judo

DISCOVERY OF JUDO’S

“TOKUI-WAZA”___

Ronald Désormeaux, Kodokan 5

th

dan

Technical Director Chikara Dojo

Private collection-2007

Tokui Waza by Ronald Désormeaux

3

DISCOVERY OF JUDO’S TOKUI-WAZA

Copyrights to Ronald Désormeaux

ISBN-2-9806269-2-0

National Library of Canada

2007

Acknowledgements

I wish to thank Marie-Claire, Marc and Nathalie for their support and input

regarding this project.

To my former teachers, instructors, students and judoka colleagues, a special

thank you for your friendship and your precious advice over the years. I want to

signal my cordial appreciation to those involved with the photographic sessions

and the editing, in particular: John Huntley of the Aberdeen Judo Academy, as

well as Corinne Critchlow, Nathalie Dupuis-Désormeaux and Marie-Claire

Dupuis.

Without such friends, I would not have grasped the true dimensions of judo.

My appreciation is also extended to Sensei Naoki Murata of the Kodokan Institute

for permitting access to the judo archives and to Bob Willingham for the use of

his international shiai photos.

Ottawa, June 2007


4

INTRODUCTION – TOKUI-WAZA

Ron Désormeaux first book ‘The Discovery of Judo’ was a treatise on the beginnings of

judo derived from the styles of jujutsu of various schools (ryu) to present-day judo with

photos from the 2006 Judo Canada National Kata Championships and the Kodokan 2006

Summer Kata Course. Tokui-Waza is an extension of The Discovery of Judo, but more

importantly, it outlines a judoka’s path to development of a tokui-waza or favorite

technique. For those familiar with famous past judoka such as Shiro Saigo, Kyuzo

Mifune and more recently Yasuhiro Yamashita or Katsuhiko Kashiwazaki, the mere

mention of their name brings to mind their tokui-waza performed at the highest level!

Tokui-Waza begins with the evolution of the gokyo-no-waza as judo spread throughout

the world. In Europe especially, we find judoka applying Greco-Roman and Russian

Sambo techniques - un-orthodox gripping and modifications to the standard gokyo-no-

waza. The gokyo has evolved but its essence remains.

The main content of this book covers various applications of a number of select tokui-

waza, followed by training recommendations and suggested training sessions to assist one

in the acquisition of their own tokui-waza. Also covered are situations of Sen or Go, Go-

no-Sen, and Sen-no-Sen. The book concludes with auto-evaluation and bio-mechanical

dimensions.

Ron covers a lot of material in 100 pages, material that is pertinent to all judoka but, as

indicated in its conclusion, will prove invaluable to the contest-oriented judoka. Working

hand in hand with a competent instructor a judoka will discover new approaches to waza

application.

I highly recommend this book!

John A. Huntley, 7th dan

Aberdeen Judo Academy

Kamloops, British Columbia


5

Table of content

Part One

JUDO’S TOKUI-WAZA 7

INTRODUCTION TO HISTORICAL DIMENSIONS 8

LEGACY FROM SHIHAN JIGORO KANO 10

KODOKAN JUDO INSTITUTE; ORIGINAL SCHOOL 13

GOKYO-FIVE ELEMENTS 14

ADAPTATION AND MODIFICATION OF GOKYO 14

THE COMMON REPERTORY OF JUDO WAZA 15

TACHI WAZA OR STANDING TECHNIQUES 15

KATAME WAZA OR GRAPPLING TECHNIQUES 18

Part Two

STATISTICAL ANALYSIS 22

THE APPLICATION CONTEXT 25

TEN ESSENTIAL ELEMENTS 27

TOKUI WAZA AND SHIAI 41

THE LEARNING PROCESS 43

Part Three

SELECTED TOKUI WAZA 46

First Selection: Seoi-Nage Connections 47

Second Selection: Uchi-Mata Connections 53

Third Selection: Tai-Otoshi Connections 57

Fourth and Fift Selection: O-Uchi and Ko-Uchi Gari Connections 60

Sixth Selection: Harai-Goshi Connections 64

Seventh Selection: O-Soto-Gari Connections 67

Eight Selection: Kata-Guruma Connections 69

Ninth Selection: Uki-otoshi Connections 72

Tenth Selection: Te-Guruma Connections 74

TOKUI WAZA TRAINING RECOMMENDATIONS 76

SUGGESTED TRAINING SESSIONS 77

Part Four

AUTO-EVALUATION 80

ABOUT BIOMECHANICAL DIMENSIONS 83

CONCLUSION 86

Annexes

A. UNDERSTANDING THE CONTEXT 87

B. REFERENCES 96

C. GLOSSARY 100

D. AUTHOR’S PROFILE 101


6

Preface

Judo has been a way of life for me for over 50 years. In my early apprenticeship and

competitive days, I practiced hard and tried to absorb all the good counsel received from

my peers and teachers.

Having become a teacher and a coach, I was blessed with more time to analyze and

reflect upon the many judo techniques and their principles. This book is the fruit of my

reflection and research and I wish to share it with others who may have an interest in

pursuing the study of judo.

Have a pleasant reading.

Ronald Désormeaux, 2007

Should the reader have suggestions, comments or questions about this text, please Email them directly

at ronalddesormeaux@ yahoo.ca


7

Part One:

JUDO’S TOKUI-WAZA

JU: meaning soft, flexible, supple, pliancy.

DO: referring to the way of progress or path of conduct.

The essence of Kodokan Judo is to perfect oneself physically, mentally

and morally in order to use those strengths to the benefits of society.

The Kodokan techniques aim at returning an opponent’s strength

against himself and overcoming him through skill rather than force.

The use of Tokui-waza will be our strategy.

Ju Do

Tokui-waza: from the verb toku-yo-no, to be economical,

From the adjective toku-yu meaning unique,

From judo dictionary expressing the preference

or favoritism towards a technique.

Tokui-waza: a preferred or favorite technique. Any

technique that an individual finds particularly

effective and therefore uses frequently.

1

1

Teizo Kawamura, Toshiro Daigo, Kodokan Dictionary, 2000


8

Introduction to Historical Dimensions

Within the dynamic process of nature, all things develop particular methods to

defend themselves. All living forms are provided with a defense mechanism to

ensure their survival. The human being is no exception. It too has developed

methods of self-defense. Martial arts systems followed various trails of human

conflicts and wars. There are many heroes and war episodes that became famous

and which were transformed with time into legends and religious festivities. The

Europeans have their share of folklore and the Asian populations have also their

traditions that mutated from one country to the other. The various arts of

grappling and self defense skills are no exception. Hereunder are a few

illustrations depicting systemic approaches in the art of fighting found in Europe

in the 15

th

and 16

th

century.

For the purpose of this book, the Asian and the Japanese trail in particular will be

of more of interest to the judoka as Judo not only evolved from ancient Asian

jujutsu techniques. The Asian art of self-defense was elevated to the level of a

scientific and philosophical art, based upon the study of human anatomy,

psychology and the laws of nature. It was practiced in war and in peaceful times.

Favorite techniques illustrated in 1674 in the book by Nicholas Petter “Handbook of Wrestling”

showing the existence of some sort of self-defense and grappling studies in Europe during the

Medieval and Renaissance times.


9

A collage from the German print book on Wrestling dated 1553.

By the printer Wurm depicting hip and arm techniques.

“The original purposes of jujutsu were to throw and kill the opponent, to capture him or strike his vital

points. Certain schools and styles came to be studied as something quite removed from the concept of

combat. While combat may have been at the core of jujutsu practice, it also had related goals of physical

education and mental training”

2

2

Naoki Murata, Mind Over Muscle, 2005, p-17


10

LEGACY FROM SHIHAN JIGORO KANO

Shihan Jigoro Kano His Kodokan Emblem (The cherry blossom)

Shihan Jigoro Kano, the founder of modern judo was born in Japan, on October 28

th

, in

Mikage near Kobe in 1860. He followed his family to Tokyo in 1871 when Japan was in

the midst of a cultural transformation from a feudal country to a modern nationhood. He

began his university education at the Imperial institution and like many students he

sought to learn jujutsu. As Japan was coming out of its long journey of internal wars,

many combat schools had survived and were attempting to establish themselves as public

establishments. From the many schools available to him, he approached the most

reputable masters to teach him the best skills in the art of self-defense.

His first teachers were Sensei Yagi and Karagiri of the Yagyu School which was a

fencing (Kendo) and jujutsu Ryu. He then moved on to attend the Takenouchi, the Kito

and the Tenshin Shinyo schools. He became a personal student of Master Hachinosuke

Fukuda, Tozawa Tokusaburo, and Masamoto Isohizue and of Iikudo Tsunetoshi.

Not fully satisfied with the combat techniques and the physical training skills he received,

Shihan Jigoro Kano pursued his Doctorate degree from the Imperial University and

continued his researches into the philosophy and teaching methods of jujutsu and their

tactical approaches. He was somewhat influenced by his own studies of Buddhism,

Daoism and Confucianism. He attempted to link the jujutsu teaching with the Japanese

cultural dimensions. He embarked upon the studies of old documents called Kudensho

which were transferred to him by his former masters. He analyzed other documents

located in several libraries.

Back in the training room, he refined techniques, questioned purposes and usefulness. He

codified and realigned them in accordance with known basic natural laws of nature. He

further challenged some theories expressed by colleagues and other jujutsu masters. He

recognized the values of jujutsu but challenged the pedagogy.

When ready, in 1882, he formulated a new approach and complete educational program

based upon those key natural principles he had tested in his remote dojo. “I took the

name judo that already existed and added the name of my dojo to it”.

3

The name judo

was most likely taken after the jujutsu Chokushin-ryu-judo (also known as JIKISHIN)

located in the city of Izumo.

3

Jigoro Kano, Naoki Murata, Writings from the founder of judo, Mind over Muscle, Tokyo, 2005


11

Jigoro Kano at the centre of a gathering of jujutsu experts circa 1895

Shihan Jigoro Kano’s approach was based upon the following two principles:

The intelligent use of energy.

Mutual benefits and prosperity for self and others.


12

Shihan Jigoro Kano’s program contained three parts: The physical training and

development of the body known as Renshindo; the accrued proficiency in combat and

fighting called Shobuho and the mental development and culture known as Shushinho.

These three objectives were later simplified to become: Shin-Gi-Tai. (Mental-technique-

physical). Inspired by the bushi culture of yesterdays, Shihan Jigoro Kano was able to

provide a different path for the Japanese people to link up with their past, train their

physical and mental abilities and become part of the League of Nations.

Shihan Jigoro Kano and some of the Kodokan earlier teaching staff-1933

(Kodokan archives)

The above were the first group of teachers of the Judo theory: “Ju Yoku Go O Seisu”

usually translated as “softness overcomes hardness” and “ flexibility overcomes

stiffness”. The central principle of the martial system was being receptive, alert and in

control of the situation in order to yield to the opponent’s attack and reverse it to your

advantage.

Shihan Jigoro Kano went beyond the physical attributes of the jujutsu and introduced a

higher mental dimension with social ramifications.

“While respecting and valuing jujutsu traditions, Kano’s judo

incorporated a new concept of morality, and fulfilled the purpose of

health education while emphasising science and logic”

4

4

Naoki Murata, Mind over Muscle, 2005, p 145


13

KODOKAN JUDO INSTITUTE: ORIGINAL SCHOOL

In May 1882, Shihan Jigoro Kano decided to open his independent school. It was a

modest beginning in the annex of the Eishoji temple in the Shitaya district of Tokyo.

There, he began his work with very few students. A dozen or so assistants quickly joined

him. It is there that he officially declares that his Kodokan Judo would now replace the

old jujutsu. The main reason for the change of name was that he would now focus his

Kodokan teaching upon the “way” involving the three aspects Shin Gi Tai for the

betterment of society.

His new school took roots and more students with like-mind attended. Not satisfied of

being one of the many school in the region, he desired to prosper and expand his

philosophy of intelligent use of strength to society’s benefits as the number of students

grew. To realize his dreams, he lobbied and made presentations to the political elite and

to the higher society of Japan. His messages were heard. The influential milieu would in

turn help him secure his political ground against other schools and systems who were also

trying to gain a hold.

As was the practice at the time, his school was often challenged by groups of dojo

yabushi, so-called fighting experts looking to destroy the reputation of other schools

through open challenges. Shihan Jigoro Kano did not seek nor avoided challenges; he

would rely upon the abilities of his pupils and colleagues to rebuff them. Masters

Yamashita, Nagaoka, Hiratsuka, Takamatsu, Fukuda, Totsuka and Isogai were the prime

fighters involved in ensuring supremacy of the Kodokan system. With victories, came

new students and Shihan Jigoro Kano recruited other masters who shared his ideals and

invited them to join his Kodokan.

In 1883, he presented several theses to the Ministry of Education illustrating the

educational merits and values of his new physical education system. He convinced the

Ministry of Education to make use of Kodokan Judo training methods to promote

individual self-discipline and character building in the Japanese Youth society. Shihan

Jigoro Kano provided convincing arguments using students engaged in Kata (pre-

arranged form) demonstrations and free practices or Randori. His Kodokan Judo was

indeed different and considered relatively safe to practice. The physical and social

programs of the Kodokan Judo was appealing and its moral education of practicing what

is good and right could be applied to complex situations in everyday life. It got the

necessary endorsement and his system soon became the replacement to the Bujutsu

curriculum previously taught in public schools.


14

GOKYO-FIVE- ELEMENTS

In his first school curriculum or training package, Shihan Jigoro Kano made provisions

for the Nage-waza, the Ne-waza and the Atemi-waza. They are the three dimensions of

the combat skills training: throwing, holding and striking. He limited his initial throwing

techniques (Nage) to about 40 standing units. The mat techniques or holding were

originally covered in the Katame-no-kata, or pre-arranged form to develop the

understanding. His Atemi-waza were included into several other Kata training since they

required special care and attention in training exercises in order to avoid major accidents

or injuries.

By limiting the initial curriculum, he intended to guide his students towards a greater

appreciation and mastery of the physical principles and components involved with

specific waza. These essential dimensions were: Kuzushi, placing the opponent into a

broken posture; Tsukuri, the body movement and the placement of one into the right

angle for attack and posture for the throw; Kake, the proper placement or manner to

execute the throw with maximum impulse.

The initial 40 techniques became known as the Gokyo of 1895. The five groups of eight

techniques represented the actions and reactions taking place between two opponents.

The technical skills used by both players would facilitate the transmission of power from

one onto the other.

The first and second groups of techniques demonstrate the use of the various segments

located in the upper body to accomplish the displacement of the opponent.

The third group makes reference to the use of the trunk muscles and central joints best

represented by the hip power or Hara.

The fourth group illustrates the influence of the legs and feet as they are used as lever,

fulcrum or instrument of sweeping.

The fifth group shows how the total body weight can be used to attract and guide the

opponent into a fall or throw. It also reflected the risk taking involved in the use of one’s

balance to affect a throw.

The practice of the Gokyo techniques was generally conducted through randori or free

practices and complemented with kata or form studies. Since its inception, Judo

techniques and styles have been remodeled to meet demanding international expansion.

The mat work became randori style training and linked with the competition scoring

system.


15

ADAPTATION AND MODIFICATION OF GOKYO

In the early years, standing techniques were following rigid lines found in jujutsu.

Ground work was not popular as it took too long to score in competition. After the birth

of the International Judo Federation in the 1950s, new champions were mastering one or

two tokui-waza and applying them to perfection. With the coming of the University and

Youth games in the 1960-70s, younger and more athletic judoka brought more daring

throws to the forefront. In the past twenty years, the Eastern countries and the Greco-

Roman grappling systems made their entries. There is now more variety and more follow

up technique to the mat work. Non-orthodox techniques such as Hikomi (toppling or

reversing) have been refined to cope with athletes lowering their centre of gravity and

crouching. We observe the use of more combination techniques known as Renraku waza

to enticed or lure the opponent or as following strategies.

The Gokyo may have evolved but its essence has remained the same. Today, the

International Judo Federation recognizes several new techniques and variations as a result

of international competitions. The Kodokan Judo Institute in Tokyo has published an

enriched Gokyo syllabus with 67 Tachi or standing waza and a full compendium of mat

techniques under its Katame or Ne-waza grouping comprising 32 hold downs, arm-locks

and strangulations. It is from this updated syllabus that our selected Tokui-waza will

emerge. A partial name-list of the root techniques is presented hereafter to situate our

choice.

Sensei Bernard Gauthier performing Uchi-mata (inner-thigh)


16

THE COMMON REPERTORY OF JUDO WAZA

For those tenacious enough, the process of learning judo must be a committed effort over

several years. One cannot achieve mastery in a few months or through lectures of

technical material alone. It is a process of a lifetime. Sensei Sakujiro Yokoyama wrote in

1908:

5

“It is beyond the power of the pen to explain the delicate points of judo and the

mysterious mental action it brings out.”

“Not everybody grasps the full meaning of judo, but there are some who do.”

6

Achieving mastery in judo demands intensive and demanding training over an

extended period of time under the guidance of experienced sensei.”

TACHI WAZA OR STANDING TECHNIQUES

Te-waza- 15 techniques of the hands

The following techniques demonstrate how the energy contained in the upper body can

be used against the opponent. The lifting, blocking, pressing, pulling and pushing actions

of the hand and shoulders against the opponent are best seen in:

Ippon-seoi-nage, Seoi-otoshi, Tai-otoshi, Seoi-nage, Kata-guruma, Uki-otoshi, Sumi-

otoshi, Sukui-nage, Obi-otoshi, Morote-gari, Kuchiki-taoshi, Kibisu-gaeshi, Kouchi-

gaeshi, Uchi-mata-sukashi, Yama-arashi.

Koshi-waza-11 techniques involving the hips

This group emphasizes the undulations of the hips and trunk caused by lowering or lifting

of the hip. The pelvis region provides most of the power needed to throw the opponent

down. The activation of the middle group of muscles is used as a lifting power and as a

fulcrum arm placed under the opponent’s center of gravity. These actions are found in:

Uki-goshi, Harai-goshi, Tsurikomi-goshi, Sode-tsurikomi-goshi, Hane-goshi, O-goshi,

Ushiro-goshi, Utsuri-goshi, Tsuri-goshi, Koshi-guruma, Daki-age.

5

Sakujiro Yokoyama, Judo Kyogi, 1908

6

Jigoro Kano, writings compiled by Naoki Murata, Mind Over Muscle, 2005


17

Ashi-waza- 21techniques performed with the legs

The inferior or lower segments are used to gain quick entries, to establish a lever, to

block, to sweep, to lift or to avoid the actions of the opponent. In some cases, the

opponent’s feet are pushed out from under him or are stopped in their tracks. They are

represented by:

Hiza-guruma, O-uchi-gari, O-soto-gari, Sasae-tsurikomi-ashi, Harai-tsurikomi-ashi,

De-ashi-harai, Ko-uchi-gari, Ko-soto-gari, Ko-soto-gake, Ashi-guruma, Uchi-mata, O-

guruma, O-soto-otoshi, Sasae-tsurikomi-ashi, Okuri-ashi-harai, Tsubame-gaeshi,

Kouchi-gari, O-soto-guruma, O-soto-gaeshi, Uchi-mata-gaeshi, Hane-goshi-gaeshi,

Harai-goshi-geashi.

Sutemi-waza-20 techniques involving the major sacrifice of loosing balance

This group shows that when the body’s posture is challenged, it can still be used as an

instrument of power to throw the opponent in a rearward and lateral direction. Sacrifice

throws are risk takers; you must sacrifice your own balance in order to carry out the

throw and you risk having the opponent gain the upper hand if you are unsuccessful.

Representative techniques are: Tomoe-nage, Ura-nage, Sumi-gaeshi, Hikikomi-gaeshi,

Tawara-gaeshi, Uki-waza, Yoko-gake, Yoko-otoshi, Yoko-guruma, Tani-otoshi, Yoko-

wakare, Hane-makikomi, Soto-makikomi, Uchi-mata-makikomi, Daki-wakare, Uchi-

makikomi, Harai-makikomi, O-soto-makikomi, Kani-basami, and Kawazu-gake.

Sensei Katanishi performing Ura-Nage and Tomoe-Nage movements


18

CHART: SAMPLE TECHNIQUES OF GOKYO 1895


19

KATAME WAZA OR GRAPPLING TECHNIQUES

These techniques were first contained in the formal Katame-no-kata in 1895 but were

seldom used in principal Shiai or competition until the 1930.s. There has been a

comeback to them in the last 15 years. Because of the current Shiai contest rules, the judo

contest starts with a standing posture. Entering into Ne-waza or ground work is normally

associated with an imperfect throw by either opponent or continuity to a waza.

We generally identify four options to enter into Ne-waza:

1. Following a Tachi-waza attack and pursuing to the ground in the follow-up

action.

2. Inviting the opponent to the ground via a strong defensive posture.

3. Enticing the opponent with dragging and toppling techniques known as Hikomi.

4. Applying a standing Shime or Kansetsu (strangulation or lock) and bring the

opponent down with it.

Neil Ohlenkamp, a senior coach of the United States Judo Association recommends that

judoka should master transitions techniques from standing to ground techniques. We refer

to this latter group as Hikomi or toppling forms. “The focus of osae komi waza is to learn

the basic control and how to maintain a superior position on the ground. Knowing the

final hold is only a small part of the skill needed to get an opponent into a vulnerable

position.”

7

Osae-komi-waza- holds or pins

These techniques are used to control the opponent while fighting on the ground. The

judoka tries to maintain a fluid displacement, keeps his center of gravity low, envelopes

the opponent from a superior position and uses leverage and balance to keep him under

control for a given time lapse.

The techniques are: Hon-kesa-gatame, Kuzure-kesa-gatame, Kata-gatame, Kami-shiho-

gatame, Yoko-shiho-gatame, and Tate-shiho-gatame.

Variations of traversing holds- makara- kesa gatame

7

Neil Ohlenkamp, Judo Unleashed, 2006. p 117


20

Shime-waza- strangulations and chokes

These techniques are intended to force a submission from the opponent. Applied to either

the carotids arteries (strangulation) or the windpipe (choke) with speed and accuracy they

should not last longer than 10 seconds. Carotid strangulations are safer and quicker and

produce less pain to the opponent. If properly applied, they do not represent a severe

danger. A loss of consciousness will occur if a submission is not signaled. Recovery from

strangulations occurs normally within release or during the following 20-30 seconds. A

longer lap’s time in a state of unconsciousness may necessitate the recourse of medical

help. When used in Shiai, the referee will watch for signs of submission (tapping or

unconsciousness). When practicing in the dojo, both opponents should be careful not to

apply the technique beyond early signs of effectiveness. These techniques are:

Nami-juji-jime, Kata-juji-jime, Gyaku-juji-jime, Hadaka-jime, Okuri-eri-jime, Kata-ha-

jime, Kata-te-jime, Ryote-jime, Sode-guruma-jime, Tsukkomi-jime, Sankaku-jime, Do-

jime.

The most important safety rule when applying a shime waza is to release the pressure

after the opponent submits or when he begins to feel the effect. (Discoloration,

difficulty in breathing or numbness)

Standing strangulation being attempted


21

Kansetsu-waza-locks applied against the joints

Arm locks or arm bars may be applied in a standing posture and when fighting on the

ground. Because one has a better control over the opponent’s movement on the ground,

these techniques are principally used in the mat work to obtain a quick submission from

the opponent. These arm bars or locks are applied principally against the elbow joint. The

technique involves manipulating the opponent elbow joint by twisting, stretching,

separating or bending it beyond its normal range. Kansetsu waza frequently accompanies

a tachi waza (standing) to permit the continuation of the fighting and maintain control

over the opponent when reaching the mat.

Safety precautions: Like the shime waza group, these techniques are learned and

practiced under close supervision and should not form part of the curriculum for children

training. Standing arm locks are normally applied faster and therefore present a higher

risk of injury.

Included in this group are: Ude-garami, Ude-hishigi-juji-gatame, Ude-hishigi-ude-

gatame, Ude-hishigi-hiza-gatame, Ude-hishigi-waki-gatame, Ude-hishigi-hara-gatame,

Ude-hishigi-ashi-gatame, Ude-hishigi-te-gatame, Ude-hishigi-sankaku-gatame, and Ashi-

garami.

“In learning judo, sincerity of min.

Kokoro is indispensable.

Without it only a limited technique remains”

Attributed to sensei K.Mifune

Sample techniques from a group of Katame waza abstracted from a German Chart circa 1950


22

PART TWO

STATISTICAL ANALYSIS

Background

Various researchers worldwide have kept an accurate account of the techniques that have

proven successful in competition. Over the years, they have gathered many statistical

data. It is interesting to note that there may be a tendency related to the most frequently

used techniques. Sensei Otaki Tadao made a census of the 10,552 contests during the first

part of the Showa (1926-1950-1989) period.

8

He found that 83% of contests were won by

a clear Ippon. He confirmed that the ratio of tachi-waza to ne-waza was 7 to 3. The most

popular tachi-waza of the period was: Uchi-mata (16%) followed by O-soto-gari (13%)

and Harai-goshi for 10%. Counter techniques had a 7% rate of usage.

Most recent statistics obtained from past Olympics, World and European championships

revealed the use of less than 20 techniques per event. The Polish study of Sikorski and

Keseck of 1996 was chosen to represent our study base. Their study of 876 judo matches

at the international level identified that there was an evolution and a progression in the

use of standing techniques: of the techniques used, 90% came from the Tachi-waza

group. When applied in singular mode or in combination, they scored full mark or Ippon

62% of the time. Another 10% of the maximum score awarded came from a mixture of

Ne-waza (ground or mat work) or superiority awarded by decision of the officials.

Of the 67 techniques available in the Gokyo Tachi-waza, they further identified that some

techniques proved to be more popular than others. The frequency ratio was as follow:

10% resulted in Seoi-nage combination.

9% attributed to Uchi-mata.

9% performed Tai-otoshi.

Champions performed this winning trio either on their right or left side.

A second group of powerful waza was used very effectively in 3 to 4% of the time.

They are represented by: O-uchi-gari, Ko-uchi-gari, Harai-goshi, Uki-otoshi and O-soto-

gari. Three other techniques re-appeared at a frequency of about 1%, they are: Kata-

guruma variations and counter techniques variations of Te-guruma and Sukui-nage.

Judoka of all ranks and levels have learned the aforementioned techniques from their

early judo lessons. They are studied as part of the first and second grouping of the Gokyo.

Past champions, the like of sensei Kimura, Natsui, Sone, Geesink, Inokuma, Ruska, Sato,

and Yamashita and numerous others had ample time to practice them in various fighting

situations during their long competitive careers. (Some of those champions practiced

daily for more than 10 hours.)

8

Otaki Tadao, Contest and technique, Judo International, 1950


23

In 2001, a similar research conducted by Stanislow Sterkowicz of the Krakow University

concluded

9

that: of the 283 matches of the Sydney Olympics, 246 were won by the use

of a tachi waza movement while 36 victories were determined as a result of applying a

form of grappling techniques. The most popular techniques of the tournament were:

Uchi- Mata, Seoi- Nage, Ko- Soto- Gake, Sukui- Nage, O- Soto- Gari, Kata- Guruma,

Ura- Nage and Harai- Goshi. The favourite mat technique was the Juji- Gatame.

Again, we can observe that the favourite techniques are not hybrids but form part of the

regular training and preparation undergone by serious judoka. The miracle solution

appears to be: TRAIN, TRAIN HARD AND TRAIN INTELLIGENTLY.

Sensei Isao Okano, the 1960’s champion and former trainer of the Japanese national team

once said: To accomplish a superior brand of judo, it is necessary to master all the

fundamental techniques and to train hard daily.

10

. No judoka can hope to reach

perfection unless he is thoroughly familiar with the basic movements.

In 1983, Pierre Albertini presented a major paper about the judo learning process. He

pointed out the inadequacy of the classical training methods of conducting static

repetitions and embarking into shiai without intelligent preparation. He stressed the need

to take into account, the reality of fighting situations and suggested to introduce them into

the special randori training used in preparation for major fights. For him, the judoka is no

longer seen as an individual but as a member of a couple engaged in bettering their skills.

He recommended the adoption of new learning processes and the development of mutual

benefit exercises exploring the intelligent use of work done in pairs. Combinations and

follow-up techniques performed at incremental speed were recommended for both ne-

waza and as tachi- waza drills.

11

Michel Brousse, a former European and French champion and now a senior national

trainer for France, made several studies on the technical aspects of judo.

12

In the noted

reference, he identified a relationship between the effectiveness of throws and the scoring

of Ippon. He confirmed that some judo techniques having a high performance ratio or

used to score Ippon had previously been performed extensively in training sessions

against multiple opponents before the actual contest. He concluded that such situational

training is a very effective way of gaining déjà vu situations and worth pursuing. He also

noted that such devoted training was not equally applied to minor waza who that did not

produce a major score. He recommended the use of different training programs where

emphasis would be placed on: gaining impulse and speed, improved timing, tai-sabaki

and seeking opportunities while on the move.

9

Stanislow Sterkowicz and Wieslow Blach, IJF Research paper 2001.

10

Okano Isao, Le judo vivant, page 9

11

Albertini Pierre, Pour une pratique et une Pédagogie de l’Opposition, Revue judo no 59, 1983

12

Brousse Michel, Judo Performance, A Study of Technical Aspects, STAPS, 1986


24

The detailed analysis of training regimen is not covered in this manual. Other good books

are available for that purpose. If we reflect upon what sensei Kyuzo Mifune wrote: There

are no limits in the application of judo techniques

13

. Our task would lengthen both our

time and purpose.

Our concentration will therefore cover the ten techniques identified above and their

combination training as Renraku-waza. (Combination or application in rapid succession,

moving from one to the next in a smooth and unbroken fashion).

Hiza-guruma (knee wheel) performed by sensei Bernard Gauthier

“ At the Kodokan, we study and practice techniques with the purpose of

using mental and physical energy most efficiently in order to achieve one’s goal

no matter what the endeavour, which is the basic principle of judo. So those in

training do not merely imitate the actions of the master or practice without

understanding the reasons behind what they are doing, but rather consider

methods and train in accordance with detailed principles.”

14

13

Kyuzo Mifune, Canon of Judo, 1956

14

Jigoro Kano, Mind over Muscle, 2005, p 34


25

THE APPLICATION CONTEXT

We can normally identify three situational contexts where Tokui-waza can best be used

either in Randori (free practice) and Shiai (contest):

In a Sen or Go situation, the judoka takes the initiative and starts the

attack, breaks the opponent’s posture and applies his technique. The basic

elements in this offensive strategy are: Imposition and control. The judoka

must have the capacity to adapt to changing situations without loosing the

focus. He needs the perseverance to seek and produce action-reaction. He

has to maintain psychological and physical control over the opponent and

take advantage of the various forms of Kuzushi.

In a Go-no-sen situation, the judoka’s own posture is attacked by the

techniques of the opponent; yet, he has the time and the reflex to identify

the weaknesses in the attacks and turns them to his advantage. The judoka

is in an apparent defensive stance. This situation is normally identified as

the counterattack. The basic elements are: The ability to measure and

skilfully use your own weight and body mass to quickly resolve a

dangerous situation or make use of the technical impurities of the

opponent’s techniques.

In a Sen-sen-no-sen situation, the judoka foresees the attack at the very

initial stage of the energy-gathering process undertaken by the opponent.

He anticipates the forthcoming displacement and launches his own

offensive before the other. The major elements are: Keeping a relaxed

posture and open mind: seeking the right moment or opportunity and

retaining the ability to switch from defense to offensive tactics

spontaneously.

The judoka must move about skilfully and keep the right balance. He must

play on the engagement distance between the opponents, lure the opponent

into emptiness by yielding or following and use an explosive force against

the weakest point when required.

Being able to identify the opponent’s intentions needs lots of practice and

experience. The Chinese master Lu Shengli identified the critical aspect of

the training when he said: “the most important thing to understand in your

training is the relationship between dynamic and static states, between

movement and stillness.”

15

15

Lu Shengli, Combat techniques, p 69


26

To be able to feel and observe correctly the opponent, you need to be in a

proper vantage point, have a relaxed mind and be receptive to all kinds of

signals that may be perceived by your eyes, ears, nose and hands (visual

signals, noises, concentrated smell or odour and tactical feeling). These

are your perception, identification and assessment tools. You have to

acquire the sensitivity to feel small movements, assess strength and power,

identify situations when the opponent’s balance is stable or unstable,

determine when and in which direction you can easily gain control over

him. The Japanese call this state of awareness Mizu no Kokoro meaning

the reflective mind like the surface of the water.

¨Secrets are just like your eyebrows, though they are near you,

you can not see them. When you understand a secret, you will find that it

was quite near you or very simple¨

16

The proper application of the listed Tokui-waza is no different than the other techniques

left out of this text. They are all constructed around 10 essential elements that we have

described at length in our previous work of 2005 entitled Discovery of Judo.

We are hereafter presenting them in a summary review, because we consider them to be

essential towards the comprehension of the principles of all waza regardless of you

choice.

LEARN THE BASICS,

THEY WILL LEAD YOU TO HIGH LEVEL MASTERY

If you have things of value

You should pass it on to others.

16

Sakujiro Yokohama, Judo Kyogi, 1908


27

TEN ESSENTIALS ELEMENTS

“We have to seek to understand everything, from the global picture to the minute details

and work our way up from the smallest to the biggest element”.

17

The above quote is from a 1640 message by fencing Master Miyamoto Musashi

encouraging his followers to persevere with an open mind. He warned that learning new

techniques for the first time could be difficult. With practices and repetitions, the

techniques will become easier. Hundreds of Sensei that followed this great sword fighter

repeated similar messages and placed the same importance to teaching judo fundamentals

elements as prerequisites to all other form technical training. The 10 essentials elements

of a waza are: Breaking the fall, the standing posture, moving the body about, placing the

opponent in an unbalanced position, turning motion, grasping the costume, making the

entry, applying the technique, keeping contact with the opponent and applying constant

harmony.

First element: Ukemi. Breaking the fall.

Ukemi means to use one’s body to break the fall. It is a method by which pain and

fear can be mastered. Sensei Ichiro Abe mentioned in his recalls of judo souvenirs

that when we witness someone making a break fall, we can determine the level of

his or her expertise.

With good break falls comes good Tai-sabaki. The body becomes supple and

relaxed. To be able to make a good technique and control all its elements, it is

necessary for the judoka to feel the fall, understand the impact with the mat and

visualize its natural trajectory. Having practiced the different ways to break the

fall, he will be able to modify his throwing technique and develop defensive

means to minimize the scoring attributes. It is said that when you can take a throw

without discomfort, you can attack with confidence.

The American coach Neil Ohlenkamp made this observation of Ukemi: “Being

able to fall comfortably and with confidence frees the mind and relaxes the body

so you can attempt more difficult moves.”

18

17

Miyamoto Musashi, Go-Rin-No-Sho, 1983

18

Neil Ohlenkamp, Judo Unleashed, New York, 2006


28

Second element: Shisei. Standing posture.

There are several stances used in judo. The recommended posture for best judo

practice is the upright natural posture. This is the starting posture for any given

contest. It consists of placing oneself in a natural stance where you are free and

able to move at will without being entangled with the opponent. The posture is the

foundation for every movement once said Sensei Sumiyuki Kotani.

“My body is linked with my centre. My centre is full of energy.

My energy makes one with my intention. My intention is free of everything.”

Extracted from the Munen-Mushin principle meaning: pure and simple.

Since the judo match will begin in a standing posture, it is important to

understand all the possibilities of using body weight and displacement to close in

on the opponent for the eventual throw or to secure a solid defense by lowering

the center of gravity or stepping out of the critical throwing path. When your

posture is bad, you can neither move freely nor take positive action comfortably.

“You should train as much as possible by maintaining a natural stance without

tensing your body, particularly your arms and legs, and remaining very relaxed

so that you can move freely”.

19

In the natural posture, the head must be held erect as if suspended. The centre of

your head should be aligned with your centre of gravity. The chest should be

slightly drawn back and kept natural (not inflated). Your back should be straight

and not hunched forward or permitted to sway backward. You hips and waist

areas should be relaxed. The buttock should be tucked in and kept under your

lower back so that it does not protrude. Your legs should be slightly bent at the

knee to that the front of the knee is aligned with your forward toe line. Your feet

should be slightly apart and the whole weight resting comfortably somewhere in

the middle of the foot.

Training slowly teaches you to move slowly.

When applying techniques, you should speed up after you have

grasped the initial understanding.

19

Jigoro Kano, Mind over Muscle 2005, p 139


29

Third element: Shintai. Moving the body.

With most judo techniques, you are required to maintain your own balance even

when the opponent is trying to tip you over. For most of your techniques, you will

make use of the upper portion of the body yet all techniques will require of you to

use your feet properly. How to keep your balance is important and how to move

about is crucial to your success.

There are two methods in use for advancing or retiring. They are called: Ayumi-

ashi and Tsugi-ashi. (Normal foot advancing or alternating foot and sliding foot

preceding or successive). They form part of the ashi-sabaki of foot work

techniques.

Sensei Yoshimi Osawa reflected on the displacement of the body in the following

expression: “The skillful way of walking is closely related with correct and

manipulatory movement of the body. The correct way of walking is by moving the

feet, waist and upper body in good coordination. For this, it is necessary to keep

the natural standing posture all the time and walk with sliding steps. E.g., walking

by making one foot succeeds the other.”

20

The judoka has two principal weapons: one overt, which is his body, and a covert

one, which is his mind set. Observation tells us that between two opponents, it is

the quicker and more agile of the judoka that has the greater ability to regain

balance faster and easier and it is the most determined that will have the greater

chance of success.

Since the judo match will be won by the use of both weapons, it is necessary to

surprise the opponent and make maximum use of both at the right moment. The

body mass is the most visible, therefore, caution will be needed to use it

intelligently to secure necessary energy sources, to defend and block incoming

attacks, to go on the offensive and elude the opponent, to generate impulse and

add to the strength by way of a kuzushi.

The posture will also determine the way the judoka makes contact with the

opponent. The hands touching the opponent will become the key conductor. They

are the end of the reaching poles or fulcrum permitting the necessary leverage to

be applied. Meanwhile, the employment of the entire body displacement known

as tai-sabaki will be used to secure or keep out of the entanglement and permit the

wise escape from a trap.

Juban-no- ma- ai is the capacity to hold a correct and safe

distance. Your posture will determine your freedom.

20

Yoshimi Osawa, Formal techniques of Kodokan Judo, 1959


30

Fourth element: Tai sabaki. Turning motion of the body.

The judoka needs to move about and constantly change his position to prepare his

attacks or defend himself. The ability to turn, rotate, twist and place the body at

the right angle and right time will prove essential. During ground work grappling

or pinning maneuvers and while performing tachi-waza, he needs to realize his

whereabouts in relation to his opponent. In performing both the natural and

defensive positions, the judoka will need to practice his moving abilities and fine

tune his spatial orientation.

In the standing posture, he has to become conscious of his ability to use his toes to

reinforce his balance and guide his displacements. The inside and outside of his

feet will require adjustments when he is pushing or pulling. His knees have to be

exercised to absorb shocks and quickly spring up to produce lifting impulses

when required. When moving about on the tatami, the player must be able to

travel the space with suppleness, elasticity and freedom without telegraphing his

intentions. Direct, angular and rotational displacements must give greater

maneuverability and permit securing of the free space needed to launch the attack.

Like a sudden wind, the attack must come as a surprise to the opponent. It may

take any direction to best overcome the opponent or engulf him by a combination

of forces gathered to make the throw.

In moving about or during the execution of the throw, the judoka will try to keep

his balance as long as possible in order to avoid being a target for the opponent.

Forfeiture of balance can only be done in extremis such as when the judoka feels

that the opponent can no longer regain his balance, that he has committed all his

power and has no more reserve tricks and that the judoka’s sudden and total

shifting of weight in the direction of the fall will make the final difference.

When performing ground work, the judoka has to train his body and mind to

locate the pressure points, to estimate the distance between his body and that of

the weakest part of the opponent. He has to create moving space and estimate how

he can profit from that whole to twist and turn around and secure his position or

escape.


31

Fifth element: Kumi-kata. Grasping the costume.

Sensei SakujiroYokoyama recommended a light Kumi-kata when describing the

Judo Kyohan: When you take hold of a part of the clothes of your opponent, you

should hold him as lightly as possible.

21

Gripping methods vary with the style and easiness of each player. As a matter of

principle, there is no strict rule other than holding the costume on the same side

for more than four seconds. The judoka can choose a holding pattern to best suit

his style. At the mudansha levels, the natural hold is recommended because it

facilitates the learning skills.

A natural grip consists in the normal extension of the arms, slightly bent and

placed at the breast level and at the elbow of the opponent. A right or left natural

posture will favor the loose grip and offer a lesser surface for the opponent to

make use as a target area or fulcrum. Similarly, holding on the sleeves ends

produce a different psychological mind set and frequently confuses the opponent.

Another grip set has been recommended by sensei Masahiko Kimura: holding of

the sleeve with five fingers. “in judo,, when one grabs the opponent’s sleeve or

lapel, one uses 4 fingers of each hand with extending thumbs. Whether one pushes

or pulls the opponent, without pressing the thumb hard, one can not grasp firmly

and the speed is reduced. The 4 fingers generate an inner force and the thumb

(Fift finger) creates the opposing force, developing a firmer grip. Therefore, not

using the thumb goes against the principles of dynamics.”

22

A study by George Weers of the USA made from videos of the 1996 Olympics

revealed four common types of gripping:

A. Same grip; when both players took either a right or left power hand

position from the start.

B. Opposite grips; when players adopted a right against a left or vice

versa.

C. Sleeve end grips; when the dominant player gripped both the

opponent’s sleeve ends.

D. Gripping without form; the dominant player not revealing his power

hand and not allowing the opponent to secure a power hand until the last

instant.

21

Sakujiro Yokoyama, Judo Kyohan, 1908

22

Masahiko Kimura, Fighting Recollection, EJU bulletin, 2001


32

George Weers found that gripping without form was the preferred option in 63%

of the more advanced and elite rounds. That loose grip is considered as a natural

element adapted to the attack sequence and integral to the last minute attack. It

was not an action standing alone and persistent during the match strategy. Elite

players seemed to move more about the mat and go about prying and probing

while keeping constantly on the look out for an opening. This tactic is used to

identify weaknesses without committing to a definite approach. It requires a very

high level of both defensive and offensive mobility. Gripping without form means

that the judoka has minimal contact with maximal space thus allowing more

flexibility to enter into offensive or defensive tactics.

Sensei Michel Novovitch demonstrating different kumi kata or gripping style

Standard kumi-kata hold


33

Sixth element: Kuzushi. Breaking the balance.

This is the most important of all the elements and is the cornerstone of the judo

philosophy. On one side, you have an opponent who tries to remain in balance and in

control while his opposite is trying to make him adopt an unstable posture and make him

loose his balance.

In a standing posture, the human body is said to be in balance when the maximum weight

rests around his trunk area and the latter is held directly above the feet. Total balance also

comprises the mental or spiritual tranquility or balance. A disturbed mind cannot function

properly and will not be in full control of the body actions-reactions.

Judo originates from dynamic mental and physical actions. No throw or lock can be

applied effectively against an opponent who retains his complete state of balance. One of

the most important and first fighting principles of the Kodokan judo is to break the

opponent’s balance while retaining one’s own and use that moment to your advantage.

During a match, players must observe each other‘s movements and determine when it is

the right time to place the attack. That moment will occur when the opponent is most

vulnerable, less powerful or preoccupied and disturbed. This vulnerability can happen by

the sheer noise distraction, the lack of concentration, the fact of moving about, the

incidence of lifting a leg too high, over bending to the side, outstretching the legs too

much or turning the head in the wrong direction. Small actions may produce sufficient

inattention or force the displacement of the centre of gravity to imperil the entire balance

or equilibrium.

If the opponent maintains his composure and keeps his balance most of the time,

other occasions must be found to break his balance by incitation or by making

him lean or place himself into vulnerable positions. The overall process is called

Kuzushi.

The ideal occasion to apply a Tokui-waza is when the opponent is in a self

induced broken posture or subject to be influenced by a pull or push action. Other

circumstances are: when one of his feet is in motion and he is transferring his

weight from side to side. Another favorable moment is when one of his feet is off

the mat and his weight is resting on one leg.

We refer to Happo-no-Kuzushi as the method to initiate and accomplish braking

balance in eight potential directions or axis. Performing Kuzushi by direct action

is to apply a certain amount of force to the opponent’s upper and lower parts in

order to make him move his centre of gravity by forcing him to lean forward or

backward, or have him step sideways.

The applied force can either render him uncomfortable or make him rotate around

his own centre of gravity (around an axis) either horizontally or vertically. Once

his normal posture is broken, the direction of the force must be maintained to

effectively produce the turning or pivoting effect.


34

In the following diagram, we demonstrate the current axis or direction that can be

taken by the opposing partner when forced to make a rotation. The body rotation

is frequently referred to as angular motion.

For the Kuzushi to be really effective, it is important to apply the pushing or

pulling actions along the natural path and not attempt to twist the opponent’s body

segments against their own joints. The applied forces must be coordinated and

follow the same direction. In theory, for maximum impulse, all parts of Tori’s

body should commence their acceleration and build a momentum or displacement

simultaneously.

In practice, we soon discover that the slower and stronger muscles groups

(normally around the trunk area) are the first to move. They are followed by the

thighs muscles and then the weaker and faster muscles at the extremities are

added as complementary action. All muscle activities being applied should then

end their action when the opponent has attained his zero gravity status. (When the

forces being applied equal the forces of gravity).

Illustration from The Mechanics of Athletics by G Dyson

23

When you face the opponent, you can apprehend several potentially axis or

directions to apply the Kuzushi. For purpose of orientation we can says that: the

longitudinal axis (Z) is vertical and both the medial (X) and transverse axes (Y)

are at the horizontal. This axis of orientation can be used to understand the angle

of attack and the potential results to be expected.

23

Dyson Geoffrey, The Mechanics of Athletics, Hodder, Toronto, 1975


35

When applying a push or pull action with the hands against the upper part of the

opponent, you will in fact displace him along a medial-transversal axis. Should

your pushing, lifting or pulling actions be exercised by your entire body and

applied against several segments of the opponent, you should be able to move him

along several complementary axes.

When the opponent begins to move in the direction of the applied forces, he will

normally follow a single direction. Nevertheless, you may find that some of his

body segments may perform minor rotation on their own around different joints

such as the elbow or knee areas. This phenomenon is natural. The overall force

being applied will remain sufficiently strong to carry and synchronize all the

minor moving segments along its principal direction. If the stronger force is not

sufficient there is likelihood that some of the minor movements will negate each

others.

There are instances where the Judoka can accomplish angular displacement by

himself. Such is the case when he is using the hands, shoulders or buttock as

touching points with the mats instead of using his feet. The technique of Kani-

basami is a good example and so are some varieties of sutemi-waza.

The next diagram attempts to illustrate the precarious conditions of the judoka

moving along an axis and attempting to maintain his balance. When his

displacement is symmetrical, (identified in (a) and (b)), we find that one side of

the axis is a mirror image of the other side and the imaginary line of balance

passes through the center of gravity and comes to rest at the base of his feet.

His body is also in balance when the various weight centers are equally

distributed along this imaginary axis. This is referred to as the normal standing

posture or natural stance.

The posture is broken (Asymmetrical) when we apply a kuzushi. Such is the case

in C. The weight components or masses are distributed unequally. In this case, the

balance line or axis is not centered.


36

Such a balance line passes through the base but avoid the centre of gravity located

at (X). This kind of posture is quite unstable and will require additional muscle

strength from the opponent or find other external forces to keep it in balance.

In judo contest or when applying a waza, the posture represented in © must be

sought after and managed by the judoka who must follow up the kuzushi with a

tsukuri. On the other hand, if it is Tori who find himself in such a fragile state, he

will need to quickly readjust is alignment with complementary forces and use is

pending fall to launch his final attack.

Movement while airborne

It is to be noted that movements originating in the air have similar pattern in that

they follow distinctive axis and one cannot change the total arc of angular

momentum nor the landing target.

Sometimes, it may appear that it is impossible to turn the whole body in the air

without a fulcrum arm or “point d’appui”. In practice, this “point d’appui” can be

the extension of the holding hand or the body of the opponent (back or shoulder)

which is still in contact with the mat. We see these possibilities more and more

when judoka perform non orthodox techniques such as Makikomi (roll) or

Hikkomi (topple) style waza.

When being thrown, the judoka will follow a definite line of movement in his

trajectory towards the mat. While in the air, and still attached to the opponent by

way of the kumi kata or similar grip it will be possible for him to make rotational

movements about that axis of momentum and those possibilities will last as long

as he is in a state of suspension.

It is to be remembered that one can twist and turn like a cat to avoid falling on the

back or turn some extremities in the opposite direction to slow down the effects or

cause a serious break in the momentum thus avoiding a major score against him. .

It is therefore essential for Tori to properly control the fall of the opponent.

The following picture gives a good indication of both the rotational potential of

Tori and the counter rotation possible by the Uke.

"In action, balance must be retained: yet, to achieve an object, one must risk of

losing it.”

24

24

G.Koizumi, 12 Judo Throws, Budokwai, London, 1948


37

IJF Archives, Bob Willingham collection

Riding the Uchi-mata: TORI is deeply engaged in a frontal plane along a

sagittal axis and rotating his trunk along its medial axis. Tori’s right leg is

the driving force up while his left leg keeps in contact with the mat. We

can observe that the force passes through the hip joint and under the centre

of gravity. All his body segments follow the same trajectory while UKE is

attempting a Dome technique to avoid being caught along the axis of

momentum by rotating his body counter clockwise and adding a smaller

rotation outwardly with his flexed arm. Note that Tori is still in control of

the technique because a point of contact with the ground is maintained.


38

Seventh element: Tsukuri. Making the entry or fitting in.

One of the difficult elements to master is the Tsukuri, a word derived from the

verb Tsukuru meaning to obtain a position, to follow, to pursue, or make the

entry. This phase of the waza is very critical. Now that Uke is placed off-balance,

you need to turn him on his toes or heels while in a continuous movement, enter

into position to throw while retaining your own balance.

In order to throw a well balanced opponent, the judoka needs to destroy the

equilibrium of the opponent and assume continuous control of the attack. The

judoka must choose his timing and the angle of entry in order to keep Uke in a

state of suspension until the Kake is made. During that quick lapse of time, Tori

will need to get closer to the opponent and make maximum use of the space in

between them.

In this preparatory phase, Tori must make a quick displacement in order to

surprise the opponent and gain his power. Upon taking the initiative, the judoka’s

movements should produce kinetic forces capable of being mustered and applied

to the throwing technique. Tsukuri will be influenced by Uke’s reactions and

displacement and by the facility with which Tori can sustain the Kuzushi. When

moving in a circular motion or in spiral, the judoka becomes the instigator of a

centripetal force giving further propulsion and power to his technique. The

rotation or spinning action can take several forms: circular, angular, zigzag,

horizontal or vertical. The actual turning action of the body is called the Tai

Sabaki and must be addressed either with the Shintai or Tsukuri.

Sensei Kyuzo Mifune emphasized the turning movement. He said: “It is a special

technique that must be learned. It is not a spontaneous move. It is a rotation done while

keeping proper balance. Turning movements are natural thus more basic, yet, the very

basic things are frequently the most important.”

25

The rotational moves can be accomplished by jumping around, switching the

weight from leg to leg, advancing or retreating along imaginary circle lines. Tai-

sabaki is made stronger when the entire body is working to create the rotation.

The legs, the hips, the torso and the head should be aligned on the same arc and

move in the same direction. Additional speed and momentum will be gained by

keeping the centre of gravity low and by retracting the arms closer to the centre.

Sensei G. Koizumi said in 1948 that: “It is impossible to over emphasize the

importance of tsukuri, for it is estimated to represent 70% of the throw’s

effectiveness. Tsukuri in a throw is like courting in love, without it, the result will

be a disaster”

26

25


26

G. Koizumi, 12 Judo Throws, The Budokwai, London 1948


39

Eight element: Kake. Applying the selected technique.

In Kake, the mind and the body unite to seize the fleeting opportunity and

deliberately and speedily apply the technique that will secure the victory. It is the

use of the body as the lever or the fulcrum to ensure the opponent is turned around

its axis. It is the moment of no return and of total commitment. Kake can be

performed on several planes: horizontal, vertical, angular, or spiral depending on

the chosen course of action already prepared by the preceding elements. Kake will

give form to the intent. It should be accomplished with speed, determination and

with the intelligent use of force.

For that purpose, we normally identify three elements in the Kake: the control

over the opponent, the approach or positioning and the application of vector

forces in the intended direction or arc. If Kake is carried out badly, the judoka

cannot control the opponent’s body nor for that matter, his own. There must be a

continuum in the direction of the throw both in the horizontal and vertical planes.

The intended technique is stored in memory and executed only at the last minute.

Its careful and secretive preparation will begin with the displacement of the entire

body either in advancing (Tsugi- ashi-tobi- komi) or by withdrawing. (Tsugi- ashi-

hiki- dashi). It will take momentum in the rotational or angular approaches and

will explode in the bending, arching or lifting actions. (Kake is similar to the crest

of the wave; it can only follow the preceding actions).

In the Kake phase, the judoka will have make use of his transference abilities. He

will need to displace all his hidden energy stored in several points of origin or

muscle groups and develop the maximum impulse possible to be applied towards

one contact point on the opponent. You need to make use of explosive movement.

Ninth element: Sesshoku. Keeping the contact to control the fall.

Sesshoku is the action of maintaining contact and control over the opponent’s fall.

We previously discussed the potential of Uke to turn and roll within the trajectory

taken by the fall.

The ancients referred to the state of Zan Shin the maintaining of awareness till the

end of a throw. Sesshoku is considered the end phase of the throw. It is sometime

captured within the definition of Kake. It is a safety net deployed to prevent

serious injury to the opponent and guard against sudden actions by an opponent

refusing to accept the throw and trying at all cost to avoid the fall. The follow-up

action should guide the fall, maintain the rhythm and place the judoka in a state of

readiness for the next action or opportunity with a follow-up waza to the ground.


40

Tenth element: Ju. Applying flexibility and harmony.

This element is added to summarize the spirit of the waza. Going with the flow is

important. Sensei Mifune would say to enter into the WA by opening the gate and

closing it when the opponent is trapped.

This fighting principle aims for you to take control of the match with a certain

degree of secrecy. An initial attack can ensure the early visible control, yet if you

wait for the opportunity to take advantage of the opponent’s moves and follow up

with your own technique, you are then exercising a better control as the opponent

has committed himself and has no more recourse. This strategy is also called

“using quietness to defend” or “yielding yourself to follow the opponent”.

In randori or shiai events, it is not always possible to gain and maintain total

control all the time. The judoka should seek to control the opponent by

understanding his movements and intentions. Too many players forget this

important dimension. As soon as they feel a bit of resistance or strength from the

opponent, they respond with similar use of strength and rigidity. The end result is

an endless struggle to make the Ippon. While practicing judo, such a habit must be

discarded and make way for a better and intelligent use of strength. Let us round

up the above reflection by extracting three lessons from Randori practices.

“In order to develop the strength to win someday, you must be satisfied with

practicing losing for a time. And even if you are at risk of losing you must take the

offensive. Try various waza and train hard.”

27

Randori practices are not meant to gain victories over the opponents but to learn to better

apply techniques and outwit the partner. Shihan Jigoro Kano explained its purpose in the

following remark: “The correct practice of randori is to learn to slip dexterously away

from the opponent, adapt to his strength, cause him to lose his balance while stepping

back and then, take advantage of that opportunity to perform your waza.”

28

Teachings found in Randori

1. Saki O Tore. To anticipate and be on the offensive

2. Jukuryo Danko. To act without delay

3. Tomaru Tokoro O Shire. To know when to stop

4. Zenshu WA Zenko Ni Shikazu. Attack is the best defense.

5. Shin Shutsu Ki Botsu. Appear and disappear unexpected.

27


28

Jigoro Kano, Mind Over Muscle, 2005, p 137


41

TOKUI-WAZA AND SHIAI

Now that we have described the ten basic elements forming a technique, we have to

understand the milieu into which they will be applied. The ultimate venue for the trail is

the competition or Shiai. Sensei Isao Inokuma regarded by many as one of Japan’s

greatest fighters and outstanding coach had this to say regarding the reasons for doing

Shiai:

“Judo is a combative sport. It is a martial art aimed at defeating your opponent.

Other purposes of judo involve developing physical strength and mental spirit.

But when you are against an opponent you must never forget the combative

aspects of the sport. You fight against the opponent, throwing him down on the

mat to achieve victory.

At the same time, you fight against yourself. If you think the opponent is stronger

than you and get the jitters, or if you are in a difficult position and feel that you

must give up, then it will be impossible to win.

You must not give up the bout until the last instant, no matter how strong your

opponent may be. You must have the fighting spirit which will urge you on to

attack and attack again to the very end”.

29

The Tokui-waza will become your personal weapon and must be used wisely. It will not

do miracles if the body and the mind are not linked with your technical skills. An alert

mind will make use of the body to draw upon its inner energy and use its best parts to

defend or block, to attack or elude, to generate counter forces, to build on strong points

and to care for the weaknesses. Your technical skills applied through the Tokui-waza will

translate that into a successful match.

At the beginning of the match, and during its process, we repeat the tactics: the judoka

will need to identify the opportunities at hand, find the right angle to get closer to the

opponent and place himself in the right position to launch his technique with speed and

determination. If a bad angle is chosen, and there is little or no dynamics involved, there

will be a greater need to use additional forces in order to gain superiority or throw. If the

Kumi-kata is too rigid or tense, there will be less sensitivity at the wrist level and less

flexibility to adapt the grip to changing postures.

Transform the opponent strength and turn it to your advantage while

returning it with value added energy.

29

Isao Inokuma, Nobuyuki Sato, Best Judo, 1986


42

When both judoka are in contact, they form a small world of their own with its energy

center. This new sphere is moving about and in it, other spheres are making gravitational

and magnetic influences. The judoka has to keep moving by enlarging or reducing his

strides thus influencing the dynamics to his advantage. He has to generate sufficient

power through constant acceleration. Smooth circular, angular and direct approaches will

require good balance and body movement. The push and pull with the hands has to be

coordinated with the hip displacement and leg movement in order to make the sphere turn

and roll in a desired direction.

In the final stage of his Tokui-waza, the judoka will have produced sufficient energy to

repulse or attract the opponent into a throwing direction and his final touch or contact

will produce the desired impulse to set free the opponent. The techniques of great master

Kyuzo Mifune illustrate such coordination of the entire body.

¨Beauty in judo reside in the execution of a perfect waza, accomplished in

harmony with the energies of the moment¨

30

In the next chapter, we will analyse the various Tokui-waza connections as follow:

1. SEOI-NAGE 2. UCHI-MATA

3. TAI-OTOSHI 4. O-UCHI-GARI

5. KO-UCHI-GARI 6. HARAI-GOSHI

7. O-SOTO-GARI 8. KATA-GURUMA

9. UKI-OTOSHI 10.TE-GURUMA

30



43

THE LEARNING PROCESS

You must find a good teacher and work hard to train both your physical and mental skills.

The learning process for the Tokui-waza is similar to other learning practices. It is made

up of a discovery phase, followed by a maturity period where trials or experiments are

made. From the first attempts, there are corrections and refinements to follow. Improved

grip, angle or timing will be necessary. Adding more body power and speed should be

your focus at every opportunity. When first attempted in shiai, its success rate needs to be

evaluated. The subsequent use of the Tokui-waza will be subjected to further analysis and

more adaptations will be made. The improved technique is then reintroduced into the

training cycle to cleanse it from its impurities.

We can best represent this process by its various steps as follow:

1. Make the first discovery of the technique.

2. Refine and personalize the technique

3. Enter the maturing phase where it is tried left and right.

4. Use it freely in Randori.

5. Make use of it in Shiai as often as possible.

6. Analyze the rate of success.

7. Make the corrections and refinements.

8. Rediscover and re-apply the Tokui-waza.

1. Identify what you like in the desired technique: find out what constitute its spirit

and why you are attracted to it. (E.g. jumping in, sliding under, pivoting etc) Does

it represent for you a major adaptation or does it suit your personality. Can you

appreciate its potential for use in offensive and defensive situations? Can it best

be used directly or as a combination? Can it last you several years? The lifespan

of a champion is measured in months while the master’s is in years.

2. Refining your technique means working at it from different angles, with different

opponents and in a variety of circumstances. The three components of Kuzushi,

Tsukuri and Kake must be decomposed and reconstructed several times.

3. Entering the maturity phase implies that you are capable of performing it on all

sides and while advancing and withdrawing. It includes the preparation

combination with other smaller techniques and the follow up with complementary

waza.

4. Using it in randori presupposes that you are able to perform it directly, indirectly,

in succession and with multiple attack systems. Your Tokui-waza becomes the

focus of your explosive moves linked with other techniques in a snow flake

configuration.


44

5. Introducing it into your Shiai when the opponents are trying to counter it requires

intelligence. The use of multiple entries to surprise and control the flow will add

dimensions to your waza. Let us remember the instruction of Shihan Jigoro

Kano:” In so far as possible, you should accommodate your opponent and

compete in such a way as to allow him to use his waza on you freely. If you do not

win by using a waza superior to those of your opponent or by turning his waza

against him, this can not be said to be a true victory.”

31

6. Analyze your success rate against the various types of opponents, verify the

timing or the instances when used, and (at the beginning, middle or later part of

the match) identify your feelings and apprehensions if you can. Evaluate if you

have correctly used the opponent’s energy to your advantage.

7. Make the necessary adjustments. In partnership with a training coach and willing

partner, go over various routines and situations. Practice freely, then, add light

opposition and measured randori.

8. Rediscover your attachments to the technique and add the Kokoro to it, (Soul and

determination) and:

9. Start again.

Craftsmen and judo technicians have an old saying about seeking perfection: You must

turn an ordinary stone into a work of art. Likewise, old masters have been known to set

their goal along the following: “You must be able to dance on the tatami, be free and

appear to be everywhere and nowhere.” There are various approaches to Shiai, but each

contest must serve the judoka to improve both his techniques and his psychological

awareness. Each match should provide the occasion to gain confidence in the use of

Tokui-waza and improve on it regardless of the results obtained.

In his book the Fighting Spirit, sensei Yasushiro Yamashita, World and Olympic

champion made the following recommendation: “In the end, technique will defeat power.

Make no judgment about winning or loosing and concentrate on applying your strong

points and techniques.”

32

Three additional remarks worth thinking about when preparing to use the Tokui-waza in

Shiai:

1. JU-NO-RI. Be in harmony with the flow.

2. KUZUSHI-NO-RI. Apply total body to produce

disequilibrium.

3. SEN-NO-SEN. Anticipate and take the initiative.

31


32

Yamashita Yasushiro, The Fighting Spirit of Judo, Ippon Book, London, 1999


45

Preliminaries

Tokui Waza should be effective, to the point.

It should be sudden and comes as a surprise.

It should be performed with vigor, speed and

concentration.

It should be used only after finding the weakness of

your opponent and then applied to that neuralgic

point.

All your actions should be accomplished naturally

and be united with your intentions, your body and

with the actions of your opponent.


46

Part Three

SELECTED TOKUI-WAZA

Ippon-Seoi from Judo International 1950 Preliminary phase of Ippon Seoi Nage

First SELECTION. Seoi-nage connections

Shoulder techniques are very impressive and well liked by many young judoka. It is a

group of virile techniques difficult to counter and easy to combine with others. The gist

consist in placing Uke on his toes. Following a forward pull, Tori lowers his body under

the centre of gravity and makes an arc with his body, placing Uke along his back and

pushes with his buttock to effect the throw.

Because of the resemblance between techniques, we have chosen to address the first

group of shoulder and hand techniques as one entity called Ippon Seoi-nage. There are

numerous approaches: with one hand, with both hands, with the leg outside, holding one

lapel only and wrapping oneself up with the opponent. We will explain four waza in this

group: Ippon-seoi nage, Seoi-nage, Seoi-otoshi and Yama-arashi.


47

Ippon-Seoi nage is normally approached with four styles:

Kata Style:

Parry the blow, grasp inside the opponent right elbow, and break his balance forward.

Make a pivot with the body and turn you back to the opponent, slide your right arm to

fully grasp and enrol his right shoulder, both of your feet will be in the triangular space

with toes facing forward. The bending action of the knees will carry the opponent on the

shoulder and awaits the straightening of the legs as the same time as you bend forward

and pull the opponent straight down in front.

Side twist style:

You go towards the opponent and step in. You force a kuzushi by using the left hand pull

to the right front and encircle the opponent’s right arm under the shoulder. You then

rotate your shoulder and body in an outward twist, the head looking to the side or slightly

down as to ensure that the entire body is committed in the upward twisting action. You

keep strong body contact with your upper back and bend down to the front corner for the

kake.

Kimura-collar style:

You grab the right collar with your left hand over the opponent’s arm or the inner portion

of his biceps. The pull for the kuzushi is done at the collar. With the right hand, you

encircle the opponent arm at half point between the elbow and the shoulder. The body

rotation or twist is the same as in the side twist style. The encirclement of the arm is not

an absolute but preferable component. When the encirclement is not done, the resting

right arm of uke can complement the throw when you start bending down with an action

of lifting the opponent with a brushing action to the rear against his upper portion of the

right leg.

Wrapping arms style

At the beginning of the kuzushi phase, you may keep control of Uke’s left arm by

pushing it in between you and him as crossing your body to reach out under his own

armpit. You make the twisting action to the preferred side as required and proceed to do

the other actions as described above. You may place both legs inside the free space

between you and the opponent, one leg inside and the other out, or one inside and the

second extended either inside or outside.

Seoi-nage contains certain points of interest. These are breaking the balance and using the

reaction of Uke to get into position, make sure you support the weight of Uke with both

your feet and get under his center of gravity. Trap his arm at the armpit level and push

your shoulder against him using a good contact with at least your rear shoulder blade and

make an upward push before bending. Do not forget to spring the knees, place your

centre of gravity on the toes or in the middle of the line of the toes and keep your head

straight up until the kake phase. Sensei Sumiyuki Kotani 10

th

dan often suggested to

place the shoulder in contact with Uke at the lowest point possible against his stomach.


48

Hereunder are some of sensei Kimura’s Seoi-nage styles.

Secrets are just like your eyebrows, though they are near you, you can not see them.

33

Renraku- waza or combination techniques can easily be applied with Ippon-seoi nage.

This shoulder technique is well suited to embark upon the Renraku combinations on

either side of the opponent. Using the principle technique as the centre of the offensive

building strategy, the judoka can proceed to apply other techniques in rapid succession

and moving from one unto the other as required in the pursuit of the objective.

33

Sensei Yokoyama, Judo Kyohan, 1908


49

The succession must nevertheless be smooth and harmonious and preferably with no

unbroken sequence.

O-soto-gari Sukui-nage

(Switch direction) Ippon (Go under the arm and reverse)

Seoi

Nage

Ko-uchi-gari O-uchi-gari

(Attack the leg) (Withdraw to the front)

Seoi-otoshi Kata guruma

(Drop fast forward) (Keep turning and enter)

Ippon-Seoi-makikomi Tomoe-nage

(Continue the rolling) (Returning to centre)

Tai-Otoshi

Go-no-sen or countering the Seoi nage can be accomplished by using the following

techniques: Sumi-gaeshi, Ushiro-nage, Ura-nage, Yoko-guruma and Te-guruma. These

techniques can be entered into even when the judoka’s posture is broken by a strong

kuzushi by the attacking opponent. With quick reactions, it is still possible to turn his

technique against him as he will most likely have committed all his power to the

technique at hand and placed himself off-balance in doing so.

With some practice, it is also possible to anticipate his moves by remaining alert and

ready (Zan-Shin) and by adopting a natural posture. Having a soft Kumi-kata and holding

on the judogi with a light grip will permit the reception of signs of tension; stiffening and

flexing of muscles which can then be turned to your advantage in an anticipation move

known as sen-no-sen.


50

Morote-Seoi-nage is a variation technique to Ippon-seoi-nage. Its essence is to break the

opponent’s balance forward or to his right. From the natural posture and with a regular

Kumi-kata, Tori will twist his right wrist and cross over his right arm under the

opponent’s shoulder ensuring he maintains the same grip on the collar. With the push of

the right arm and the back of his shoulder, he will lift the opponent on his back and throw

him forward or sideways as chosen. There are several variations of the technique but we

generally find three practical styles in use in competition:

Waki-style or inserting the arm under the armpit.

In this style, Tori push the opponent and await a reaction. Tori controls the return with

both his hands placed on the forearm and at the collar of the opponent. Tori’s left hand

pulls the opponents at the height of his chin, permitting to introduce the necessary space

to place his incoming right elbow under the armpit of Uke. The action is followed by a

pivot of Tori’s body and the placing of both of his feet in the triangle of space between

the two opponents. Tori may jump in or pivot into the position. The knees are well bent

so that Tori is now placed under the centre of gravity and in a position for pushing up the

opponent. Then, a coordinated whipping action is introduce by simultaneously stretching

the knees, pushing back and upward with the trunk as the right elbow push upward and is

transferred into a forward drive. The left hand undertakes a similar and circular push that

will bring the opponent to the top of Tori’s shoulder and in the front for his eventual fall.

In this style, it is the right shoulder that performs the role of the fulcrum. The opponent is

not carried undo the back but is rolled around the shoulder.

Note: If Tori simply throws the opponent down and forward without loading him around

his shoulder and that his legs are placed inside the centre and either one or both of his

knees touch the mat, the technique becomes known as Seoi-otoshi.


51

The outside style

This style is referred to when Tori, using the technique above, steps outside the triangular

space and places one leg on the outside of Uke’s right leg. Tori is approaching the

opponent by placing his right foot in the middle of the space in between the opponents.

The kuzushi is similar to the Waki style, yet, when making the entry or producing his

body movement known as Tai-sabaki, he either pivots in front to offer his back to the

opponent and replace the right leg for the left as the anchor leg or he may jump in the air

to accomplish his rotation of the body and land with feet largely separated. The left leg

bent to the front and the right one bent close to the mat and deep beyond the exterior of

the opponent’s leg. Tori then loads the opponent over his shoulder by continuing his

lower position in front of Uke and places his right leg close to the opponent knee cap.

Tori then rise up simultaneously with the legs, waist and arms. The rotation over the

shoulder then follows its course.

The same side style.

This method of doing Seoi-nage involves grasping the collar of the opponent and the arm

on the same side. There is no cross over of the arm and the elbow is placed directly into

the armpit for a quick entry. The hand that grips the collar is holding the opponent with

all fingers inside and the thumb on the outside. A twist of this upper wrist is necessary to

introduce the elbow under the armpit of the opponent. The body rotation is similar to the

Waki style and the legs are placed in the centre of the triangle. This style is frequently

associated with a quick push at the shoulder and upon the returning action of the

opponent. The twist of the wrist is executed at the same time as the body rotation takes

place. The lowering of the body and the lifting of the opponent is also similar and to the

front.


52

Renraku-waza or combinations possible with the Seoi-nage as the centre of the strategy

are numerous as was this related technique the Ippon-seoi-nage. In order to maintain

superiority, one must also strive to combine Tachi-waza with Ne-waza by making the

liaison with Ikomi techniques (come down). This kind of liaison is encouraged for all our

selected Tokui-waza. Here under, are a few possibilities using other Tachi-waza:

Morote Seoi Ude-Gatame

Yama-arashi Seoi-nage Sukui-nage

Ko-uchi-gari Waki-otoshi

(Encircling the leg) Tani-otoshi

O-soto-otoshi O-uchi-gari

(Rear reversing and drop) (Returning side)

Hane-goshi Tomoe-nage

(Using the inner leg Uchi-makikomi

Seoi-makikomi Seoi-otoshi

(Completing the roll) (Dropping on the knees)

Kata-guruma Ikomi with liaison to the mat with:

(Sideways by returning inside) Kuzure-keza, Yoko-shiho-

gatame

The best defense against this technique is still Te-guruma, Sumi-gaeshi, Ko-soto-gari,

Uki-waza, Yoko-wakare and Okuri-eri-jime.


53

Uchi-mata from Judo international, 1950 Uchi-mata in Shiai photo Bob Willingham, IJF

SECOND SELECTION: Uchi-mata connections

Uchi-mata has been considered a dangerous yet a very effective waza in Shiai for many

years. The more it is being used, the more there are counter techniques for it. The judoka

who takes Uchi-mata has a Tokui waza must become an early expert at it and keep on

adding speed to his Tai-sabaki for he will face many opponents who are just waiting for

him to introduce it in the next shiai so they can counter it. We will address the Go-no-sen

in the following paragraphs.

First, its description; Uchi-mata has been part of the Gokyo ever since the beginning of

the Kodokan Institute. There is a reference to a Sumo technique called Kate-nage where

the fighters are hooking the inner thigh of the opponent.

It was practiced in several jujutsu schools and was adopted by Shihan Jigoro Kano.

Sensei Shozo Nakano best described this technique in the following terms: This technique

uses the chest and waist. You do not thrust out with the leg that much. Even if you do not

thrust the leg out, it will naturally enter into position under the opponent when the latter

rises and will assist in throwing him down. His conclusion was that Uchi-mata was very

much akin to a Koshi-waza since it could be executed when the opponent’s legs are

spread out or place close together. In the early 1900, Sensei Shozo was observed

alternating between Uchi-mata and Hane-goshi as his favorite’s shiai techniques.


54

He always let the opponent take whatever grip and accommodated his tsukuri with it.

When facing a right hand natural posture, he would attack with Hane-goshi, against a left

hand grip; he used Uchi-mata on the right side. Uchi-mata is performed under many

styles. The most current are: the Nage-no-kata style, the inner-thigh form, the deep hip

style and the leg roll form.

Nage-no-kata style

Tori will take the initiative and occupy the inner circle of the closed-in space between

opponents. With three successive steps, he harmoniously closes the circle tighter around

Uke while maintaining a horizontal and circular pull with the hands. On the third step,

when Uke is about to shift his weight, Tori completes the breaking of the balance of Uke

forward ensuring that the latter is on his toes. Tori then make contact with Uke with the

hips and side of the rib cage and start lifting or sweeping the opponent with the extension

of the leg, the raising of the hip and the pull of the hands. When Uke is secure on the rear

upper thigh of Tori, the leg is raised against the inner thigh of Uke and the hands continue

their forward and downward actions.

Uchi-mata is more a pulling action with both hands at the horizon then a pull-push action

of the kuzushi. The pushing up action is done more with the leg sweep.


55

The inner-thigh style

In this application of Uchi-mata, Tori force the opponent to step sideways then enters

deeply in the free zone with first his left leg and pivoting his body so that the toes of the

resting foot are pointing directly out. He shortens the distance between the two opponents

with the application of his forward kuzushi and uses his approach to gain momentum.

When pivoting, the right leg is making an arc or pendulum from the front to the rear.

When the action of the right leg reaches Uke, he maintains the momentum of the

pendulum directing the rear action in between the inner thigh of Uke forcing the latter to

roll around his right rear thigh.

In this style, it is frequently seen that the judoka will jump in directly under the centre of

gravity and into the inner space before launching his right leg deep inside and under the

opponent. A major rotation of the body similar to the Ashi-guruma can also be performed

in the Tsukuri stage.

The deep-hip style

This application is akin to the Nage-no-kata style with the difference that there are no

horizontal circles made to approach the opponent. Tori use a direct approach. When Uke

adopts a defensive posture, Tori change his natural Kumi-kata to secure a grip at the rear

collar with his right hand. Stepping back, he increases the distance between the

opponents and pulls Uke down to benefit from the incoming reaction by Uke who will

likely try to straighten his body. Taking this opportunity, Tori pivots in the circle and

jumps in the centre with legs bent and ready taking their respective momentum. The left

leg is flexed and will be used to support both their weight. It acts as the support leg and

must be directly under the opponent gravity centre. The right leg is then raised to assist

the strong push-lift effect of the hip and may be placed in the centre of

Uke or extended to the underside of his right leg and guiding Uke over the hip joint.

The leg roll style

This style makes use of the inner thigh application but concentrates on the Tori making

the leg lift near the inner knee of the opponent. Uke is rotated around more by a hook on

the inner leg than by a lifting of the hip. The Tsukuri is produced by the rotation of the

body in a whirling action on his left. Tori is not in contact with the hip area of the

opponent but he is to his left side, closer to the leg. His right leg hooks the left leg of Uke

behind the knee and he then starts to rotate and lift the leg up.


56

Remarks about Uchi-mata

This technique may easily fall under either the Koshi-waza or the Ashi-waza categories

depending on where is the emphasis or fulcrum. It is most successful when the opponent

is drawn out and placed unfavorably on the tip of his toes. Tori must drive in with speed

and determination. There are almost no return possibilities after the commitment. The

strategy is linked to the old saying: You go for the Ippon and nothing else. In the deep hip

style and in the Nage-no-kata style, the lift of the opponent is accomplished more with

the hip and waist area. The best fulcrum remains under the waist of the opponent and in

between the legs. In the leg roll and inner-thigh styles, the technique is made easier when

the opponent has the legs wide apart. In all cases, the pendulum leg must spring in deep

inside the target area.

Renraku-waza or combination techniques with Uchi-mata are possible with Harai-goshi

or Hane-goshi for the deep hip style and the Tai- otoshi in the leg roll style. The

commitment being so intense, it is likely that the judoka will resort only to Uchi-mata

makikomi.

O-uchi Uchi-mata makikomi

(Used to entice) Uchi- Mata (To complete)

Sumi-gaeshi

(From leg-roll)

Hari-Goshi Hane-Goshi

(From deep hip) (From deep hip)

Tai-otoshi

(From inner-thigh)

Go-no-sen or counters to the Uchi-mata are done principally by the use of Sukashi and

Uchi-mata gaeshi or by securing a good grip of the sweeping leg and using it to reverse

the motion to Uke’s favor. Tani-otoshi can also be effective when securing the sweeping

leg and falling rearward in the direction of the supporting leg. Because the preparation of

the technique is done further away from the opponent, it is possible to anticipate the

movement in a Sen-no-sen mode and after identifying the inward thrust, simply twist the

hip to the rear to avoid a direct confrontation and thus make the attacker rotate in the

void. Tori can further add to the spinning action by using his hand to grasp the pendulum

leg and lift the opponent in a full circle.


57

THIRD SELECTION: TAI-OTOSHI connections

Tai-otoshi is a front body drop technique. The gist is to make a pivotal move in front of

the opponent and both thrusting and stretching out a leg in front oh his tibia. It is

considered a hand technique (Te-waza) where rhythm and timing are needed to draw the

adversary forward. The opponent’s balance should be broken so that the bulk of his

weight rest on the front of his toes. There is little contact with the opponent’s body. The

action is more a pull-push or pull-punch with the hands accompanied with a front whip

down action the opponent is somewhat lifted from the ground and thrown over the lower

leg of Tori which is placed in front of the opponent. We know of three styles: The frontal

drive, the side drive and the crossed-arms style.

Frontal drive style

The opponent is retreating from a push given by Tori using his normal Kumi-kata. Tori

uses the come back action to place a high Kuzushi at the eye level with his left hand,

pulling in the direction of an outer circle. The right hand pushes up the opponent at the

collar (pushing close to the opponent ear). The opponent is off balance on his tip toes.

Tori pivot to the front, his feet are pointing in the direction of the throw. He lowers his

waist and sticks his chest out slightly. In a wide open stride position, he then places his

bent leg (his calf) in front of the opponent’s ankle and goes down low in front and starts

pulling Uke forward in a whip like movement(a big circle out and down) engaging the

hands, the waist and the legs for the throw around his ankle. The throw can be directed to

the front or toward the front right angle.

Side drive style

The side drive style is frequently accomplished after trying an O-uchi-gari with limited

success or when dodging an Uchi-mata attempted by the opponent. Tori begins with a

less powerful attempt at O-uchi-gari and when Uke is transferring his weight to his right

leg to recuperate his balance, Tori moves his leg outside and in front of the opponent in a

deep bending action that is complemented with an extension of the leg or spring upward

of the leg against the opponent lower front leg. The action of the Kuzushi is similar to the

frontal style. When dodging the Uchi-mata, Tori move in close to the opponent after

having twisted his hip outward. He makes a large step crossing the space and placing

himself lower than his opponent’s centre of gravity and to the outside of the opponent.

Tori’s push and whipping action is more to the side of the opponent.

In the side drive, we may see the occasional same side grip whereby Tori grasp the collar

on the same side as the hand doing the pull. In this case, the push is against the front

deltoid muscles region of the shoulder; otherwise, the technique follows the same pattern.


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Crossed-arms style

This style somewhat resemble the Ude-otoshi technique where Uke’s arms are crossed

over the front before the latter is pushed to the side over the extended leg of Tori. Instead

of grasping the collar with the right hand, Tori seek to grasp the left sleeve of the

opponent near the wrist. He pushes the arm inside and in the free space between both

players. It is possible to place the arm of the opponent over or under his own left hand.

He then pivots to the front, extending his leg as he lower his hips and pushes Uke to

either the front or the front corner. The seizure of the opponent’s arm by Tori before

crossing it over is sometime facilitated by an opponent who is trying to hold tight on

Tori’s sleeve with both his hands on the same lower portion of the sleeve. The Kake

phase remains the same as in the side drive style.

Renraku-waza or combinations frequently seen with the Tai-otoshi are Seoi-otoshi, Ko-

uchi-gari, O-uchi-gari, Uchi-mata, Morote-seoi-nage, O-goshi, Ko-soto-gari, Uki-otoshi

and O-soto-gari. One must keep in mind not to place the opponent in a Kuzushi or off

balance posture with the use of the arms only or by pure force. Kuzushi must be

accomplished with the entire body.


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Seoi-otoshi Tai-otoshi Ko-uchi-gari

O-uchi-gari Uchi-mata

Morote-seoi-nage O-goshi

Ko-soto-gari Uki-otoshi

O-soto-gari Yoko-wakare

Go-no-sen applications against the Tai-otoshi are mainly movements in regaining one’s

balance or the control. When the attack is not low enough, there is a possibility to

strengthen the upper body and draw the attacker to the rear making him loose his balance.


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FOURTH SELECTION: O-UCHI-GARI

FIFTH SELECTION: KO-UCHI-GARI connections

We have grouped these two waza as they are performed similarly. The former, O-uchi is

performed directly against the inside leg of the opponent and Ko-uchi is accomplished by

crossing over Tori’s leg and attacking the inside of the far away leg of the opponent. Both

techniques have for results the rear fall of the opponent.

It is somewhat difficult to score the perfect Ippon with either of them in their pure form

as the opponent will generally slide down on his rear or back and the officials are unable

to define the nature of the impact with the ground and classify the impact of the fall as a

sufficient amount to score Ippon. Both techniques are efficiently used in combination and

as individual style Makikomi. Both are recognized by their three styles; rear reaping at the

heel, the calf and the back of the knee.

All three can be pursued into a makikomi waza. Tori will tackle Uke with his shoulder

and head tucked in the Uke’s armpit while the left hand will lift the right leg and the

reaping leg will be placed for a rear knee to rear knee contact.

O-uchi-gari, direct rear reaping of the heel style

The aim is to reap the leg of the opponent and make him fall to his back. Tori is using a

natural Kumi-kata and gets closer to the opponent. He pushes Uke to the rear and awaits

the reaction as he attempts to regain his composure. When Uke is pushing back, Tori will

assume control and start pulling front and down. Tori place the toes of his foot near the

inside of the opponent’s foot. Tori change his lift by entering into a pushing action with

his right hand on Uke left shoulder. He breaks the balance to the rear and pushes his left

hand against Uke’s body while bringing with him Uke’s elbow closer to the body.

He inserts his leg deep inside the Uke’s leg stand until the back of his knee makes contact

with the back of the opponent’s knee and draws a large circle outward and to his rear.

The large toe is gliding onto the mat and around the opponent’s heel. Tori make a slight

twist to the outside with his body, leans upon Uke and pulls him down.

The important factors to consider first is to keep control of Uke and prevent him from

lifting the target leg or foot from the mat, then, try to induce Uke to make a large

recuperating step from the initial push and finally, be alert to the timing in the

application.


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O-uchi-gari, calf to ankle style

This style involves the general kuzushi and Tsukuri as above. The difference is in the

Kake, where Tori places the reaping leg more to the side of the opponent’s leg having his

ankle touch the inside of Uke’s ankle. Tori pushes the target leg outside to force an over

extended posture. Tori is facing the opponent but the body is slightly at an angle. When

the opponent’s weight is transferred, he then pulls Uke down and reaps the heel with his

calf.

O-uchi-gari, back knee style

The difference is in placing the reaping leg deep inside the leg spread of the opponent and

turning it outside so that Tori’s knee is touching the back of Uke’s knee. The pull down is

accomplished during the push back action when Uke’s weight falls over his heels. The

reaping is done more with the rear lift with the leg on the opponent’s target leg and its

continuation into a large circle to the side.

Renraku-waza and combinations are numerous with this technique: Morote-seoi, Ko-

uchi-gari, Tai-otoshi, O-soto-gari, Uchi-mata and Tai-otoshi are most common.

Morote-seoi O-uchi-gari Ko-uchi-gari

Tai-otoshi O-soto-gari

Uchi-mata Hiza- guruma

Tani- otoshi

The go-no-sen techniques regularly applied against this waza are the O-uchi-gaeshi

where the defender sweeps both legs of the attacker from the outside and rear. He can

also raise the attacked leg to avoid the reaping and then proceed with Uki otoshi. Another

form of defense is to twist the body counter clock-wise to the incoming attack or jump

over the leg and enter into a sutemi waza such as Yoko-wakare or Sumi-gaeshi.


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Ko-uchi-gari heel style

Tori will reap the inside right heel of the opponent with the sole of his foot and make the

opponent fall on his back. Tori push first and await the return from Uke. While facing the

opponent, Tori make a small step back forcing the opponent to make a long forward step

and pull forward. With the inside of the foot placed against the heel, he starts reaping by

drawing the opponent’s leg toward him to the front. He then transfers his action into a

push down and leans over the opponent to force him into a back sitting posture. Having

his leg removed under his weight, Uke falls to his back.

To be effective, the technique needs timing and Uke must be controlled so that he is

prevented from raising his leg up from the mat. Tori’s little toe is touching the mat as the

push is being applied to the heel.

Ko-uchi-gari, calf style

The technique is similar to the one above, yet Tori is more to the side. He is forcing Uke

to overstretch his legs and attacking the outer leg with his calf. He then withdraws his leg

while making in a circle around Uke’s support leg. Both opponents have their calf

touching during the reaping action. Tori must maintain balance and lower his position to

bring Uke with a downward pull.


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Ko-uchi-gari, knee style

Tori is facing the opponent, he attempts a tackle by pushing Uke back with his body by

placing his shoulder and his head to the side of the opponent. The right leg is push deep

inside the opponent standing position and turned outside hooking the knee from the rear.

Tori’s right hand is used to assist by encircling the outside of the target leg and in a

continuous movement, Tori makes a roll to the side, bringing the opponent down with

him. Note that an O-uchi-gari can also be performed on the support leg if needed.

Sensei Toshiro Daigo identified three possibilities to carry out Ko-uchi-gari:

1. At the moment when Uke moves his right foot forward and his foot touches the

mat.

2. When uke is in a defensive posture having his weight resting on his heels

3. When uke moves backward and his right foot is placed in his back.

Renraku waza and go-no-sen techniques are similar to that outlined for the O-uchi.

Do not make abrupt shift in behavior.

Go with the flow and use the combined energy

To counter attack swiftly


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SIXTH SELECTION: Harai-goshi connections

Harai-goshi is a technique refined by Shihan Jigoro Kano to prevent opponents from

jumping over or slide away from his favorite Uki-goshi. A very popular technique used

by former great champions such as Rougé of France and Matsushita of Japan in the

1970’s; Van de Walle of Belgium in the 1980’s and Traineau of France in the 1990’s. In

practice we find three styles of Harai-goshi: the kata style, the front entry and the side

entry. In all three cases it is possible to pursue the technique to a point of rolling forward

with the sweep into a makikomi.

Harai-goshi, kata style

As Tori withdraw, he maintains his natural Kumi-kata and pulls Uke with him. In his

second steps rearward, he places his right hand under the opponent’s arm and at the tip of

the shoulder blade. He breaks the balance forward using both his left and right hand to

pull. Tori takes a third step back, in a diagonal. He is followed by Uke. As he gets closer,

Tori make contact with his right hip touching the opponent’s abdomen. Tori places his

right leg forward and high in the air, at waist height if possible and in a sweeping action,

brings down the leg against Uke for a fall.

In the kata form, the Kake of the waza resembles more the one used for Uki-goshi,

whereby it is the hip that does most of the lifting and that the leg sweep only comes to

complement the push back. The Kuzushi is strong from both hands and the hand under

the armpit is constantly pulling Uke to the front. The Tsukuri is made by the action of

Tori getting closer to the opponent, yet not too deep inside as to loose his balance.


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Harai-goshi with a front entry

Tori pushes the opponent back and awaits the returning reaction to break Uke’s balance

forward or in the direction of the front corner. With the natural hand grip or Kumi-kata,

Uke is pulled closer. His chest is held against Tori’s back. Tori lowers his body by

bending his knees and placing himself in a balanced position, resting first on his right leg,

then his left. When stabled on his left leg, Tori will use his right hand to pull and lift high

close to the opponent’s ear. His left hand will also pull out and upwardly. Keeping

contact with the chest, Tori start lifting the opponent with the straightening of the body

and sit Uke on his hip. Supporting both weights on his left leg, he slides his right leg to

the front, toes pointing and in a large sweeping action upward, throws the opponent.

In this style, it is not necessary to go deep under the opponent lower body. It is also

possible to make use of your right elbow to lift under the opponent’s armpit or even grasp

at the rear of his belt for more lifting power.

Harai-goshi with a side entry

Tori pushes Uke back and awaits his frontal reaction to begin his pulling upward and

forward actions. Tori introduces a high position for his lifting Kumi-kata hold. He crosses

over his body in front of the opponent by placing his support leg vis-à-vis the outside of

Uke and makes a pivot inwardly like an Ashi-guruma or O-guruma. He wraps the

sweeping leg on the outside of Uke and applies a lifting action with the sweeping leg

when Uke attempts to transfer his weight from one leg to the other.


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In this style, the Kuzushi must be kept constant to the front corner. In twisting your body,

place your hip against the navel of the opponent and hold him tight near you. In the

lateral entry, the hands can be used either near the armpit or at the position to do Tsuri-

komi-goshi. Tori can spin inside or outside providing he keeps his balance on the support

leg. It is sometimes important to loose or sacrifice a little of your own balance to better

distribute your weight towards the sweeping leg action for it to perform at maximum

power.

Renraku waza normally observed with the Harai-goshi are: Sasae-tsuri-komi-goshi, Ashi-

guruma, Hane-goshi, O-soto-gari, Ko-uchi-gari, O-uchi-gari, Uchi-mata, and Sukui-nage.

O-soto-otoshi and Harai-makikomi are also associated with this waza.

Sasae-tsuri-komi-ashi Harai-goshi Ashi-guruma

Hane-goshi O-soto-gari

Ko-uchi-gari Sukui-nage

O-soto-otoshi Harai-makikomi

Uchi-mata O-uchi-gari

Ko-soto-gari

Go-no-sen techniques against the Harai are: the Ura-nage, the Te-guruma and Tani-

otoshi. Also very effectives are: Ushiro-goshi, Utsuri-goshi, and Ko-soto-gake.

There are three other forms of counter accomplished with the straightening of the body

and pushing the Hara forward. First, when attacked, straighten the body slightly to the

rear of opponent, apply left leg lift against the back of Uke’s thigh and lift him by pulling

to the rear. The second method is similar, after straightening the body, twist counter clock

wise and push Uke to the side and back to make him fall. The third form is to straighten

the body, disengage the right arm from its Kumi-kata and grasp Uke’s inner thigh with

the hand. Lift his leg above your waist-line and push your Hara forward, arching to the

rear to make him fall. You may make additional assistance for the lift by using your left

leg against his rear thigh at the left and push up the body before exercising the rear pull

action.


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SEVENTH SELECTION: O-soto-gari connections

O-soto-gari is a leg movement demanding quick action by the hooking and reaping leg.

It must become a surprise attack and not be used as a technique to linger on fighting the

opponent’s extended legs in order to hook it in the back. You should always know where

you place your feet around the opponent and be able to move lightly around your support

leg before you go for the powerful and deep attack.

The Kuzushi for this technique is important. It is a pushing action to the rear or to the

side depending on the style. The tsukuri must ensure that Uke is immobilized on his heel

or on the side of his foot. Tori pull the Uke hand (right) down and outward while his own

right hand pushes upward and back of the opponent. (Near the neck). The support leg

should be out and to the side of the opponent. The small toes are near the heel of the

opponent’s foot. Your own weight should rest on the big toe of the reaping leg and with a

major lift of the leg beyond Uke, reap the rear of the knee and calf area of the opponent to

make him fall.

There are three styles associated with this technique, the rear approach, the right rear and

the side style.

O-soto-gari, the rear or right approaches style

Tori advance with his left foot. He brings Uke off balance by applying a strong rear

Kuzushi that force the opponent to temporarily place his weight on his heels or slightly

beyond. Tori traverse the line of gravity and to the side of Uke, passes his right leg over

and close to Uke’s body. He extends that leg to point the toes and raises it to about the

belt level. The leg is then pushed to the ground behind the knee or calf of Uke at the same

time that the Kuzushi is being transformed into a push down of the upper part of Uke.

Tori prevent Uke from transferring his weight in order to recuperate his balance. He

completes his sweeping action so that Uke falls to his side or under him.

O-soto-gari side style

Tori steps out to the side of Uke. Tori is enticing Uke to follow. Tori then apply a

Kuzushi by pulling outside with the left hand hard and high while the right hand pushes

Uke under the chin along the ear line. Tori steps side way ensuring his support leg rest

near the leg of Uke and extends his right leg at hip level and around Uke’s leg.

The push is continued to the side and the left hand action is changed to a pull down circle

close to Uke’s body. The leg action of Tori is then similar to the style above. The

technique can also be performed when Uke has his legs wide apart. Tori perform a

Kuzushi to the front corner forcing the opponent to over-extend. Tori then pass his right

leg over and hook the extended leg behind the calf and lift the imprisoned leg to his rear.

There are various Kumi-kata to be used to affect the kuzushi: push under the chin and to

the rear, push the shoulder and neck area to the rear, push the outside shoulder to the back

or encircle the neck before pushing down.


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In O-soto-gari, it is important to place Uke in a position of no return. Tori must place

himself very close to the support leg of the opponent and touch and push with the side of

his chest against Uke in the Tsukuri phase. The leg must gain impetus by making a large

reaping arc to make contact with the opposing leg behind the opponent. If the leg trails

too much or just extend, it may become an O-soto-otoshi.

Renraku waza associated with this technique are:

Tai-otoshi O-soto-gari Sasae-tsuri-komi-ashi

O-uchi-gari Uchi-mata

Ippon-seoi-nage Ikomi to ne waza

O-soto-otoshi Soto-makikomi

O-soto-guruma Hane-Goshi

Harai-goshi O-soto-gaeshi

Go-no-sen techniques applied against this waza are: O-soto-gaeshi or an Hikomi-waza

(toppling) rolling your body in the back of Uke and under his legs,

Right side O-soto gari by the great fighter Masahiko Kimura (1917-1993)


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Kata guruma from Judo International 1950 (Pierre Roussel)

EIGHT SELECTION: Kata-guruma connections

Kata-guruma is a technique in the form of a wheel over the shoulder. It is done standing,

kneeling and way down under the opponent. The standing style is less performed and a

lower approach is appearing more frequently in international competitions. There are

several styles, namely: the kata or standing style, the frontal drop and the knee drop.

Kata-guruma, kata style

Tori take a natural Kumi-kata and stance and entice Uke to come forward while he is

moving back. Tori make several steps back.

As he proceeds, he increases the forward Kuzushi on the opponent. On the second step,

he lowers his body by bending the knees and grips the outside of right elbow of his

opponent and traces a long forward arc towards his shoulders. (In kata demonstration, the

grip is made to the inside of the elbow). On the third step, he reaches under, places his

head and shoulder deep in the side of the abdomen, near the belt of the opponent and

stretches his leg sideways to have a good support base. He lifts and pushes the opponent

with both the shoulder and the left hand. The support legs are straightened and the

opponent is raised straight up on his shoulder. The latter is then rotated on his shoulders

for a side drop over and in front of his own left leg. The opponent is thrown sideways.


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Kata-guruma, front drop style

The Kuzushi and Tsukuri phases of this style are similar to the above. When the opponent

is raised and placed on the shoulder plane, Tori execute a twist of the body by rotating his

left hand in front while is right hand makes a small rotation backward to accompany the

gesture and Uke is thrown over the shoulder and in front. Tori may bend forward to

deposit the opponent down in front and between his legs or stay in an erect posture and

throw over one shoulder and around his head.

Kata-guruma, knee drop style

The Kuzushi and Tsukuri are similar than above. Tori approaches the opponent with his

right knee bent and touching the mat. He then lifts the opponent with his shoulder placed

deep inside the abdomen and straightens his legs. Once Uke is loaded on the shoulder, he

completes the body twist and bends forward or slightly to the side and unloads Uke in

front of his support legs. Another variation of this knee drop consists of staying very low

under the opponent, and placing the left leg on the outside of Uke’s right leg and

extending it like a Yoko-wakare movement. The opponent is projected close to the mat

and Tori can follow up immediately with a Ne-waza technique.


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Renraku waza associated with Kata-guruma are: Kata-guruma throwing Uke in the rear,

Kata-guruma starting like a Sukui-nage or Morote-geri and lifting the opponent onto one

shoulder and throwing him directly over one of the shoulders.

Go-no-sen applications involve turning over when in the air and applying a Sutemi-waza

or withdrawing the right leg as the opponent tries to grasp it and leaning unto his back

then throwing the left leg inside and in front of the opponent and twisting the opponent

into a Sutemi-waza.


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Uki-otoshi from Judo International 1950

NINTH SELECTION : Uki-otoshi connections

Uki-otoshi is a hand technique that is often used to counter others. It makes use of the

opponent’s displacement to amplify the power of the throw. It is an important waza to

understand the relevant judo principles of Kuzushi, Tsukuri and Kake. It is the first

technique seen in the Nage-no-kata and it is demonstrated with these three phases. The

variations adopted the principles and rendered the technique more competitive. We know

three different styles: kata form, standing with a twist to the side and the elbow grip.

Uki-otoshi, kata style

Tori steps back and draws Uke in his path. He applies his Kuzushi on the right front

corner. He takes a second step back and increase slightly the distance separating him

further from the opponent. Uke follows after Tori as he tries to neutralize the Kuzushi.

A longer third step back is taken by Tori and at the same time, he drops his left knee to

the mat at an angle of 30-45 degree from the opponent’s right foot. While his knee is

resting on the mat, his toes are raised and in control of the balance. He is in an oblique

direction to the opponent. He fills the void created by his displacement by pulling firmly

with his hands to draw them in a descending angle towards his belt. The swift pull in the

downward direction is carrying the opponent to a fall.


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Uki-otoshi standing twist style

In the standing style, the same Kuzushi is applied with the normal Kumi-kata. Tori steps

back with a large stride to obtain more distance between himself and the opponent. He

lifts and pulls with the left hand and pulls up with the right hand while grasping the

opponent’s sleeve high near the elbow and raises it to his eyes level.

Tori makes a small pivot to the side, lowers himself by bending the knees and places his

left leg to his rear (The leg is half-bent and at the ready to spring into action). Tori pulls

down the opponent using in a swift arc movement of the hands and throws the opponent

down.

Uki-otoshi with the elbow grip

In this form Tori advances towards the opponent with his right leg and pushes his

abdomen or Hara forward to get closer to the opponent. At the same time, he is lifting

simultaneously Uke with both his right hand and left which are holding their grips on the

opponent elbows.

Tori make a pivot to the side and bring in his left hand close to his chest or belt level

applying a strong pull down. Meanwhile, the right hand is securing its hold over Uke’s

left elbow and using the armpit as an extra zone to push at an angle, he proceeds to push

Uke up in the direction of the opponent’s ear. Note that in this style, Tori is not facing

Uke when throwing but looks to the side in the direction of his pivot.

Renraku waza with Uki-otoshi are possible with Harai and Hane-goshi, Tai-otoshi, O-

soto-otoshi and Hiza-guruma.

Go-no-sen techniques most seen associated with this technique are: Uchi-mata performed

on the leg when avoiding the standing style,

As Chief instructor of the London Budokwai in 1948, sensei G.Koizumi made a remark

concerning winning. He said: “In action, your balance must be retained, yet, to achieve

the objective, one must risk of loosing it.”

“When equilibrium is lost, all actions are restricted.

Forceful action is only possible when the body is stable.”


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TENTH SELECTION : Te-guruma connections

We address the Te-guruma connections as our final group of Tokui-waza for they are

techniques used extensively as counter techniques in Shiai. Te-guruma per se is not

identified in the nomenclature of the standard Gokyo. Reference to it came about from its

use in international matches by Eastern countries judoka who favored low entries and leg

grip. They have been branded as Georgian pick-up. Many senior European sensei

recognize this technique as an individual waza. At the Kodokan Institute, it is studied as a

variation of similar techniques: Utsuri-Goshi, Ushiro-Goshi and Tani or Uki-Otoshi.

The technique consists of lifting the opponent straight up by placing one hand in between

the legs of the opponent and raising Uke with both Hara and the hand lift combinations.

Te-guruma is one of the few techniques that can be adapted to the Sen-sen-no-sen or

movement by anticipation. It is started as soon as Tori perceive the energy being

mustered by the opponent and he anticipates the coming contact of the opponent. He

activates the combined lift as soon as the contact is made and turns the opponent upside

down after reaching shoulder height.

In his 2005 treatise on judo techniques, Sensei Toshiro Daigo of the Kodokan Institute

refers to this technique as variations of the makikomi style or as modifications to the

Tani-otoshi. We will describe two styles: the rear offensive and the defensive forms.

Te-guruma, rear offensive style.

Tori first attempt an Ippon-Seoi Nage or Uki-otoshi technique. He sides-steps and

follows with a roll to the side of the opponent. First, lowering himself, he seizes Uke’s

right knee at the rear with his left hand and holds on to the opponent’s right arm. He gets

very close to the opponent and places his Hara to the rear of Uke’s lower parts. He traps

the opponent’s right arm in his armpit and proceeds to throw himself to the rear, thereby

lifting Uke with his Hara and hand lifting the leg.

Te-guruma, defensive style.

Tori grip the opponent’s lower left sleeve by crossing over his left hand. He pulls Uke’s

arm towards his belt and centre of his abdomen. He lowers himself, places his right hand

over Uke’s arm and deep down under the back of the opponent’s leg. Tori make contact

with Uke’s chest with his head and shoulder. With a swift lifting action from the right

hand, he lowers his body and while crouching down, lifts the middle section of Uke and

throws himself backward.


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If Tori is unable to place his right hand deep under the opponent’s leg, he may use a grip

by the belt while still ensuring that one of his legs is placed deep under the opponent

stance. Both styles can be accomplished without crouching down. Tori can seize the

opponent in the middle section with his hand facing inward or outward and still

remaining standing.

There are no standard Renraku waza associated with this technique except to say that

while the opponent is being lifted, he can be transferred to a changing hip. Tori can try to

sweep the leg lift by either attempting an attack to the front or to the rear or rolling

forward into a returning technique such as an Ura-nage style. To prevent it, in Go-no-sen

format, one can always resort to a leg hook to stop the lifting.


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TOKUI WAZA TRAINING RECOMMENDATIONS

With the technical knowledge given above, you are now ready to embark upon your

training regimen. You must first determine your objectives.

Should you intend to embark upon the competition route, you must be prepared to train

for speed, endurance, determination and Kokoro. Should you seek enrichment through

technical innovations and are more incline towards the recreational development for the

next decade or so, then, your approach to training should be oriented towards mastering

the fundamentals and freely expressing them in all kinds of Randori.

There are several types of judo contests available for you to display your savoir faire and

try out your tokui-waza. Your immediate dojo could accommodate you via the daily

randori practices with friendly opponents or with periodic in-house contests of going for

the line against 5 or more opponents (Kachinuki shiai) sometimes called Go-Nin-Gake.

Inter-club meets and monthly events (Tsukinami shiai) are another form of practicing

with other unknown opponents where single elimination is normally the rule (Tentori

shiai).

Joining a more organized league, you may find useful and educational to embark in round

robin type tournaments (Soatori Shiai) or annual team competition like the Red and

White (Kohaku Shiai). If you seek championship status, you may enroll in Big Point

Tournaments called Koten Shiai which are normally organized by officials of provincial

and national federations for the purpose of selecting representatives for international

events or used to establish ranking (Kaikyu Shiai) amongst peers.

Which ever line of training you may choose, your mental attitude is the key. You must

first try to develop the capacity to remove the disturbances around you and quiet your

mind so that you can focus on the technique at hand. Shy away from thoughts that will

lead you in a mental Shiai state before you are ready for it. Do not rush to perform all the

varieties of techniques at once. Go with the flow, take it in stride and acknowledge your

strengths and weaknesses as you gain experience.

You need to work out the principles underlining each one and refine their applications to

your personality. You may begin with the kata form rehearsal of the technique. After

having identified the three key components, you may try to apply them with a progressive

dynamic stepping training where you progressively go from a slow and methodic 1-2-3

steps, then shortening the sequence with the aim of making a single displacement or

explosion into the waza. The linear approach is a good starter but you need to practice

changing the angles and the approaches. You must be able to adapt to changing

circumstances, so you will need to practice situational judo and taking the initiative. This

is done by working intelligently with various opponents who can help each other

overcome numerous attacking and defensive tactics and strategies. Remember that:

“IF YOU TRAIN HARD, YOU WILL BE HARD TO BEAT”.


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SUGGESTED TRAINING SESSIONS

In your training sessions, try to keep the dynamism going. All your lesson time should be

well spent towards your goal. Some dojos have signs posted that say:

No parking here / No loitering.

These are physical and mental indications that the sensei mean business weather he

conducts a 60 minutes lesson or a three hours intense training period.

After a good warm-up to raise your body temperature, follow up with several muscle

stretching exercises before practicing various forms of Ukemi to tone up your spatial

orientation and your flexibility. Your Ukemi should pave the way to eliminate the

hesitation to do Makikomi or rolling techniques and follow-up into Ne-waza. Once used

to the dojo ambiance and the working surface, proceed with other judo specific exercises

along a progressive training rhythm that will make you work faster and with more

precision.

Having completed the above, you should attempt entries without opposition, while

moving freely about the mat. Try to find opportunities and practice your Tai-sabaki on

the right and left sides and develop entries with several loose forms of Kumi-kata. Try to

work with and against regular and irregular grips. Attempt your techniques from all

directions. Adjust your technique to profit from the different opponent’s grips or kumi-

kata and postures (high-low-sideways). Then, ask your opponents to defend themselves

by doing Dome and side steps or blocking in certain ways and develop a cognizance of

these moves and a feeling for them.

“It is generally agreed that if you do not have a good foundation,

your application skills will never reach a high level of mastery”

34

You are now ready to embark upon light Randori where you can practice taking turn

dominating and controlling the free space. Work on your distance and timing. You need

to know the safe distance from where you can best observe the opponent and not feel

threatened by him. You can then estimate what is the best distance for you to take in

order to deliver your Tokui waza. Ask the opponent to limit his counters or employ

different angles of displacement. Do not disregard the possibilities of both of you doing

Hikomi techniques, pull down and toppling movements and Kaeshi-waza or counters.

Follow up to the mat work when you can for you should never assume that you have

scored the IPPON and seize the opportunities to enter, control and escape from holds as

much as you can.

34

Lu Shengly, Combat Techniques, 2006, p 357


78

When performing light Randori, do not disregard the use of Ashi-waza as complementary

and transition techniques, they are excellent tools to improve your balance and speed.

Likewise, do not limit yourself to one major Tokui-waza; consider adopting several and

linking them with other minor techniques that could pull you out of tight situations These

connecting and combinations known as Renzoku and Renraku-waza are indispensable in

Randori and Shiai.

These are good opportunities for you to assess the opponent’s capabilities and test your

technical skills against them. Each opponent has a unique set of skills and abilities and

you should try to identify their habits, their body conditioning levels, their preferences for

certain waza or displacement and not last, identify their personalities. You can test them

by luring them into your trap or by observing their reaction to your attacks.

“It is said that if you know both yourself and your opponent well, you will

never be in danger.”

35

Sun Tzu is reported to have said that to subdue an enemy without fighting is the greatest

of skills. Try to cultivate an atmosphere of mastery around you.

Precision training drills can also be worked upon by performing Uchikomi in all four

directions and with deep Kuzushi. Repetitions alone are not guarantees for success. You

should attempt to perform your repetitions without telegraphing your intentions. Note that

your initiative is foreseen when the opponent see you or hear you count aloud your entry

steps, when you are disengaging one of your arms before attacking, cocking you rear leg

to get an impulse, make mimics such as head turning and breathing differently. Even

raising your eyebrows can give you away.

You should try to perform 10 to 15 repetitions within a given time limit then switch

opponent. Repeat the process with at least 5 different opponents.

The next training mode is the more dynamic forms of entry. It is called: Nage-Komi and

Kakari-geiko or free training exercises with some pre-arranged rules. The first has no

time limit. In the latter, you should be able to perform against a number of opponents

within a set time limit.

Do not loose patience, do your best now, try again and again. Make corrections often,

improve your style by small increments and try to learn more from each repetition. End

the session with a light or moderate Randori followed by warm down exercises and a

period of mondo (Reflexion and meditation with the sensei).

Donn F Draeger, the American trainer and researcher made the following remark

pertaining to randori practice: “A few minutes of serious Randori is worth more than an

hour of puttering about the mat”.

36

35

Lu Shengly, Combat Techniques, 2006, p 361

36

Donn F Draeger, Judo Training Methods, Charles Tuttle, Tokyo, 1962


79

When training to improve your Tokui-waza be aware that boredom is just around the

corner. Throughout your training periods you should pay attention to details for when we

think that we have mastered a technique, we frequently close our eyes and heart and will

soon loose interest in taking risks and learning anew. Be patient and determined. With

every frustration and disappointment you must renew your commitment to do it once

more. Do not try to control everything, try to behave effortlessly, go with the flow. Watch

for fatigue and stress signs and adjust the intensity and length of your training session

accordingly.

If all seems to fail, return to the Kata training and try to absorb the fundamentals (kihon).

Take time to engage into a frank discussion with your sensei or trainer about your state of

preparedness and your results. Redefine your goals.

Shihan Jigoro Kano was frequently reminding his students to master one self before

attempting to overcome the opponent. He is quoted as having said: “Know when to

commit and when to let go”.

37

When sensei Ichiro Abe wrote about his early judo training memories

38

, when referring to

his Tokui-waza as being Tsuri-komi-goshi, O-soto-gari, Ippon-seoi-nage and Ko-uchi-

gari, he cautioned on their application in Randori and of their strategic use during Shiai.

”The Shiai mindset is clouded and preoccupied with winning and the fear of loosing” he

said and the judoka must be able to cope with such a stress. “Improvements in techniques

can only come from the hard and frequent practices followed with period of reflection

and analysis. Once the performance status has been re-established, the training has to

begin anew and with much vigor.”

39

REMEMBER THAT THERE ARE NO BAD TECHNIQUE

IF THE PRINCIPLES ARE RESPECTED

We finish this chapter with a reflection by M. Calmet a researcher of the University of

Picardy who in 2002 declared: “Faut-il enseigner le judo ou le savoir de combattre?”

40

Meaning: should we teach Judo (philosophy) or combat methods? This is one of the

many challenges we now face. Ancient masters used to say:” if one has been your master

even for only one day, you should treat him like your father for the rest of your life.”

41

The final words are left to Shihan Jigoro Kano who devoted his lifetime to education and

judo. “Superior teachings are passed down from teacher to student fostering many other

people and in this way, improving the world”.

42

37

J. Kano, Writings compiled by Naoki Murata, Mind Over Muscle, 2006

38

I. Abe, Souvenirs de judo, 1953

39

I. Abe, Souvenirs de judo, 1953

40

M.Calmet, Thèse de nouveau Régime, U of Picardie, Amiens, 2002

41

Lu Shengli, Combat Techniques, 2006,

42



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Part Four

AUTO-EVALUATION

One of the great judo competitors Yasushiro Yamashita referred to the discovery of one

self as follow: “If you have evident disadvantages, you should not give up. If you are

much superior to your opponent, you should not be off your guard.”

43

We have identified the various Tokui-waza in the previous pages. To help improve on

their performance, and assist the judoka with his personalization of the techniques, we

will now discuss some auto-evaluations processes and certain bio-mechanical factors that

need to be considered during the analysis and the reshaping phases.

Not only is it important to feel good in the performance of a Tokui-waza, the judoka must

be capable of maintaining the attitude of a learner after its use and be prepare to receive

criticisms from his trainers and teachers. What can be improved? How can IT get better?

What can be changed or consolidated. To that effect, photos, video clips and notes taken

during the performance should be attentively reviewed and compared with previous

performances and styles.

Self-questioning

No one is a better judge of the actions done but the performer. Others may be able to see

with a different perspective and point of view but can not feel and internalize the true

dimensions. Their observations will nevertheless be very helpful. To augment his

sensitivity and comprehension of what he accomplished, the judoka can embark upon an

introspective analysis.

In a quiet moment, he can mentally review his accomplishment and go over a list of

questions that will guide him in his reflection. Hereafter is a sample of such a list.

43

Yamashita Yasushiro, The Fighting Spirit of Judo, Ippon Press, London 1999


81

Questions that may lead to some improvements in your performance:

Was I well prepared for this contest?

Was I familiar with and understood the competition rules?

Did I enter the Shiai-jo with a positive spirit?

Was I preoccupied by noises, officials or something else?

Did I stand correctly to take advantage of the situation?

Was I able to adapt quickly to the style of the opponent?

Was my Kuzushi action complementary and unbroken?

Was my own balance kept during my movements?

Was the grasping too tense and at the right place?

Was I able to feel or anticipate the actions of the opponent?

Was I in control of the free space most of the time?

Did I capture the right angle for the attack?

Did the waza maintain the proper angle and direction I wanted?

Did I surprise my opponent?

Was my weight used properly?

Was the Kake rapid and swift enough?

Did my legs or lower parts play a greater role than my arms?

Did I feel the Hara or body centre playing its part?

Was I synchronized and continuous in my actions?

What opportunity did I miss?

Did I protect the opponent in his fall?

What are the things or actions that I will not repeat?

Did I do my best performance thus far?

By self-questioning, the judoka will relive the different paths of the match and identify

areas and moments that had an influence upon his behavior. The strangeness of the hall

and physical layout may be intimidating. The presence of known great fighters, coaches

or parents may make him uncomfortable.

When facing his opponent, was he is dealing with some unknown fighter, did he know of

his past records, of his favorites techniques, had he seen him in matches before, did he

fight him before or saw him in action? Were the intents of the opponent apparent, was he

cool and receptive, how much aggressiveness or passivity did he show? Could the

opening posture give up some clues as to his style of fighting?

Was he crouching or standing in the natural posture? Was he well prepared for the match

physically and mentally? Were there signs of apparent injuries or of recent mishaps that

could distract or direct your attention to?


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Many judoka have developed a mental protection against the Shiai-jo atmosphere, others

have experienced lots of difficulties to cope with the stress of waiting for the name call.

They do not feel at ease in the warming up area and the training disturbances caused by

the other opponents who walk the space accompanied with their trainers. They may feel

harassed by the comments or questioning from foreigners about their way of life and

training. For others, there is a moment of great nervousness stepping on the tatami and

facing the judges and officials, some of whom they may know by reputation or by

affiliation. Still, another moment of distraction may be the shouts and cheers from the

crowd and colleagues notwithstanding the activities of side coaching done by trainers.

If any of the above presents a challenge, the judoka will need to undergo some future

psychological training to get rid of those irritants which may cause some impurity in his

performance. He will need to build abilities and develop alternate resources to cope with

the stress and sharpen his retro feeder mechanisms. In consultation with his trainers, he

will have to set new goals. Such a goal may read: Discard less meaningful movement but

seek maximum yield.

There are five general weaknesses making us vulnerable to an opponent’s attack:

Physical defects you may display

Chemical imbalance produced by stress or other substances

Strong emotions such as fear, anger, sympathy or greed

Psychological concerns about doubts and mental symbols

Socially imposed restrictions such as taboos or religious archetypes

“Goad your foe into attacking before he is ready and you will always gain the advantage

over him” attributed to the samurai Kojiro Okinaga


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ABOUT BIOMECHANICAL DIMENSIONS

In the heat of battle, there is no time to identify all the sequences and point out what

works for you and what has remained at rest. The high intensity workout and the bursts of

energy provided were the results of your preparation.

This section is intended to provide a review of what might have taken place. For your

tokui waza to be effective, we already identified the ten basic elements. Here, we try to

analyze what parts of the body should have participated in an effective, sudden and

vigorous waza and in what order if any.

We turn out attention to body joints and their relationships with the various muscles

groups acting upon them. Seven large body joints are of particular interest: the head, the

shoulder, the elbow and the hand play a vital part in the direction and amount of energy

deployed. The hip, knee and foot joints are important for the displacement and

equilibrium. Both groups work in unison, the former detect and send the action-message

down the spine and the latter respond by producing the energy to act swiftly. Our whole

body seems to work as a team to produce the necessary power or force needed to both

displace the opponent and ensure we enter in the right space for the defensive or

offensive actions.

The head must stay upright to gain the vantage point and facilitate the transmission of

action-messages. Sensory faculties and contact points on the opponent will identify the

distance; assess the amount of power and the direction of the opponent’s movement.

Decisions will need to be rendered as to the safe distance and the attacking angle.

The primary movers constituted by the shoulder, elbow and hand will need to be

activated to be able to turn the opponent about a given axis. A degree of force will be

judge satisfactory to be applied at the chosen distance from the opponent. The greater the

distance from its centre, the greater will be the corresponding rotational effect. The hip,

knee and foot joints with provide the necessary rapprochement or distancing adjustments

to effect the Kuzushi. More efficient results are to be expected when several large

muscles groups are excited and combined with each others to share the workload as they

apply their respective torque to the joints.

When seeking technical mastery, experience also tells us that we are less satisfied with

our performance of a waza when the principal muscles groups have been isolated or that

they acted independently in a restricted area or when we used the wrong muscle groups to

do the chores. A waza not providing the total level of satisfaction may still score the

Ippon but will be less powerful.


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It is to be understood that maximum power is associated with large muscles groups acting

concomitantly in the same direction. To that purpose, legs, trunk, arms, neck and head

muscles must be aligned and used in the same power curve, arc or direction. Both the

arms will need to form a unified curve around Uke’s body like a truck driver holding on

to his drive-wheel and making a sharp turn. Such an alignment has a major impact on the

efficiency of the Kuzushi, Tsukuri and Kake. When cumulative power is transported

along the same axis, it becomes exponential and very powerful.

To make use of an independent force produced only by the arms or the isolated power of

the legs thrust brings about too many interruptions or breaks in the angle of the throw and

will tend to reach out for help from additional forces. When the level of sufficient force is

being surpassed, there is a waste of power and energy. This condition is not following the

judo principle of intelligent use of force.

While doing the Kuzushi, the complementary push-pull actions accomplished at the

horizontal level may be transformed into a lift and press actions when the forces are used

along the vertical plane. The activities of the wrists, elbows and shoulder joints are to be

supported by the actions of the hips, the trunk and the legs. The judoka must enter the

free space between the opponents and place oneself at the right distance to make his

waza. One can not properly enter under the opponent’s centre of gravity with the use of

the arms alone. The foot, knee and hip joints will play their respective roles at various

contact points and fulcrum around the opponent’s body in order to throw correctly.

During the Tsukuri and Kake stages, Tori will need to maintain the continuum of his

actions by performing quick movements of the legs who will push his trunk up and

forward. When advancing he should lower his body and when retracting, raising it. This

wave-like action will provide the impetus to make a strong contact with the opponent’s

body. When reaching the moment to make the surprise contact with the opponent Tori

will select the angle of entry and reach its target for maximum impact. In fact, the Kake

should resemble a powerful bowling ball reaching and hitting the 5 or 10 pins target in a

bowling alley.

In its final stage, the Kake needs to explode from its base and reach its target along a well

defined trajectory. A sudden change in direction may result in the creation of different

and unexpected counter forces which may result in injuries to either judoka.

There must be total commitment into a Tokui-waza, and one must even risk the point of

no return in order to achieve the objective.

Reliance on speed and accuracy will be of prime importance considering that when on the

move, the judoka will have less weight on the ground yet he will benefit from a greater

force of impact. There is danger here of not being able to adequately react to a lateral

force being applied by the opponent as a counter measure, yet, the surprise, the speed and

accuracy should alleviate this imminent danger.


85

A judoka may gain from observing how speed and power are increased by the actions of

the javelin thrower trusting or crossing his legs in front of the other while on the move.

One can surmise that the weight of the crossing leg gives greater impetus to the rest of

the body as it is stretched in the direction of the throw.

Should the opponent be on the attack mode first, Tori will have to counter attack. He

needs speed and acceleration to move his body out and about. Only a faster speed can

overcome the incoming attack. Having anticipated the direction of the incoming attack,

he will need to estimate the opponent’s speed and at the last minute will sidestep. This

sudden change in the location of the target will unbalance the opponent and offer an

opportunity for Tori to turn the challenge into an opportunity.

Tori can also absorb the opponent’s energy by relaxing the maximum of his muscles

groups and enveloping the incoming energy. When adding his own power to the

incoming force it will be possible to throw the opponent in the same incoming direction.

If unable to overtake the incoming speed of the opponent, Tori may consider making a

reverse movement when the contact is actually made. He may initiate a pull away

movement to release parts or the whole of his body from the line of attack. This inverse

rotation is sometime called DOME. It is the initiation of another movement in the

direction away from the opponent thus reducing the power of the impact of the attacking

force.

Another alternative counter is to take an extreme defensive position by lowering his

knees and trunk thus producing a major shift in the location of the centre of gravity and

rendering the execution of a lift more difficult. From this low posture, the judoka may

entertain getting into a Hikomi, an unorthodox and toppling technique.

When engaging the opponent, the judoka must be familiar with the characteristics of his

natural weapons that are his muscles groups and joints. More leg work is encouraged

since the normal leg muscle groups have about three times the power of the arms to

accomplish extension and flexion functions. When activated, they will transfer the

necessary kinetic energy to the trunk area where abdominal muscles and tendons are

more numerous per square inch and then, together, will ignite other parts of the body.

This accrued energy and power will facilitate all forms of displacements activities such as

pushing, advancing, turning, tucking in, twisting, rolling and bending, rotating, lifting or

blocking.

The power of centrifugal and centripetal forces should not be ignored. When judoka

perform rotating and spinning actions, these two forces will come into play. At times,

Tori may result into crouching postures or curling attitude to gather some energies. By

adopting a ball shape figure, he is developing circular energies around or over witch he

can make the opponent move. By accelerating the rotation of oneself, Tori will produce

centripetal forces by being the center of an interior sphere and using the outward and

fleeting effects of the centrifugal forces can then displace the opponent with greater ease.


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CONCLUSION

We have discussed many aspects pertaining to the tokui waza and the training systems.

These notes should encourage you to persevere in your quest towards a better judo.

Obtaining some degree of expertise in these tokui waza does not necessarily mean that

you are ready to win all your contests. There are still many other things to learn from

your sensei and practice.

Should you decide to follow the competition route, you will need to work on your mental

and psychological preparations. Fear, nervousness and unknown factors associated with

the opponents and the shiai-jo (contest area) will require your attention. You will need to

use all psychological factors to your advantage and not lose your patience or focus.

If you want to become a good fighter, you will need to adhere to the principles of judo.

You will need to enter and fight hard in contests of all kinds and gain the necessary

experience. It is the only way to make substantial progress. Whatever tokui waza you will

attempt, keep in mind that you should follow the principles correctly. By practicing

frequently and trying to do your best all the time, you will achieve your goals.

Shihan Jigoro Kano once said: “I hope that students of judo will master their own waza

and enjoy watching the waza of others. I hope they will come to appreciate the beauty in

their own movements and come to appreciate the graceful and dynamic movements of

others.”

44

44

Kano Jigoro, Naoki Murata, Writings from the founder, Mind over Muscle, Tokyo 2005, p-109


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Annex “A”

UNDERSTANDING THE CONTEXT

As humans, our principal physical activities are about walking, jumping, lifting and

throwing; striking, bending, curling up, stretching and resting. Judo training also involves

similar activities like walking, jumping, twisting, pivoting, rolling forward and backward.

When we become familiar with our surroundings, we have a tendency to rely on

automatic reflexes to guide us through desired activities. In unfamiliar milieu, we need to

discover, learn and adapt to new circumstances. Hereunder are a few topics dealing with

biomechanics that we should try to understand and apply to our judo techniques.

Inertia:

The body is at rest and will stay at rest unless influence by another force. Three laws

were defined by the scientist Newton: First, the body continues in its state of rest, or of

uniform motion in a straight line, except in so far as it may be compelled to do otherwise

by an exterior force that will change that state.

At rest, there is no judo match. To get an object to move, one must overcome inertia. It is

more difficult to start making an object move than it is to keep it in motion. In judo

matches, one of the opponents has to be on the move, preferably both. Judo contests

begin with a dynamic step taken by either judoka. The initial force is the product of the

muscular actions or tension of the fibers and the up-thrust power from the ground that is

antagonistic to gravity. When performing the normal walk, the inertia of the body is

being changed constantly. It is the horizontal power driven by the propulsive forces of

legs that makes us walk.

During judo matches, moving about or walking is a key function. During that activity,

our body goes into series of translation actions where its centre of gravity is displaced by

a rotary motion occurring in the lower and upper extremities. This bobbling or bouncing

effect is more or less influenced by our weight distribution, the friction against the

ground and the interactions between our various muscle groups.

We call Ayumi-ashi the normal way of walking. In such circumstances, the forces being

applied (impulses) to the body are not uniformed in time or space. (One leg is moved

after the other and with different strides depending on the incline or speed). The centre of

gravity is experiencing short periods of fluctuations producing an imbalance that is

quickly recovered by our speeding up or slowing down steps.


88

Ideally, to increased stability, and save energy, we want to minimize these fluctuations.

We should lower the center of gravity by flexing the knees and adopt the Tsugi-ashi form

of walking whereby one foot is following the other and both are gliding on the mat. It is a

slower mode of walking yet, it offers more regular displacements which in turn, facilitate

faster recoveries from the oscillations of the hips. From this first law, we can conclude

the need to select the right moment for employing less force and to develop the balanced

move.

The second law of Newton tells us that the rate of change of momentum is proportional to

the impulse of the force being applied. The actual change or displacement takes place in

the direction in which the force is applied.

From the above, one can observe that the forces being applied do not necessarily have to

go through the centre of gravity to produce a linear acceleration. The force will create the

same linear acceleration whether or not it is so directed towards the centre. The direction

of the force becomes important when applying kuzushi.

If the force is not going through the centre of gravity of the opponent, that point will still

change speed in a direction parallel to the direction of the force producing a rotation of

the body about an axis passing through its centre of gravity. There will be a turning or

revolving effect. So, when performing Kuzushi, force can be applied directly at the centre

of gravity (normally in the abdomen region) or on any of the body segments.

The third law in consideration is that: for every force acting in a direction, there is an

equal force reacting in the opposite direction. Using this principle, the judoka can prepare

his attacks wisely and use decoys to entice a movement or gain a reaction by the

opponent that can be mustered and used against him.


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On the use of force:

There are several ways to deal with a force. You can address it head on by confronting it.

You can direct it towards a specific target or use a superior and faster force against it.

In Judo we tend to redirect the forces and harmonize with them. We can merge with a

force by following along its directional axis. We can displace it by focusing an action at

its points of origin or its impact area. We can avoid it or evade it by stepping out or we

can diffuse it when we absorb it with a complementary technique.

When considering the use of a direct technique or a counter, the judoka will need to pay

attention to his choice and method of entry keeping in mind that the kake phase must

comes as a surprise to the opponent. Adjustments to: his distance from Uke, the angle of

entry, the speed and timing of his attack are all needed to avoid early detection.

We can not avoid the use of force in judo. It used against and by the judoka. The key

element is to use it intelligently.

By definition, force is produced when an object is influenced by another. (Gravitational

or magnetic attraction, push-pull actions). We all produce force when a number of

muscles enter into contraction or extension which results in tension being produced at

joints and leverage takes place. We refer to this influence as “torque”. It is to be noted

that muscles by themselves have no capacity to push and they do not offer resistance to

compression. They come “alive” when ignited by a neuron-stimulus that makes them

vibrate and act upon the joint.

Judoka will also come alive when he identifies the proper technique to be applied at the

right angle, feels the exact opportunity to induce the kuzushi, moves from location A to B

without detection and is able to rebound, turn or apply a technique in a Sen- Sen or Sen

No- Sen patterns.

“Skillful judo movement needs the intelligent use of muscle groups”


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Direction of force:

Observation tells us that to be the most effective, the performance of a linear technique

requires more speed over a given distance. Its power and effectiveness come from the

product of the body mass, velocity, displacement speed and impact.

When separated from Uke at too great a distance, all movements can be detected, avoided

or negated. Tai Sabaki or body movement and Kuzushi will require adjustments since

they can both be affected by speed and distance. Selecting the right angle is important to

be able to strike at the opponent’s weaknesses. It is used to cover the approaches (tsukuri)

and coordinate the direction or flow of the attack.

Mechanically, we refer to force vectors as the directions taken by various quantities of

forces traveling in the same direction and which can be added to each other to perform a

given task. Sometimes, we face a couple of forces developing into a system whereby the

two forces are of equal strength yet coming into opposite direction, When such forces are

applied against the axis, the object will not be moved as they normally annul each other .

(This is the 3

rd

law of Newton) but the object can be turn upon its medial axis.

We can observe such phenomena in the O-soto-gari when one force is produce towards

the back with the arms and upper chest while the other force is exerted with the leg action

is in a forward direction. Likewise, in a sutemi waza, we could have a force made up of

10 units by the leaning forward of the opponent to which a force of 5 units produced by

the falling Tori will be traveling in the same direction, the united force vector will be then

be of 15 units. This simple explanation was frequently used by Shihan Jigoro Kano to

illustrate the JU principle or Yielding.

In practice, the judoka should be able to use as much as possible of the opponent’s forces

and add his own to it. Likewise, he needs to coordinate his personal inputs so that they

amplify each other while keeping the same direction.


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Work and volume of work

Work and volume relate to the ability to move things or objects with a certain amount of

force over a given distance. This is what judo is all about. When applying kuzushi, the

judoka displaces the Uke within the free zone or outside the support base. We need not

measure it in horse-power over inches. The quick push or pull is a demonstration on the

use of force required to make the initial displacement. We talk of making powerful

Kuzushi when it is done within a fraction of a second or during a flash moment.

If a continuous push is made against Uke and he is forced to withdraw, that work load

could also be measured in horse power and distance covered. Both the push-pull actions

can be viewed from a mechanical perspective. It is immaterial whether that push or pull is

a result of a succession of forces used independently or simultaneously as a group.

The end result is the same e.g. the displacement of Uke is being done. Forces emanating

from the arms and upper body can be sufficient to produce the work and many judoka

tend to use this upper strength for the making of kuzushi as the arms and shoulder

muscles are speedily place in motion. However, we must consider that in humans, the

strongest parts of the body are located in the middle and lower extremities. They are the

heaviest and the slowest. Yet, they are the more powerful.

Considerations should therefore be given to use the lower body displacement to produce

the Kuzushi. For many of the judoka, it will be a question of adjusting to using different

muscles groups to perform the required task

The translation force

When the whole body is on the move it is the product of a translation force acting upon it.

Such force is the result of the work produces by the thrusting action of the foot and leg

against the ground. It is to be observed that more effort is needed as we step out of a

position of rest. Once the body overcomes the inertia, a lesser amount of work will be

required to keep it on a steady pace. This continuous displacement ability should be

practiced by the judoka during a match.

Should the judoka wish to gain speed and accelerate, additional force will be required to

respond to the new demand. The greater the power of the leg drive the greater the motion

to be imparted to the trunk and the greater speed is to be attained.

It is to be remembered that the propulsive action of the legs is either following an oblique

or straight up line. That path is somewhat countered by a normal vertical force pulling

him down towards the ground. Since the propulsion force of the leg muscles is greater

than the opposing force, he shall enter into a forward movement. When moving, the

lower extremities will gain momentum and transfer their power to the upper body

producing the necessary kinetic energy (transfer from one group of muscles to another) to

be applied against the opponent for greater impact.


92

To take maximum advantage of the legs actions, the judoka should try to eliminate the

unnecessary natural obstacles such as cold muscles and tight tendons by having a good

warm up of the joints and lower extremities and keep moving.

One may also observe that longer strides will make you move more slowly, yet, you will

be heavier to displace. Shorter strides near the line of gravity will produce a continuum

and you will attain greater speed faster. Nevertheless, you will be lighter and fragile to a

side push or pull. Short strides will make you gain greater speed to initiate and pursue

your attack. (Long distance runner versus sprinter)

In the natural posture, if the judoka leans forward a bit, he will produce a slight shift of

the centre of gravity so that when he wishes to resort to the Kuzushi, he will have less

dead weight to move. Another consideration is the practice of using the pushing power of

the legs by slightly extending the support leg backward in order to gain better leverage.

By having semi-flexed muscles already at work against the joints should improve the

speed of the output.

Opposing forces

We discussed the third law of Newton in preceding paragraphs. Every action has an equal

or opposite reaction. It is important to understand that when applying a Kuzushi, extreme

push or pull are not necessary. When attempting to place the opponent on his tip toes or

outside of his foot, you will encounter a natural resistance of equal size and he will have a

tendency to lean backward and squat downward.

When applying a vertical and downward force against the opponent, such as performing a

hip lift, it is to be remembered that the smaller vertical component of the force will

liberate the trunk for a greater horizontal move. When the vertical and downward force is

too great and applied linearly, it would impair the horizontal movement of the opponent.

(Up and down motion without horizontal displacement)

Point of contact or fulcrum

In the first form of the Itsutsu-no kata, we can visualize the effect of concentrating the

force against a single point of contact. When pushing Uke with an alternate force from

the thumb and little finger, he enters into a wavering effect from side to side. When that

force is changed to the full power of the hand and directed to the centre of the axis, Uke

is projected directly to his rear. Physics principles tell us that when a force is applied to a

free movable object and is off centre, that object will have a tendency to rotate upon its

axis. This rotation is caused by the opposing or counter forces.


93

When applying the Kuzushi, it is important to consider not only where you grip the lapel

(upper centre, to the side or lower centre) and place your second hand of the opponent

(sleeve, elbow or back of the neck), but also in what direction the push or pull will take

place in order to have the opponent move in the desired direction.

Joints and movements

When you are trying to hold down, to stretch or place an arm lock you should consider

the weaknesses and the strong points of the targeted area. Not all joints perform the same

movement or function.

The ankle joint will flex and extend the foot as well as permit the internal and external

rotation. The knee joint is principally used for flexion and extension. The hip joint is

capable of flexion, extension, internal and external rotation as well as abduction.

(Outward displacement). The thorax region has no difficulties performing the flexion and

extension of the vertebras, accomplish internal and external rotations as well as perform

the abduction and adduction functions. (Inward displacement)

The shoulder joint provides the flexion and extension as well as the internal and external

rotation of the shoulder. It has a limited power to conduct abduction and adduction of the

arm. The elbow joint is principally used for the extension and flexion of the upper arm

and conduct internal and external rotation facilities. The wrist joints can be used to

exercise flexion and extension as well as abduction and adduction. It is interesting to note

that the majority of joints possess a variance of one to three degree of freedom to cope

with a limited amount of stress applied to it.

The sterno-clavicular region will facilitate the elevation and lowering of the head as well

as providing for the ante-pulsion and the retro-pulsing activities. The head joint can flex,

extend, rotate inward and externally as well as provide room for the abduction and

adduction of the head. There is an element of torque at all these joints. For maximum

results, the muscles groups should best function when they are at right angle to the

moving bone.

The forces of each joint must be combined to produce the maximum effect. This is best

done when all joints that can be used are indeed used. The important thing to remember is

that every joint must be used to get the most speed, power or acceleration out of the

movement.

Joints which have large muscles and are located in the middle of the body should be used

first.


94

Gravity

It is generally accepted that the force of gravity being exercised on the human body is

very negligible. It represent less then 0.000 000 000 033 pounds per square feet. As a

result, we are able to stand in balance on our two feet if undisturbed by an exterior force.

We also know that the earth attracts every tiny particles of an object with a gravitational

force proportional to the mass of each particle. All these separate attractions can be added

to describe the weight of the object. The central point where these forces are at play is

known as the Center of Gravity.

Not all of our segments are of equal size and length. Our weight is distributed throughout

our body. It comprises several hypothetical centers which are attracted to the ground by

the force of gravity. The agglomeration of these centers can be represented by imaginary

lines falling on each side of the body. By natural extension, these lines will contact a

point on the ground that is located along the middle of each foot. If the gravity line falls

outside the foot area, the body will lose its balance and topple over. Hereunder is a

NASA chart depicting these various centers of gravity and hinge points with their value

as normally found in a person of male gender. The female gender distribution may vary.

45

45

Webb P, Bioastraunautic Data Book, Weeb Associates, Yellow Spring, Ohio, 1964


95

Should we loose balance and start to fall, the speed of our free fall would be measured as

32 feet per squared second as a consequence, the judoka gains more speed from a

shoulder throw than a lower foot technique. Consequently, if you are thrown from a

higher distance you may have more time to turn around and twist in the air and land on

your feet.

If the opponent uses a lower form of throwing techniques such as a Hikomi, your ability

to use counter techniques will be restricted by the height limit. This observation will be

needed when choosing counter techniques or when applying speed to the Tokui-waza.

The changing coloration of the toes may reveal the additional weight being placed upon

them. The greater our weight the bigger will be the natural pull towards the center of the

earth. To remain in balance during the application of a waza, the support feet and leg

must be capable to absorb both opponents’ weight. Let us not forget the importance of the

foot.

The foot is used as a lever. It is a class 2 lever, meaning that the resistance is located in

the middle of the foot with the point of contact or fulcrum made by the toes and the

lifting power done by the calf muscles group who pull on the heel to make the body rise.

“Saya no ichi, no kachi saya”

To win the victory without drawing the sword

Ancient proverb

Let us close this section with the words of sensei M. Kawaishi:

46

“The Tokui-waza or special is a key word, a kind of magic formula used to penetrate the

opponent’s defense system. It is a gift provided by the great judo spirit so that you can

continue to progress. It is from the special or Tokui-waza that you will be able to build

your personal style and find harmony with your inner strength.”

“Recourse to a Tokui-waza facilitates the keeping of the initiative, you will be able to

anticipate the opponent’s move and annihilate his attack on the spot.”

46

Kawaishi M, Enchaînements et Contres, page 9


96

ANNEX”B”

REFERENCES

Abe Ichiro, Souvenirs de judo, Édition Judo Toulouse, Robert Laserre, 1953

Arpin Louis, Le Guide du Judo, Édition de l’homme, Montréal, 1970

Bonet-Maury Paul et Courtine Henri, Le Judo, Que sais-je, 1425, Presses Universitaires

de France, 1975

Blonk Mas, Judo Combinations video, Amsterdam, 2005-2006

Cauheppe J.D. et A. Kuang, Les arts martiaux intériorisés, Édition de la Maisne, Paris

France, 1984

Cauheppe J.D. et A. Kuang, Le Jeu des Énergies dans la Pratique de l’Aikido,

Édition de la Maisne, Paris France, 1984

Cunningham Steven, The Root Arts of Judo, Http 152.163.26, 11 November 1996

Draeger Donn F, Judo Randori No Kata and Ju No Kata,

AAU-JBBF Judo Handbook, USA, 1966

Draeger Donn F, Ishikawa Takahiko, Judo Training Methods, Charles E Tuttle, Tokyo,

1962

Daigo Toshiro, Kodokan Judo Throwing Techniques, Kodansha, Tokyo, 2005

Désormeaux Ronald, The Discovery of Judo, Ottawa, Canada 2006

Dyson Geoffrey H.G, The Mechanics of Athletics, Hodder and Stoughton, Toronto, 1975

Fiore dei Liberi, Manuale di arte de combatti mento del xv seculo, ARMA, Cerchio, Italia,

2002

Gauthier Bernard, Canadian and American Modern Judo, CJF publication, 1949

Guillain Robert, Le Japon que j’aime, Édition Sun, Paris, 1965

Hirano Tokio, Judo Elements, video, Switzerland, 1956

Hoover Thomas, L’Expérience du Zen, Albin Michel, Paris, 1989

Inogai T, Habersetzer R, Judo Kata, Amphora Paris, 1995


97

Inogai T, Habersetzer R, Judo Pratique, Paris, 2002

Inokuma Isao and Sato Nobuyuki, Best Judo, Kodansha International, Tokyo, 1986

Inoguchi Matsunosuke, Shikatsu Jizai Sekkatsu Ryoho, Kaishin Shoro, Japan, 1901

Ira Freeman, Physics Made Simple, Maple Book, New-York, 1990

Kawamura Teizo, Daigo Toshiro, New Japanese-English Dictionary of Judo,

Kodokan 2000

Kano Jigoro, Kodokan judo, Kodansha International, Tokyo, 1994

Kano Jigoro, Naoki Murata, Mind over Muscle, Writings from the Founder of Judo,

Kodansha International, Tokyo, 2006

Kano Risei, Illustrated Kodokan Judo, Kodansha, Japan, 1955

Kawaishi Mikonosuke, Correspondance Personnelle, Académie Kawaishi, 1961-1964

Kawaishi Mikonosuke, Les Katas Complets du Judo, Publi-Judo France, 1956

Kawaishi Mikonosuke, Enchaînements et contre prises du judo debout, Le Plessis

France, 1959

Koizumi Gunji, My Study of Judo, Cornerstone New York, 1960

Koizumi Gunji, The Budokwai, Journal of Combative Sports, 2002

Kura Mitsuo, Samurai, an Illustrated History, Tuttle publishing, Tokyo, 2002

Kimura Masahiko, Judo Techniques, video (1917-93)

Kotani Sumiyuki, Otaki Tadao, Judo Kata, Fumido Publishing, Tokyo, 1971

Krieger Pascal, Ten Jin Chi, La boutique Japonaise, Switzerland, 2005

Leyshon Glynn A, Judoka, Tyrell Press Gloucester, Ontario, Canada, 1998

Le Berre Jacques, Champion de France 1963-64, Stage Gokyo, Werl, Allemagne, 1966

Leggett Trevor, The Dragon Mask, Ippon Books Ltd, London, UK, 1993

Lu Shengli, Combat techniques of Taiji, Xingyi and Bagua. Blue Snakes Book,

California, 2006


98

Masnieres J.L, Judo D’Attaque, Amphora, Paris, France, 1975

Mifune Kyuzo, Canon of Judo, Seibundo-Shinkosha, Tokyo, 1956

Musashi Miyamoto, Traité des Cinq Roues, Go-Rin-No-Sho, Éditions Albin Michel S.A.,

1983

Momose Meiji, Kano Jigoro, 1860-1938, Look Japan publication, 1985

Morvan-Denègre Frank, Le Judo, Techniques et Conseils, Solar 1976

Nihon Sumo Kyokai, Sumo Techniques, Sumo Kimarite, Japan, 2006

Novovitch Michel, Judo Gravity Zero, Publiday Media, Maroc, 2003

Ohlenkamp Neil, Judo Unleashed, McGraw Hill, New York, 2006

Payne Peter, Martial Arts, the Spiritual Dimension, Crossroad New York, 1981

Pelletier Guy et Claude Urvoy, Judo Supérieur, vol 1-5, Siderep, France, 1979

Petter Nicholas and Remeyn de Hooge, Art of Wrestling, Amsterdam, 1674

Plée A.H et Fédération Française de judo, Judo International, Édition A.M.I, Paris 1950

Ratti Oscar and Adele Westbrook, Secrets of the Samurai, Charles Tuttle, Tokyo, 1996

Rougé Jean-Luc, Harai-Goshi, Judo Master Class London, 1985

Roullet Jean, Historique du judo au Québec, Almanach des sports, 1970

Sato Nobuyuki, Ashi-Waza, Les Maîtres du judo, Chiron, Paris, 1993

Sogen Omori, T.Katsujo, Zen and the Art of Calligraphy, Penguin Group, New York,

1983

Suzuki Shenryu, Esprit Zen Esprit Neuf, édition du Seuil, 1977

Swain Micheal, Ashi Waza, Judo Master Class, Ippon Books London, 1992

Talhoffer Hans, Medieval Combat, Green Hill, London, 2000

Tomiki Kenji, Judo, JTB vol 22, Tokyo, 1956

Torbjorn Tannsjo and Claudio Tamburrini, Values in Sports, F.N. Spon, USA 2000


99

Tseu Lie, Le Vrai Classique du Vide Parfait, Édition Gallimard, 1961

Tzu Lao, Tao Te Ching, Vintage books, New York, 1972

Westbrook Adele, Ratti Oscar, Aiki-do and the dynamic sphere,

Charles Tuttle Inc, Rutland, Vermont & Tokyo, Japan, 1983

Watanabe Jiichi, Avakian Lindy, the Secrets of Judo, Charles Tuttle, Tokyo Japan, 1960

Yagyu Minenori, The Life Giving Sword, Kodansha International Tokyo, 2003

Yamashita Yasushiro, O-soto-gari, Judo Master Class, London, 1992

Yamashita Yasushiro, The Fighting Spirit of Judo, Ippon Book, London, 1999

Yamamoto Tsunetomo, Bushido, Square One Classic, USA, 2002

Yokoyama Sakujiro, Siguke Oshima, Judo, Nishido Press Tokyo, 1908

Zabinski Grzegorz, Codex Wallerstein, A Medieval Fighting Book, Paladin Press, 2002


100

ANNEX”C”

GLOSSARY

Ayumi ashi: Natural walking style with alternating leg

Batsugun: Instant promotion by way of winning a Shiai

Bogyo: Defensive maneuvers that may be dangerous

Bugi: Martial techniques of ancient times

Chikara: Inner strength

Chin Gen Pin: Chinese master 1587-1672

Dai Nihon Butokukai: 1895 institution for martial virtues

Dan: Ranking level of senior grade

Eisho-ji: Temple in Shitaya Inaricho district of Tokyo

Gakko judo: School of judo

Hei joshin: Continuous state of calmness

Ippon: One complete scoring point

Jigo Hontai: Basic defensive posture

Jigotai: Defensive posture

Jita Kyoei: Mutual prosperity for self and others (2

nd

principle)

Jiyu Geiko: Free training

Jiyu Renshu: Free practice

Joseki: Upper seat or place of honour

Joshibu: Formal female judo training establishes in 1923

Judo Ichidai: A judo life or commitment to long-term judo practice

Judoka: Also Judojin, a person doing judo

Judo Kyoshi: A qualified instructor of judo

Judo Seishin: The judo spirit to do its best, compete fairly and respect others

Ju jutsu: General combat system also known as Yawara, kempô or Tai jutsu

Ju no Ri: Principle of flexibility in avoiding direct confrontation

Kakari renshu: Repetition training and Geiko, repetition practice

Kake: Application or action of throwing

Kano Jigoro: 1860-1938, Founder of modern judo

Kata: Formal movement pattern of idealized techniques

Kiai: Concentration of will and spirit expressed in a shout

Kodansha: Person having obtained the 5

th

dan and higher

Kodokan: The institution of Dr Kano established in 1882

Kumi kata: Engagement positioning

Kuzushi: The action of breaking balance

Mae Ukemi: Forward break fall in a plane position

Randori: Free practice or sparring

Renshu: Practice synonymous to Keiko

Seiryoku Zenyo: Maximum use of energy, first principle

Sesshoku suru: To touch or keep in contact with

Shiai: a judo contest held with specific rules

Shihan: Founding master, one who has obtained mastery in the art

Shin Gi Tai: Expression of unity of the mind-spirit and body

Shisei: Posture or natural stance

Shomen: Physical front of a practice hall

Tachi Waza: Techniques executed from a standing position

Tai wo sabaku: To shift and position the body

Tokui waza: A preferred or favorite technique

Tori: The giver or initiator

Tsukuri: Action to set-up a throw

Uchikomi: Repetition training


101

ANNEX “D”

AUTHOR’S PROFILE Ronald Désormeaux

1956 Beginning of judo practices in Hull, Québec with sensei Bernard Gauthier 4

th

dan.

1959 Promoted black belt, 1

st

Dan and became the secretary of the Canadian Judo Federation.

1959 Provincial champion FCJ and creation of the Ottawa School of Modern Judo.

1960 Provincial champion and finalist at national championships of the Canadian Judo Federation.

Casual sports writer for the newspaper: Le Progrès de Hull.

1961 USA New York State open judo champion.

1961 Acquired membership no: 41 at the Académie de judo Kawaishi of Paris.

1962 Promoted 2

nd

Dan and enters the Canadian Kodokan Black Belt Association.

Graduated in Physical Education from the University of Ottawa.

Created the dojo of Buckingham,Thurso and Gatineau in Quebec.

1962 Teacher’s assistant at the Victoria Dojo under Sensei Y.Inouye.

1963 Chief instructor at the Calgary dojo with Sensei H. Kanashiro.

1964 Created the Shilo military judo club in Manitoba.

1964 Worked towards the integration of military judo within the CKBBA.

1965 Overall Champion of the Canadian Armed Forces.

1966 Overall Champion of the British Army on the Rhine 1966-1967-1968.

1967 Member of the British Judo Association.

1968 Member of the British military team in several international tournaments.

1969 Finalist all categories, British Armed Forces. Promoted to 3

rd

Dan.

1969 Received the Jean Charles Daoust trophy for best French Canadian Athlete

1970 Opened the Val Cartier dojo in Québec.

1971 Member of the administration for Quebec Kodokan Judo Association 1972-76.

1975 Founder and technical director of the Gatineau dojo.

1980 Obtain the National Coaching Certificate, level one.

1988 Obtain Master’s degree in Public Administration from ENAP.

1993 Graduated to National Coaching Certificate, level two.

1998 Obtain National Coaching Certificate, level three.

1998 Promoted to 4th Dan by the Kodokan Institute of Japan and Judo Canada

2000 Invited teacher at the White Rock dojo in British Columbia with Sensei R. Clemas

2003 Technical director of Chikara dojo in Gatineau Québec.

2004 Served as President of judo zone “Outaouais”.

2004 Editorial member of the Yudansha magazine for Judo Canada.

2004 Promoted 5

th

Dan from the Kodokan Institute of Japan and Judo Canada.

2005 Zone president and technical director for the Ottawa region.

2005 Invited teacher at the Takahashi dojo in Ottawa

2006 Attended the Kodokan Institute international kata training certificate course

2006 Published reference books: “Les Mystères du judo” and “The Discovery of Judo”.

2007 Published a reference book “Tokui-waza”.


102

judo

Documents

national coaching certificate

shihan jigoro kano

souvenirs de judo

canadian judo federation

judo master class

kodokan judo institute

judo training methods

deep hip style