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JUDO (J U J UT 5 U)

TOURIST LIBRARY, 16

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JUDO (JUJUTSU)

BY Prof. JICOHO KANO

BOARD Of TOURIST INDUSTRY

JAPANE..SE.. GOVE.RNME.NT RAILWAYS

COPYRIGHT 1937

EDITORIAL NOTE.

It is a common desire amoll~ tourists to learn soml.:­Ihing of the I.: llltUTI.: of the coun tries t hl.:Y visil, as welt as to sce tlll.:ir bl.:;\uli(ul st'l.: tll.: ry. To SCI.: is natural!y casicr

than to it.:arn, but nying visits !11c l"dy fOI" sightseei ng" (IITnish li l.:jlhef the lime nor opport ullity for more t han a

lXls!>i ng aequai nta nt:e with the culture: of any fon:ign pt."ople. T his is specially true of Japan and her people.

T ht: Board of Tourist Industry recognizes both Iht:

obligation a nd the d ifficulty of providillg' foreign t OIlTi.~ls

with aeellT;ltc information regarding the various phases of Ja pa n's culture. [ t is, therefore, enlh:,lvouri ng to meet this obligation, as far as IXlSsible, by publishing this series of brochures.

T he present Sl..:ries will, when eom pkh.'i.!. eOllsist of morl.: than a hlilldrl.:d volumes, each dealing: with a differ­ent sLlbjcd, but aU eo-urd inatcd. By studyi ng' the elllire

series, the foreig'tl stud cnt of Japan will gai n an adequate knuwledge of the unique cultu re tha t has evolved i ll this country through the ages.

lklard of T ourist lndust ry, Japanese (; uverJ) lll e llt Rai lways

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II.

CONT[NTS

Page

Jujutsu ;md Jud o- What Arc Thcy? . .. .. 9

Vario\.ls PlIascs of JuJo, ................ . .. 20

Ill. How to Sct.: and Study Judo o. . ......... 37

J. Dojo or Exercise I [all '"'

z . Judo-gi or Costumes for Judo

3. Salut ation <lnd r..'lallllcrs ill lht.: Exercise

]I ,dl .

37

38

4 0

... .. ... . .. ........ 44

5. Kuzushi or Un balanced Form .. 45

6. J l ygit.:llc . . 4R

7. l'l'i ovcllll:nt... 4K

S. T Slikuri Of Fit.i illg" Adion !(If ;\1t,\l'k, and

K ;~ k<.: or Altat.:k . ..

g. V kCl11i or j;aIJillg'-way

I V. The Killd s of Tcd\1liquc

49 50

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Prof. K .. n~ HhoWiI hnw In caus" OPPon(!nt 10 la.(! be.l,,~

I. JUJUTSU AN D JUDO-WliAT

ARE. THE.Y?

Ma ny peopk: have doubtless heard t he names

jiijutsu and j udo, but probably few can tell exactly ",ll at these names I1I(:an. I sha ll, t herefore, try io explai n in t his brochure the distinction between these words and

how the word" jud t-)" came io supersede " J ftjutsu ." III j ap<Ul's feud al days there were Illany martial ex­

ercises, such as fencing, archery, the usc of the lance, etc. Among these one was called jujutsu. aud it is sometimes called a lso Taijitsli or Vawara . It W,\S a composite cxer-

cise consisting of many ways of attack, such as throwing, hitting, kickjng, stabbi ng, slashing, choking, holding the opponent down, bending or twisting the opponent's amlS or lees in such a way as to cause pain or even fracture, as wcll as a b'Tcat variety of ways of defcnding oneself against these attacks. Sueh an exercise had existed in Japan from ancient times, but it was only some thrCt.· hundred and fifty years ago that it eame to be taught as a system. During the Tokugawa Period (1615-1867) it de­veloped into a n elaborate art, and was taught by quite a number of masters represcnting different schools.

1 learned this art under many eminent masters of the late femlal times who were still living in my young days. The instruclion givcn by them was of great value, as it was thc rcsult of profound research and long experi­ence. Howcver, suclL instruction was not given as the application of ,HI all-pervading principle, but simply as the devices of individual masters. Therefore, whenever I found differences in their tcachings I was often at a loss to discover which was the correct. This led me to

make for myself a thorough study of the subject, so that 1 finally becamc convinced that whatever the objective, whethcr it be hitting at a certain spot or throwing the opponellt in this or that way, there should be one all~ pervading principle governing the wholc field, and that principle sbould be thc highest or most cfficient use of mental as wcU as physical energy, dirccted to the accom­plishment of a certain definite purpose or aim. Having evolved this fundamental principlc, I studied again all the methods of attack and defence thcn taught and within my reach , and tcsted their merit in acrordance with this

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principle. I could thus retai n thosc which accorded with this principle and elimi natc those which did not. Then, in place of those whidl I elim inabxl, I substituted new methods which 1 believed to be the right application of the same principle. The methods thus formulated arc the ways of attaek and defencc now taught in the KOc!okwall under thc name of J iid6, in contrad istinction to JlijutSLl taught by the different masters of feudal times.

Ld mc now explain in this connection the mcalling of these words KUdokwan, )!id(; and ltijulsu . KOc!ukwan literally means" a school for studying tht: way," "thc way" being the concept of life itself. J lidu and jiijutsu are composed of two words, jlt meaning "gentle" or "to give way," jutstl "art" or " practice," nnd dli

"way" or "principle." Thus, )lido mc:tlls the way of gt:nticlless or of first giving way in order ultimately to gain the victory, while Jiijutsu means the art and practice of J lido.

What then does this " genlkncss" or "giving way" really mean? T o answer this question let us suppose that we estimate the slrcllb<th of man in units of one. kt us say that the stn:ngth of a man stand ing in front of me is represented by ten units, whereas my strength, less than his, is represented by seven units. Now, if he pushes 111t: with all his force I shaU certainly be pushed back or thrown dowll, evcn if I usc all my strcllbrth against his. T his would happen becausc I lIsed all my strength against him, opposing strength with slrenbtth. But if instead of opposing him I were to brive way to

his strenb>i.b by withdrawing my bocIy just as much as he had pushed, taking cart: at the same time to keep my

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OJ A\1ftcker (left> i ... bout to vuBh Defender (2) Delcnder (rilthU will,d r ..... s a. much ..... Attacker push"" and the .... ~ koeps his bola""",

tll AlUl<:ker nlllurBlJ), lew!" torw" .... 1 ", .... I"", ... hiM baJ"'''ce (II) Defender throw. AtlAcke r 10 tho nound (Ulri-oto./ltl

balance, then he would naturally lean forward and thus lose his balance.

In this !lew position , he Inay have become so weak (not. in adual physical strength but because of his awkward position) as to have his strength represented for the moment by only three units. instead of his normal tell units. But mcanwhile, by keeping my balance, 1 retain my full strength, as originally represented by sevcn un its. Here then I am momentarily in a superior posi~ t ion, and ean defeat my opponcnt by using only half my strength, that is half of my seven units. or three and one­half, against his three. ·fhis IC:IVCS one-half of my strength avai lable for any purpose. Now, if J had greater strength than my opponcnt I could of course push him back. But evcn if I wished to push him back and had the power to d{) SO, it would sLiB be better for me first to give way, because by so doillg I should have greatly economised my ellergy and exhausted my opponent's.

This is one simpk instance of how, by giving way, a (:ontcstant may defeat his opponent, and as there are so many instances in }iijutsu contests where this principle is applied. the name Jl!jutsu (that is, the" gentle" or "giving way" art) became the name of the whole art.

Let me now show. by a few more examples, how by this art some of the most wonderful feats in physical contests can be achieved.

Suppose a man is standing t:n:ct in front of me. T his man may be compared to a log of wood standing on end. In case this man is not exerting his strength either forward or backward , the strength of il single finger is enough to make him lean forward if I push him from his

1 ....

M"ki"" Ill" WDonC1,1 I""" lor .. ""J. tho) Ihrower us"," hu. loill lOne! mnkC8 il ,..,rve ..... fulcrum (Uki·uruo'u)

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j)ijH~jno: the "">ll<)n(!;l'L'~ "h·"ngll., U,U I~~"w". UHe>! hi. Own feel and trip8 him. 11,;8 ;8 II,,, Simlll Ol>\ movemenl in Jud" (D"".hi·~ora;)

I ....

ba..:k, and backward if I push hil\\ from in front. If [ bring- my loin just in front of him at the m01llent he kalls

forward, ;md pn:ss Illy artn around his back, his whole

body is pushed against my hip in sudl ,I way that it

serves as a fulcrum balancillg half of his body on each side . Then I ca.n throw him Oat on t.he brrOttild by a slight

twist of my hip, or ;, pull of his ann or skev<.: by my

hand, <!ven if he is two or tilfCC times as heavy as J.

This happens if the op]loncilt is standing" still and not stepping forward. Now let us scc what lVili [Iappen if he steps forward in order to keep his balance. J 11 tltis case 1 can throw him by pressing the ball of 1I1y foot against

the heel of his advancing foot, just below the tcndon of Achilles, at tbe 1ll0mellt when his weight is to some ex­

tcnt being supported by the advancing leg, but before the foot has touched the ground. This is an instance of the highest or most efficient usc of my energy, because by a slight exertion Oil my part I can defeat a man of con­

siderable strength. L et LIS take another example : lvide p. r 8)

Suppose a mall slIddenly springs upon me frolll in

front and tries to push me with all his force. I II this case,

instead of pushing him back, I bend my knees and with

one foot ncar his, and touching- the lower part of his

abdomen with the ball of my nther lOot, I pulJ his slco.:ves

or collar with both hands, sir<.:tcbi ng my leg as high as

possible. ] can thus ihmw the opponent in a somersault

over my head. Here is yet anothl:r exalllpk: {vide p. 18) Suppose my opponent ,;tandillg bdi.)ft: me leans for­

ward il little, alld pushes me with his righi or left hand .

r""''''''''''tle; Th,·ow by ~om=>l"ult ""er the he"d (upper/. S~<>i·n<JtI . : n'rQw II)' bendln~ the body to II,,, front

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Then, by takil lg" advalltage of his loss of balanct:, I pull him, holdi ng the upper part of his slet:vc with Illy right hand if he pushed with his left, and wit. h my left hand il he pushed with his right, at the same time turning my body round so that my back comes close to his chest; and holding his shou lder with Illy free hand J sliddeuly bend my body to ill!.: front. The opponent's body will

then be thrown Over my head flat on the ground. F rom these cxampks, Olll:: sel::s at once that althoug-h

giving way to t11C opponent's Jitrength is OftCIl very im­portant, till:: principle of leverage is sometimes more im­portant for til!': purpose of throwing. If we consider also that hitting, kicking, choking and other killds of positive attacks must be used in actual Jujutsu contests, the name Jiijutsu, the art of "gentleness" or "giving way," does not convey the real meaning. Actual jUjutsu is something mon:. If I explain Jujutsu as the art or practice of the most efficient use of mental and physical energy, and Judo as its way or principle, we can for the first time say that we have arrived at the truc definition of those words.

In 1882, I founded the KOdi'ikw<lll and began to teach this newly-formulated art. After some years, the pupils increased by leaps and bounds, and even those who were being trained at ~choo1s of the old masters came to the KOdokwan from all parts of Japan. The name Jujitsu was supersedcd by the new name Jtid6 to such an extent that nowadays no one in Japan speaks of Jtijutsll thOllgh the name sUI'vives abroad.

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[I. VARIOUS PHASES or JUDO

( A ) Judo and Physical Education I was sU(;I.:cssfui in applying the principle of maxi­

mum c ffici cllcy to ways of attack and defellCe. En ­couraged by this Sliccess, I came to ask whether lhi ~

same principle could not be applk><i to the improvement of health, t hat is to physical education. For this purpose l he aim o f physical t.--ducation must !irst be made suf­

ficiently clear. Unfortunately, pt.:Qple do not agree in regard to the aim of physical t:ducation . On this subject I have made a study mysdf and exchanJ..!'cd views with many different people. Tod ay, 1 have comc to believe that the ailll s hould consist in makiug the body healthy ,

strong and useful, giving due reb>ard to mental and moral discipline. The ailll of physical education having thus bee n made clear, the next step to tak.:: is to find a way

to apply our principle to it. The \\lays in \\Ihich young

mell arc being lrailled physically arc numerous and va­

ried, but in most civilized countries athletics (iududing" all

varieties of sport:-l) and gynm3stil;s an:: the two kinds

most widely practis.:<!. I shall, llLerefon:, f.:onfine mysell

to criticizing them from the stand point of principles.

There are SO many athletic sports t hat it. is difficult

to speak of them indiscrim inately. However, this much is

cle'lr : tllose sports were not. originally devised to develop

thc body harmoniously nor to make tltl: body physiologi­

cally perfect, but to (.:ompete for some purpose other tha n

t hese. Jllliiturally follows that some muscles arc unduly

exercised while others are ilot sufficiently uscd. Injury

is thereby often done unconsciously to somt: of the orb'dns

of the body. But, according to our principle, whatever

energy we spend, whclhcr it be mental or physi cal, should

be ll10st efficie ntly used to attain the aim of physical

education, namely health. stTength and usefulness. From

this point of view it appears that many kinds of athletic

sports now widely practised must either be d iscarded or

improved , and new kinds devised which betler accord with

K&l,-,lnvan principles. Now, people will natur:dly ask how

gymnastics comes out of this lest. To this I would rcply

that gymnastics is g()(X1 beeausc it i!i not injurious. but evcn

generally beneficia l 10 the orga ns, and also beeause it aims

at the harmonious dcvelopmellt of the Uvdy. At the salllt;:

tillle ~Yll1nastics as JlOW ..... olll1nonly pract ised is lacking in two very importan t things. These are lack of interest and usefulness. There may be Ill;U1Y devices for adding in­terest and usefulncss to gymnastics, but olle form I am advocating: because ofils being an application of the prin­ciple of highest efficiency. It consists of a combination of movcments of limbs, neck and body, each reprcscnting a certain idea in such a way that their combination may result in the harmonious dcvelopment of the body as well as the inculcation of a high moral ideal. Thcrt: is another form which I have already devisc..-d, which is now publish­ed in Japancse in booklet form. T his consists of a comb i­nation of different physical movements aiming at tht: harmon ious develop1llcnt of tbe body, at the same time serving as a training: in ways of attack and defencc. It

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will, therefore, be seen from what I have said that the ideal form of physical training can only be obtain ... -d from study bascd on the principle of the highest or most efficient ust: of mcntal and physical energy. I am confident that im­provements in physical education in future will only be made along these lines.

I have already dealt with the two phases of Jtido : the phase as a tmining- in the methods of attaek and defence, and lhe seeond phase whieh aims at the dcvelop­menl of the body. For both purposes, what we call Ran~ Jori :llld Kata arc gencrally used as the means oftraining.

( B ) Randori Randori, meaning "frce exercisc," is practised

lInder conditions of actual "''Oll lesl. It incilides throwing,

'1'10" 30-<10\)'8' wintor trClill;nll' .. t K<id<ikwan

choking, holdillg the opponent down, and bend ing or twisting his arms or legs. The two combatants may usc

whatever methods they wish, provid.:d they do not hurt each other, or in other words, provided they do not apply the methods as if ill seriolls {"ombat, and all condition that they obey thcl'l1les of Jiido etiquette. which arc essential

to its proper working'.

(C) Kata K ata, which literally means" form," is a formal system

of pre-arranged exerciSl;:s, including hitting, cutting, kick­ing, stabbing, slashing, etc. according to rules under whieh each combatant knows bdorehand exactly what his 01)­ponent is going to do. The training in hitting, kicking,

stabbing aud slashing is givcn in Kala but not ill Ran--25

T,, __ ~i; The Ill .... "' .... Irillhl) h ... hi. opPOnent o!l h ill bat""",,_ K,,'o-II"~"IIW ; The Ihr<>wor ehouldeu hi, oppOnent """"8W'SO.OO "0;>0 .... h i'"

Dan Jlrado holdo ... ol"nrw' divi.ion of KOdokw .. " prncti,in.: Kala Or "for"'''

dod, because if they were used in Randori injuries might

frequently occur, but when t aught in K ata no such injury

is likely io result bccaust.: all the attacks a nd mdl\(xfs of

d c·fl.!LlCI.! ;\rl.! prearranged.

Randor i may be practised in various ways. I f till.!

ubj l.!Cl be simply training in the method of att ack and

dcfellf.;e, tht.: attention should be specially direelL'd to Lhl.!

training in tile most efficie nt ways of t hrowing, bending.

twisting , etc. without special refcrcnce to developing the

body or to mental a nd moral culture .

Handod eil n also be studied with physica l education

as its m,dl! objt:ct. From what 1 haVe already said,

anything to be ideal must bt: performed on t ht.! principle

elf maXi11l1111l -t.! ffici ency.

Om; h>Tt.!at valuc of Randori lies in tht.! abundance of nlo vo..: ments it affords for physical developme nt. AIl­otil<;:r vir tu e is that CVt.!ry movement bas sollle purpose,

a nd is t:x<;:l.!lI l l.!d with spirit, while in ordi nary gymnastics

tho..: I.!x<;:rciscs alld movements lack interest. Til<;: object

of a systematic physical training in Jiido is not on ly tu

d evelop tbt.! body but to enable a mall or a woman to

11 ;~vl.! pt:rft:ct coiltroi ovt:r mind anu body, aud to prcpar",

him or hcr rcady to meet a ny cml.!rgc llcy, \\'hetht:r it Ix:

puredy accident al 01' an attack by others.

( D ) Judo and Mental Training Melltai training' in J lld o can be d t:rived tbrough both

Kala a nd 1{andori, but more sllecessfully through l{an­

dori. As Ibndori is ,\ ~:ompctilion bdwcell two perSOlls

usin~ all tho.: rcSOllfCd; at thdr cOl11mand a nd obeyin j.{

tho..: pn.::scri bl.!d rules uf J lid6, both parties must always be

I'Tncli.,., of Kata lKirionuhi "" .. alrikill" wilh 8WOM ")

aio..:rl, striving' to d ete.:.:t:l tilt: weak points of t he opponent .

and being re.:.:ady to a tt;lck whetlt:ver opportunity permits.

Such an attitude of milld in do..:vising' mea ns of attack le.:.:nds

to 1llakl.! t"hc pupil t::trl)est, sincere . t h(>ughtful, cautiou;;

and ddiberat<;: in all his do..:alings. At the.:.: samc ti!llt.! ont:

is tralm:J lor quick decision :C l1d prompt action. bccau:o;l.!

in Ra ndori. unless ont.! dec ides quickly and acts promptly.

he will lose his opportunity either in attacki ng or in de­fending.

Again , neither contestant in Randor i can tdl what

his o ppon e nt is going to do, 5D that eaeh must always be preparcd to med any sudden attack by the other who

is accllstomed to this kind of mental altitude, by which ht:

de\'elops 11 high degree of mcntal composurt: or "poise." Exercise of t he power of atte ntio l1 and obst:rvation il1 the

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I'rllClico of I(at .. (Kirik,,",; tor "~lrikinll wiU, dagger''')

gymnasium or plaec of training naturally develops such power, which is so useful in d aily life.

For devising means of defeating an opponellt. the exercise of the power of imagination, of reasoning and nf judgment, is indispensable, and such lX'wer is natural­ly developed in Randori. Again, as the study of Ran­dod is the study of the relation, mental and physical, existing bt!tween contestants, hundreds of valuable lessons may be derived from this study, but I will content myself for the present with giving a few more examples. In Randori we teach the pupil always to act on the funda­mental princi ple of ]lido, no matter how physically inferior his opponent may seem to him, and even if he ean by sheer strength casily overcome the other. If he acts al-,-rainst this principk: the opponent will never be cOllvinc-

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I ed of his defeat, whatever brutal strength may have been used against him. It is hardly l1cccssary to ca ll attention to the fact that the way to COil vince your opponent in an argument is 110t to push this or that adva ntage over him, be it from power, knowledge or wealth, but to persuade him ill accordance with the inviolable rules of logic. This lesson, viz. that suasion, not coercioil, i!\ efficacious- which is so valuable in aclual lik--we may learn from Randori.

Again, we teach the learner, when he has 10 resort to any trick in ovcrCOmiJlg his opponent, to cmpfoy only just as 111uch of his force as is absolutely required for the just purpose in question, cautioning him aga inst either an ovcr- or an under-exertion of force . T here arc not a few cases in which people fail in what they undertake simply because they go too far, not knowing where to stop, and

vice versa. To take st ill anotber instance from Randori, we teach

the learner, when he faces an opponent who is madly excited in his desire to gain the victory ovcr him, not to resist him directly with might a nd mai n, but by playing with him till the very fury and power of his violent op­ponent expend themselves.

T he usefulness of this attitude in everyday transac­tions with others is patent. As is well known, no amount of reasoning can avail us when we are confronted by a person who is so agitated as to seem to have lost his temper. All that we can do in such a case is to wait until his passion wears itsclf out. A ll these teachings we learn from the practice ofRandori. T heir application to the con­duct of daily affairs is a very interesting subject of study and is valuable as intdleetual training for young minds.

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( E ) Judo and Ethics Concerning the Illoral pb<l5C of J uJ~l, kt liS first sec

h(>1I' l ilt.! principle of maxilllum-efficiency hdp~ us in pro­moting 1I1ora] eOl1du ei. A man is sometimes very excitabk: and prOlle to anger for trivial reasons. But whl.:o Olle eome~ to consider that" to be excited II i.., all uJiliecessary cxpenditure of energy , alld of benefit to nobody, but mther harmf\l l to otH::sclf and olliers, it will be scen thal students of .hidii must of IH::ccssity refr;)in ff0m stich conduct.

A m;l!1 is sometimes dcsfli)ndlmt 111" gloomy dlle ln disappoi tltmcnl, and has no courage to work. Such a 111all Judi; advises to find out what is the best thing hl~ can do in the cxisting circumstanccs. Paradoxical as it may seem. such a mall is, to my mind, in thl! S:11lle position

itS one who is a t the 7.enith of success. In d ther cast:, t here is only Olll: course to follo\\", the course which after ouc eonsidcrat ioll he deems to be the best to d ecide upon at tilt: time. Thus the teaching of Judo may be said to lead ,t mOl!! out of the depths of disaplx)intment and leth­ar!;y to a sta te of vigorous activity with bright hopes for thc future.

The sanlC reasoning applies to those person:;; who ate d iscontented. Discontented persons arc often ill a sulky :;;tate of mind and blame other peopl\:: for what is their own fault, instead of attendi ng to their own business. The teaching of J lido will make such persons understand that this conduct is against the principle of maximum­efficiency, and enable them 10 reali7.C that by the faithful pursuance of that pri nciple they will become more cheer­ful. Thus the teaching of J lid6 is, in many ways, useful to the promot ion of moral conduct.

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( F ) Aesthetic in Judo Finally, I wish to add a fe w words concerning: the

emotional side of Fldo. Wc are all awarc oftbe p1casur­:!ble sensation given to the nerves and muscles through exercise, and we also feel pleasure at the attai nment of skill in the use of our muscles, and through the sense of superiority over othcrs in contest. But besides thesc pleasures there is that love of beauty and delight in it to be derived from assuming graceful attitudes and perform ­ing f,'Taeeful movements, and in seeing and appreciating these qualitics in others. The training in them, together with the pleasure obtainable from watching graceful movements symbolical of different ideas, constitutes what we call the emotional or the aesthetic side of Jiido.

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Let us now sum up what has so far been said:­Judo is a study and training in mind and body as

well as ill the regulation of 011e's life :.lnd affairs. From the thorough study of tllc different methvds uf aUa<.:k and Llcfencc I became C01\vil1l::t:d that thcy all depend 011 thl;: applicatioll of the one, all-pt:rvading principle, namely: "Whatever be l he objcct, it ean best be attained by the highest or m'lx imunH:.: fficicnt lise of mind and body for that purpose."

OI ICt: the real import of this principle is understood, it !\lay be applied lo ~d l phases of life and activity, there­by enabling one to lead t he highest and most rational life.

The real understanding of this principle lle:e:d not ncct:ssarily be arrived "t through training in the methods of attack and defence:, bllt as I came to conceive of this

idea through training in these methods, I made such training in contests and the development of the body the regular means of arriving at the principle.

This principlc of maximum-efficiency, when applied

to the keying-up or perfecting of social life, just as when applied to the co-ordinatioll of mind and body- in the science of attack and defencc-demands, first of al1, order and harmony among its members. and this can

only be attained through mutual aid and concession, leading to mutual welfare and benefit.

The final aim of Jiido, tht:refore. is to inculcate in

the mind of man a spiri t of respect for the principle of maximum-efficiency and of Illutual welfare and benefit, leading him so to practise them that man individually

and collectively can attain the highest state, a nd at the

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The moment! Thrower ill Thi"""lo~hi succeeds

saml;: tim<:, develop his body a nd learn the arl of aitack and defence.

The KOdokwall is all institution for research in alld the instruction of this science and art, and in fact is the h.eadquarters of all the Jud(l organizations, not only in Japan but throughout the world. It is at No. I , K oishi­kawa-cho, Koishikawa-ku, Tokyo. At present there are

more than one hundred thousand pupils of the KOdokwan. They have taken the oath to be faithful to its regulations, and those who were or arc now being trained by them may be counted by the millions. Pupils who have attained

a certain proficiency are graded beginning with the first grade. The ninth grade is the highest yet attained by any living pupil. Those who aT{; below the first bFfade art:

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divided into fivt: dasses from the fifth up, viz. five to une.

There arc now over sixty thousand graded pupils. In all

tilt: provinces of Japan thcre is at least one Grade Holders'

Association, with their central Judo a::isociatioll in Tokyo.

and the President of K6dokw<l.!1 is also president of the

respective associations. Then: arc similar associations

with a gradually increasing- membership in some for eign

countries as well a.s in Japa n.

J6-

Th~ Exercis .. Hall of l(iiJiikw .. "

III. I-lOW ro SEJ'- AND STUDY JUDO

There an: mallY t hillJ;.tS ncet:ssary for the practice

of JCldi" among- which thl: following arl: noteworthy :-

1. Dojo or Exercise Hall The Dojo, or exercise hall for Jlid(), is used chiefly lor

Ra ndori and K ata, and also for Judo matcbes . Somet imes

it is also used for lo.:t.:lll rcs, or lor tho.:: eXl'ilallh"C of qucs­

tions ,lml anSII'l:rs. It mllst. be a hall having" qlli ll l:d mats.

It must alsu bo.:: Sll\"fOl!llckd by pallds of about t,he shoul­

der's height , and al l nails, and pillars with angles Illust be

diminakd to prevtnt any dal1j:{tr ill nllllling against them .

-37

If the mats are torn, o r if there arc openings between

them, or even if t hey arc hid uneveilly, there is a risk of

danger. T ilt.: origin of the /lame: " DOjo" is fouud ill Bucl­

d hislll, .lIld Illeans a "Buddllist lllon:lSl\;ry." The hall. therefore. must be as de;ul as possible. and withiu it there

shuuJtI always be lhat ook:11111 and s,lcn:d atmosphe re

which oug-hilo prevail ill every place of worship or mental trailling.

2_ Judo-gi or Costume for Judo T he costu mc lo be worn while practising (:onsis\;!; of

a coat. trousers and belt. T hcy arc shown in the accom­

panying illustrations. The L'OStumc is whik:, and the bell

is of a different colour according to tin.! grade of praetict:. These grades arc as follows:-

(a) A bbck bell ill till': first fivt! iJ.1 n* ",rades of q u:dificd students;

(b) A striped belt of red and white from tht:

sixth through the ninth Dan bl'J'ade;

(e) A red belt in the tenth and ali higher

Dan grades. (Those who hold sixth a nd all highl.:r

Dan grades may also use the black Ix:lt ror thdr respective belts above-melltioned:)

(d) A white belt is used by all student:; uu­

~llla lificd ror the Dan and KYli grades; (e) A brown belt is used from the third Kyii

*The course of Judo is divided into two grades or ranks called .. Da n " and" Kyll." In tbe Dan ~ru.des. the number" increase to indicate Ule highet· gr ade, but in the l{yU grades, it is difforent: thus the fit's l i<yu grade foUows the firllt Dall " l'ad",.

3!1-

gradt.: to t he first Kyii gradc of t he !ienior division

(adults) ; (f) A violet belt is llSL'd from the third KYIl

f,rrade to the first Kyil j.,rradc of thc junior division

(boys). Those who hold Dan or Kyu f,l'J'adcs ill the WOllH;Il'S

division, which correspond to those of tbe men's division

mentioned a bove, should usc respectively the rcd, red

a nd white, black, brown or violet belts with white stripes

around the middle.

T he names of each part of t he costume arc itS

rollows :-

Illustration No. 1. (Left)

I. Idt-llido-collar 2. right·~ido-collar

3. le£,·£ront..:;ollar •• right·front·col lnr 5. [c fl~utcr.upper -<llecvc 6. lcft·outcr-middle·slccve

7. ,. Il. 1 :~. 15.

I. ,.

le£t-outer -Iower·$leevc 8. rigllt-j 1\IlCT -uppcr-l)ieeve right-intlcr-middle-slcevc to. rlllitt-inncr-Iowet.,sleeve lcft-sidc-l>dt 12. {ront.b<Jlt

right-side-hcl t 14. lcft-out er·bottQm·trou~er~

Jeft-fronl,hoItOJI,·trousers 16. lcft-inner·bottom-ttousen

rlIustration No.2. (Right) oock-collar 2. bnck-belt right·\mck-bottom·trouscrs 4. left-bm:k-bottonHrouscrs

(14, 15 I1nd 16 of lIlu~lrlltion No.1 show the names of the left trou~er; hUI those of the right trouser <,:orrespond lClipcctively to the left one.)

3. Salutation and Manners in the Exercise Hall A!'. the salutation is all expression of rCspCl:t for

"thers, it shou ld be made bolll hefore and after Kata and I-<andor.i, as well as before alld after thl: match. Both Kata Hnl! Hamlori are by nalure mclbods of contc!>! and

t he combatants Illust pay resped to each othcr both before and ancr the exercise. 1n this way we express our statt: of mind, viz., that we only contend for perfection in the technique and practice of Jtido, so that the (:onlcstants

lllllst respect each ot her.

There arc two forms of salutation: one is made sit­ti ng and the other standing.

Sitting salut;ttiolls should be made as follows; t he

eombata nls sit facing each other with a sp.1.ce of aboul 5 feel between them. (Sec Fig. I.) The insteps should be dose to the Illal; lill: hips rest on the heels; the hands are Oil the mat with the fin~er-tips turned slightly inward, and when makiut.{ a bow the back of the head should be as low as the shoulders. (Sec Fit.{. 2.) This is a formal sit­

ting salutatioll, and lI1ust always be made before and after practisi ng Kala. As it takes too IIllich time to observe at

I

...... 2.

ordinary timeS, contestants arc permitted to abbreviate it somewhat before and aller the practice of Randori. 1n this case, it is permitted to have the toes and hips raised; however, the movements of hands and head must always be formal, as previously dcscrilx.'CI.

Standing- salut.1.tions should be made in the follow· iur.! mallller: combatants should stand face to face with marc roolll betwcen them than when sitting, as shown in Fig. 3. 1'hl!n the salutation is made as shown in

Fig. 4. Accorditlg" to the time and circl1mstance , salutations

may be made from a greater distance t.han that mention­..:u above, but they should always be made sinccrely.

Salutations must be madl! not only between tht:

combatants as in Kata or in Randori, but also toward the dais of the superiors and instructors, before entering and

leaving the hall. There are many other thin/:,J'S which thc novice must

learn in addition to the salutations. First, the Jlido h;l\l is a place for cuilure, and one must, therefore, compose uneself and behave seriously without talking idly or acting noisily. Both at the timc of practice and during the match onc must apply the fullest energy to every cx~

ercisc. Evcn at lhe time of repose, olle must maintain ;\ good deportment and be attentive to others who arc doing f..!xcrciscs , and by watching them learn some lessons which arc hclpful for improving oneself. Finally, c0-

operation should be thc ruling spirit to keep the hall wcll arranged and to maintaill ordcr, sillce it is the common

bouse for all who usc it. tot. . ...

~ill. I. ~\",dllm lMltnl ""[,,r"[ 1)OS\I.,r"

4. Posture

~i",. 2. Nnwrnl ,·jlrht DOOII"ro (with ril[ht foot .. dvancedl

Thc fundamental natural posture is that shown in Fig. 1. This position consists in standing naturally with the fcet 12 inches apart. Various other postures come

from this fundamental position. The" natural r ight" posture is made uy strctchil1~

Ollt Loth the right hand and right foot as ShOll'Il in Fig. 2.

The •• natural Icft" posture is mad<: hy strctchil1~~ out both the Icft Imnd and right foot.

The fundamcntal self..defensiv<: posture is acquired

by slilllding with 1cj..ts Ii.rther apart than ill tht:: fund,l

mental posture, say one step instead of olle foot, :111,]

~ttinj.{ down the waist slightly as shown in Fig. 3. The right 01" It::ft sc1f-dcfellsivc posture is mad.· hy

I'il[. 3. i>'"."r,,,,,,,utaJ , ... If. d(>f""~h· ,, ~l"r"

:-In·tchi1l1: Ollt the rcsj)Ct·tiv.· halld and Jilll!, ami takill~ the postuw s holl' 11 in Fig. 4.

NaUirai

/

FLlnd:lIll(,1l1al nalur.d III.stur.· Natural right postllr. · Natural left postur.·

, c. / FUlldament:t1 self-d eft·wii" ., fXlStUl" ~lf-dl;""l\·llSl"\· Right sclf-nefellsiVl" posture

postun·s Left self-defensive Jlvstllrc

5. Km:ushi or Unbalanced forms

There arc eight ways of "KU;'.llshi" U;tscu on the fUlld:lIl1cntal !tatural posture. The names of these eight

Kuzushi vary according to the directions ill whieh Kuzushi is made.

fij{. 5 . [light Iront corne,' I\,,,,,,.h; Fi..:. O. Wt frOllt corne,' K,,-,,,,,,hi

6, H ygiene

If <'11..: lI'i~It..:~ t" secur..: Un,; be~t results fr0111 this

1'1";\I.,t i(;<.: (>lIt.: mllst <':"lIsisi<.:nt.ly observe moderatiOIl in

<.:a t ill),:', drinkiug' :wd sleeping, One must abo itS a mailer or ..:ourSl.: rcCr:.'u from cating and drinking duri ng the ex­

t:r..:isc:;. as wdl as innmxli;lteiy before and aRer tilt: <.:x­

,'rciSt!s, In order lo obtain :-;nund sleep OJlt: must liuish

wi tho ut d;lIlg'er flf bdng' disturbed , Keeping' 0 111":; houy

d":0 11 ;lIu l 1V, ':u'i llg' llI'at doilu:s is \I ~:('essary \I"l ,n il y lOti' Iwa lth bil l abo Oll t of cot1~id"I':lli(l l1 for others, l ksir1 , '~,

"lIe sl lnuJd n'III\'ml:lt.:r to p:ln: one'S nails, Ilot ln IU;glel'1.

111cnding ()IIC'~ clothes, ;lnd tu l11ak\: oneself L'ol\lfurta b k

I" f ... ro.: beginning, During the ext:reises o n.:' should dl'lSc

thc 111"11111 :1111 1 h1'I,'ath, ' throng h lilt' Il~f:',

7, MovemcnT .. Movemcnt" mea ns tht: manner of adva ncing l,r

rf'treating- forward or backward , to the left or right, fr0111

the place which has been occupit:d, Each detail o f this

will be t:xplai ned fu lly when Randori is givcn , O nly ito; pri nciplc wi ll bc mcntioned here,

Wh~ll""vt:l' Ofl(' movcs onc 's body forward or back

ward. \.0 1.11<' left Ill' r ight, or tu rns in any directiOl l, tlw

wl'ighl of 1 h .... hody sholild be on t he leading fQt,t. When

on .... g:els close t" the 1..'01llbatant, "l5Ugiash i" 1\lU~l l.w

used, (I n this om: fnol is uS(.'<i as the leadin g foot, whi le the traili ng fool comcs lip In within a few in ches of the

]e.ldillg foot before the 11<;;x1 ~tcp is taken.) This differs from the ordi nary walk wh .... n the feet are used altefll a.i<.:ly,

\,vhen using" lsub,i;tshi," the step taken should nol be ton

wide, nor should both fed Ix: brought together.

S peaking of the 1ll0Vemc llt, we Ill ust here call attcll­

tion to Olle importallt point. Whell; \ euntestant is I'lIsh­

t;d hy an uppolwnt in tbndori practke, he shou ld pull tht: "Pll()llcnt more than h t:.: is pUSIK'<i wililollt losing" hi~ 011'11

balancc; also, when lit; is pulkd by his "ppunent he should push l he uppOliellt mOre than he is pulled without

hlSillg" his OW I1 bala nt,;\.', In this way hl' C.III Im'ak the

" I'POlle ll t's posture nr halal lt 'c ;1I~d thlls make hi:,; ;,tLwk

:tg""i l1 Sl lllc oppolte Jl l casivr,

I), Tsukuri or Fitt ing Action ror Attack. ;lIId Kake or

Attock T o break the uppo n .... nt ·s pos ture or bala nl'l,' so ,IS t ..

!lI<1ke onc's attack <,:lsier whill' h,)ld iuh' 'Illcs< :l f n',ltly a t

t ht' same time to attack t h\: UPPOlH!Jll. is t.:allt:d Tsukuri

or "the fitting action for :It.taek,' ' ' ] '0 atta ck t l .. , 0PP0I1 CII(.

with ctTcetivc techniquc. whil, ' his POStlll 't' has ;drcad y

been brokcn by T sukuri, is n:l1ll1..'<i K;lk\: "r altat;k, In practising Randori, especially in studying till'

technique of t browing, i t is acl visable to cmphasize first

t he importance of T~mkuri and later to lI1;lkl' a n e ffort toward the practice of Kake. This is bt:caww when on.

has mastered T Sllkul'i the technique may b<.: dr~ctivl,' ,

though tht,; Kake or a ttack is not so hard, ()" t he eOJl

trary , if one has 110t yet mastered Tsukuri , the techniqt1t'

might not bc effective ag<linst a strong opponent though K akc were dOllC well; and if the oppo nent is weak, it i~

possible to hurt him, Thc teclllliquc, thcrciol'e, shuuld bt; used when the oppo nent's postu re or balance is lost of

itself, or after it has been lost by pushing, pulling, lUfI1ing,

luring, etc,

In addition to what has been said about throwing thc opponcnt orr his balance, it is also Ilccessary to hold oneself ready to attack. This means to take advantage of the opponent's loss of balance, while at the same time

putting oneself in a favourable posture for making the attack. The relation between Tsukuri and Kake is 110t

only found in the technique of throwing but in all other

forlll~ as well.

9. Ukcmi or Falling-way Before practising Randori, "Ukemi" or "fallillg­

way" must be learned. Ukcmi is the way which enables Ont: to fall easily without hurling: oneself whether one falls alone or is thrown by an opponent.

There arc several kinds of Ukcmi: falling forward

and backward. falling to tbe right side and to the left. and falling by the somersault. The practice of Randori cannot be done correctly unless Ukemi has first been satisfactorily mastered. In the following, we cx plaill the

different ways of falling. a) Falling backward. This is an exercise in falling

backward. Take a postmc as in Fig. la. with the leg:­thrown out, and faU backward as in Fig. I b, hitting the mat with OJlt: hand while stretching the arm at an ang-Ie

of 30 to 45 degrees with the body. When hitting the mat with the right hand, onc should slightly twist the body to t hc right. Similarly. when hitting the mat with tbe left hand, Olle should slightly twist the body to the left.

In practising falling backward there is one thing which it is important to bear in mind. This is an exer­cise to Vrev('nl the head from striking the Aoor. For that

I

-51

l)llq~,S(;, OI U.; ~11l1111d be aeCllstO!11cJ , in falli ng- backward,

to bt,;l1d Ihe !It,;ck forward so as to fix t he eycs 011 the kl1ut of Olit'S belt.

If this practice has been nearly maslcrr;:d, thell th;lt

of falling backward from a sitting postme as ill F ig. 2a, ~hol1ld Ix: stud ied. Next. raise oncself as in Fig. 2b, :111(1 lh~'n f."'tlling backward with the instep of the lcft foot

tt)lll'It i n~ lhe mat, toes ltlTUL-d to the right as in Fi~. ze , :ulil lill.tlly ~'olUplctill!! lite fa ll as in Fi1;. 2d.

52-

The next practice is to fall backwa rd from the Sl:lIld illg posture as ill Figs. 3a, 3b, and 3c.

F ig. 3a shows the standing postnft,;: Fig. 3b shows the position ill falling backward: Fil.!. 3<': shuws the P(l_ sitioll at the moment of the fall.

Fill:.:L E"crc;q,, ;u r"II;,,01 Iotu:kw"rd

-Sol

After thcse exercises have been done, there comes the practice of the backward somersault. Howcvcr, we will not explain it here, because it is not so necessary in lb ndori as in other forms.

b) Falling forward. In this exercise the position of the hands hitting the mat or ):,.'Tound is most important.

When one falls forward, the hands should be on the b'TOlInd with the fil1gcr~tips turned in at about 45 degrees so as to makc the elbows bend in the right way, as shown in Fig. 4. This prevents one from being hurt.

To practise falli ng' in this manner, one first lies all

the stomach . with hands in the position just mentioned and tips or the toes all the b'Tound. Then one stretches and bends the elbows alternately as shown in Figs. sa and Sb. If a il e repeats this exercise the muscles of the

arms will develop, and the dbow and arm joinL<; will b'TOW strong.

But this Ukem i is not sufficient when one is pushed down from a height. or is thrown down in somc way or other. To mcet tbose emergencies one must learn to somersault forward.

-55

)iig. 6. 'Il'r~ ... ~t"IIt.." o{ e""''ei8'' in faUing forward

To practise this, the combatant first puts his right foot a little forward, then puts his right hand betwecn the legs, lowering his head as shown in Fig. 6a; then he draws both hand and head in more, and finally pushes

them as shown in Fig. 6b, t h rowing his legs and waist lonva rd: Fig. 6c shows lilt.: posture when the somersault has been finished . By repealing it from lime to time, one can evt;ntuaHy ~tal1d by the mere force of falling. Thus

by tht; practice of falling forward the forward solllersault may be accomplislled.

The ncxt exercise is that of fa !ling sideways. To du

this the pupil sllpports his body by putting his hanu all the fa!ling side on the rllat with linger-tips turned inward

w as to make the duow helld in the right way. H the occasion uem;lIlds it, he should twist his body, 1x:nd ing it at the same t ime and putting tilt.: other hand on t he mat with the fillgcr -lips turned inward, as shown in Fig. 7.

Fig. 7. Exeroiso in fallinsr 8idew .. y~

-57

If til!: L'OlItestant "hould find it hard to belld hi"

booy in this way, he should turn it upward and hit tll~

Illa.t with his frcc ham!. This will support his body w

that it will not. hit thc mat with too great a forct.: .

Thosc subjects which arc indispensable to til.: cxer­

d"es have bet::JI oullin.;d above. Now we call take up the

practice ofRaJl(iori, and followillg t.he ptincipk of physical

educ:ation we will observc the rule til at a moderate exer­

cise should come before a strcllllOUS cxercise, as well as

;1 sym illetrical exercise before an irregular exercise. - Furthermore, we c:al1 no t learn the ari of "i\tcllli"

(an attack using hitting, poking, kicking, de .) only by tbt.:

practice.:- of Randori. Hence it is advisable to practise the

techniquc of Atemi with Randori . As lhe individu ;1.1 exercise of "Seiryoku Zenyil

Kukll1llin T a iiku" or "the national physical education

bast.:d Oil the principle of maximum-efficiency" COLll ­

bines the principle of physical education with the art of

Ah:mi, it should be practised before the study of Randori

is bcgun.

IV. THE KINDS OF TECHNIQUE

The exercises of Jlldo as an art are divided into thrce

different kinds, Nag:c-waz;J, K atame-waza and Atewaza.

1. Nage-waza (llagc- throwing+wMa- art) or

" Tht.: Art of Throwing" is an art devised to throw tilt:

oppollt:nt 011 t he grollnd by breaking his posture or caus­

ing: him to lose his balance. Then; arc Illany varieties of

t his art (,f throwing, which may Ix: divided roughly into

t wo principa l groups, "Tachi-waza" and" Sutemi-w:lza."

A) Tachi-waza (laclt£--sta.nding+wa::a-:trt) or

" T ilt.: Art of Throwing in a Stand ing Positioll" i" also

divided into three large groups; they are" Te-waza" (II!

- hand +wa=a-art) or "The Hand Ttchnique," .. Koshi­

waza" (koslti-waist+wa,ca-art) or" The Waist To.::ch­

nique" and "Ashi-waza" (aslti--fooL +wazfl-art) or

"The Foot T echnique."

6) Sutcllli-waza (slflelll£-throwing oll eself + 'wa::a­art) or "The Art of Throwing in a Lying Position 'j

is also div ided into two groups; they are" Masutemi­

waza" (1llflsule11li-throwing oneself just behind +waza - art) or "Thc T echnique of Throwing while Lying Oil

One's Back" ami "Yokosutemi-waza" (yokoslfle1lli­

throwing oneself side ways+1vaE(l-art) or "The Tech­

nique of Throwing while Lying all Olle's Side."

Every teclllliquc IIses tbe hand and tht:: foot, as well

as the waist, but the action of the waist i" the most im­

portant. For the sakc of eOilveniellce , however, the c1as-

sificatiOIl is madt: according to th/:: relatively conspicuous adiOils ill the art or tcchniqul;.

2. Katamc-waza (la/awe-hold down ur elllltroi+ 7Va;(1~art) or" The Art o f Grappling" is ;1/1 art devised to hold t he lJpPOllenl down and to choke him as well as to bend or twist ll\(; joints of his arms or legs, SO flS to ca use him pain, disable him o r eve rl to cause his (kath.

It is roug-hly divided il1tO three 6>Tnllps, namely; "05:IC­\V,lZ:)" (osflt'- hold +wa;a- art) or ., The Art of Hold· ing," ., 5 1,ill1e-w;1.7.;\" (sltime- strang-Ie +wa.:;l1- art) or

.• Tllc Art of CILok ing"" a lLd "K wansdsu-wa;.:a" (!.:W(W­

.set.m-joi nt+ ~I'a;fl-ali.) or "Thc Art of lknding and l\vist.illg tile JoinL<;,"

3. Atc-waza (Ole- strike . t ll rust, or kil.: k+wlI::t~­

art) t,)r "·I·llL.: Artoi' AU:leking tllC Vital POillts" is ,Ill ar t

dcviscd tu hit, chop, thrust, pob.: or kick thc vital poi nts of the opponent with the fi st, the side of t he liltle finger, lhe finger-tip, the elbow, lhe knee-cap, the ball of tI lt.: fOOl

.lI lt! the hed, to cause him pain, to disabk him or CVC II to kill him. It is roughly divide.d into two principa l groups, na mely; "Ude-atc" and" Aslli-ate." t.:ach of which is

again stlbdivided into many techniques. "Ude-ate" (lIdt'-arm +flt ... -attaek) or "The Art of

Attacking the Vital Points with the Arm" itrcludcs a lly . lc.::lioll which attacks the v ital points of lll (~ upponent

witl, allY part o f the a rm; and" Ashi-atc" (aslli- foot + IIIe-kiek) or "The Art of AttacklILg the Vital Po ints with the Foot" ilLcludcs any action which kicks the vita l points of t he opponent with any part of the foot.

The foregoing state1llcnts may be summed up ill Ult~

following table :

60--

Nagewaza (The Art of Throwillg)

Katame. waza (The Art of Grappling)

ach;wnw ... (The An of Throwing ill a Slaml· ing-Position)

Sulcmiw'17.n ... (The Art of Tllrowing in a Lying Position)

Tcwnza ......... St:,o;nage, Taiotoshi , SolO. (11" '"hI'~and) makikomi. Katagurum'l.

e<; mque e tc.

KO!!hiwaza ... Ukigoshi, Haraig(!Bhi, 6-(The Waist goshi, Hanegoshi, T suri. Technique)

komigoshi, Utsurigo~hi,

etc,

Ashiwaza ..... . Hizaguruma, SasllCtlsuri· ('111e F()(Jt komia9hi, Okuriashibarai, T eclmique) -

OS<ltogari, DClIshibnrai,

M'l~utemi·

/(osotogari,

komiashi, !<,ouchigari, O. llchi!;:"i. Uchimnu., "Ie,

wata . .... .. , .... Sumigaeshi, T omocllag-c, (With olle's U buck on the rmmj,(e, etc. ground)

Yok(>::jutcmi· waUL ........ . ... Ukiwaz.1, T:lniot~hi, etc.

(With one's side on the ground)

Osaewaza ,., ... Kesagatame (two kinds), Katagatame,

(~fdi~~)of Kamishi~o~atame, Yokoshihogatame. Ku. mrekamlshihogatame, elC .

Shimewaza ... .. . Katajiijijime, Hadaknj ime (two kinds), (The Art of Okurierijime, Kalnhajime, Gyakujiijijime, Choking)

etc.

/(W;Jnsctsu· wa?" .. , ....... "Udegarami, Udehishigijujignlame, Ude.

(The ~rt of hishigizenpakugatame, UdehishigihiQ' Bcndlllg and Twist. glllll1ne, Udehishigiw;Jkigatame, etc. ing the Jointls)

..... ,

Yubisakinte .. :r~ukidash;. RyQj:.:nnlsuki. (The Finger- elc lip) .

KobushillU: nne Fist)

Udc ........... .

... Nanameate. Yuko.."ltc, Ve· ale. Tsukiage, ShiClisuki, tJshirolSuki, Ushi r(>Sumi. ~oki, Tsukknke, Vakou.::hi. U~hiroIlChi, I Jchiotnllhi. elc.

(Till! Arm)

AtCWHZU

[ rhe Art of Attacking the Vi!/ll PU;nIB)

Tef.(nlllname ... Kirinroshi, NmlllntclIdli, (The Iitde etc finger ~If.(e) .

I lijilttc ......... Ushirome, etl·. [rhe Elbow)

lli z/lga~hira. alc .• . ..•..•.••.•. Muc<ltc, ct<: .

(The Knee. <.;lip)

AlIhi ...... . ", .. Sekitoate .... .. Nanamegeri, Maegeri,

•• b.

" d.

o.

f. ,. h. ;.

62-

(The Foot) (The ball of Takageri, etc.

Tsukidaahi Tegatana Ko!nahL HllryO

RyOgantsuki

Hiji AlIhiura HiU(!Mhira Kokato

the foot)

Kakntoate ..... ,Uahirokeri, Yokokeri, etc, (The Heel)

The finger end (A/>U" digitus) Ulnar border of hand (MargrJ ubwris mat/us) Fist (CapUIJa ossillm matacarpi II ~I llT) The lIide·6st

{Middle finger end (A~ digit": Ill) Ring 6nger end (Apex digiti IV) Olecranon or Elbow 11lt ball of the foot or toe Pntella or KlI.ee-call Heel (CO/x)

Remarks ;-

The attacking place oCthe Tcgatana is the soft, fleshy part of the hand below the little finger.

The attacking place of the fist is (I) the first joints or the b.'lSC of the index finger and the middle finger; (2) the second joints of the index and the middle fingers.

The attacking place of the dbow is the top of the ulna.

The attacking place of the knee-cap is the p.ut stretching from the lower end of the femur to the upper half of the knee-cap.

The: attacking place of the ball of the foot is the cush­IOned part at the base of the big toe and second finge r.

The a.ltacking place of the heel is the pL,rt which normally touches the J"Y!·olllld.

Boy,,' rlivision gf KOdokw"" T'aclli",nza ~Arl of throwing in " At4n,linl: posiUonl ahowiml

S""mage. or 0"" kind'" h .. "d t..<:h"i<4"~

A

B

IA) SILl ..... ;"',.,.." IArt 01 lhrowillll in .. iyin,," position) showing r" ... o.m"ue. IBl O''' 8 '''''~'' (Art 01 holdinlr) ~ how;nlr K"mi8~ih"~a!"",,'

Shim"".....,,, (An 01 chokinlr) ahowinlr ono WAY o! 1/",l"1<";;,,,,,

K,v,,,, .. la,,wQ;;Q (Art 01 ben<.ling and twislin&, the ioinbo\ .how;nll: Ud"h;ahigi""QkiI1<lIQ"'~

Udcah. (Art Q( lltiwokillir vita! point8 wiU, tbe firm) showillli\' Hijiuls lIhe ~J bo",,)

70---

A.~i'll" tArt 0{ ,,(laCking vital points with th .. foot! "howimr S .. k~""!,, (U,e baD 01 the loot)