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MODERN JUDO

By Charles Yerkow

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Volume I-Basic-The author has always placed heavy emphasis on sparkl1ng, clear-cutsequence photos and this book Is no exception. More than 400 fast-action picturescoupled with clear, simple Instructions ,;ulde the beginner In his quest for higherJudo learning. $5.00

Volume II-Advanced-Judo players who have had considerable random experience w!lIfind this volume an excellent guide and reference for continuing Judo success. Actionsequence photos spell out advanced techniques of value to all experienced players. $5.00

Volume 111-40 Gokyo Techniques-In this book for the advanced student, the authordetails and clearly !lIustrates a teaching presentation of the 40 throwing techniques. Anexcellent book for all advanced students. $5.00

All three volumes In a set $13.00

SPORT JUDO

By Charles YerkowHere Is an extremely popular treatment for those who choose not to take Judo quite

as seriously as the real enthuslwsts, Hunareds of lllustratlons show the various stepsof. each throw In slow, movle-l1ke progression. The text and photcs are expertly com-bined to make this book a manual of seif-Instructlon and a valuable addition to thel1brary of anyone who considers Judo a useful means of self-defense. $4.50

KILL OR GET KILLED

Manhandling and Mob Control Techniques

By Rex Applegate

Lt. Col., USA, Retired

Our enemies, m1l1tary, criminal, or subversive, must be beaten at their own game andthis book Is designed to help you meet this situation with Intensely practical andforthright descriptiOns of the techniques of hand-to-hand combat and mob or riotcontrol. Extensive changes have been made In the current edition to Incorporate thelatest methods and one completely new chapter Is devoted entirely to the use of chem-Ical munitions In mob control. The original concept of training for Individual hand-to-hand combat has been retained and broadened. Individuals and groups wlll definitelybenefit from the use of this book. $3.75

LIVING OFF THE COli"t~ RY

By Bradford AngierThe perfect survival handbook. Here -Is the sage advice of one of America's foremost

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Available through your local bookseller

or direct from

THE STACKPOLE COMPANYHARRISBURG, PENNSYLV ANI A

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CONTEST

JVDO

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By Charles Yerkow

From the word HAJIME this book will im-prove your ability to win in this keenest of allcompetitive sports. The first book of its kind inthe field, CONTEST JUDO is a highly uniquecontribution intended to improve the play of be-ginners as well as advanced Judoka.

It covers in detail important aspects such asevaluating your opponent before the bout begins,how best to play and counter-play, the tech-niques most often used in a shiai, what dangersexist when you try to kill an opponent's attemptto throw you, how to conserve energy, and howto train to win.

Equally important, details of the latest nation-ally prescribed rules; on how to plan and stagea Judo tournament; how to judge or referee; arefully covered in the author's easy-to-understandstyle, aided by clear action photos.

Top-ranking Judo teachers and competitorshave contributed their advice, time, and talent tothis compreheQsive text on winning contest Judo.A special attraction is a complete chapter de-voted to the story of the extensive Judo programthroughout the Strategic Air Command.

Your Judo library will not be complete with-out this book.

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THE STACKPOLE COMPANY

Harrisburg, Pennsylvania.I'

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Author

Charles Yerkow has long been established asan international authority on the subject of Judo.His efforts to publicize and promote this mush-rooming sport reach the far corners of the earth.

He was attracted to Judo more than twentyyears ago and has been an instructor in Jiu-Jitsu and Judo for about the same number ofyears. Yerkow has been active in physical edu-cation most of his life and is currently instruct-ing Judo at Queens College and at variousYMCA clubs in New York City.

His many personal achievements in the Judofield include the vice-chairmanship of the Na-tional A. A. U. Judo Committee and the rankof Second Degree Black Belt of Kodokan,Tokyo. He is the author of six previously pub-lished books on the sport . . . MODERN mooin three volumes-Basic, Advanced, and 40Gokyo Techniques-meets the needs of beginnerand expert alike; SPORT JUDO-a populartreatment; JUDO KATAS-designed for brownand black belt holders; and OFFICIAL JUDO.

THE STACKPOLE COMPANYHarrisburg, Pennsylvania

--- '.

MODERN

MODERN

MODERN

SPORT JUDO

JUDO KATAS

JUDO,

JUDO,

JUDO,

BY THE SAME AUTHOR

CONTEST JUDOVolume I-Basic TechniqueVolume II-Advanced Technique

Volume III-Forty Gokyo TechniquesBY CHARLES YERKOW

THE STACKPOLE COMPANY

PRENTICE-HALL, INC.

QTHE STACKPOLE COMPANY

HARRISBURG, PENNSYLVANIA

Author's Preface

Copyright @ 1961 by Charles Yerkow

This book is the first of its kind devoted entirely tothe techniques and conduct of Judo in contests, treatingthe various aspects of shiai in the hope that the recordof past tournaments, observations, and the advice andinstruction of some of the top U. S. and Japanese Judoplayers will prove of value to everyone reading thesepages.

There is a saying that the first hundred contests willbe your hardest. After that things will be easier. Eitherway, what is needed the most is practice of a right kind,and that's what this book will cover in text and photo-graphs.

A contest or shiai does not have to degenerate, as somany do, into bull-rushing and power tugging and push-ing. Such playing shows improper teaching and training.When two good Judoka pair off for a bout you will wit-ness a greater degree of caution, faster and harder at-tempts at throwing, but always the proper application ofJudo principles and techniques. It will appear that youare watching a routine randori, since there will be a free-dom of movement and relaxed postures. As you watch,however, you will notice that the attacks are quick andhard, that each player is intensely on guard and con-stantly aware of and utilizing every opportunity thatpresents itself.

ALL RIGHTS RESERVED

Library of Congress Catalog Card Number: 61-10819

Printed and bound in the United States of Americaby THE TELEGRAPH PRESS, Established 1831,Harrisburg, Pennsylvania

v

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As you know, there are three ways in which Judo ispracticed and played:

1. Kata-or the prescribed forms.""2. Randori-or free-style playing.3. Shiai-or playing in contests.

Surely you have seen good and poor kata and goodand poor randori, and you have seen good and poor con-testing, and may have even participated in one or theother. What you know, therefore, is that shiai is an ex-tension of randori, and randori is an extension of kata.What this means is that every contest should be basedon the application of correct Judo principles.

Although kata can be taught through a book in simple

explanations and illustrations, randori and shiai pose aproblem since both depend on free movement, timing,and the sensing of the moment at which to hit the oppo-nent with a throw.

If you have had proper training and practice in Judo,you will have developed your imagination to the pointwhere you will be able to visualize technique applica-tions from the text and illustrations in this book.

Nothing can be more exasperating than to step ontothe mat for a contest against another Judo player and'then be taken-either through some oversight on your

part or through some unexpected or clever move on youropponent's part. EitheT way, you lose. The contest goeson, players winning or losing to the degree of theirability, endurance, or luck, and the most that you can dois promise yourself to be more cautious in the future,and, of course, train harder.

The question is: Will hard training be enough? What

must one really have in order to win in contests? Howbest to train toward this goal?

. The most logical answer is: There is no substitute forexperience. Nothing can alter this fact. As proof, one ofour top U.S. National AAU Judo Champions has, sincean early age, been entering every and any Judo tourna-ment he could find, contesting against every conceivabletype of opponent and style of playing. This results notonly in developing a fine degree of skill but also createsa mental attitude which spells out a seasoned and contest-wise Judo player.

Reading about Judo contests is not going to producechampions. Reading about a player's pet way of executinga throw or using a mat technique is not going to give youthe same ability. Reading about the many ways and meansemployed to out-play opponents in "contests is not goingto give you the edge over them when your turn comes.But all of this, as presented in this book for the first time,will "give you advice and information which you may putto use, fitting it to your own particular needs, abilities,and nature.

This book, therefore, is an attempt to help-1. Players who wish to improve their contesting skill

and strategy.2. Players who need information on how contests are

judged and refereed, and how to stage and conduct tourn-aments.

The author extends his sincere thanks and apprecia-tion to all who assisted and contributed to the prepara-tion of this book.

vi

CHARLES YERKOWVice-Chairman

National AA U Judo Committee

vii

.Judo Katas, By Charles Yerkow, Prentice-Hall, Inc., N.Y.

Contents

Page

Introduction 1

ChapterOne: Most Effective Contest Techniques. . 7In throwing:

Uchimata, Tai-otoshi, Seoinage, Osoto-gari, Tsurikomi-goshi,Ouchi-gari, Kouchi-gari, Ogoshi, Tsurigoshi, Haraigoshi, Hane-goshi, Ashi-barai, Tomoenage, Sukuinage

In holding:Kesagatame, Katagatame, Tateshihogatame, Kuzure-Kamishiho-gatame

In choking:Okurieri-jime, Hadaka-jime, Gyaku-juji-jime

In locking:Ude-gatame

Training for Contest Judo, by Captain Phil Porter

Chapter Two: Favorite Techniques 49Tai-otoshi, by SjSgt George Harris, 4th Dan-O-soto-gari, by FrankM. Hatashita, 4th Dan-Counter to Ippon-Seoinage, by Prof.Takahiko Ishikawa, 7th Dan-Employment of Armlock in Ncwaza,by Prof. T. Ishikawa, 7th Dan-Hane-goshi, by Henk Janssen, 3rdDan-Hidari-Tsurikomi-goshi, by Dr. Eichi K. Koiwai, 4th Dan-Right Uchimata, by Dr. Tsuguo Naruke, 4th Dan-Harai-goshi, byCaptain Pml Porter, 3rd Dan-Hane-goshi, by A(3C ToshiyukiSeino, 3rd Dan-Sukui-nage, by Prof. Masato Tamura, 6th Dan-Uchimata, by Vince Tamura, 5th Dan- Taiotoshi (Advancing andRet"eating), by Walter Todd, 4th Dan-Oguruma, by. Ben Camp-beli, 3rd Dan

Chapter Three: The Beginning Of A Contest 75Discussion of good practices

Chapter Four: Playing To Win 85Conserving energy-Killing opponent's throw-Repeat attacks, com-binations and counters- Taisabaki

Chapter Five: Mat Techniques In Tournaments.. 123When to drag opponent to mat work-Escaping holds-Coveringup in mat work-Choking-Locking

ix

Page

Chapter Six: Judges and Referees 137Problems and methods of judging and refereeing a tournament-Calling points,. half-points, decisions, and draws-Timekeepers

Chapter Seven: Staging the Tournament 149

Notices-Facilities-Publicity-Registrations - Eligibility - Classifica-tions-Conduct of Tournament-Duties of Officials-Conduct of theBout-Illegal Actions-Dual Meets-News and Results Bulletins

Chapter Eight: Judo In The Strategic Air Command 175SAC'sJudo Program

Conclusion 185

Terminology. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 187

Index 189

Introduction

x

FOR MANY YEARS now the sport of Judo hasbeen growing in the United States and in every countryof the world. Since 1953 when the First National AAU

Judo Tournament was held at San Jose State College andwhen the original Amateur Judo Association was formed,contesting has been increasing and is now an accepted ac-tivity in all clubs. The National Tournament is heldonce each year under the auspices of the U.S. Judo BlackBelt Federation and is sanctioned by the AAU. Through-out the year local and regional contests are held and thewinners of these are eligible for the Nationals; also, in-ter-club meets, invitational tournaments, and the regularpromotional-contests serve the singular purpose to sharp-en players' techniques and prepare them for the nextshiat.

The major portion of this book is directed at theJudoka who is sufficiently advanced in both stand-up andmat work to play randori but who may have been exposedonly to brief contesting sessions and therefore lacks ex-perience. He may hold the rank of Brown Belt or lower,or he may even hold a Black Belt, but for any numberof reasons he may have limited experience in Judo con-tests. Hard training and more contesting will eventuallydevelop him, but it 'Stands to reason that the path can beshortened considerably through the pointers and advicepresented in the following pages.

Though any technique of Judo can be and is usedI

during contesting, the records show that most experiencedcontestants employ pet techniques, and th~se pet throwsare fairly limited in number. If you have been practicingthe Gokyo (Forty Basic Throwing Technique~)* andhave been playing randori, then you have surely de-veloped a few pet throws of your own.

One chapter of this book will present in general out-line the most often used contest techniques. A:potherchapter will give you important pointers in the pet tech-niques of several top Judo players, contestants and teach-ers, the specialists in Taiotoshi (body drop), Uchimata(inside thighs), Osotogari (cross hook or major exterior

reaping), and others, explaining to you how best to em-ploy these throws.

As for judging and refereeing, the usual rule is for a

Black Belt holder of high rank to act in this capacityduring important contests, and the usual assumption isthat any Black Belt knows his Judo and therefore knowshow to call the points and decisions. Unfortunately, suchis not always the case, again due to any number of reasons,so that a chapter on this aspect was deemed necessaryand is included for those who need such information.

Our final consideration has to do with what in realityis the very first factor that determines the success or fail-

ure of a tournament-the planning, preparations, pub-licity, matters pertaining to weighing-in, pairing, scoring,etc. An entire chapter in this book covers the many prob-lems of a tournament director and his assistants, and wetrust that the comments and outlines will serve as avaluable guide.

But above all this, every shiai is illuminated by oneprevailing principle-Sportsmanship. There is no shame

.Modern Judo, Volume Ill, The Stackpole Company, Harrisburg, Pa.

2

in being thrown. And there is nothing to boast aboutif your throw succeeds. In the true spirit of Judo y.ouplay to win, of course, but you also pay attention to howyou accomplish it. All that you are doing is testing yourskill, and satisfying your ego. Do it so that neither spec-tator nor opponent has cause to reproach you.

The ways which the old-time Judo masters of Japanemployed for these very same purposes are on recordfor anyone wishing to research the subject. There arehumorous and serious stories about some master of old

who traveled from town to town searching for a worthyopponent, challenging him, fighting him, and coming outwinner or loser. Since the very early masters were thoseof the art of Jiujitsu, and since the techniques of thisscience were anything but gentle and sportsmanlike, theresults in far too many instances were disastrous forsomebody.

Later, after 1882 when Professor Jigoro Kano formu-lated Judo, the competitive spirit emerged and developedsharply to the present day specialties one witnesses inrandori and shiai.

If we pause to think about it, a Judoka of today is notvery different from the masters of old. It is quite normalfor a young man, who is packing for school, a new job,or simply going on a vacation, to take along his trainingoutfit (Judogi) in the hope that he will find somebodywith whom he may have a work-out. And he usuallyfinds someone somewhere, and they locate a gym or adojo, and they have their work-outs, putting their petthrows and mat techniques to work, pitting skill againstskill, practicing and playing Judo, and enjoying it. Ifthere be a dojo in the new city or community you canbe sure this is the first place a Judoka will visit and ask

. permission to practice.3

,.........-

Properly organized and sanctioned Judo contests af-ford mutual benefits and personal satisfactions to all par-ticipants. Yet, with due respect to all those who may ob-

. ject to the next statement, Judo as originally formulatedand what is often seen on the mats today are nearlypoles apart. Contest Judo) as it has been named bymany, is a specialized way of conduct and play in whicha contestant strives with all his power (but too often withinsufficient skill) to score a winning point against hisopponent, no matter how and at what cost, and strivesat all costs and no matter how not to be thrown. Another

term which has been applied to this kind of playingis Power Judo) usually a sign of beginners at work. Weare all grateful that this kind of playing is not findingmuch favor. It is one thing when a seasoned playerdrives in hard for a throw, but quite another sorry statewhen a beginner does it.

It is the seasoned player who knows every trick andtechnique in the book. He steps on the mat, greets thereferee and the judges, and then his opponent, and thenhe proceeds to employ good Judo, in the best style andtraditions of the sport. This kind of contesting is a pleas-ure to see, and worthy of everyone's study.

The same question is always asked regarding the out-come of a tournament.

"Who won?"

When the answer is given, the winner faces the lll-evitable "How did he win?"

"A clean, hard throw" is the ultimate in tribute."What did he use?"

"Neatest Hanegoshi I'd seen in a long time."And so this becomes the topic of conversation in Judo

circles for as long as the particlar tournament is men-tioned and discussed. Had the verdict been that the

4

player wpn by the sheer use of power, the incident isignored and forgotten.

It is entirely up to you how you employ your Judo ina shiai. What will count in a contest, after all, is thescoring of a point. But bear in mind that every playerwill always view your success on the basis of how you gotthat deciding point, how you played Judo.

Bear in mind also the truth that nobody can give youadvice about any particular throw that will be best foryou. Every player has his own way of using his best throw.It took him a long time to develop it. It works for him.It may not work for you. No matter how much youadmire Uchimata) if you haven't the feel for this throwyou simply haven't the feel for it. You will often heara top player remark, when asked to perform a certainthrow during general practice, that he doesn't have thatthrow. That's exactly what he means-he does not havethe knack for that throw.

The best way to develop any throw is through con-stant practice, both in uchikomi and randori-practicingover and over the position of correct fitting-in againsta partner who is not resisting you, and then applying thesame technique during free-style playing.

Of the forty throwing techniques as outlined in theGokyo) only about ten are used consistently for contests.The next chapter will present these in a brief review.

5

Chapter One

Most Effective Contest TechniquesTHE RECORD SHOWS that the most often used

throws in Judo contests are:UchimataTaiotoshi

SeoinageOsotogariTsurikomigoshi

This is not to say that other throws are not employed.Any throw can be used, bUt the reason you see the abovebig five always attempted is that once the thrower se-cures his position the opponent can rarely save himself.All of these are big and hard throws, and they leave noroom for argument after the referee calls it "Point!" ("Ip-pon!"). And, if properly applied, the big five leave verylittle opportunity for countering.

Other big and small techniques used are:Ouchigari and KouchigariOgoshi and the forms of TsurigoshiHaraigoshi and HanegoshiAshibarai

TomoenageSukuinage

Obviously, you have a great variety to choose fromfor your own purposes. If any throw comes naturally toyou, this should be the one to develop and perfect for

contesting. You can use other techniques for feinting,.,I

in order to set up your opponent for your specialty. Youcan also develop a series of combinations and counters(which will be discussed later).

'What follows is a general description of the basic waysin which these fourteen throwing techniques are prac-ticed; also, comments regarding their application bothin practice and in contests.

Uchimata (Inside thighs)

This leg-throwing technique is done in many ways,the most common being when the opponent resorts toa wide stance when approaching you or in circling aroundyou. The top Uchimata players are able to execute thethrow to either side, and they advocate this for practice.In application, you must enter deeply under your op-ponent-your supporting foot must be quite close to hisfeet-and then you must sweep upward against one of histhighs, doing so from the inside as shown in figure 1.

Figure 1. When opponent"s balance is broken to his front, Uchimata ispossible. Once in position, turn your back completely to him.

8

If your opponent carries himself in a good natural

posture (Shizentai), you will have difficulty getting himwith this throw. Also, if he is considerably taller than

you, you should not attempt Uchim~ta.Your opponent's balance must be broken to the front

at the instant when you attack. Note also that your bodyis turned so that his hip line is almost parallel to yours,with your back turned to him.

In the Nage-no-Kata practice, Uchimata is classified asa leg-throwing technique. However, too often in randoriand shiai a player will move in so deeply that his op-ponent rides practically on his back, the extended legmerely serving to prevent the opponent from escapingthe throw. Whenever Uchimata is taught or demon-strated, the attacking leg is always used against opponent'sopposite leg-throwers right leg, for instance, against op-ponents left leg-as shown in figure 2.~-

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---Figure 2. In Ut"himata your right leg may sweep against opponent'sleft leg.

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Figure 3. Another application of Uchimata calls for your. right leg tosweep against his right leg-in which case your upper body must twistaway to complete the throw.

Since the success of this throw often depends on thewinding action of the upper body, it is quite usual forthe attacking right leg to sweep opponent's right leg, asin figure 3.

Needless to caution you, the attacking leg is NOTsent straight up against opponent's groin as illustratedin figure 4. This is a dangerous practice! It shows in-correct instruction.

When Uchimata is used in shiai, the technique is al-ways executed as a winding action, thus becoming Uchi-makikomi-the thrower making his attack complete bytwisting and winding, with his attacking leg high and hishead almost touching the mat, and finally finishing thethrow by falling over hi~ opponent. The start of one suchthrow is clearly illustrated in figure 5-a successful split-second attack during the First National AAU JudoTournament at San Jose State College in 1953. Note the

10

Figure 4. Never sweep straight up between opponent's legs! This is in-correct for Uchimata, and dan!erous!

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Figure 5. Uchi-makikomi about to be completed.II

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."perfection in distribution of balance and weight, andthe complete abandon of the thrower who has woundin deep and hard for an "Ippon!"

There is nothing more beautiful nor more devastatingthan a skillfully executed Uchimata in a contest. But ifyou should take a liking to this throw and begin using it,be sure NOT to practice it as shown in figure 4-in thisform it becomes an "injury" attempt. Injury will 'alsoresult from an inconsiderate application of Makikomiwhen using this same throw, winding in and then in-discriminately crashing down on top of your fallenopponent as illustrated in figure 6. Whenever Uchi-makikomi is ,done it must be with bodies in contact asin figure 5, and the winding action progressing smooLl-tlyall the way down to the mat, the whole technique simplybeing that the opponent is not permitted to escape thethrow.

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Figure 7. Versatile Otto Chanko of Detroit begins his far-out Uchimataduring the 1958 Nationals, held at Chicago.

Every Uchimata player, of course, has his own peculiarstyle, and your job will be to study all of them. All ofthem will be based on the fundamentals as already ex-

plained, and you may deviate from the fundamentalsonly after you have mastered them and know full wellwhat you are doing.

For example, figures 7 and 8 illustrate the "far out"approach to Uchimata, as effectively executed during the1958 National AAU Judo Tournament held in Chicago.

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Figure 6. The winding of any Makikomi application usually ends withthe thrower crashing on top of fallen opponent, and rolling over him.Do it with caution, and keep body contact to minimize injuries.

12

Figure 8. Note distance supporting left foot traveled to complete thispowerful throw which won Chanko the Middleweight Championship thatyear.

13

Feeling out his opponent (figure 7) for the right momentin which to break his balance and move in, the thrower

on the left finally tries with a long but successful reach(figure 8) and scores a point. This form of Uchimata

does not end with a Makikomi.

In order to practice this throw to both sides, most ex-perienced contestants advise grabbing the opponent'sjacket under the armpits, since this hold affords an en-trance from either side. This is illustrated in figures 9,10 and 11. Here the player on the left is practicing afitting action (Uchikomi) ,against a solidly-planted part-

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Figure 13. With body contact Tai-otoshibecomes Seoi-otoshi. In either form, thehands must control opponent's upper

Figure 12. Tai-otoshi is done in many ways, body, and his foot must be blocked.always without body contact.

In a true Taiotoshi there is no contact between the

bodies, the throw being a hand technique (Tewaza), but,since it would be difficult to secure it in this form duringcontests, another way of doing it has evolved, as shownin figure 13.

Note the difference between the two positions. Infigure 12 the thrower is clear of his partner. This is Tai-otoshi. Thrower's right forearm may be placed in anyone of three areas-along opponent's left chest, along themiddle of his chest, and even under his right arm as hereillustrated. Throughout the throw the right arm liftswhile the left maintains forward pull to keep opponent'sbalance broken, his weight on his advanced right foot.

16

-----

In figure 13 note that the thrower has his back to his

partner but is blocking his right leg, and, though theposition resembles that of Taiotoshi, it is in reality acombination of Taiotoshi and Seoinage. In this way it hasbeen named Fumikomiseoinage. It is also called Seoi-otoshi.

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Figure 14. If you are hit with a Tai-otoshi, don't try to kill the throw byfalling on your inside shoulder.

Either way, these throws are used extensively in shiai,Taiotoshi is a strong throw, in most instances slammingthe opponent squarely on his back for a full ((Point."When the throw is done from an exceptionally low posi-tion, or when the opponent makes an effort to save him-

self by squeezing toward the mat, injuries are likely tooccur. Figure 14 illustrates a player in a position of tryingto kill the throw, in this way falling on his own insideshoulder and risking a broken collar bone. In any contest

17

Seoi-nage (Over-shoulder)

From a natural posture, holding opponent's rightsleeve and left lapel, and without releasing either hold,his balance is broken to the front with the action of both

hands, then your right forearm is inserted sharply under'his right upper arm at the instant when you pivot intoposition, as in figure 16. In this form the throw is calledMoroteseoinage. The opponent is thrown cleanly overthe shoulder. Note that unlike Seoiotoshi in figure 13,the thrower's feet are inside opponent's feet and the waistinserted slightly deeper.

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the thrower will be intent on scoring a point, and he willassume that you know how to take care of yourself evenif you should attempt to kill his throw.

Caution: Any time you try to kill a throw you risk aninjury (in another chapter of this book you will findexplanations on how to evade or kill throws in a safemanner).

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Figure 15. During the Black Belt District AAU Tournament held inPhiladelphia in 1959, a small player scores a clean, hard Tai-otoshiagainst much bigger opponent by sneaking in deep and low.

In figure 15 a small contestant scores with Taiotoshi

against a bigger opponent during the play-offs in theBlack Belt division in a District Tournament held inPhiladelphia in 1959.

Note: In Taiotoshi your right hand is used principallyto control opponent's left shoulder-if you permit hisleft shoulde"r and side to come forward, you will discoverthat he is then able to step over your blocking right foot.

18

Figure 16. Position of Seoinagewhile still holding opponent's leftlapel with your right hand.

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.......LFigure 17. Position of Ippon-Seoi-nage which is often applied in con-tests.

19

The same throw can be executed as Katateseoinage orIf}ponseoinage) shown in figure 17, your right arm beingslipped under his right upper arm. The important thingit NOT to carry his upper arm on your own rightshoulder, since in such position your opponent has thechance to catch you in a choke. Note that here too yourfeet are placed inside his feet.

Seoinage is a very old throw, and almost everyone usesit in one form or another. The lower your position, theeasier it will be to throw your opponent and less likelyfor him to attempt a counter-throw. One school ofthought advocates that the throw itself (Kake) be donefrom the position of figure 16 by straightening your legs,thus lifting the opponent onto your back and then throw-ing him over. Another school of thought has it that thethrower should remain in his low position, using hishand action and body twist to effect the throw (Seoinageis classified as a hand technique), and should straightenup only after the opponent is thrown over the shoulderand can no longer save himself.

Either way, the important factors are:

1. Break opponent's balance (kuzushi) and almost in-stantly step in.

2. Do not relax the pull on his sleeve, and bring yourleft foot deeply back and close to his left foot, at thesame time thrusting your waist into position.

3. Complete the throw with the combined action ofyour hands and turning of your waist.

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" '* -'. - ~-- -Figure 18. For a successful Osotogari oppo-nent's balance must be broken to his rear, andyou must be at his side.

Figure 19. Injuries to the knee may resultfrom Osotogari being tried from too farout.

20

have the opportunity to use leg technique. Though themasters differ in their opinions how Osotogari (big out-side reaping) should be done, they do agree that thesafest way of trying it is when you can place yourself atyour opponent's side, as shown in figure 18. In this waythere will be less chance of injury to the opponent's kneethrough the action of your attacking leg.

When this throw is attempted indiscriminately by thenovice, it usually begins from too far in front, as illus-trated in figure 19. What usually happens is that theopponent resists the J;eaping action of the leg, and therebyinvites injury to his knee. In this position the best thing

21

O-soto-gari (Cross hook, or major exterior reaping)

If you can manage to break your opponent's balanceto his rear, or if you can react swiftly enough when heplaces himself into such an unfavorable posture, you will

~~

"the opponent on the left could do would be to step withhis own left foot toward his left rear, swiftly, in anticipa-

tion of the Osotogari attempt, and apply an Osotogari ofhis own. The thrower on the right, however, even in this

awkward position (figure 19) could effect his throw byclosing the bodies with the action of his right hand, lift-ing upward at the same time, and turning his own bodytoward his left slightly (almost into a throw resemblingHaraigoshi).

Figure 21. During the 1958 Eighth Air Force Judo Tournament at West-over AFB a competitor scores a full point with a powerful Osotogari.

I

If the opponent strongly resists a properly appliedOsotogariJ as in figure 20, you should continue yourattack, raising your right leg high and driving his upperbody to the mat. This is a common sight at any shiai.Figure 21 illustrates a powerful Osotogari applied duringthe 1958 Eighth Air Force Judo Tournament at West-over Air Force Base. Note the fine toe balance of thethrower.

\

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1'4'"

Tsurikom i-goshi (Low hip throw)

From a natural hold on sleeve and lapel, this throwmust, like all throws, utilize opponent's broken balance,in this case to his front. As the left hand pulls against hissleeve at shoulder level, the right forearm is thrust underhis left arm, all of this being accomplished with a step-in

23

Figure 20. Once you have the position for Osotogari and opponentstrongly resists, you may still score by continuing your attack. Keepdriving in.

22

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Figure 22. Position for Tsurikomi-goshi-your right forearm under op-ponent's left armpit, your left handbreaking him to his front.

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Figure 23. If opponent takes a defensiveposition Tsurikomigoshi will be difficult.Here the throw is applied to the left sidewhile retaining the regular hold on sleeveand lapel.

toward opponent's right foot, and then pivoting in orderto bring the. left foot deeply to the back, as shown infig-ure 22.

The important thing always is to m~intain the brokenbalance as the waist is twisted into place. Note that thefeet are placed inside opponent's feet, and the throw isexecuted through the combined action of using the handsand turning the upper body while straightening the legs.

Some players develop this throw by taking hold ofopponenr;s sleeves underneath, and by then pulling for-ward on one sleeve while pushing upward against theother, thus breaking opponent's balance completely.

24

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Figure 23 illustrates Tsurikomigoshi applied to theleft side from a natural right side hold. In this case yourright hand pulls the opponent forward against his lapel,and your left hand pushes upward against his right arm.

In both instances what is important is body contact.Note that the thrower's feet are inside opponent's feet inboth forms of Tsurikomigoshi.

Ouchi-gari (Major inner reaping, or leg hook)This throw is a favorite with many contestants because

of its straight frontal attack which does not give theopponent too many chances for countering, provided hisbalance is broken to the rear as indicated in figure 24.

f~~;

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r(' '~

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Figure 24. Don't move in too close for Ouchi-gari as opponent may grabyou and fall backward to score a point.

25

Experts in Ouchigari recommend this tec~nique as apreparatory action for Taiotoshi and Tsurikomigoshi-note the position of the thrower's right hand, readilyusable to control partner's left shoulder for either of thetwo throws.

If you like to use OuchigariJ learn to execute it swiftly,thus minimizing chances for counters. If you move in tooclose, your opponent needs merely to env~lop your waistwith his left arm and fall backward, slamming you tothe mat for a scoring point. In order not to give him thischance, move in low, with your knees well bent and yourbody at no more than a right angle to his.

barai)J or when all of his weight rests on his two feet,but with more of his weight distributed on the right.

In the first instance you will be farther away from himwhen you hook his heel and reap it in the direction ofhis toes, as shown in figure 25.

In the second instance you will be facing your op-

ponent in this same st.ance but you will be much closerto his chest, and using your hands to control his body,reaping his leg to throw him straight back.

~

\

..

Kouchi-gari (Minor inner reaping, or heel hook)This throw is done in two situations: when opponent

steps forward you must reap his leg out from under himbefore he plants his foot (on the principle of Deashi-

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,

Figure 25. If opponent takes wide steps around you, you will havechances at Kouchi-gari.

Figure 26. When Uchimata fails, you can try Kouchigari on your wayout, as done here successfully d\1ring the 1960 Nationals held in Tampa,Florida.

It is interesting to note that both Ouchigari andKouchigari are often resorted to as follow-up techniquesfrom a major throw, such as Taiotoshi or Uchimata.Figure 26 illustrates the exact moment when a contestantcaught his opponent with Kouchigari after opponentsuccessfully blocked an attempt at Uchimata during theNational AAU Tournament at Tampa in 1960.

26 27

O-goshi (Big hip throw)

In its pure form the encircling right arm of the throweron the right simply hugs the waist of the opponent.Ogoshi is not easy to secure in a contest because the op-ponent will seldom permit the arm to be inserted. Forthis reason it is usually attempted to the opposite side,as in the case of Tsurikomigoshi.

-- -.--

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Figure 27. Be sure to get in low for Figure 28. To insure the throw forO-goshi. a contest point, grab opponent's belt

at the back for Kotsurigoshi.

In the event that you manage to encircle your oppo-nent's waist and have him in an unbalanced forward

position as shown in figure 27, you might want to insurethe throw by grabbing the opponent's belt in the back,as indicated in figure 28. In this way your Ogoshi becomes

28

~

Tsurigoshi, in that it is now a Lifting Hip throw. (Tsuri-goshi is further classified as Kotsurigoshi when your en-circling arm is under opponent's arm, and Otsurigoshiwhen you reach over his arm to grab the belt at the back;this is usually employed by tall players against smallerones.)

Harai-goshi (Sweeping thighs, or floating thighs)This throw is done either from a lapel hold or when

you manage to slide your right arm under opponent'sleft arm, as shown in figure 29. Needless to say, you musthave upper body contact and a broken balance againstyour opponent for the throw to succeed, and there is nopoint in banging your leg against his until you have be-gun to lift him with your supporting left leg (figure 29).

........

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rf""'"

.--'

.... ~:L--.Figure 29. For Harai.goshiupper body contact is a prime requirementand must be managed with your hands and the fitting of your body. Onlythen should you sweep opponent's leg.

29

Figure 30, Ippon! in a clean Harai-goshi to the left during the 1960Nationals in Tampa,

Haraigoshi is classified as a waist technique; thereforethe placement of your hip is important before you canuse your float~ng leg to sweep his thighs. This is clearlyillustrated in figure 30. Haraigoshi is being done hereto the opposite side. N ot~ how the thrower has extended

his right leg in order to carry his opponent over, and alsonote thrower's slightly bent left leg, used in this mannerto prevent the opponent from mounting over and savinghimself. This moment in an excellent Haraigoshi wascaught at the 1960 Tampa Tournament.

Hane-goshi (Spring hip)

This throw is similar to Haraigoshi in principles ofbody contact and broken balance, but the attacking legis bent so that it can at the same time block and sweepopponent's thighs, as illustrated in figure 31. The old

30

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T ......

Figure 31. As in die previous throwing technique, body contact is impor-tant in Hane-goshi. Your right hand may hold opponent's lapel, or maybe slipped under his left armpit for better contact.

style of Hanegoshi advocated a sharply bent attackingleg so that both thighs of the opponent were caught.

Figure 32 shows an exciting instance when the throwersucceeds with Hanegoshi, twisting and winding, with aKiai (shout) all the way. Note the distance of thrower'shead from the mat, and the manner of sweeping highwith his right leg. Figure 33 shows the completion of thethrow, and since the victor followed his opponent rightinto the mat, his Hanegoshi had become Hanemakikomi,the entire sequence caught during the 1960 Tampa Na-tionals.

31

----

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\Figure 32. Tosh Seino of Strategic Air Command applying Hane-makikomi during 1960 Tampa Nationals.

Figure 33. With the throw completed, with a Kiai all the way, Seinoholds his position.

32

Okuri-ashi-barai (Side foot sweep)If your opponent is in the habit of moving around

you, or if you can induce him to do so, then you havea chance to try this foot sweep. As he is about to bringhis trailing foot up to his advanced foot, you must sweepswiftly and at the right moment, using your arms to lifthim slightly, as shown in figure 34, and then snap himdownward with your sleeve hold.

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Figure 34. For Okuriashibarai or any foot sweep, use the bottom of yourfoot. Never kick.

Novices always indicate with their movements that theywill try OkuriashibaraiJ and it is fairly easy to sense theirintention and then offset their attempt. The contest-wise

player will employ his foot sweep so adroitly that you willnever know what hit you-the saying is "First I was stand-ing vertically, then I was down horizontally."

Any foot sweep (Ashibarai) requires the utmost ill

33

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sensing the moment when to sweep. If you do it too soonor too late in his step, you will not secure it.

The Okuriashibarai player will use this technique toeither side, and he will do it whether he holds yourlapels or your sleeves. The usual way is to use a sleevehold. But then again from his sleeve hold he might switchinto a Tsurikomigoshi. (Several of the combination'tech-niques will be discussed in another chapter.)

Sukui-nage (Scooping throw)

This hand technique is mostly used before either con-testant has had a chance to grab the other. The throwerwaits for the opponent to step forward. and reach for the

'.t-M

Figure 35. Whenever you get to the side or behind your opponent, youwill have a chance to secure Sukui-nage. Opponent can be lifted anddropped from this position for a point score. Some players faU straightback with opponent.

34

JI

lapel. The attack may then succeed if the thrower isable to step behind his opponent and grab either thepants or his thighs, the throw then being accomplishedfrom this position (figure 35) straight back through alift and a drop. It is a hard fall to take, and the throwershould exercise caution.

This throwing form in Sukuinage may also be employedas a counter to a waist technique, though it is not seentoo often at tournaments.

Tomoe-nage (Overhead, or circle throw)The best moment for this throw, of course, would be

when your opponent pushes hard against you; if youthen keep his balance broken to his front with the actionof your hands on his lapels, and at the same time dropclosely under him and bring your foot smoothly underhis abdomen, you will have every chance to score withyour Tomoenage.

Bear in mind, however, that your opponent may not bethe pushing type but will rather hold back. In such casesTomoenage is difficult to secure. It now becomes a matterof pushing your opponent in order to induce him to pushback, and when he reacts in this way you must act in-stantly in breaking his balance toward his front. Yourattacking foot should not be employed too soon butrather when he is directly over you, as shown in figure36. Yet even at this moment a clever and agile playerwill know how to twist out of the throw and save him-self.

If you use Tomoenage you must also expect it to fail,in which case your opponent will follow you into N ewaza.Therefore, if you are weak in mat-fighting techniques,avoid the use of this throw. Since Tomoenage is classified

35

'\ I ....

y'

L~Figure 36. Tomoenage has to come unexpectedly in a contest. Don't trythis sacrifice technique against opponents much taller than you.

as a sacrifice technique, it means that you may be sac-rificing your standing advantage in trying to score a point.

Many experts in Newaza will use Tomoenage in theirstrategy. If they score with the throw they have the point,and if they fail they still have a strong chance in winningthrough either a holding, choking, or locking technique.The sacrifice (Sutemi) players are usually known at thetournaments, and their opponents therefore avoid goingdown for N ewaza.

Holds, Chokes, and Locks

Whenever a throwing technique fails, the contestantswill either repeat their attacks or will resort to combina-tions. Regardless of how the throw is attempted, if itshould score for a half point, then the contestants mightcontinue in mat-fighting (Newaza), employing Osaekomi-

36

I

I

I

I..J

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waza or holding techniques, Shimewaza or choking tech-niques, and Kansetsu-waza or locking techniques.

In Osaekomi the four most frequently used holds are:Kesagatame (Side arm hold)

In principle you must capture opponent's right arm andshoulder as shown in figure 37. Keep your head pressed

-. "> d~

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Figure 37. To prevent opponent from forcing you off in Kesagatame,keep your head tightly against his.

tightly against the side of his head; your legs should bein the position shown, both knees against the mat. Ifyour opponent appeals able to lift you toward his leftside, then a shift in your own leg position (bring left legforward and slide right leg to the back) will result in astronger hold for you.

Katagatame (Shoulder lock hold)

There are times when your opponent manages to free hiscaptured right arm while in Kesagatame. You must actinstantly by pushing his arm (it is best done if you push

37

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Figure 38. If your opponent frees his right arm, push it across his faceand lock it with your hands and head for Katagatame.

against his elbow) across his face, and then immediatelyplace your head into contact with the side of his head,thus locking his arm as illustrated in figure 38.Tateshihogatame (Full body hold)

Strong players are able to unseat you when you holdthem in Kesagatame or Katagatame, and most contestantswill shift these holds into Tateshiho as illustrated here in

Figure 39. In using Tateshihogatame keep your knees high against hisribs, and try to lock his arm tightly.

38

j I

--

figure 39. All that is required from the position of figure38 is to straddle him, keeping your knees well bent andclose to his armpits, with your body pressed down hardagainst his (figure 39).

K uzure-kamishihogatame (Reverse body hold)The reason that the broken form of Kamishihogatame

is usually secured in contests is that it affords changesin position against a strong opponent. The hold may beused with both legs bent up, or with one bent as shown infigure 40. Some players use this technique by stretching

....~ l~

Figure 40. Whether in Kamishihogatame or in its broken form as shownhere, make every effort to control opponent's head and shoulders.

out both legs wide to the rear. Either way, the hold is adexceptionally powerful one, but you must anticipate youropponent's intention to free himself and you must trainyourself to move in such ways as to keep him from es-capmg.

In Shimewaza the four mostly used chokes are:

Okurieri-jime (Sliding lapels)

The principle of all rear chokes is that the opponent'sbody must be held in a broken posture to the back orelse he will be able to move freely and possibly escape.

39

C).

Figure 41. (]1O~esapplied from the rear req~ire that opponent's positionbe broken to the rear, as in this Okurieri-jime.

Therefore, tne point to bear in mind when you secureOkurierijime as shown in figure 41 is to break the oppo-nent's posture and hold it thus, and if necessary even fallcompletely to the back (in which case you should con-trol your opponent's body with your legs covering hisupper thighs).

Hadaka-jime (Rear forearm choke)

This is the only choke used in Judo where the lapelsare not utilized, the ba~e forearm being plac~d againstthe opponent's neck (figure 42) and then the combinedaction of forearm and shoulder applying pressure in op-posite directions causing the technique to take effect.

40

------

L____

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III

,),

4

'1II

Figure 42. Note opponent's broken position to the rear in this Hadaka-jime.. Broken position gives you control.

Note how the opponent is held in a broken posture. to the back, and how the player in the rear is using hishead in order to prevent his victim from twisting away.

Gyaku-juji-jime (Inverted cross choke)This is the most often used choke when facing your

opponent-inserting your hands with palms up so thatyour right hand grabs his right lapel and your left handgrabs his left lapel.

This choking technique can be applied when your

41

Figure 43. Control in frontal chokes is managed by the use of your legs-keep opponent inside your legs, as in this Gyaku-juji-jime.

Figure 44. Ude-gatame is the only locking technique permitted in con-testing, and only in the Black Belt division.

I

III

Ii

III

III

opponent is above you or while in a side-by-side positionas shown in figure 43.

42

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In order to insure the effectiveness of this choke, youshould make sure that you have caught your opponentbetween your legs, as illustrated, for if he is astride youhe will be able to unwind from Gyakujujijime.

Only one arm lock is permitted in contests underKodokan and AAU Rules. The lock is applied againstthe elbow, and is technically called Udehishigijujigatame.In shortened form this lock is called Udegatame, as illu-strated in figure 44.

This lock can be secured in many ways. The mostcommon method is to be astride your opponent and pre-tend that you want to choke him. His usual reaction isto extend his arms, or at least one arm, in trying to pushyou off. If you quickly seize this extended arm and wrapyour leg over him into position as illustrated, you willhave caught his arm between your legs for Udegatame.

Another way of securing this lock is directly from athrow. If your opponent holds onto your lapel as he falls,his arm will be extended and this will afford you thechance to lock it.

Caution: In the heat of a contest many players havethe habit of locking the arm and then falling back, ap-plying pressure as they fall. This is a dangerous practice,and has resulted in many dislocations of the elbow. TopJudo players always secure their position, and only thenapply the pressure.

Preparation

All of the foregoing indicates that you cannot hope toenter any contest without first preparing yourself fully.And you cannot hope to win contests without adequatepreparation and hard training. The following paragraphswere specially written for this book by Phil Porter who

43

has devoted many years to Judo in all phases of practicing,teaching, and cont~sting.

Training For Contest JudoBy Captain Phil Porter (Sandan) USAF.I've been asked to outline some thoughts on contesting

and preparing for contesting. Of course, I can onlyspeak from my comparatively brief experience in Judo,and tell about the contest men I have known. So take

this not from an expert, but from a fairly experiencedand enthusiastic competitor.

Before one can hope to be successful in contesting, themasters say that one has to develop the proper fightingspirit. It seems that this spirit, or "fighting heart," isdeveloped right along with proper uchikomi and randm'i(form and free practice). The point is that the attitude

one needs is the same for good practice and good con-testing. This attitude is one of determination to commiteverything, to do one's very best, to win in spite of anyobstacle. There are other facets to this attitude whichI'll cover later, but the heart of it is "I can and willsucceed, whatever the cost."

With one's mind set on this resolve, the correct prac-tice is easier, and if the practice is right, tournamentvictories will follow. So with this in mind we can look

at some of the component attitudes and methods whichmake for good practice. It is impossible here to discussindividual techniques, but some generalities about alltechniques can be noted.

First, "what" to practice before the "how." The uchi-komi practice has been very much neglected by Amer-icans. Without fixing rigid rules for the proportion oftime which must be spent on uchikomi and randori) let'sjust say that many top contest men do at least 1200 to

44

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1500 uchikomi repetitions per week-that's more than250 per day. If you practice three times per week, youshould do at least 200 repetitions each time. It is bestto have your partne-r count them, and do 25 to 50 repe-titions in a set without stopping. Do 100 of each tech-nique-even 200 of your favorite. If you don't waste timebetween sets, you can easily do 200 uchikomi in 20 min-utes, as 25 will take you less than 90 seconds (time your-self-if it takes longer you're going too slow).

Now that we have established "what" has to be done-i.e., lots of uchikomi as well as hard randori-we canfinally get around to "how" -because it is the "how"that matters most.

Lazy, indifferent, dead practice gains you little, but ashort period of intense, alert, live uchikomi and randoriwill help you gain rapidly both in fighting spirit and intechnique. Here are some general attitudes and methodswhich make for fast progress in both uchikomi andrandori.

Attack explosively I By this I mean with the utmostspeed, and with as much power as you can deliver. Tech-nically, of course, mechanics tell us that power comesfrom speed, but I'm referring to the muscular follow-through which not only gets you into position quickly,

. but slams into the opponent with complete concentrationof energy. After 15 or 20 of this type of attack you'llprobably be staggering, but carryon to 25 and more andyou'll be getting tremendous benefit from performingthe techniques in this way. The same can be said of ran-dori-attack explosively and your style will improve.

Always attack with a continuous motion from kuzushithrough kake. That is, never attack in such a way thatyou must stop in the middle of a technique. With Hane-goshi) for instance, the attacker's body travels in a para-

45

bolk arc: starting low and at a distance from the oppo-nent, curving up and into his waist, and continuing upand back toward the attacker's original position, carryingthe opponent with the attacker. There is no straight-in,stop, and straighten-out movement, and therefore nopoint of zero speed, power, and momentum.

Make your movements as big as possible. This refersto the extent of travel of the two bodies in the execution

of a throw. If you follow the first two rules, attackingexplosively and in some curved continuous pattern, youmay still fail because of the smallness of your movement.

Methods of getting the big motion are:

1. Attack from as far away as possible.2. Follow through as much as possible.

3. Always extend the body in a straight line if thethrow permits it-as in Hizaguruma or Sasaetsurikomiashi,when the foot is extended to the extreme position andthe hands pull as far as possible in the opposite direction.

4. Stay relaxed but alert between attacks. These mom-

ents of relaxation will help keep you going, and theyprovide you with the quietness in your own body neededto sense the right moment to attack the opponent. Also,attacking from a loose stance and grip, you are lesslikely to telegraph your techniques.

These are just a few ways of making both your uchi-komi and randori more effective.

There is one other point which might be of help, ofthe many which could be stressed. This is the value of

progressive practice of any technique. In Judo it seemsthat we spend a good deal of time correcting bad habits.These bad habits are often imbedded by not practicingslowly and carefully when we first learn a technique. Thebeauty of the uchikomi practice is that we can practice

46

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slowly and carefully until we get the movement preciselyas it should be. Then we can turn on the steam, attackingexplosively with a big and continuous motion. I believethat if we will practice this way, with as little uselesstalking and sitting around the mat as possible, our Judowill shape up into something fit to contest with.

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Chapter Two

Favorite TechniquesEVERY JUDO PLAYER sooner or later develops

his own individual style in using a throwing or mat tech-nique. The common sight after a bout is to see severalother players approach the winner and ask how he man-aged to break through his opponent's defensive posture inorder to get in his favorite throw. Some players will notbe too reluctant to talk about their pet throws (tokui-waza) while others flatly refuse to discuss these aspects.

We are fortunate in the pages that follow to have ex-planations of their pet techniques by a representation ofJapanese and American top players. It is left to you to tryandappl-y the pointers given to your own style, in thehope that you will benefit from this valuable instruction.

The order of arrangement is alphabetical except forBen Campbell's discussion at the end of the chapter. .

Staff Sergeant George Harris, 4th DanS/Sgt George Harris has been active in the Strategic

Air Command Judo program since 1952. From the be-ginning an outstanding contest man, he won his FirstDegree Black Belt in 1954 after winning the Over-AllChampionship of the 15th Air Force. The next year,1955, saw Sgt Harris compete in 16 team contests withouta loss as a member of the AAU-USAF team which toured

49

Japan. Harris first placed in the National AAU JudoTournament in 1956, when he won third in the heavy-weight division. In 1957 and 1958, however, Harris camethrough with the National Heavyweight and Over-AllChampionships, and in 1958 headed the U.S. Team tothe World Championships.

Forced to retire because of injuries in 1959, Harrisagain won the AAU Heavyweight title in 1960, .the onlyman in the history of National AAU competition to do sothree times. His favorite throw is left Taiotoshi; he alsouses right UchimataJ KouchigariJ and Ouchigari. He is aSAC Combative Measures instructor at Travis Air ForceBase, and holds a Fourth Degree Black Belt.

Tai-otoshi

By S/Sgt George Harris

Of course there are many ways to attack with thisvery versatile throw, but I will cover only my favoritemethod on the left side.

First, the opportunity I use occurs when my opponentis circling toward my right or stepping forward. Whenhis weight is thrown forward or to the side on his leftfoot is the moment for attack. There are several methods

for making him take this step, such as attempting a leftOuchigari or KouchigariJ or even faking a right side hiptechnique.

Having the opponent's weight on his left foot, I keeppulling as strongly as possible toward his left side orfront, whichever way he is moving, with my right hand.To complete the off-balancing I drive my left hand, whichholds the center of his lapel, straight across his chest to-ward the direction he is moving.

The throwing movement is then executed by steppingacross with my left foot at the same time my hand is

50

--

Figure 45. George Harris throwing with left Taiotoshi in competition.Note the straight line from toe to head, and the lowness of his attack.

pushing. Pointing my leg as straight as possible, I rollmy body completely over, keeping a strong push-pull ac-tion with my hands.

Incidentally, I try to execute this whole movementfrom as far out as I can, as this gives me space to get myleft leg across in front.

O-soto-gari

By Frank M. Hatashita, 4th Dan

President, Hatashita Judo Club of CanadaAs you can see, this is a posed Osotogari. To a novice,

51

Figure 46. Frank Hatashita demonstrating O-soto-gari.

Osoto appears as if the man who is heavier and strongerwill be the winner-it is therefore like a double-edgedsword. Therefore, to make this technique a success it is amust that your chin should be placed on the breast bonewhile executing this throw; this will lock your body andyou will avoid a counter from your opponent.

Professor Takahiko Ishikawa, 7th DanThere is hardly a Judo player in the United States

who is not familiar with the exceptionally fine teachingability of Professor Ishikawa, and his ability in contests.On the first score, Professor Ishikawa has been and is stillon the list as official instructor at the Kodokan (BlackBelt Section) and the Metropolita:n Tokyo Police. Onthe second score Professor Ishikawa won the All-JapanJudo Championship in 1949 and 1950. Need more be

52

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said? Here he graciously gives you two techniques whichwill certainly help you in the future.

Counter to Ippon-SeoinageBy Prof. Takahiko Ishikawa

Ipponseoinage is a throw often used in shiai. This isa big throw, and, if skillfully or powerfully executed,leaves little room for escape or counter.

Though the following counter is one that may be usedagainst Ipponseoinage, like all counters it relies on theimportant element of anticipation-sensing opponent'sintention.

The counter move itself is done in the following man-ner:

As opponent moves in for his Ipponseoinage, you musttaisabaki slightly to his side (figure 47) and at the same

Figure 47. Prof. Takahiko Ishikawa demon- Figure 48. Lowering into position, Prof.s!rating counter to Ippon-Seoinage. Anticipating Ishikawa grabs near leg.the attack, he steps slightly around opponent.

53

Figure 49. Through the use of stomach and body,opponent is lifted.

Figure 50. The throw is completed bypulling opponent's body downwardwith right hand.

time pull his body with your right hand in the same di-rection, simultaneously lowering yourself and placingyour left forearm between his thighs (figure 48).

Now you are in a position to lift your opponent, butyou must do this lifting by the use of your stomach andbody, (figure 49), and not by arm power.

To complete the counter-throw, use your right hand(which is holding his left lapel) to pull his body down-ward, thus causing him to automatically tumble overinto a fall (figure 50).

54

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Employment of arm lock in NewazaBy Prof. Takahiko IshikawaIt is not practical to prescribe any set pattern of action

for Newaza during contesting, except to say one must beconstantly on guard and must strive to take advantage ofwhatever presents itself at the moment. Opportunitiesoccur swiftly, but as swiftly are lost. Often you may findthat your opponent is as clever as you and is able to upsetyour attempts at Osaekomi, forcing you to shift to anothertechnique.

As an example, if you are holding in Kuzurekamishiho-gatame or in Yokoshihogatame, it may happen that youropponent nearly succeeds in twisting away from you. Insuch cases an effective counter-move on your part is toapply a lock to his free arm.

Figure 51 clearly illustrates opponent's left arm com-pletely locked. Your own left forearm is entwined throughhis left elbow, and your right arm is placed over his leftwrist, and then locked inside your own left bicep.

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Figure 51. Prof. T. Ishikawa demonstrates effectiveness of an armlockapplied from it holding position.

55

H ane-goshi

By Henk Janssen, 3rd Dan

Figure 52 depicts Henk Janssen, SandanJ of the Hata-shita Judo Club of Canada, during a Black Belt Tourna-ment. Janssen was 1959 Winner of the Eastern CanadianChampionship as well as 1959 Winner of Ottawa EasternCanadian Championship.

Frank Hatashita describes Janssen's application ofHanegoshi as follows:

He holds the left lapel, not as deep as for H araigoshior the Nage-no-Kata. He holds his opponent close andwhen applying tsukuri he holds the lapel and armpit toprevent slipping of opponent's ]udogi. This would alsoprevent the arm lock that sometimes is applied in theholding for H anegoshi.

~-Figure 52. Henk Janssen succeeds with Hane-goshi during a Black Belttournament.

56

-H idari-Tsurikomi-goshi

By Dr. Eichi K. Koiwai, 4th DanPresident, Philadelphia Judo. ClubThis throw may be applied from a normal stance while

holding opponent's left lapel and his right sleeve.The breaking of balance should be accomplished while

opponent's left foot is still in its rear position (figure 53).Speed and timing are important, of course, but th

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~~ - ~

-----Figure 55. At thispoint the throw iscompleted, the lefthand automat-ically pushing up against opponent's right arm.

1. Keep your own right elbow tightly against your rightside from the initial move to the very end of the throw(figure 54).

2. Do not begin by pushing up against opponent's rightelbow with your left hand, because this will warn him ofyour intention and he will offset your move.

3. Once you begin your throw, be sure to spin yourwhole body and continu~ to rotate, with your left hipinserted deeply, lowering yourself sufficiently below hiscenter of gravity (figHre 55).

If these points are used in Hidaritsurikomigoshi, youwill find that your left hand will automatically and effort- "lessly push up your opponent's right arm.

58

--

Right UchimataBy Dr. Tsuguo Naruke, 4th DanInstructor, Philadelphia Judo Club

The thrower makes opponent's legs open a little wider(figure 56) and makes him stoop and slant forward(break your opponent's balance to the front). Meanwhile,

Figure 5"6. In applying his Uchimata, Dr.Tsuguo Naruke first breaks opponent's bal-ance to the front, entering at the samemoment.

Figure 57. Following his entrance with hisright foot, Dr. Naruke immediately slidesinto position with his left foot, transfers hisweight, and sends his right leg to the rear.

59

Captain Porter won the USAF-United Kingdom 180-pound and Over-All Championships in 1957 and 1958.Returning to the United States in 1959, Porter won the180-pound and Over-All Championships of the 2nd AirForce in 1959 and 1960, and placed in a tie for fourthplace in the 160-pound division at the 1960 AAU Na-tionals in Tampa, Florida. He holds the Third DegreeBlack Belt, and has competed in 219 tournament contests.

HaraigoshiBy Capt. Philip S. PorterThe opportunity I use for left Haraigoshi occurs when

my opponent has stepped to his left front, or when he isstanding still but has thrown his weight on his left foot.

Figure 58. By pulling opponent's right sleeve sharply around, opponentis thrown over.

Figure 59. Left Harai-goshi as executed by Phil Porter in competition.Spring of the body is complete, and the rolling twist which delivers theopponent to the mat is almost finished.

thrower pushes his own leg deep between the opponent'slegs (figure 57), springing the opponent up against hisinner thigh with thrower's thigh, and thrower shouldthen pull opponent's right sleeve to his right front(figure 58).

Captain Philip S. Porter, 3rd DanA veteran of nine years in Strategic Air Command

Judo, Captain Philip Porter has been an active contestantin Air Force and AAU Judo since 1952. Porter began hisJudo career at Travis Air Force Base in California, win-ning the First Degree Black Belt in 1954.

While serving a four-year overseas tour in England,

6061

One method I use to get into that position is to fake anattack with a right side, such as Osotogari, or a hip tech-mque.

At the instant of attack I pull strongly with the rightarm, and lift and pull with the left arm. Then, using~ither a front or back cross step, I quickly place my rightfoot in front of his right foot and execute the throw. (Seefigure 59.)

I believe the most important element of Haraigoshi isto get body contact along the whole body, including thesweeping leg, and to spring and sweep upward at thes~me time. To get this contact it is necessary to advancethe feet and hips while withdrawing the head, shoulders,and arms as the lift-pull is made. Then, if the opponentis firmly fastened to my body and I am low enough, Ican spring and twist without fear of his escaping. .

AI3C Toshiyuki Seino, 3rd DanAirman Third Class Toshiyuki Seino has been a

Strategic Air Command Combative Measures instructorfor approximate\y one year.

Prior to that Seino, who grew up in Los Angeles, com-peted in SOLJthernCalifornia. At age 21, Seino is a ThirdDegree Black Belt, veteran of six years in Judo and a1960 National AAU Champion in the 160-pound division.In 1959, Tosh Seino placed second in the 150-pound di-vision, losing one point on a counter to 5th Dan MasYoshioka, 1950 150-pound National Champion.

Seino's favorite throws are Hanegoshi, Seoiotoshi, andHanemakikomi. He is also very skillful with Okuriashi-barai.

H anegoshi

By A/3C Toshiyuki SeinoThe opportunity I use for Hanegoshi is when my op-

62

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ponent is standing still in the ordinary shizentai posture.There is really more to it than that, as I have to catchhim when his weight is balanced slightly forward on histoes due to some previous movement of my body or feet.This is sometimes very difficult, but if one stays alert andconstantly tries to attack at the right instant, the oppor-tunity will present itself. This timing is very important.in Hanegoshi-without it you can't hope to make thethrow correctly.

To. complete the kuzushi (off-balancing), I pull asstrongly as possible forward and up with my left hand anddrive straight up with my right hand as I come in.

To position myself for the throw, I use the standardHanegoshi stance with the left foot squarely between the

Figure 60. This photo of To~h Seino clearly shows his tremendous driveand turning action. Note that the head is almost on the floor, and thatthe left foot and leg have sprung to full extension. (See figures 32 and33.)

63

~

opponent's feet with the toes pointing in the direction Iwant to throw. However, at the instant of contact with

my opponent, I try to come in very low with my waistand turn my shoulders and head well around and down.This insures low, solid contact below the opponent'swaist.

The kake or completion of the throw is performed al-most all by the spring and turn of the body. If the bo?ycontact has been made and the opponent is stuck to myhip and leg, the throw is inevitable as I try to put myhead down to the mat and turn my body completely over(figure 60).

A final point is that I try to make one complete circularmotion, starting low, and springing up and over. Thewhole motion should be complete without any stoppingor hesitating. (See figures 32 and 33.)

Professor Masato Tamura) 6th Dan

President, Jiu-Jitsu Institute of ChicagoThe fame of Masato Tamura is so well known in Judo

circles that there is no point in listing his accomplish-.ments here. As competitor and teacher he ranks tops.

Sukui-nageBy Prof. Masato Tamura

On front major throws, most of the students have atendency to bend forward when applying these throws,They would have better results if they kept their stancestraighter. I notice when they apply Seoinage, for instance,they usually bend their head from the neck looking atthe mat, causing their back to curve, and consequentlymaking the lift much heavier. The knees should be bent,but the back and neck should be erect. To throw, bend

from the hips with the upper body straight, thus applyingthe fulcrum point lower.

64

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Figure 61. Prof. Masato Tamura demonstrating Sukui-nage.

Now when the opponent resists one of your majorthrows, such as Seoinage) Tsurikomigoshi) Ashiguruma,etc., he more or less opens himself to your Sukuinage.This throw, illustrated in figure 61, is one of the throwsthat can be used to outmaneuver an opponent.

Vince Tamura) 5th DanFor an extremely brief glance at Vince Tamura's com-

. petitive ability, consider that he has won the ISO-poundNational AAU Championship for 1954, 1956, and 1959,as well as winning consistently in various local, district,

65

and sectional tournaments. His style is precise andsmooth. Though his pet throw is UchimataJ he will alsoapply a variety of other techniques. Here Vince Tamuragives you several pointers on his Uchimata.

Uchimata

By Vince Tamura

The applications of left Uchimata are numerous, butthere are two popular ways of placing the sweeping legon the opponent's inner thigh. Some prefer to lift theopponent's left inner thigh with their right leg, whichseems easier to apply. I believe if the player attacks theopponent's right inner thigh, he would have better suc-cess, especially if the opponent happens to be taller.There will also be less chance of being countered.

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:'-..Figure 62. Vince Tamura applying left Uchimata during the 1958National AAU Championships held in Chicago.

66

..............-

Figure 62 illustrates Uchimata to the left during theNational AAU Championships held in Chicago. Thesame pointers hold true in this case, except that theyare applied to the left side.

Walter ToddJ 4th Dan

Chief Instructor, International Judo & Karate School,Oakland, Calif.

Walt Todd began his Judo training at the Kodokan in1946, and received his 1st Dan the same year. In 1948Walt returned to Japan and trained under famed Pro-fessor Kyuzo Mifune, 10th Dan; also training under var-ious masters in NewazaJ Nage-no-KataJ ]u-no-KataJ Kime-no-Kata and I tsutsu-no-Kata; he also received specialtraining in how to referee contests. In 1954 Todd re-ceived his 3rd Dan while teaching Judo at Travis AirForce Base, and then in 1958 was promoted to 4th Danby the Hokka Yudanshakai.

Tai-otoshi (Advancing)By Walter Todd

My Taiotoshi is not the normal technique, as it re-sembles the Seoinage somewhat, especially in the hand.holding. Many of my Japanese teachers referred to mytechnique as Hentaiotoshi. I will describe two methods,one advancing and one retreating.

From the natural posture (shizentai) the opponentsteps forward with his right foot. At the instant his rightfoot touches the mat, you must pull strongly forwardwith your left hand, being careful not to pull downward.At the same time turn your body to the left. This isillustrated in figures 63 and 64.

Immediately place your right foot in front of your

67

Figure 63.

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Figure 66.

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Figure65.

Figure 67.

opponent's right foot (figure 65). At this instant pulldown and to the left, while turning your body in thesame direction (figure 66).

As you continue turning, his body turns over yourthigh, and he is thrown (figure 67). Note that the rightarm is not used as in the normal Taiotoshi but is held

68

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Figure 68.~

Figure 69.

close to your left chest (figure 68). This is not an up-ward lift as in Seoinage, but a binding action.

To further explain the use of the right arm, I haveincluded the illustration in figure 69. Note that theelbow is downward. While doing my Taiotoshi I try tothink that my right fist is going to touch my left shoulder.The technique requires close body contact in contrastto the normal Taiotoshi. Sometimes, while attemptingmy Tai-otoshi, my opponent moves to the left, and thenmy throw becomes Seoinage.

Important points. to remember:

l. Your pull must coincide with the instant your op-, ponent's foot steps forward and touches the mat.

'2. The more your left foot is turned to the left, thebetter the technique.

3. From the moment of the start of the throw until its

69

conclusion, you must turn. your head continuously to theleft.

There is one thing I keep in mind while throwing. Theinstant my opponent's foot touches the mat, I yank for-ward) not downward. Not hard, but very suddenly. ThenI do an about-face as rapidly as possible, and his momen-tum will carry him over. The theory is that if the op-ponent is moving rapidly enough forward, anything infront of him and below his center of balance will throw

him down. Sometimes he will go over the shoulder, hip,or the leg.

Tai-otoshi (Retreating)From the normal posture of shizentai your opponent

is retreating. The instant he steps backward with hisright foot, you must step behind your own "right footand move in toward your opponent. Your right forearmis under his left armpit, as in the normal Taiotoshi. Thisis illustrated in figures 70 and 71.

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Figure 70. Figure 71.

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Figure 73.Figure 72.

At this instant you must pull slightly upward andforward with your left hand, and place your right footin front of your opponent's right foot (figure 72). Then,immediately pull downward with your left hand tothrow him (figure 73).

Ben Campbell) 3rd Dan

At San Jose State College, Ben Campbell has been animpressive example of perseverance and skill, consistentlyplacing high in all tournaments, local and national. Assomeone else has said of him, "He is just about the most

skillful player in the country, left Oguruma being hisfavorite." This writer, too, has been admiring Ben's

style through the years at our National AAU Tourna-ments and agrees wholeheartedly with the evaluation.Due to circumstances, it was not possible to secure illus-

trations of Campbell executing his throw, but he has.,graciously agreed to describe the steps necessary for itssuccess, and has supplemented this with several clear

diagrams.71