Colin Oates says that when it comes to his Uchi mata and Harai goshi, his focus is on getting his partner into a position where it’s easy to throw them.
He does this by twitching for Kosoto gari.
With the partner not wanting to be thrown backwards he shifts his weight forwards.
Ideal for Uchi mata and Harai goshi.
As soon as he gets the reaction from his partner, he enters with the throw.
Here are his preferred grips and the movement of the upper body.
With the partner’s bodyweight already on the balls of their feet, the idea is to draw their weight forwards and upwards.
Then comes the turning motion, which comes at the same time as the hip entry for the throw. In this case, Harai goshi.
Notice how Oates rotates his hand inwards, using the analogy of turning the wrist to check the watch.
Both hands move in unison as the throw is completed.
Oates says that when he twitches for Kosoto gari all of his weight comes down onto his left foot, but that he needs the weight off this foot to throw with Uchi mata or Harai goshi.
This means that the twitch needs to be as quick as possible, shifting his weight back onto his right leg – preparing to attack.
Using the tatami as a springboard to change direction.
When he hits down onto the mat, everything is driving from the bottom of his foot, up through the entirety of his body.
And by doing this, he generates the power that’s needed to throw.
Oates reiterates that throwing should be the easiest part, as all the hard work has come in getting the partner into position, and getting the right reaction.