Referees are important in competitive sports. It is not clear, however, how referees make judgements in judo competitions. This study is intended to clarify the structure of consciousness when skillful referees make judgements from the standpoint of the phenomenology of the Move ment Theory of sports.  The results of the analysis indicate that referees are required to grasp the intention of play ers’ movements and observe carefully from an empathetic viewpoint of movement based on a principle that introjects kinaesthetic sensations. In addition, in order to understand the intentions of the competing players’ movements, it is necessary to immediately switch perspectives to the player that is the subject of the introjection.  Also, it was determined that consciousness of the horizon is related to such immediate changes of perspective. A review of the time consciousness of referees indicates that the process of judgement involves a complex consciousness structure. The results obtained from the study can serve as basic data for the development of referee training for judo competitions and could help improve the skills of judges who are active in the field.

Since the decision was made to host the Tokyo Olympics, synchronized diving competitions have been attracting more and more attention in the Japanese diving world. Synchronized diving is a competition in which a pair of divers perform at the same time from a springboard or a fixed platform and compete for superiority and synchronization.

In fact, the synchronization of the movements in synchronized performance cannot be creat ed simply by matching the timing of entering the water or by matching the external features of synchronized diving. No research report that discusses the unique kinetic orientation of synchro nization from the perspective of shared kinaesthetic sensations has been published.

In this research, a pair of Japanese athletes who participated in a synchronized competition in the Tokyo Olympics is featured as an illustrative example. The author attempts to identify the kinetic abilities necessary to enhance synchronized movement.

The result shows that the approach and stepping aspects are the most important for improv ing synchronization. It is necessary that the sense of motion of each member of the pair be com posed of a double melody as if it were a chorus, including the sense of a motion melody regarding the other person’s approach: “the other person will move this way”; and a sense of motion melody for one’s own approach: “I should move this way”. It also became apparent that the double sense of melody was a result of shared kinaesthetic sensations.