JUDO (JUJUTSU)

Prof. JIGORŌ KANŌ

JUDO (JUJUTSU)

BY

Prof. JIGORŌ KANŌ

CONTENTS

Page

I. Jujutsu and Judo - What Are They ? 5 II. Various Phases of Judo 11 III. How to See and Study Judo 19

1. Dojo or Exercise Hall 19 2. Judo-gi or Costumes for Judo 19 3. Salutation and Manners in the Exercise Hall 20 4. Posture 22 5. Kuzushi or Unbalanced Form 23 6. Hygiene 25 7. Movement 25 8. Tsukuri or Fitting Action for Attack, and Kake or Attack 26 9. Ukemi or Falling- way 23

IV. The Kinds of Technique 32

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Prof. Kano shows how to cause opponent to lose balance

I. JUJUTSU AND JUDO - WHAT ARE THEY?

Many people have doubtless heard the names Jujutsu and Judo, but probably few can tell exactly what these names mean. I shall, therefore; try to explain in this brochure the distinction between these words and how the word " Judo " came to supercede “ Jujutsu ”

In Japan's feudal days there were many martial exercises, such as fencing, archery, the use of the lance, etc. Among these one was called Jujutsu, and it is sometimes called also Taijitsu or Yawara. It was a composite exercise consisting of many ways of attack, such as throwing, hitting, kicking, stabbing, slashing, choking, holding the opponent down, bending or twisting the opponent's arms or legs in such a way as to cause pain or even fracture, as well as a great variety of ways of defending oneself against these attacks. Such an exercise had existed in Japan from ancient times, but it was only some three hundred and fifty years ago that it came to be taught as a system. During the Tokugawa Period (1615-1867) it developed into an elaborate art, and was taught by quite a number of masters representing different schools.

I learned this art under many eminent masters of the late feudal times who were still living in my young days. The instruction given by them was of great value, as it was the result of profound research and long experience. However, such instruction was not given as the application of an all-pervading principle, but simply as the devices of individual masters. Therefore, whenever I found differences in their teachings 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 I finally became convinced that whatever the objective, whether it be hitting at a certain spot or throwing the opponent in this or that way, there should be one all-pervading principle governing the whole field, and that principle should be the highest or most efficient use of mental as well as physical energy, directed to the accomplishment of a certain definite purpose or aim. Having evolved this fundamental principle, I studied again all the methods of attack and defence then taught and within my reach, and tested their merit in accordance with this principle. I could thus retain those which accorded with this principle and eliminate those which did not. Then, in place of those which I eliminated, substituted new

via

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methods which I believed to be the right application of the same principle. The methods thus formulated are the ways of attack and defence now taught in the Kodokwan under the name of judo, in contradistinction to Jujutsu, taught by the different masters of feudal times.

Let me now explain in this connection to the meaning of these words Kodokwan, Judo and Jujutsu. Kodokwan literally means “a school for studying the way," “the way “being the concept of life itself. Judo and Jujutsu are composed of two words, ju meaning “gentle” or “to give way,” jutsu "art" or "practice," and de "way" or "principle." Thus, Judo means the way of gentleness or of first giving way in order ultimately to gain the victory, while Jujutsu means the art and practice of Judo.

What then does this "gentleness" or "giving way" really mean? To answer this question let us suppose that we estimate the strength of man in units of one. Let us say that the strength of a man standing in front of me is represented by ten units, whereas my strength, less than his, is represented by seven units. Now, if he pushes me with all his force I shall certainly be pushed back or thrown down, even if I use all my strength against his. This would happen because I used all my strength against him, opposing strength with strength. But if instead of opposing him, I were to give way to his strength by withdrawing my body just as much as he had pushed, taking care at the same time to keep my balance, then he would naturally lean forward and thus lose his balance.

(1) Attacker (left) is about to push Defender (2) Defender (right) withdraws as much as Attacker

pushes and thereby keeps his balance (3) Attacker naturally leans forward and loses his balance (4) Defender throws Attacker to the ground (Uki-otoshi)

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In this new position, he may have become so weak (not in actual 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 ten units. But meanwhile, by keeping my balance, I retain my full strength, as originally represented by seven units. Here then I am momentarily in a superior position, and can defeat my Opponent by Using only half my strength, that is half of my seven units, or three and one-half, against his three. This leaves one-half of my strength available for any purpose. Now, if I had greater strength than my opponent I could of course push him back. But even if I wished to push him back and had the power to do so, it would still be better for me first to give way, because by so doing I should have greatly economised my energy and exhausted my opponent's.

This is one simple instance of how, by giving way, a contestant may defeat his opponent, and as there are so many instances in Jujutsu contests where this principle is applied, the name Jujutsu (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.

Making the opponent lean forward, the thrower uses his loin and makes it serve as a fulcrum (Uki-goshi)

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Utilizing the opponent’s strength, the thrower uses his own feet and trips him. This is the simplest movement in Judo (Deashi-harai)

Suppose a man is standing erect in front of me. This 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 a single finger is enough to make him lean forward if I push him from his back, and backward if I push him from in front. If I bring my loin just in front of him at the moment he leans forward, and press my arm around his back, his whole body is pushed against my hip in such a way that it serves as a fulcrum balancing half of his body on each side. Then I can throw him flat on the ground by a slight twist of my hip, or a pull of his arm or sleeve by my hand, even if he is two or three times as heavy as I.

This happens if the opponent is standing still and not stepping forward. Now let us see what will happen if he steps forward in order to keep his balance. In this case I can throw him by pressing the ball of my foot against the heel of his advancing foot, just below the tendon of Achilles, at the moment when his weight is to some extent being supported by the advancing leg, but before the foot has touched the ground. This is an instance of the highest or most efficient use of my energy, because by a slight exertion on my part I can defeat a man of considerable strength.

Let us take another example: (vide p. 8)

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Suppose a man suddenly springs upon- me from in front and tries to push me with all his force. In this case, instead of pushing him back I bend my knees and with one foot near his, and touching the lower part of his abdomen with the ball of my other foot, I pull his sleeves or collar with both hands, stretching my leg as high as possible. I can thus throw the opponent in a somersault over my head.

Here is yet another example: (vide p. 18)

Suppose my opponent standing before me leans forward a little, and pushes me with his right or left hand.

Tomoe-nage: Throw by somersault over the head (upper) Seoi-nage: Throw by bending the body to the front

Then, by taking advantage of his loss of balance, I pull him, holding the upper part of his sleeve with my right hand if he pushed with his left, and with my left hand if 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 shoulder with my free hand I suddenly bend my body to the front. The opponent's body will then be thrown over my head fiat on the ground.

From these examples, one sees at once that although giving way to the opponent's

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strength is often very important, the principle of leverage is sometimes more important for the purpose of throwing. If we consider also that hitting, kicking, choking and other kinds of positive attacks must be used in actual Jujutsu contests, the name Jujutsu, the art of "gentleness" or "giving way," does not convey the real meaning. Actual Jujutsu is something more. 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 true definition of those words.

In 1882, I founded the Kodokwan 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 schools of the old masters came to the Kodokwan from all parts of Japan. The name Jujitsu -was superseded by the new name Judo to such an extent that nowadays no one in Japan speaks of Jujutsu though the name survives abroad.

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II. VARIOUS PHASES OF JUDO

(A) Judo and Physical Education

I was successful in applying the principle of maximum efficiency to ways of attack and defence. Encouraged by this success, I came to ask whether this same principle could not be applied to the improvement of health, that is to physical education. For this purpose the aim of physical education must first be made sufficiently clear. Unfortunately, people do not agree in regard to the aim of physical education. On this subject I have made a study myself and exchanged views with many different people. Today, I have come to believe that the aim should consist in making the body healthy, strong and useful, giving due regard to mental and moral discipline. The aim of physical education having thus been made clear, the next step to take is to find a way to apply our principle to it. The ways in which young men are being trained physically are numerous and varied, but in most civilized countries athletics (including all varieties of sports) and gymnastics' are the two kinds most widely practised. I shall, therefore, confine myself to criticizing them from the standpoint of principles.

There are so many athletic sports that it is difficult to speak of them indiscriminately. However, this much is clear: those sports were not originally devised to develop the body harmoniously nor to make the body physiologically perfect, but to compete for some purpose other than these. It naturally follows that some muscles are unduly exercised while others are not sufficiently used. Injury is thereby often done unconsciously to some of the organs of the body. But, according to our principle, whatever energy we spend, whether it be mental or physical should be most efficiently used- to attain the aim of physical education, namely health, strength and usefulness. From this point of view it appears that many kinds of athletic sports now widely practised must either be discarded or improved, and new kinds devised which better accord with Kodokwan principles. Now, people will naturally ask how gymnastics comes out of this test. To this I would reply that gymnastics is good because it is not injurious, but even generally beneficial to the organs, and also because it aims at the harmonious development of the body. At the same time gymnastics as now commonly practised is lacking in two very important things. These are lack of interest and usefulness. There may be many devices for adding interest and usefulness to gymnastics, but one form I am advocating because of its being an application of the principle of highest efficiency. It consists of a combination of movements of limbs, neck and body, each representing a certain idea in such a way that their combination may result in the harmonious development of the body as well as the inculcation of a high moral ideal. There is another form which I have already devised,

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which is now published in Japanese in booklet form. This consists of a combination of different physical movements aiming at the harmonious development of the body, at the same time serving as a training in ways of attack and defence. It will, therefore, be seen from what I have said that the ideal form of physical training can only be obtained from study based on the principle of the highest or most efficient use of mental and physical energy. I am confident that improvements in physical education in future will only be made along these.

Physical exercise in ways of attack and defence

I have already dealt with the two phases of Judo: the phase as a training in the methods of attack and defence, and the second phase which aims at the development of the body. For both purposes, what we call Randori and Kata are generally used as the means of training.

Girls of Kodokwan practising Randori or "tree exercise"

(B) Randori

Randori, meaning “free exercise," is practised under conditions of actual contest. It includes throwing, choking, holding the opponent down, and bending or twisting his arms or legs. The two 'combatants may use whatever methods they wish, provided they do not hurt each other, or in other words, provided they do not apply the methods as if in serious combat, and on condition that they obey the rules of Judo etiquette, which are 'essential to

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its proper working.

The 30-days' winter training at Kodokwan

(C) Kata

Kata, which literally means "form,” is a formal system of pre-arranged exercises, including hitting, cutting, kicking, stabbing, slashing, etc. according to rules under.which each combatant knows beforehand exactly what his opponent is going to do. The training in hitting, kicking, stabbing and slashing is given in Kata but not in Randori, because if they were used in Randori injuries might frequently occur, but when taught in Kata no such injury is likely to result because all the attacks and methods of defence are prearranged.

Explaining technique to members of Summer Course

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Tai-otoshi: The thrower (right) has his opponent of his balance.

Kata-guruma: The thrower shoulders his opponent crosswise and floors him

Dan grade holders of girls' division of Kodokwan practising or "form"

Randori may be practised in various ways. If the object be simply training in the method of attack and defence, the attention should be specially directed to training in the most efficient ways of throwing, bending, twisting, etc. without special reference to developing the body or to mental and moral culture.

Randori can also be studied with physical education as its main object. From what I have already said, anything to be ideal must be performed on the principle of maximum-efficiency.

One great value of Randori lies in the abundance of movements it affords, for physical development. Another virtue is that every movement has some purpose, and is executed with spirit, while in ordinary gymnastics the exercises and movements lack interest. The object of a systematic physical training in Judo is not only to develop the body but to enable a man or a woman to have perfect control over mind and body, and to prepare him or her ready to meet any emergency, whether it be purely accidental or an attack by others.

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(D) Judo and Mental Training

Mental training in judo can be derived through both Kata and Randori, but more successfully through Randori. As Randori is a competition between two persons using all the resources at their command and obeying the prescribed rules of Judo, both parties must always be alert, striving to detect the weak points of the opponent, and being ready to attack whenever opportunity permits. Such an attitude of mind in devising means of attack tends to make the pupil earnest, sincere, thoughtful, cautious and deliberate in all his dealings. At the same time, one is trained for quick decision and prompt action, because in Randori, unless one decides quickly and acts promptly, he will lose his opportunity either in attacking or in defending.

Practice of Kata (Kirioroshi or “striking with sword”)

Again, neither contestant in Randori can tell what his opponent is going to do, so that each must always be prepared to meet any sudden attack by the other who is accustomed to this kind of mental attitude, by which he develops a high degree of mental composure or "poise." Exercise of the power of attention and observation in the gymnasium or place of training naturally develops such power, which is so useful in daily life.

Practice of Kata (Kirikomi or “striking with dagger”)

For devising means of defeating an opponent, the exercise of the power of imagination, of

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reasoning and of judgment, is indispensable, and such power is naturally developed in Randori. Again, as the study of Randori is the study of the relation, mental and physical, existing between 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 principle of Judo, no matter how physically inferior his opponent may seem to him, and even if he can by sheer strength easily overcome the other. If he acts against this principle the opponent will never be convinced of his defeat, whatever brutal strength may have been used against him. It is hardly necessary to call attention to the fact that the way to convince your opponent in an argument, is not to push this or that advantage over him, be it from power, knowledge or wealth, but to persuade him in accordance with the inviolable rules of logic. This lesson, viz. that suasion, not coercion, is efficacious—which is so valuable in actual life—we may learn from Randori.

Again, we teach the learner, when he has to resort. to any trick in overcoming his opponent, to employ, only just as much of his force as is absolutely required for the just purpose in question, cautioning him against either an over- or an under-exertion of force. There are 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 still another instance from Randori, we teach the learner, when he faces an opponent who is madly excited in his desire to gain the victory over him, not to resist him directly with might and main, but by playing with hum 'till the very fury and power of his violent opponent expend themselves.

The 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 itself out. All these teachings we learn from the practice of Randori. Their application to the conduct of daily airs is a very interesting subject of study and is valuable as intellectual training for young minds.

(E) Judo and Ethics

Concerning the moral phase of Judo, let us first see how the principle of maximum-efficiency helps us in promoting moral conduct. A man is sometimes very excitable and prone to anger for trivial reasons. But when one comes to consider that “to be excited" is an unnecessary expenditure of energy, and of benefit to nobody, but rather harmful to oneself and others, it will be seen that students of Judo must of necessity refrain froth such conduct.

A man is sometimes despondent or gloomy due to disappointment, and has no courage to work. Such a man Judo advises to find out what is the best thing he can do in the existing circumstances. Paradoxical as it may seem, such a man is, to my mind, in the same position as one who is at the zenith of success. In either case, there is only one course to follow, the course which after due consideration he deems to be the best to decide upon at the time. Thus the teaching of Judo may be said to lead a man out of the depths of disappointment and lethargy to a state of vigorous activity with bright hopes for the future.

The same reasoning applies to those persons who are discontented. Discontented persons are often in a sulky state of mind and blame other people for what is their own fault, instead of attending to their own business. The teaching of Judo will make such

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persons understand that this conduct is against the principle of maximum efficiency, and enable them to realize that by the faithful pursuance of that principle they will become more cheerful. Thus the teaching of Judo is, in many ways, useful to the promotion of moral conduct.

By using her loin victor throws opponent in Ukigoshi

(F) Aesthetic in Judo

Finally, I wish to add a few words concerning the emotional side of Judo. We are all aware of the pleasurable sensation given to the nerves and muscles through exercise, and we also feel pleasure at the attainment of skill in the use of our muscles, and through the sense of superiority over others in contest. But besides these pleasures there is that love of beauty and delight in it to be derived from assuming graceful attitudes and performing graceful movements, and in seeing and appreciating these qualities 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 Judo.

Let us now sum up what has so far been said:

Judo is a study and training in mind and body as well as in the regulation of one's life and affairs. From the thorough study of the different methods of attack and defence I became convinced that they all depend on the application of the one, all-pervading principle, namely: “Whatever be the object, it can best be attained by the highest or maximum-efficient use of mind and body for that purpose."

Once the real import of this principle is understood, it may be applied to all phases of life and activity, thereby enabling one to lead the highest and most rational life.

The real understanding of this principle need not necessarily be arrived at through training in the methods of attack and defence, but 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 principle of maximum efficiency, when applied to the keying-up or perfecting of social life, just as when applied to the co-ordination of mind and body – in the science of attack

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and defence – demands, first of all, 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 Judo, therefore, is to inculcate in the mind of man a spirit of respect for the principle of maximun efficiency and of mutual welfare and benefit, leading him so to practise them that man individually and collectively can attain the highest state, and at the same time, develop his body and learn the art of attack and defence.

The moment! Thrower in Tai-otoshi succeeds

The Kodokwan is an institution for research in and the instruction of this science and art, and in fact is the headquarters of all the Judo organizations, not only in Japan but throughout the world. It is at No. 1, Koishikawa-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 are 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 are below the first grade are divided into five classes from the fifth up, viz. five to one. There are now over sixty thousand graded pupils. In all the provinces of Japan there is at least One Grade Holders' Association, with their central Judo association in Tokyo, and the President of Kodokwan is also president of the respective associations. There are similar associations with a gradually increasing membership in some foreign countries as well as in Japan.

The Kodokwan fifty years ago The Exercise Hall of Kodokwan

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III. HOW TO SEE AND STUDY JUDO

There are many things necessary for the practice of Judo, among which the following are noteworthy:

1. Dojo or Exercise Hall

The Dojo, or exercise hall for Judo, is used chiefly for Randori and Kata, and also for Judo matches. Sometimes it is also used for lectures, or for the exchange of questions and answers. It must be a hall having quilted mats. It must also be surrounded by panels of about the shoulder's height, and all nails, and pillars with angles must be eliminated to prevent any danger in running against them.

If the mats are torn, or if there are openings between them, or even if they are laid unevenly, there is a risk of danger. The origin of the name "Dojo" is found in Buddhism, and means “a Buddhist monastery." The hall, therefore, must be as clean as possible, and within it there should always be that solemn and sacred atmosphere which ought to prevail in every place of worship or mental training.

2. Judo-gi or Costume for Judo

The costume to be worn while practising consists of a coat, trousers and belt. They are shown in the accompanying illustrations. The costume is white, and the belt is of a different colour according to the grade of practice. These grades are as follows:--

(a) A black belt in the first five Dan* grades of qualified students ; (b) A striped belt of red and white from the sixth through the ninth Dan grade ; (c) A red belt in the tenth and all higher Dan grades. (Those who hold sixth and all

higher Dan grades may also use the black belt for their respective belts above-mentioned;)

(d) A white belt is used by all students unqualified for the Dan and Kyu grades ;1 (e) A brown belt is used from the third Kyu grade to the first Kyu grade of the

senior division (adults) ; (f) A violet belt is used from the third Kyu grade to the first Kyu grade of the junior

division (boys).

Those who hold Dan or Kyu grades in the women's division, which correspond to those of the men's division mentioned above, should use respectively the red, red and white, black, brown or violet belts with white stripes around the middle.

1 The course of Judo is divided into two grades or ranks called “Dan ", and “Kyu." In the Dan grades, the

numbers increase to indicate the higher grade, but in the Kyu grades, it is different thus the first Kyu grade follows the first Dan grade. •

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The names of each part of the costume are as follows:

Illustration No. 1. (Left)

1. left-side-collar 2. Right-side-collar

3. left-front-collar 4. Right-front-collar

5. left-outer-upper-sleeve 6. Left-outer-middle-sleeve

7. left-outer-lower-sleeve 8. Right-inner-upper-sleeve

9. right-inner-middle-sleeve 10. Right-inner-lower-sleeve

11. left-side-belt 12. Front-belt

13. right-side-belt 14. Left-outer bottom-trousers

15. left-front bottom-trousers 16. Left-inner-bottom-trousers

Illustration No. 2. (Right)

1. back-collar 2. Back-belt

3. right-backbottom-trousers 4. Left-back-bottom-trousers

(14, 15 and 16 of Illustration No. 1 show the names of the left trouser; but those of the right trouser correspond respectively to the left one.)

3. Salutation and Manners in the Exercise Hall

As the salutation is an expression of respect for others, it should be made both before and after Kata and Randori, as well as before and after the match. Both Kata and Randori are by nature methods of contest and the combatants must pay respect to each other both before and after the exercise. In this way we express our state of mind, via, that we only contend for perfection in the technique and practice of judo, so that the contestants must respect each other.

There are two forms of salutation: one is made sitting and the other standing.

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Sitting salutations should be made as follows - the combatants sit facing each other with a space of about 5 feet between them. (See Fig. I.) The insteps should be close to the mat; the hips rest on the heels; the hands are on the mat with the finger tips turned slightly inward, and when making a bow the back of the head should be as low as the shoulders. (See Fig. 2.) This is a formal sitting salutation, and must always be made before and after practising Kata. As it takes too much time to observe at ordinary times, contestants are permitted to abbreviate it somewhat before and after the practice of Randori. In 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 described.

Standing salutations should be made in the following manner: combatants should stand face to face with more room between them than when sitting, as shown in Fig. 3. Then the salutation is made as shown in Fig. 4.

According to the time and circumstance, salutations may be made from a greater distance than that mentioned mentioned above, but they should always be made sincerely.

Salutations must be made not only between the 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 things which the novice must learn in addition to the salutations. First, the Judo hall is a place for culture, and one must, therefore, compose oneself and behave seriously without talking idly or acting noisily. Both at the time of practice and during the match, one must apply the fullest energy to every exercise. Even at the time of repose, one must maintain a good deportment and be attentive to others who are doing exercises, and by watching them learn some lessons which are helpful for improving

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oneself. Finally, cooperation should be the ruling spirit to keep the hall well arranged and to maintain order, since it is the common house for all who use it.

Fig.1. Fundamental natural posture Fig.2. Natural right posture (with right foot advanced)

4. Posture

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

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The “natural right “posture is made by stretching out both the right hand and right foot as shown in Fig. 2. The “natural left “posture is made by stretching out both the left hand and right foot.

The fundamental self-defensive posture is acquired by standing with legs farther apart than in the fundamental posture, say one step instead af one foot, and setting down the waist slightly as shown in Fig. 3.

The right or left self-defensive posture is made by stretching out the respective hand and foot, and taking the posture shown in Fig. 4.

Fig.3. Fundamental self-defensive posture Fig.4. Right self-defensive posture

Natural postures:

Fundamental natural posture

Natural right posture

Natural left posture

Self-defensive postures:

Fundamental self-defensive posture

Right self-defensive posture

Left self-defensive posture

5. Kuzushi or Unbalanced forms

There are eight Ways of "Kuzushi" based on the fundamental natural posture. The names of these eight Kuzushi vary according to the directions in which Kuzushi is made.

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Fig.1. Front Kuzushi Fig.2. Back Kuzushi

Fig.3. Left Kuzushi Fig.4. Right Kuzushi

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6. Hygiene

If one wishes to secure the best results from this practice one must consistently observe moderation in eating, drinking and sleeping. One must also as a matter of course refrain from eating and drinking during the exercises, as well as immediately before and after the exercises. In order to obtain sound sleep one must finish without danger of being disturbed. Keeping one's body clean and wearing neat clothes is necessary not only for health but also out of consideration for others. Besides, one should remember to pare one's nails, not to neglect mending one's clothes, and to make oneself comfortable before beginning. During the exercises one should close the mouth and breathe through the nose.

7. Movement

"Movement" means the manner of advancing or retreating–forward or backward, to the

•

Fig.5. Right front corner Kuzushi Fig.6. Left front corner Kuzushi

Fig.7. Right back corner Kuzushi Fig.8. Left back corner Kuzushi

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left or right, from the place which has been occupied. Each detail of this will be explained fully when Randori is given. Only its principle will be mentioned here.

Whenever one moves one's body forward or backward, to the left or right, or turns in any direction, the weight of the body should be on the leading foot. When one gets close to the combatant, "tsugiashi" must be used. (In this one foot is used as the leading foot, while the trailing foot comes up to within a few inches of the leading foot before the next step is taken.) This differs from the ordinary walk when the feet are used alternately. When using "tsugiashi," the step taken should not be too wide, nor should both feet be brought together.

Speaking of the movement, we must here call attention to one important point. When a contestant is pushed by an opponent in Randori practice, he should pull the opponent more than he is pushed without losing his own balance; also, when he is pulled by his opponent he should push the opponent more than he is pulled without losing his own balance. In this way he can break the opponent's posture or balance and thus make his attack against the opponent easier.

8. Tsukuri or Fitting Action for Attack, and Kake or Attack

To break the opponent's posture or balance so as to make one's attack easier while holding oneself ready at the same time to attack the opponent, is called Tsukuri or "the fitting action for attack" To attack the opponent with effective technique, while his posture has already been broken by Tsukuri, is named Kake or attack.

In practising Randori, especially in studying the technique of throwing, it is advisable to emphasize first the importance of Tsukuri and later to make an effort toward the practice of Kake. This is because when one has mastered Tsukuri the technique may be effective, though the Kake or attack is not so hard. On the contrary, if one has not yet mastered Tsukuri, the technique might not be effective against a strong opponent though Kake were done well; and if the opponent is weak, it is possible to hurt him. The technique, therefore, should be used when the opponent's posture or balance is lost of itself; or after it has been lost by pushing, pulling, turning, luring, etc.

In addition to what has been said about throwing the opponent off his balance, it is also necessary 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 not only found in the technique of throwing but in all other forms as well.

9. Ukemi or Falling-way

Before practising Randori, "Ukemi". or "falling-way" must be learned. Ukemi is the way which enables one to fall easily without hurting oneself whether one fans alone or is thrown by an opponent.

There are several kinds of Ukemi: falling forward and backward, falling to the 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 explain the different ways of falling.

a) Falling Backward. This is an exercise in falling backward. Take a posture as in Fig. 1a,

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with the legs thrown out, and fall backward as in Fig. 1b), hitting the mat with one hand while stretching the arm at an angle of 30 to 45 degrees with the body. When hitting the mat with the right hand, one should slightly twist the body to the right. Similarly, when hitting the mat with the left hand, one 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 prevent the head from striking the floor. For that purpose, one should be accustomed, in falling backward, to bend the neck forward so as to fix the eyes on the knot of one's belt.

Fig. 1a. & 1b. Exercise in falling backward

If this practice has been nearly mastered, then that. of falling backward from a sitting posture as in Fig. 2a, should be studied. Next, raise oneself as in Fig. 2b, and then falling backward with the instep of the left foot touching the mat, toes turned to the right as in Fig. 2c, and finally completing the fall as in Fig. 2d.

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Fig. 2. Exercise in falling backward

The next practice is to fall backward from the standing posture as in Figs. 3a, 3b, and 3c.

Fig. 3a shows the standing posture ; Fig. 3b shows the position in falling backward ; Fig. 3c shows the position at the moment of the fall.

Fig. 3. Exercise in falling backward

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Fig. 4. Way putting hands on the ground when falling forward

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

6) Falling Forward. In this exercise the position of the hands hitting the mat or ground is most important. When one falls forward, the hands should be on the ground with the finger-tips turned in at about 45 degrees so as to make the elbows bend in the right way, as shown in Fig. 4. This prevents one from being hurt.

To practise falling in this manner; one first lies on the stomach, with hands in the position just mentioned and tips of the toes on the ground. Then one stretches and bends the elbows alternately as shown in Figs. 5a and 5b. If one repeats this exercise the muscles of the arms will develop, and the elbow and arm joints will grow strong.

Fig. 5. Exercise of the arms by alternately stretching and bending

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But this Ukemi is not sufficient when one is pushed down from a height, or is thrown down in some way or other. To meet those emergencies one must learn to somersault forward.

Fig. 6. Three stages of exercise in falling forward

To practise this, the combatant first puts his right foot a little forward, then puts his right hand between the legs, lowering his head as shown in Fig. 6a; then draws both hand and head in more, and finally pushes them as shown in Fig. 6b, throwing his legs and waist forward. Fig. 6c shows the posture when the somersault has been finished. By repeating it from time to time, one can eventually stand by the mere force of falling. Thus by the practice of falling forward, the forward somersault may be accomplished.

The next exercise is that of falling sideways. To do this the pupil supports his body by putting his hand on the falling side on the mat with fingertips turned inward, so as to make the elbow bend in the right way. If the occasion demands it, he should twist his body, bending it at the same time and putting the other hand on the mat with the finger-tips turned inward; as shown in Fig. 7

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Fig. 7. Exercise in falling sideways

If the contestant should find it hard to bend his body in this way, he should turn it upward and hit the mat with his free hand. This will support his body so that it will not hit the mat with too great a force.

Those subjects which are indispensable to the exercises have been outlined above. Now we can take up the practice of Randori, and following the principle of physical education we will observe the rule that a moderate exercise should come before a strenuous exercise, as well as a symmetrical exercise before an irregular exercise.

Furthermore, we can not learn the art of "Atemi" (an attack using hitting, poking, kicking, etc.) only by the practice of Randori. Hence it is advisable to practise the technique of Atemi with Randori.

As the individual exercise of “Seiryoku Zenyo Kokumin Taiiku " or " the national physical education based on the principle of maximum efficiency" combines the principle of physical education with the art of Atemi, it should be practised before the study of Randori is begun.

- z a r a l z -

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IV. THE KINDS OF TECHNIQUE

The exercises of Judo as an art are divided into three different kinds, Nage-waza, Katame-waza and Atewaza.

I. Nage-waza (nage – throwing + waza – art) or "The Art of Throwing" is an art devised to throw the opponent on the ground by breaking his posture or causing him to lose his balance. There are many varieties of this art of throwing, which may be divided roughly into two principal groups, "Tachi-waza" and "Suterni-waza-"

A) Tachi-waza (tachi – standing + waza – art) or “ he Art of Throwing in a Standing Position" is also divided into three large groups; they are "Te-waza" (te – hand + waza – art) or "The Hand Technique", "Koshiwan" (koshi – waist + waza – art) or "The Waist Technique" and "Ashi-waza" (ashi – foot + waza – art) or "The Foot Technique."

B) Sutemi-waza (sutemi – throwing oneself + waza – art) or "The Art of Throwing in a Lying Position" is also divided into two groups; they are "Masutemiwan " (masutemi – throwing oneself just behind + wasa – art) or "The Technique of Throwing while Lying on One's Back" and "Yokosutemi-waza" (yokasuterni – throwing oneself sideways + wasa – art) or "The Technique of Throwing while Lying on One's Side."

Every technique uses the hand and the foot, as well as the waist, but the action of the waist is the most important. For the sake of convenience, however, the classification is made according to the relatively conspicuous actions in the art or technique.

2. Katame-waza (katame – hold down or control + waza – art) or "The Art of Grappling" is an art devised to hold the opponent down and to choke him as well as to bend or twist the joints of his arms or legs, so as to cause him pain, disable him or even to cause his death. It is roughly divided into three groups, namely; "Osaewaza" (osae – hold + waza – art) or "The Art of Holding," "Shime-waza" (shiane – strangle + waza – art) or "The Art of Choking" and "Kansetsu-waza" (kansetsu – joint waza – art) or "The Art of Bending and Twisting the Joints." 3. Ate-wari (ate – strike, thrust, or kick + waza – art) or "The Art of Attacking the Vital Points" is an art devised to hit, chop, thrust, poke or kick the vital points of the opponent with the fist, the side of the little finger, the finger-tip, the elbow, the knee-cap, the ball of the foot and the heel, to cause him pain, to disable him or even to kill him. It is roughly divided into two principal groups, namely ; "Ude-ate" and "Ashi-ate," each of which is again subdivided into many techniques.

"Ude-ate " (ude – arm + ate – attack) or "The Art of Attacking the Vital Points with the Arm" includes any action which attacks the vital points of the opponent with any part of the arm; and "Ashi-ate" (ashi – foot + ate – kick) or “The Art of Attacking the Vital Points with the Foot" includes any action which kicks the vital points of the opponent with any part of the foot.

The foregoing statements may be summed up in the following table:

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The parts with which to attack on opponent

a. Tsukidashi The finger end (Apex digitus)

b. Tegatana Ulnar border of hand (Margo ulnaris manus)

c. Kobushi Fist (Capitula ossium matacarpi II et III)

d. Horyu The side-fist

e. Ryogantsuki Middle finger end (Apex digiti III) /

Ring finger end (Apex digiti IV)

f. Hiji Olecranon or Elbow

g. Ashiura The ball of the foot or toe

h. Hizagashira Patella or Knee-cap

i. Kakato Heel (Calx)

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Remarks:

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

The attacking place of the fist is (1) the first joints or the base of the index finger and the middle finger ; (2) the second joints of the index and the middle fingers.

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

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

The attacicing place of the ball of the foot is the cushioned part at the base of the big toe and second finger.

The attacking place of the heel is the part which normally touches the ground.

Boys’division of Kodokwan

Tachiroaxa (Art of throwing in a standing position) showing Seoinage, or one kind of hand technique

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(A) Sutemiwaza (Art of throwing in a lying position) showing Tomoenage (B) Osaewaza (Art of holding) showing Kamishihogatame

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Shimewaza (Art of choking) showing one way of Hadakajime

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Kansetsuwaza (Art of bending and twisting the joints)

showing Udehishigi-wakigatame

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Udeate (Art of attacking vital points with the arm)

showing Hijiate (the elbow)

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Ashiate (Art of attacking vital points with the foot) showing Sekitoate (the ball of the foot)