Yoko Gake Side Hook Throw

2. Yoko Guruma Side Wheel

3. Uki Waza Floating Technique

Gonosen no Kata (Forms of Counter-attacks)

1. O-Soto-Gari countered with O-Soto-Gari
2. Hiza-Guruma countered with Hiza-Guruma
3. O-Uchi-Gari countered with Okuri-Ashi-Barai
4. De-Ashi-Barai countered with De-Ashi-Barai
5. Ko-Soto-Gake countered with Tai-Otoshi
6. Ko-Uchi-Gari countered with Sasae-Tsurikomi-Ashi
7. Kubi-Nage countered with Ushiro-Goshi
8. Koshi-Guruma countered with Uki-Goshi
9. Hane-Goshi countered with Sasae-Tsurikomi-Ashi
10. Harai-Goshi countered with Utsuri-Goshi
11. Uchi-Mata countered with Tai-Guruma
12. Ippon-Seoi-Nage countered with Sumi-Gaeshi

Kime no Kata (Forms of Decisiveness)

Idori

1. Ryote-Dori
2. Tsukkake
3. Suri-Age
4. Yoko-Uchi
5. Ushiro-Dori
6. Tsukkomi
7. Kiri-Komi
8. Yoko-tsuki

Tachi

1. Ryote-Dori
2. Sode-Dori
3. Tsukkake
4. Tsuki-Age
5. Suri-Age
6. Yoko-Uchi
7. Ke-Age
8. Ushiro-Dori
9. Tsuki-Komi
10. Kiri-Komi
11. Nuki-Kake
12. Kiri-Oroshi

Itsutsu no Kata (Forms of Five)

Ichi – direct concentrated energy – direct push
Ni – deflection – avoid and use Uki otoshi
San – circular energy or whirlpool – using form of Yoko wakare
Shi – action and reaction – as the sea sweeps clean the shore
Go – the void – using form of Yoko wakare