37119815 E J Harrison Manual of Judo

THEMANUAL OF

JUDO

The author of this manual is

probably the oldest living non-Japanese exponent of Judo anda pioReeramong foreign alumniof its world headquarters, TheKodokan, Tokyo. He was the

first inquirer to reveal to theWest the esoteric basis of all

Japanese martial arts, and inthe present work has emphasisedthe importance of its attendanttheory not as a philosophicabstJaction but as a fundamental

rationale of Judo. He enjoys aninternational reputation as a

qualified interpreter of its mosteffectivemethods. The presentvolume embodies valuable guid-ance under these heads and

should rank among the more

comprehensive text -books onthe fascinating story of Judo.

12/6NET

OtherBooks 0" Judoand Unarmed Combat

.THE COMPLETE

7 KATAS OF JUDO185 net

M. KAWAISHI (7th Dan)Translatedand Editedby

E. J. HARRISON (4th Dan)

KODOKAN JUDO185 net

HIKOICHI AIDA (8th Dan)Translatedand Editedby


MY METHOD OF JUDO185 net

M. KA WAISHI (7th Dan)Translatedand Editedby


JUDO ON THE GROUNDTHE ODA (9th Dan)

METHOD165 net


MY METHOD OFSELF-DEFENCE

165 netM. KAW AISHI (7th Dan)

Translatedand EditedbyE. J. HARRISON (4th Dan)

SCIENTIFIC UNARMEDCOMBAT

125 6d netR. A. VAIRAMUTTU

Foreword by SIR ALAN ROSE, Q.C.

THE MANUAL OF KARATE185 net


JUDO COMBINATIONTECHNIQUES

155 netT. KAWAMURA (7th Dan)

Translatedand EditedbyG. HAMILTON (2nd Dan)

JUDO FROM BEGINNER TOBLACK BELT

125 6d netERIC DOMINY (2nd Dan)

JUDO THROWS ANDCOUNTERS

105 6d netERIC DOMINY (2nd Dan)

-~ ---

THE MANUAL OFJUDO

by

E. J. HARRISON 4th DANAuthor of

.. The Fighting Spirit of Japan".. The Art of Jujitsu" .. The Art of Wrestling"

&c., &c.

Line Drawings

by R. A.Jackson and the late Dr. H. Shepheard

Phowgraphs

by M. Hardie

Foreword

by Kyuzo Mifune lOth Dan of The Kodokan

LONDON

W. FOULSHAM & CO. LTD.NEW YORK - TORONTO - CAPE TOWN - SYDNEY

W. FOULSHAM 6- CO. LTD.

2-5 Old Bond Street, London W.I

@ E. J. Hat'rison I952

AUTHOR'S PREFACE

IT was, I think, the late Basil Hall Chamberlain, the famousJapanese scholar, who once remarked that it might be regardedas a distinction not to have written a book about Japan. Analo-gously, I am tempted to suggest that in view of the recent rapidexpansion of the Judo bibliography in the West, an authorinnocent of a book on the art seems likely soon to rank as ananomaly. There is thus perhaps a risk inseparable from thisclass of literary activity of adding" one's sum of more to thatwhich has too much". Yet the habit once formed cannot easilybe eradicated. My own decision to write another book onJudo has been strengthened by my conviction that by no meansall the many publications in this domain expound the authenticKodokan Judo. Moreover, if we are to keep our knowledgeof true Judo abreast of developments at the source, then wecannot afford to remain too long passive and non-productivein a literary sense. At the same time I wish to emphasize thatI myself disavow any claim to be a Judo" expert". The impli-cations of that title are far too sweeping to be lightly assumed.Indeed outside Japan there are very few instructors whosecombined theoretical and practical knowledge would entitlethem to be so considered. On the other hand, were it abso-lutely essential to restrict printed instruction in Judo to whollyqualified high-ranking Yudansha in Japan, Western aspirantsfor Judo honours would be condemned to wait p'erhaps foryears before authoritative information became available. For-tunately, however, for the progress of Judo outside Japan,through the intermediary of industrious judoka of lower teach-ing grades, this important source has been made generallyaccessible by means of translation and personal contact withthe great Japanese Masters, several of whom were my owncontemporanes when I practised the art at the Kodokan. Iwas in fact the first Englishman to be there awarded the initialteaching grade of Shodan or 1st Dan, and today hold the gradeof 4th Dan confirmed by the Kodokan. I am also the oldest

ix

DEDICATION

To my valued Instructor and great friend, theworld renowned Judo Master, Kyuzo Mifune, 10thDan of The Kodokan, Tokyo, Japan, I gratefullydedicate this Manual of Judo, in memory of old

times.

MADS IN ORZAT BRITAIN

h c. Tinm., iii c.. LIlI.,Li_pool, LoruioaGftt!P,u",'.

f

~

]I: AUTHOR'S PREFACE CONTENTS

member of the London Budokwai of which my friend Mr.Gunji Koizumi, 7th Dan, himself the most brilliant exponentof Judo outside Japan, is the founder and present Principal.The Budokwai is directly affiliated to the Tokyo Kodokan andtherefore in a position to keep in touch with this fountain-headof technical and theoretical Judo knowledge.

When therefore the reader does me the honour of consultingthese pages he may rest assured that the instruction given doesnot emanate solely from my own brain but has passed, so tospeak, through the alembic of far more deeply versed inter-preters, and that the methods chosen for description have beensubjected to countless empirical tests before their inclwion inthe permanent Judo repertoire and curriculum. Furthermore,where necessary I have not hesitated to acknowledge my in-debtedness to outside sources for the elaboration of particularfundamental techniques, especially that valuable annual.. Kokusai Judo" or .. International Judo" issued in Parisunder the awpices of the French Federation of Judo. I havesimilarly taken advantage on occasion of the quarterly Bulletinof the Budokwai for supplementary data on particularmethods.

Lastly, I should point out that considering the dynamicnature of the art, compliance with the exacting demands of theJudo purist may later necessitate further amplification andmodification of a text which does not pretend to be in anyway exhawtive.

The Budokwai,15 Lower Grosvenor Place,

London, S.W.I.

AUTHOR'S PREFACE ix

ILLUSTRATIONS xiii

FOREWORD xiv

INTRODUCTORY REMARKSWhat is Judo?-Rationale of Judo-Essentials for Judopractice - Etiquette of Judo - Divisions of Judo-Importance of deep abdominal breathing-Signals ofD4em 15

GLOSSARYGlossary of Japanese Terms and Expressions generallycurrent in the Judo Vocabulary 23

INSTRUCTION IArt of throwing from a standing position-RelevantPostures-Breaking or disturbing balance or posture(Kuzushi)-Movement (Shintai)-Tsukuri and Kake-T ai-Sabaki-The Breakfall-Butsukari-Kumi-K ata-Defence and Counter Technique (Fusegi and Kaeshi-waza)-Contact in Judo 33

INSTRUCTION IISelected Standing Throws (Tachiwaza) of Hand Tech-niques (T ewaza) - Ukiotoshi-Seoinage-T aiotoshi-Seoiotoshi-K ataguruma-Obiotoshi--Sotomakikomi-Uchimakikomi 57

INSTRUCTION IIISelected Standing Throws (Tachiwaza) of Loin or WaistTechniques (K oshiwaza) - Ukigoshi - H araigoshi-Tsurikomigoshi- Hanegoshi- 0 goshi- Ushirogoshi-Koshiguruma-Tsurigoshi-Utsurigoshi 68

INSTRUCTION IVSelected Standing Throws (T achiwaza) of Foot andLeg Techniques (Ashiwaza)'-Hizaguruma-Uchimata-Osotogari-Ouchigari-Ashiguruma-Osoto-otoshi -Osotoguruma- r ama - arashi-Ashiharai-Okuri - Ashi-H arai- Deashi- Harai- Tsurikomi-Ashi-Sasae-Tsuri-komi-Ashi-K osotogari-K ouchigari-H arai-Tsurikomi-Ashi 80

xi

xii CONTENTS

INSTRUCTION VSelection of Throws effected from a lying Position(Sutemiwaza )-Masutemiwaza: T omoenage-U ranage-Sumigauhi-Yokosutemiwaza: Ukiwaza-Tokogake_ Tokoguruma - Toko-otoshi - Tokowakare - Tani-otoshi 98

INSTRUCTION VIKatamewaza or Groundwork-Selected Hold-downs orOsaekomiwaza-K esagatame-Fusegi or Defence T ech-nique-K atagatame-Defence against same-K amishi-hogatame - Defence - Kuzure-Kamishihogatame -Tokoshihogatame 111

INSTRUCTION VIIShimewaza or Necklocks-Namijujijime-Defence-K atajujijime-Gyaku jujijime- Okurierijime - K ataha-jime-Sodeguruma-Hadakajime 121

INSTRUCTION VIIIK ansetsuwaza or the Art of Bending and Twisting theJoints: Udegarami-Udegatame or Udehishigi-Ude-kake-hiza-gatame - Ashigarami - Jumonjigatame orUdehishigi-juji-Ashihishigi- Udehijigi- Udehishigi-wakigatame-Arm Entanglement in retort to attemptedBlow 129

INSTRUCTION IXMethods of Escape and Counter Attack. Some drasticTricks. Counter to attempted Necklock from the Front-Counters to Front Waist Holds-Counters to Seizurefrom behind-Combined Tru~k Squeeze and ReverseStranglehold-How to seize Opponent from Behind-Leg Entanglement from supine Position-DangerousNecklock Counter to Scarf Hold-Tsurijime-Toko-hanten-K ensuigatame-Fukurokensui 143

INSTRUCTION XAtemiwaza or the Art of attacking Vital Spots: Uto-Jinchu - K asami - Suigetsu - Denko and Getsuei-Myo jo - Tsurigane - Dokko- Kachikake -Shitsukan-setsu 153

ILLUSTRATIONS FROM PHOTOGRAPHS

Facing page

Kyuzo MIFUNE(10th Dan) 52

OBIoTosm (Belt Drop) 53

SoTOMAKIKOMI(Outer Winding Throw) 68

UTsURIoosm (Transition Loin) 69

OucmoARI (Major Interior Reaping) 84

OSOTO-OTOSHI(Major Outer Drop) 85

TOMOENAOE(Stomach Throw) 100

SUMIGAESm (Corner Throw) 101

Xll1

,n~'ty,.'

INTRODUCTORY REMARKS

FOREWORDFreedom in continuous change! The heart should bea clear mirror polished a thousand times and shouldrely on god-like speed and courage! (signed)Kyuzo Mifune, 10th Dan, The Kodokan, Tokyo,

March, 1952.

What is Judo?THE term Judo today signifies the subtle Japanese art ofdefence and attack without lethal weapons which, alike inJapan itself and elsewhere in both hemispheres, has largelysuperseded the older one of Jujutsu (pronounced Jujitsu), alsoknown in feudal days as Taijitsu or Yawara. Judo owes itsinception to the genius of the late Dr. Jigoro Kano who, asa very young man eager to develop a neglected physique,studied Jujutsu under many eminent masters of the later feudaltimes, who were then still living. As he has himself recorded ina book on this subject, although he derived much valuableknowledge from these studies he gradually realized that theinstruction given lacked the application of an all-pervadingprinciple, and represented simply the systems of individualschools which were inevitably characterized by many discrep-ancies and variations in particular methods of throwing,holding, choking and the locking of joints, etc. Dr. Kano'sclaim to distinction in this sphere may be said to rest upon hisconclusion, arrived at through an exhaustive inductive process,that the all-pervading principle should be the highest and mostefficient use of both mental and physical energy directed to theaccomplishment of a certain definite purpose or aim. Then inthe course of careful scrutiny of the numerous techniques hehad assimilated from his studies with the old masters, herejected those that were untenable from this standpoint andsubstituted new or improved methods fully in harmony withit. The name Judo which he gave to his eclectic system, aseventually elaborated, differs from the older term Jujutsu inthat whereas the term Jujutsu is composed of two characters,.. ju " meaning" gentle" or " to give way" and" jutsu " mean-ing " art" or " practice", in the word Judo the second syllable" do " means a " way" or " principle".

It is fair to say that one of Dr. Kano's objects was to empha-size this ethical basis of his system which had perhaps been lessin evidence among the older ryugi or schools of Jujutsu. Forthe large-scale teaching of his new system Dr. Kano in 1882

15

IT is a happy chance that the publication of E. J. Harrison'snew book THE MANUAL OF JUDO should almost coincidewith the seventieth anniversary of the foundation of the world-famous headquarters of Judo, The Kodokan, Tokyo, Japan,of which he is the oldest living member and where he wasthe first Britisher to win the coveted Black Belt during theRusso-Japanese War of 1904-5. As if in further emphasis ofthis auspicious conjuncture, he is the fortunate recipient of abrief but inspiring message from his old friend and former in-structor,Mr. Kyuzo Mifune, 10th Dan, one of the greatest livingexponents of the art and although now verging on seventy stillactive and formidable on the mat. A recent photograph of thisrenowned Judo Master accompanies the message and is re}>ro-duced as an illustration of this volume. Above appears a freetranslation and facsimile of the original Japanese text.

xiv

Rationale of JudoAt the risk of telling some readers facts already known to

them and for the benefit of those less well informed. I shouldexplain here that the underlying purpose of Judo is to enablea physically weaker person to defend himself against a physic-ally stronger opponent alike in mimic combat on the mats ofthe Doj,o or exercise hall and in a genuine struggle for survivaloutside it. Other things equal it is simply axiomatic to say thatthe stronger man must eventually win, but seeing that notinfrequently the relatively poorer physique of one man islargely offset by his superior intelligence, skill and agility, hemay conceivably prove the victor in contest with his physicallymore powerful antagonist. And admitting that there are alwaysnumerous gradations of sheer bodily strength among thepupils of any Dojo, the cumulative effect of assiduous study andpractice of Judo is bound in the end to convert even a veritabletyro weakling into a physically vigorous and technically skilledJudoka or practitioner of Judo. How often in my ownexperience as an active student of both Jujutsu and Judo as ayoung man in Japan have I seen this truth exemplified by thesteady transformation during some years of an originally weakJapanese, whom I could easily throw on the mat, into a sea-soned yudansha or holder of a Dan (grade, rank, degree) whowas capable of turning the tables on me despite my superiornatural physique!

I mention these things in order that no young man, howeverseemingly weak, provided that he is organically sound, need bedeterred or discouraged on that score from taking up the studyand practice of Judo with the aid of this course, if possible~upplemented by the teaching of a competent personall?Structor. ~ill power, t<;nacityof purpose, coupled with con-tmuous practice not carned to excess can work wonders and

THE MANUAL OF JUDO 17

are indeed indispensable to the attainment of proficiency in anyart or science, and in none more so than in that of Judo.

It should hardly be necessary to remind the student thattemperate living, high thinking, the strict observance of bodilyhygiene, regular elimination and the sedulous avoidance ofsexual excess are part and parcel of the mental, physical andmoral equipment of the truly zealous Judoka. Contempt foror neglect of any of these desiderata is calculated to defeat orat any rate retard the end in view.

Essentialsfor Judo PracticeUnder ideal conditions such as exist at the Kodokan, Tokyo,

the world headquarters of the art, the Boor is covered withquilted mats (tatami) and surrounded with panels of aboutshoulder height. All nails and pillars with angles have beeneliminated to prevent the risk of painful collision. The costumeused by the pupil when practising is called judogi and com-prises a coat of some strong material capable of resistingconstant wear and tear, loose trousers and belt. The last namedaverages eight or nine feet in length to enable it to be woundtwice round the pupil's waist and tied in a double knot infront. Seeing, however, that the present course is designedprimarily for those unable to avail themselves of all thesefacilities, allowance must be made for convenient substitutesand the necessity for improvisation.

Assuming that the neophyte cannot practise regularly at anadequately appointed Dojo or Judo exercise hall, he may haveto make shift with a spare room of fair size at home, prefer-ably with a boarded Boor upon which perhaps a coconutmatting could be laid to soften the shock of falling. The thickly-padded mat used for catch-as-catch-can wrestling is not suit-able for Judo because its surface is not smooth enough topermit of the swift and ever changing foot-work essential to theaccomplishment of virtually every throw of the copious Judo.repertoire. An explanation of the so-called Breakfall whichevery judoka must master before entering upon actual practiceor contest with an opponent will be given later.

. The question of costume should not offer any insuperabledIfficulty. Care should be taken to wear a coat or tunic whosecollar and lapels will resist the application of chokelocks orstrangleholds without danger of npping. The loose trouserspreferably of some cotton fabric, should reach well below th~

16 THE MANUAL OF JUDO

founded the Kodokan in Tokyo. The word literally means aschool for studying the way, and in Dr. Kano's exalted mind"the way" meant the concept of life itself.

The success of Kodokan Judo was phenomenal, and ere longits fame as an unrivalled art of defence and attack without armsspread far beyond the confines of Japan, so that today nearlyall "civilized" countries possess schools large or small wherethe art can be studied and practised under reasonably com-petent instructors.


knees so as to safeguard these against painful abrasion on themats. A sash or bdt of approximately the prescribed lengthshould be readily available. And here in this connection I mustremind the reader that in recognized Dojos affiliated to theBudokwai of London and/or the Kodokan of Tokyo the colourof the bdt worn varies according to the grade hdd by thewearer. The course of Judo is divided into two grades or rankscalled respectivdy" Dan" and" Kyu n. In the Dan grades thenumeration ascends from first Dan upwards, whereas in theKyu grades which precede the Dan grades the numerationdescends from 5th Kyu to 1st Kyu which latter immediatelyprecedes the 1st Dan. Further, a white belt is used by allstudents unqualified for the Dan and Kyu grades and a brownbelt by students from the third Kyu up to the first Kyu grade.A black belt is worn by the holders of the five Dan grades; astriped belt of red and white by holders of the sixth up to theninth Dan grade, and a red belt by holders of the tenth and allhigher. Dan grades. It may be added that outside Japan thehighest Dan so far awarded is the seventh, and even in Japanthere are at the time of writing only about three or four tenthDan instructors.

Thus from what has been said the student will understandthat until he has been properly graded by an authorizedinstructor he ought to wear only a white belt.

Etiquette of JudoAmong Westerners it is customary to shake hands before a

boxing or wrestling match. Since Judo owes its origin andevolution to the Japanese, the Japanese method of salutation(rei wo suru, in Japanese) has been almost universally adoptedamong judoka all over the world, and it is always observedboth before and after practice and contest. The more cere-monial form is reserved for demonstrations of the Kata andis described as follows by the late Dr. Kano: The contestantssquat facing each other with a space of about five feet betweenthem. The insteps should be close to the mat; the hips rest onthe heels; the hands are on the mat with the finger-tips turnedslightly inward, and when making the bow the back of the headshould be as low as the shoulders. However, when practisingRandori the salutation may be made with the toes and hipsraised a little, but the movements of hands and head mustalways be formal, as previously described. At the Kodokan


and other Judo schools in Japan, such salutations are not con-fined to the actual contestants on the mat but are made by thepupil in the direction of the dais or platform on which superiorsand instructors may be seated, both when he enters and leavesthe Dojo or Judo exercise hall. However, in Judo schools inthe West the accepted etiquette is hardly so strict, but the fore-going form of salutation is never omitted between judoka inpractice and contest.

Divisions of JudoI am anxious not to confuse the student at the outset with too

much detail and so for the moment shall confine myself to ageneral classification of the principal branches of the art whichcan later be elaborated if and when he wishes to progress to amore advanced stage of proficiency. Here then we have therelevant divisions designated in English with their Japaneseequivalents.

The Art of Throwing (Nagewa~a) comprising:Art of Throwing in a Standing Position (Tachiwa~a) andArt of Throwing in a Lying Position (Sutemiwa~a).

These main divisions are further sub-diVided into:

Hand Technique (Tewa~a)Loin, Waist or Hip Technique (Koshiwa~a) andFoot and Leg Technique (Ashiwa~a).

The Art of Throwing in a Lying Position is sub-dividedinto:

Throwing with one's back on the ground (Masutemiwa~a)and

Throwing with one's side on the ground (l'okosutemi-w~a).

The Art of Clinching (Katamewaza, literally" hardening"or .. defence") comprising:

Art of Holding (Osaekomiwaza)Art of Choking (Shimewa~a or Shiboriwa~a) andArt of Bending and Twisting the Joints (Kansetsuwa~a)

An overall term for this division is Groundwork or Newaza.The third and last division of Judo is the Art of AttackingVital Spots (Atemiwaza or Atewaza) with arms, hands,


elbows fingers, by means of thrusting, poking, striking, kicking,etc. This branch of Judo is taught only to students that haveattained the Dan or Black Belt grade and need not thereforebe dwdt upon at this initial stage of the tyro's training.

The same remark applies to the esoteric art of resuscitationcalled Katsu and Kappo which is taught also only to Danholders.

The first two main divisions of Judo are as a rule practisedin three ways, viz., in free exercise called Randori, formsdemonstrated in a prearranged sequence called Kata, and inactual contest called Shobu or Shiai, but for the purpose of thiscourse it will suffice to explain the various tricks or techniquesin their Randori and/or Shobu exemplification as calculated toprove most useful in an emergency.

None the less it is perhaps worth while adding the severalkinds of Kata or Forms generally taught today at the TokyoKodokan. These comprise seven classes in all, viz., (1) Forms ofThrowing or Nage-no-Kata; (2) Forms of Grappling or betterClinching, otherwise Groundwork or Katame-no-Kata; (3)Forms of so-called Gentleness; (4) Forms of Decision; (5) FormsAntique; (6) Forms of "Five"; and (7) Forms of NationalPhysical Education, based on the principle of Maximum-Efficiency. The Forms of Throwing are devised for the studyof theory and practice of all the techniques of throwing andclinching (groundwork) generally used in Free Exercise orRandori. The so-called Forms of Gentleness are very gentlemovements designed to train the pupil in the management ofthe body in attack and defence, and how to employ one'sstrength most effectively. The Forms of Decision aim at theteaching of the principle of body management and the theoryof attack and defence coupled with the methods of attackingvital spots (Kyusho). The so-called Forms Antique and those of" Five" teach the general principle underlying the relevanttechniques and include many interesting phases of Judo. TheForms of National Physical Education (based on the principleof Maximum-Efficiency) are virtually group exercises. Some ofthe movements are taken from the Forms of Gentleness andDecision. As far as I know, a complete repertoire of theseForms has not yet been publicly demonstrated in this country.A list of the throws included in the Nage-no-Kata, most fre-quently demonstrated in public displays of Judo, will be found1.>1the attached glossary.

THE MANUALOF JUDO 21

Importance of deep abdominal breathingIn my book entitled" The Fighting Spirit of Japan," pub-

lished a good many years ago by the late T. Fisher Unwin, Iwas the first to reveal to the Western world the esoteric elementwhich enters into nearly all Japanese arts and crafts but innone more so perhaps than in the so-called Martial Arts(Bujutsu) among which Jujutsu and today Judo may beincluded. The subject in its entirety lies beyond the scope ofthe present course but the particular branch that treats ofdeep abdominal breathing as an indispensable aid to the highestproficiency is of such vital importance to all aspiring judokathat I offer no apology for devoting a section of these pages toa comparatively brief explanation of the method advocated byrecognized experts for the attainment of the most satisfactoryresults under this head.

The purpose of this method of deep abdominal breathing isto develop the saika tanden or lower abdominal region to whichJapanese fighting men attach more importance than to thechest, in contradistinction to the usual Western practice. Oneof the simplest methods of developing this region is describedas follows: Take a piece of cotton cloth about six feet long,fold it twice and pass it twice round the stomach just below thelower ribs, and fasten it tightly in that position. Then try toinhale the air through your nose deep down into your stomach.Repeat the process three or four hundred times a day or eventwo or three thousand times if you can get used to it! In sodoing keep your body soft, hold your shoulders well drawndown, your back bent forward, and sit or squat in such amanner that the tip of your nose hangs over your navel.Accustom yourself when sitting to press your seat with yourhips as it were, and when walking to project your abdomenbeyond your feet. These directions may be difficult to fulfilliterally, but the idea is to regulate your movements as if youhad the above-mentioned object always in view. When facingan opponent, whether in a standing or a sitting posture, lookhim steadfastly in the face but do not omit even for a momentto have your mind's eye directed to your saika tanden, i.e.,tak~ care to breathe as already instructed and in this way youwill not be disturbed by foreign objects.

This practice of deep abdominal breathing has from timeimmemorial in Japan been closely associated with the cultiva-tion of what is called the Kiai (literally" spirit-meeting", pro-

B


nounced "kee-eye "), an occult shout supposed to emanatefrom the region of the lower ab?omen .or s,!ika tanden. andcreditetl with the power of reducmg an lOfenor antagomst tohelplessness and so placing him at the mercy of the other. Andnext to deep breathing, the most essential physical condition ofthe art of the Kiai is the regulation of one's posture. The firstdesideratum is to keep the body soft, pliant and elastic, likerubber. To achieve this condition, again, it is necessary toconcentrate one's vigour in the saika tanden while keeping one'schest empty. The posture has an important bearing upon thebreathing and the two must be studied concurrently. Thesecond point to be observed is to keep the mouth closed andthe chin well drawn in towards the throat. Try to keep theears in a line with the shoulders and the nose on a line with thenavel. If you keep your mouth shut and your chin drawn back,the principal muscles of the throat are made taut and thespinal column is strengthened. The latter in turn impartsproper vigour to the lower abdomen. Some authorities favourexhalation through the clenched teeth after every inhalationdeep down into the lower abdomen, but perhaps the consensusof opinion would favour exhalation through the nose. Thelatter has always been my own practice.

In this connection I must at the very outset impress upon thepupil that in the execution of every throw, hold and lockdescribed in the present course, it is not sufficient to confinethe movement to the arms and legs; on the contrary, in allcases he must try to bring into play the force emanating fromthe lower abdomen or saika tanden, also more colloquiallycalled the shitahara. Other things being equal, the judokawith the better developed saika tanden, the result of systematicdeep breathing as already described, is almost certain to beatan adversary his inferior in this respect.

Signals of Defeat. Unless these are well understood fromthe outset, painful and even dangerous consequences may easilyensue in both practice and contest, more particularly whenchokelocks and bonelocks are being applied. In most Judoschools the defeated contestant taps his victor's jacket severaltimes in the nearest accessible spot, whereupon the victor mustat o~ce relax his hold. In Japan, if the victim has not beendepnved of the power of speech, he generally exclaims"Maitta!" (" I'm beaten !").

1

II

I

GLOSSARY

OF JAPANESE TERMS AND EXPRESSIONS GENERALLY CURRENTIN THE JUDO VOCABULARY

OWINGto their greater conciseness and brevity in comparisonwith their English equivalents, the Japanese terms descriptiveof the numerous methods and techniques of the art of Judotend to be constantly more and more used by non-Japanesejudoka (students of Judo) in Europe and America. Theappended nomenclature does not include anything like anexhaustive list of the many throws and holds described else-where in the text, but does provide a fairly comprehensiveselection of the respective categories pertaining to such tech-niques together with a number of terms belonging to theesoteric branch of the art which should properly be studiedby more advanced judoka interested in its underlyingphilosophy and rationale.

Hints on pronunciatwn: No useful purpose would beserved by my attempting to include in this section guidance onpronunciation of the Japanese terminology comprehensiveenough to meet every contingency. Judoka wishing to extendtheir knowledge under this head will be well advised to con-sult a good Japanese grammar or better still, if possible, seekout a Japanese teacher and learn the correct sounds from himby ear. Here I must content myself with a few general rulesobservance of which should enable the judoka to pronouncethe appended terms well enough to make himself understoodby any intelligent Japanese listener.

There are long and short vowels in Japanese. Although thedescription is not strictly accurate, yet for most practical pur-poses the judoka may safely pronounce the vowels as in theLatin languages. It is, however, important to make a cleardistinction between the long and short 0 and u. Thus in suchterms as "Ogoshi," "Osotogari," "Osoto-otoshi," P.tc., theinitial 0, meaning" large" or "great," should be pronouncedas a long vowel and in recognized grammars is always printedwith a diacritical stroke above it. For greater convenience of

23

~


printing this stroke has been omitted in the following pages.The short vowel u sounds like u in the word rude. The vowel tJis never silent and sounds much as e in pen. On the otherhand, both i and u are frequently almost mute and thereforequite unaccented. Where necessary this distinction is shownin the appended glossary.

Among consonants special attention should be paid to theg. In the body of the word and in the particle ga it has thesound of ng in king. At the beginning of a word and in wordsformed by reduf.lication, with which latter the judoka need notconcern himsel , it has the hard sound of g in goat. Thusaccording to the former rules the term Hanegoshi is pronouncedas though written "Hanehngoshi," Haraigoshi as thoughwritten" Haraingoshi," Ogoshi as though written" Ohngoshi,"Migi a1lthough written" Mingi." etc. The frequently recurringdiphthong ai sounds like ai in aisle, ei approximately like eh.In the so-"..alledTokyo dialect, nowadays spoken by all educatedJapanese, an initial h when succeeded by the vowel i tends tosound like sh, e.g., the term "Hidari-shizentai " (Left NaturalPosture} is often pronounced as though written "Shidari.shizentai," but not quite so strongly.

Aite:

Ashi-ate :Opponent, adversary.Art of attacking vital spots with the

foot.

Foot and leg technique.Art of attacking vital spots in the

body.Combination throws.

Ordinary step.

Military (martial) affairs.Martial arts.

Method of practising throws up to thepoint of breaking opponent's balancewithout actually throwing him.

Strength.Forward somersault used in Breakfall.

Ashiwaza :Atewaza :Atemiwaza or

Awasewaza :

Ayumi-ashi:Bu:

Bujutsu:Butsukari :

Chikara :

Chugaeri:

Dan:

Do:

Dojo:Eri :Fudoshin :

Fukushiki-kokyu :Fumi-komi :

Fusegi :Genki :Gonosen-no-Kata :

Gyaku :

.,

Hadaka :

Hantei :Hara:

Harai :

Hasami:Hen-O :


Grade or degree indicated by wearingof Black Belt. Thus:

Shodan means 1st DanNidan " 2ndDanSandan " 3rd DanYodan " 4th DanGodan " 5th DanRokudan" 6th DanShichidan" 7th DanHachidan" 8th DanKudan " 9th DanJudan ,,10th DanThe trunk, e.g., Dojime- Trunk

Squeezing.Judo exercise hall.Neck band or lapel.Imperturbability of mind In emer-

gency.Deep abdominal breathing.Stepping in.Defence.

Vigour, energy, vitality.Prearranged demonstration of throws

and counter throws.

Reverse, adverse, applied to methodsof choking and holding, e.g., Gyakuju-jijime-Reverse Necklock or Choke-lock.

Naked, e.g., Hadakajime-NakedChokelock.

Decision.

Stomach, abdomen, e.g., Shita-hara-lower abdomen.

Sweep, e.g., Haraigoshi-SweepingLoin.Scissors.Adaptation to the situation.

26

Hidari:Hidari-shizentai :

Hiji:

Hikiwake :

Hishigi:

Hiza:

Hizagashira-ate :

Ippon :

Jigotai :Jozu na.:Judogi :Judoka:Jutsu (Jitsu) :Juji:

Jukuren :Ju-no-Kata :

Kaeshiwaza :Kake:

Kangeiko :Kansetsuwaza :

Kappo :Kata :

THE MANUALOF JUDO

Left.Left Natural Posture.

Elbow, e.g., Hiji-ate-Attacking vitalspots with the elbow.

Drawn match.

Crush, break, etc., e.g., Ashihishigi-Leg Crush.

Knee, e.g., Hizaguruma - KneeWheel.

Attacking vital spots with the knee-cap.

One point (for a throw, etc. in con-test).

Self-defensive Posture.

Skilful, adroit. The 0 is a long vowel.Judo costume.Person practising Judo.Art, as in Jujutsu-Soft Art.Cross, e.g., Namijuji-Normal Cross

Chokelock.

Skill, dexterity, etc.Slow motion demonstration of basic

principles.Counter technique.Act of throwing, attack.Midwinter Judo practice.Art of bending and twisting the joints.System of resuscitation.Formal system of prearranged exer-

cises in attack and defence. Whenwritten with another character the wordmeans "shoulder", e.g., "Kataguruma"-Shoulder Wheel. There are fifteenthrows illustrated in the Kata or Formsand for purposes of reference they arespecified below with both their original


Japanese and English names. Since eachthrow can be applied from either side,their sum-total is properly thirty, but asa rule, when publicly demonstrated, theTorite or Taker confines himself toapplying them from one side only, i.e.,the right natural or right self-defensiveposture (migishizentai and migijigotai).

Japanese name English nameUkiotoshi Floating DropSeoinage Shoulder ThrowKataguruma Shoulder WheelUkigoshi Floating Loin or WaistHaraigoshi Sweeping LoinTsurikomigoshi Lift-pull LoinAshiharai Foot Dash or SweepTsurikomiashi Drawing Ankle ThrowUchimata Inner ThighTomoenage Stomach ThrowUranage Rear ThrowSumigaeshi Corner ThrowYokogake Side Body DropYokoguruma Side or Lateral WheelUkiwaza Floating Throw

All the foregoing throws are described in their proper con-text in this manual.Katame-no-Kata :

f

t

I

Katamewaza :

Katsu:Keiko :Keikogi :Kesa:

Kiai (pronounced" Kee-eye ") :

I

Prearranged Forms of Groundworkcomprising hold-downs or immobiliza-tion methods, necklocks, and methodsof bending and twisting the joints.

Technique of clinching or immobi-lization. Groundwork.

System of resuscitation.Practice as opposed to contest.Practice costume.Scarf, e.g., Kesagatame-Scarf Hold,

one of the methods of immobilization inGroundwork.

Occult shout supposed to emanatefrom the lower abdomen (saika tandenor shitahara).

28

Kime-no-Kata :

Ko:

Kobushi-ate :Kodokan :Koshiwaza :Kubi:Kumi:Kumi-kata :

Kuzure :

Kuzushi :

Kwai or K.ai :Kwansetsu orKansetsu :Kyu:

THE MANUAL OF JUDO

Prearranged methods or forms ofdefence and attack.

Small, minor, e.g., Kosotogari-Minor Exterior Reaping.

Attacking vital spots with the fist.Judo Headquarters in Tokyo.Loin or waist technique.Neck, e.g., Kubigatame-Necklock.Grapple with.Methods of taking hold of opponent's

lapel or belt, etc.Break down, e.g., Kuzurekamishiho-

gatame-Broken Upper Four Quarters.Disturbing opponent's posture or

balance. There are eight of these, viz.,(1) Front Kuzushi (Mamae-no-Kuzushi)(2) Back Kuzushi (Maushiro-no-Kuzu-

shi)(3) Left Kuzushi (Hidari-mayoko-no-

Kuzushi)(4) Right Kuzushi (Migi-mayoko-no-

Kuzushi)(5) Right front corner Kuzushi (Migi-

maesumi-no-Kuzushi)(6) Left front corner Kuzushi (Hidari-

maesumi-no-Kuzushi)(7) Right back corner Kuzushi (Migi-

ushirosumi-no-Kuzushi)(8) Left back corner Kuzushi (Hidari-

ushirosumi-no-Kuzushi).Society, club.Joint. Hence: Kansetsuwaza or art

of bending and twisting the joints.Class, grade, rank, e.g.,Rokkyu means 6th classGokyu " 5th classShikyu " 4th classSankyu " 3rd classNikyu " 2nd classIkkyu " 1st class

Kyusho :Ma:

Maitta :Maki-komi :

Mata :

Migi:Migishizentai :Mitchaku suru :Mochi :Mokuso or Mokko :Montei :Morote :

Mudansha :

Mune:Muri:

Nage-no-Kata:Nesshin:Newaza :

Nigiri-katami :

Nyumon suru :0:

29THE MANUALOF JUDO

Vital spot in the body.An emphatic prefix, e.g., Masutemi-

waza- Throwing in direct lying posi-tion.

Exclamation" I'm beaten!"

Roll in, e.g., Sotomakikomi-Outerwinding throw.

Thigh, e.g., Uchimata-Inner ThighThrow.

Right.Right natural posture.To establish contact.Hold with the hands.

Meditation, contemplation, reverie.Disciple or pupil.Both hands, e.g., Morote Seoinage-

Shoulder Throw with both hands.

Judo pupil below Black Belt grade.The prefix "mu" signifies negation," nothing", "nil", etc., i.e., "Nil DanHolder" .

Breast.

Unreasonable, commonly applied toincorrect use of force when attemptinga throw.

Prearranged forms of throwing.Zeal, enthusiasm, fervour, etc.Groundwork.

Closing fingers firmly with thethumbs bent underneath, a method sup-posed to impart resolution and courageto the subject.

To become a pupil, join the Dojo.Big, great. The 0 is a long vowel.

Hence: Osotogari - Major ExteriorReaping.

30

Obi:Osaekomiwaza :

Randori :Rei wo suru :Renzokuwaza :

Ryugi :Saika tanden:Sasae :

Sasoku :Sensei:Seoi:

Shiai :Shibori :

Shihan :Shiho :

Shimewaza :Shintai:

Shisei :Shizenhontai :Shizentai:Shitahara:

Shobu :Shochugeiko :Sode:

Sumi:

THE MANUAL OF JUDO

Belt, sash, e.g., Obiotoshi-Belt Drop.Art of holding, immobilizing oppon-

ent on the ground.Free exercise.To make salutation.

Successive technique.School, system. The u is a long vowel.Lower abdomen.

Support, e.g., Sasae-Tsurikomi-Ashi-Propping Drawing Ankle Throw.

Left side.Teacher.Carry on the shoulder, hence: Seoi-

nage-Shoulder Throw.Contest.

Strangle, choke, e.g., Shiboriwaza-Technique of choking or strangling.

Teacher, instructor.Four directions, e.g., Kamishiho-

gatame-Locking of Upper FourQuarters.

Art of choking."Advance or Retreat "-foot move-

ment in Judo. Written with anothercharacter it also means" body".

Posture.Fundamental natural posture.Natural posture.Lower abdomen. The i is mute, i.e.,

"Shtahara ".Contest.Midsummer Judo practice.Sleeve, e.g., Sodeguruma - Sleeve

Wheel-method of choking.Corner, e.g., Sumi-gaeshi-Corner

Throw.

Sutemiwaza :

Tachiwaza :

Tai:

Tai-Sabaki :Tanden :Tatami :Te:Tewaza :Tekubi :Tokui :Torite :

Tsugiashi :

Tsukuri :

Tsurikomi :

Tsuyoi :Uchi:

Ude:

Ude-ate:

Ukemi :

Ukete :

Uku:


Art of throwing in a lying position.The word "sutemi" means literally"self-abandonment". It is pronounced" stemi ".

Art of throwing in a standing posi-tion.

Body. Hence: Tai-otoshi - BodyDrop.

Turning movement.Abdomen.Mat.

Hand, also trick.Hand technique.Wrist.Pet throw.

"Taker" (the partner that effects thethrow) in Kata or prearranged forms.

Following foot, method of foot move-ment in Judo.

Destroying balance or fitting actionfor attack (Kake). The first u is almostmute, i.e. "Tskuri".

Lift-pull on opponent's collar andsleeve.

Strong, powerful.Interior. Hence: Uchi-mata-Inner

Thigh throw.Arm. Hence: Ude-garami- En-

tangled Arm Lock in Kansetsuwaza.Art of attacking the vital spots with

the arm.

Method of falling in Breakfall. Liter-ally: "Falling Way".

" Receiver" in Kata or prearrangedforms of attack and defence.

To float, e.g., Ukiwaza-FloatingThrow.

32

Ura:

Waza:Yama :

Yawara:Yoko:

Yudansha :

THE MANUAL OF JUDO

Opposite, reverse, obverse, etc., e.g.,Uranage--Rear Throw.

Trick, skill, technique.Mountain. Hence: Yama-arashi-

Mountain Storm throw.Old name of Jujutsu.Side. Hence: Yokoguruma - Side

Wheel Throw.

Holder of the Dan Grade (BlackBelt) in Judo.

INSTRUCTION I

ART OF THROWING FROM A STANDING POSITION (TACHIWAZA)-RELEVANT POSTURES-BREAKING OF POSTURE OR BALANCE

(Kuzusm)-MOVEMENT-TSUKURI AND KAKE--TAI-SABAKITHE BREAKFALL-BUTSUKARI-KUMI-KATA-FUSEGI AND

KAESHIWAZA-CONTACT

IT goes without saying that in order to achieve the most satis-factory results it is most advisable that at the very beginningof your studies under this course you should enlist the co-operation of a like-minded partner.

It will be clear that Judo differs from, say, weight-lifting andvarious other purely physical culture systems which can bepractised solo, and that like wresding, boxing and fencing itrequires a living opponent with whom to practise. True, a fewof the essential preliminary movements can be acquired alone,but after that stage in your progress you simply cannot dispensewith a congenial companion equally interested in the art.

My first lesson in that branch of Judo concerned withthrowing an opponent from the standing position deals with theassumption of a correct posture, methods of breaking youropponent's posture, otherwise his balance, and mastery ofwhat is called the Breakfall. The last-named factor is indis-pensable in actual practice or contest because unless you knowhow to fall properly you run the risk of more or less seriousinjury from clumsy impact against the mat.

Now before undertaking any of the throws which I intendto describe in my next instruction, you should take careful noteof and try to reproduce the following six postures in theirstated sequence, viz. :-

1. Fundamental Natural Posture (Shk;enhontm). In thisyou stand as shown in the accompanying Fig. 1,quite naturallywith your feet about 12 inches apart and your arms heldloosely at your sides. From this fundamental natural posturestem out:

Right Natural Posture (Migishk;entai) in which you standwith yotlr right hand outstretched and your right foot

33

I


advanced. If confronting an opponent you lightly grasp his leftlapel with your right hand and his right sleeve at the elbowWIthyour left hand (Fig. 2).

Left Natural Posture (Hidarishizentai) in which you standwith your left foot and hand advanced, and if confronting anopponent, you lightly grasp his right lapel with your left handand his left sleeve at the elbow with your right hand.

As a modification of these three natural postures, arisingfrom the exigencies of free practice (Randori) or contest (Shobuor Shiai) Judo also recognizes :

Fundamental Self-defensive Posture (]igohontm) in whichyou stand with your legs farther apart than in the FundamentalNatural Posture, approximately one step instead of one foot,and with the waist slightly lowered, as shown in Fig. 3.

Right Self-defensive Posture (Migijigotai) in which, as inthe case of the Right Natural Posture, you stand with right footand arm advanced, but, in contradistinction to the latter, withboth legs bent (Fig. 4).

Left Self-defensive Posture (Hidarijigotai) in which youstand with your left arm and foot advanced, but with legs bent.The relative holds on your opponent's lapel and elbow areexactly the same as in the natural postures. The two divisionsmay be summed up as below:

{Fundamental Natural Posture

Natural Postures Right Natural PostureLeft Natural Posture

S If def'

{Fundamental Self-defensive Posturee- enSlve RihSlfdf

' PP t g t e - e enSlve ostureos ures Left Self-defensive Posture


, Fl.. I Fig.2

Fig.3 Fig. 4

Breaking or disturbing balance or posture (Kuzushl)For the purpose of disturbing an opponent's balance or, in

Judo terminology, breaking his posture in order to render himvulnerable to a contemplated throw in Randori (free practice)or Shobu or Shiai (contest), eight ways of so-called Kuzushi,derived from the Japanese verb kuzusu meaning to break,change, simplify, etc., and based on the fundamental naturalposture, have been elaborated. They are (1) Front Kuzushi(Mamae-no-Kuzushi); (2) Back Kuzushi (Maushiro-no-Kuzushi); (3) Left Kuzushi (Hidari-mayoko-no-Kuzushi); (4)Right Kuzushi lMigi-mayoko-no-Kuzushi); (5) Right frontcorner Kuzushi (Migimae-sumi-no-Kuzushi); (6) Left front

Fig. 5

THE MANUAL OF JUDO

Fig. 6

36

Fig. 7 Fig.a

..JAK


Fig.9 Fig.10

Fig.II

c


corner Kuzushi (Hidarimae-sumi-no-Kuzushi); (7) Right backcorner Kuzushi (Migiushiro-sumi-no-Kuzushi) and (8) Leftback corner Kuzushi (Hidariushiro-sumi-no-Kuzushi). Pleasenote carefully these eight different ways in the accompanyingfigures (Figs. 5-12). I ought to add that in actual practice theleft Kuzushi (3) and right Kuzushi (4) are rarely conclusive;more often than not they tend almost immediately to be trans-formed into a left front or back corner Kuzushi or right front orback corner Kuzushi, as the case may be, in which posture it isgenerally easier for the assailant to press home his attack. Donot forget that in whatever direction you are tfying to disturbyour opponent's posture, it is essential that the dynamic impulseshould not be confined to your arms and legs alone but mustbe, as it were, reinforced by the centrifugal force emanatingfrom your lower abdomen or saika tanden. See the paragraphin my introductory remarks on deep abdominal breathing.Also in applying Kuzushi be careful not to raise your elbowswithout immediate action, since in that position you exposeyourself to dangerous counter-attack.

In connection with what has been said above, I cannot dobetter than quote some remarks made by Mifune, 10th Dan andthe late Hashimoto, 9th Dan of the Kodokan, on the executionof throws: "It is necessary for you to realize the importanceof full use of the body mechanism, from your little finger toyour big toe. In this way your power comes from the use ofyour weight, your abdominal muscles and your shoulders. Youmust not use your arms or legs locally but your whole body asa unit, getting your results from the Tanden (abdomen). Forthese results it may be as well to remind you of the importanceof applying forces longitudinally. When pushing againstsomething with a stick, it is very difficult to get any useful resultby a lateral movement, but by a thrust along the length of thestick all your strength can be brought into play. In Judo thisprinciple applies to all use of the wrists, arms and body."

Movement (Shintai, literally « advance or retreat")Mastery of correct movement is all important in Judo. Be

careful when advancing or retreating, when turning to rightor left, to rest the weight of your body on the so-called leadingfoot. In actual practice or contest the accepted method ofmovement, which in time becomes virtually automatic, is forone foot to be used as the leading foot, while your other trailing

~


foot comes up to within a few inches of the leading foot beforethe next step is taken. On no account should your feet bebrought very close together or crossed, and be careful to bringup your trailil&gfoot not too close to your leading foot beforeyour leading foot has taken the next step. Neglect of theseprecautions will imperil your balance. In Judo terminologythis foot technique is called "Tsugiashi" meaning literally" next" or " following foot."

Another important point to be observed is that in movementthe feet should be very little if at all raised from the mat, butpreferably slid in a manner somewhat reminiscent of the dancechasse.

And in connection with this important subject of movement,please make a careful note of the following basic principle:When engaged in Randori or free practice, and your opponenttries to push you, do not push back against him; instead youshould move backwards and try to pull him slightly more thanhe is pushing you but without losing your own balance.Similarly if your opponent is pulling you, contrive to advanceagainst him a thought more rapidly than he is pulling you butwithout losing your balance. Observance of this principle willfacilitate your aim to break your opponent's posture/or balanceand thus expose him to your eft'ective attack.

In the same context it should be self-evident that even whenengaged with an opponent of approximately equal physicalstrength, you cannot hope to throw him unless and until youhave broken his posture or balance in one or other of the abovementioned directions. And if he happens to be physicallystronger than yourself, adherence to the correct techniquebecomes even more important. It would, for example, be awaste of energy to try to throw him if he had one foot or bothfeet firmly planted on the ground. The ideal moment for anattempted throw is a split second before his leading foot isfirmly planted or if you have his posture so broken that he istilted forward on the toes of that foot. This rule is equally validwhether your opponent's posture has been broken towards hisright or left front corner or towards his direct front, when eitherfoot might be vulnerable to attack, or when your opponent'sposture is broken towards his right or left back corner or directback and he is canted backwards on his heel or heels, althoughyour chosen throw will necessarily be determined by the par-ticular direction in which you have broken his posture, and will


vary accordingly. ~hro~s pe:tinent to these changing con-ditions will be descnbed m theIr proper place.

The leg that is not advancing, i.e., on which yo~ opponentis not resting, is in Japanese Judo parlance sometImes callepthe "floating" leg, and it is rardy advisable to attack that legsince the retention of his balance does not depend upon it tothe same extent as upon the leading leg or foot.

Do not get discouraged if in the early stages of your novitiateyou cannot su<:cessfullytranslate these basic principl~ intopractice. And mdeed reflect that whe~ you a~e suffiCIentlyskilful to do so, say, more often than not In practIce or contest,with an opponent one degree below the Dan grade, you willalready have qualified for the coveted Black Bdt. Doggedpatience and perseverance are just as important and necessaryingredients of your mental and moral make-up as are goodhealth and strength of your purely physical equipment, forsuccess in your study of this fascinating art. And the primaryobject of countless repetitions of your chosen throws is to renderyour response to your opponent's every move virtually a reflexaction.

One other principle should be noted: Unless in the veryact of applying a throw, hold or lock, avoid tension andrigidity when grasping your opponent's lapel and sleeve in anyof the natural or sel£-defensive postures already described. Toadopt a simile used by my renowned teacher SakujiroYokoyama, your arms should serve as chains loosely connectingyou with your antagonist or as an electric cable along whichhis impulses and contemplated moves may be conveyed to youat the moment of their inception. On the other hand, if youpersist in keeping a strong grip on your opponent's lapel andyour arms stiff, you will not only all the sooner tire yourselfbut owing to the cultivation of this bad habit, when you cometo apply a throw, both your Tsukuri and Kake will lack thespeed and suppleness essential to their success. This bad habitwill also deprive your contemplated attack of the element ofsurprise which in its turn is indispensable to the successfulexecution of every Judo technique.

I! you are always afraid of being thrown, especially in Ran-don, and although perhaps you may, if ever on the defensive,pro~e a difficult man to throw, you can never hope by suchtactics to develop into an efficient Judoka with ability to throwthe other fellow. In the early stages of your training it is almost


inevitable that the bold essay of any new throw will exposeyou to the risk of a counter. Yet if you are wise you will makelight of this risk and always go "full out" for every throwregardless of the consequences. Once you are satisfied that youhave detected a good opening, do not resist the impulse toattack, or in boxing parlance, do not pull your punches.

Tsukuri and Kake (pronouncedccKah-kay")Literally the Japanese word Tsukuri means" make," "con-

struction," "workmanship," while Kake means "beginning"or "start," but in their Judo connection they have a specialtechnical significance.

Thus Tsukuri is the power of destroying your opponent'sposture or balance described above. It is an indispensablepreliminary to the decisive application of the particular tech-nique you have in mind for your opponent's overthrow. Thenthe instant you are satisfied that you have broken his postureor balance in the required direction, go all out for the relevantthrow.

The movement synchronizing with the application of therequired technique is known as Kake or, as one might say, theattack itself, i.e., the actual throw. When demonstrated by anexpert the transition from Tsukuri to Kake may be so swift andsubtle as to elude detection by an inexperienced onlooker.Faulty Tsukuri can very easily spoil your Kake, even thoughthe latter has intrinsically been correctly applied. Andadmittedly an exceptionally powerful Judoka may succeed inthrowing his opponent despite incorrect Tsukuri and Kakebecause of the use of brute strength, but he is none the lessviolating the basic principles of the art and unless he correctsthis fault in good time, he can hardly expect to develop into areally skilful exponent of Judo. Japanese instructors at theKodokan are never impressed by such exhibitions of mere"beef," and even if the contestant guilty thereof scores avictory, they usually dismiss it contemptuously as "muri" or.. unreasonable."

T ai-SabakiA third important factor in the throwing process is called

Tai-Sabaki. The word is composed of two characters, the first"Tai" meaning "body" and the second "Sabaki" meaningliterally" management" or .. judgment," but in Judo contextthe expression may be freely rendered as the turning move-

..

I 42 THE MANUAL OF JUDO

ment or action of the body which must by a split secondprecede the throw. Here I shall quote with grateful acknow-ledgment from the valuable French "Judo International"(Kokusai Judo) published under the p~tronage. of ~e FrenchFederation of Judo, part of an explanatIon of this all-Important~rinciple given by the late Honda, 9th Dan of the Kodokan,as follows: "In an overhead view, the line of the hips andthoulders may be likened to a bar turning about its centre ofgravity. If pushed at one of its ends it will turn, and the onlyway to overturn it is a push exactly at the centre of gravity'A'. If we suppose, however, that the bar is free to move andthat its centre can take up any desired position not only at themiddle but at either end, then by placing 'A' outside the lineof the thrust its weakness is changed into strength. This is sofor the human body. In Judo, to give the maximum leveragethe turning axis for any throw is almost always at the end of thebar, that is, about a shoulder or hip. For example, in suchthrows 'as Seoinage (Shoulder Throw), Ogoshi (Major Hip orMajor Loin Throw), Tai-otoshi (Body Drop), etc., when theyare executed to the right, i.e., towards your opponent's right-hand side, you must turn to the left on the toes of your rightfoot, using the right hip or shoulder as axis or fulcrum. In thisway the left hand and shoulder are used to the utmost advan-tage in the throw. If, on the other hand, you turn your body asif it were pivoted at the centre about a vertical axis, the armof the lever is much shorter and the resulting movement in acircle will not break the opponent's balance to advantage. IfTai-Sabaki is well done, the opponent's hand on the inside ofthe turn should not hinder you." In general, Tai-Sabaki maybe described as a balancing movement for the body and shouldbe practised daily as part of your training. Our efforts must beso directed that the body will be capable of light movement inany direction whatsoever.

fig.14

FI" 13

The Break/allBefore you can safely engage in Randori with a living

partner you must thoroughly master the knack of falling in sucha manner as to avoid shock or injury from violent impactagainst the mat. The Japanese expressions of "Ukemi" or"falling-way," more literally" being acted upon," " defensive,"and "Chugaeri," a forward modified somersault, have beendevised to classify this essential technique. They imply ability


"AI(

r 44 THE MANUAL OF JUDO

to fall forward and backward, to the right and left side and toexecute the forward somersault fall. With the aid of theattached figures I shall now try to explain to you how mosteffectively you can practise these several methods until youfeel sufficiently sure of yourself to try them out in Randoriwith your partner.

In the first place lie on your back on the mats at full length.Now bring your right hand and arm across your chest with thehand twisted so that the palm is held outwards. Raise yourhead slightly. Then beat the mat with your right hand andunder forearm at a comfortable angle with your right side ofbetween, say thirty and forty-five degrees. Twist your bodyslightly to the right as you do this. Duplicate the movementwith your left hand and under forearm similarly twisting yourbody to the left side while so doing. Having mastered themovement repeat it rapidly alternately with right and left handand arm, as described. It is astonishing what force can be putinto the beat with the hand and arm on the mat once the mostconvenient angle has been secured.

Next sit upright on the mat with your legs stretched out.Now fall backwards and as you do so hit the mat first with yourright hand and forearm held as before at about an angle of30 to 45 degrees with your body. Then repeat this movementbut using your left hand and forearm to beat the mat. Theblow with your right hand should synchronize with a slighttwist of your body to the right and the blow with your lefthand with a slight twist of your body to the left. In all caseswhen falling backwards be careful to keep your head wellforward so that it does not strike the mat. If you fix your eyeson the knot of your belt your head should be in the correctposition (Figs. 13and and 14).

In the next stage practise faIling backwards from a squattingposture slightly to right and left as before (Figs. 15 and 16).

Finally, practise the fall from a standing position. Loweryourself with your left leg and as you touch the mat beat itwith your right hand and under forearm; then lower yourselfwith your right leg and beat the mat with your left hand andunder forearm. The percussion of hand and mat acts as aspring to soften impact by absorbing most of the shock. Indemonstrations of Kata or prearranged forms this practicenever fails to impress the spectators who often marvel by wh,atalchemy the seeming victim es.;:apesbroken bones (Figs. 17-21).

45

FIg. IS

'l'HE MANUAL OF JUDO

Fig.16

FTg,17 Fig.18

JAK

.JAK


In falling forward pay attention to the position of your handsas they hit the ground or mat. They should rest on the matwith the finger-tips turned in at about 45 degrees in order toensure that your dbows are correctly bent so as to avoid injury.Begin by lying on your stomach with your hands in the above-mentioned position and the tips of your toes on the ground.Then repeatedly straighten and bend your dbows alternatelyuntil your joints are sufficiently strong to sustain the impactfrom a standing position (Figs. 22-24).

Next practise falling sideways. Support your body by placingyour hand on the falling side on the Ipat with your finger-tipsturned inwards so that your elbow bends in the right way(Fig. 24 (D)).

Study of the attached figures will better help you to get-thehang of the necessary movement than many lines of letterpressdescription.

Lastly we come to the forward somersault or Ohugaeri whichcalls perhaps for more rehearsal than the preceding move-ments.

Stand with your right foot a little forward. Then bend downand place your right hand between your legs with fingerspointing inwards and your left hand lightly resting on the matsin front of your left foot. Lower yourself still further in suchwise that the back part of your head and right shoulder inobedience to the inward turn of your right hand and armcomes into contact with the mat. Synchronize this position withan energetic forward roll with legs and waist. Keep your bodyconveniently curved and your head well forward. Just as themovement reaches completion beat the mat with your freeleft hand and under forearm as strongly as possible. Aftera few attempts the momentum of your forward roll with thehelp of the hand beat will bring you to your feet (Figs. 24 (A),24 (B) and 24 (0)).

It is advisable to practise the Ohugaeri with the sequencereversed, i.e., with your left hand and arm lowered until yourleft hand is held between your legs and you do the forward rollfrom the back of your head and left shoulder. The beat in thiscase is made with your free right hand and forearm. Asproficiency is acquired by frequent practice you should eventu-ally reach a stage at which you can without fear convert themovement into a veritable forward somersault, hardly touchingthe mat with your hands or alternatively you can execute the

46 THE MANUAL OF JUDo

Fig.19 Fig.20

Fig.21


Fig.22

Fig.23

Fig.24


movement with a flying start instead of from a stationarystance.

It is reassuring to realize that the breakfall can be more easilyperformed in Randori with an opponent than when attemptedalone. Thus assume that your opponent throws you from theright natural posture, that is, with his right hand graspingyour left lapel and his left hand holding your right sleeveabout the back of the elbow, as your body falls towards youropponent's left and your own original right side when facingyour opponent, you instinctively relinquish your left handgrip on your opponent's right sleeve and with your freed handand forearm beat the mat in such wise that they act as a springand break the force of your fall. Conversely, if you are thrownfrom the left natural posture, your right arm and hand- arefreed and beat the mat as your fall towards your opponent'sright and your own original left side. If the breakfall has beencOITectlyexecuted, the beat on the mat with your free handand forearm will take place a split second before your torsobecomes recumbent on the mat.

A golden rule to be observed in all such cases: Always riseto your feet facing your opponent. Failure to observe this rulemay very well expose you to the danger of a chokelock appliedfrom behind you before you have time to get up.

If space permits you cannot do better than do a few pre-liminary breakfalls before beginning your daily Judo practice.Apart from the value of the breakfall as a precautionarymeasure against broken bones, it is intrinsically a splendidwarming-up exercise in anticipation of either Randori orcontest.

JAK

ButsukariAttainment of proficiency in any Judo technique depends

upon a prodigious number of repetitions estimated by Kodokanexperts to run to at least a hundred thousand each! It will bl!clear from this postulate that non-professionals or personsunable to devote most of their waking hours to Randori, Kataand Shiai cannot hope to achieve perfection in all the throwsof the Judo repertoire, comprising several hundreds. Their aimshould therefore be to master even as few as two, three or fourin preference to contenting themselves with merely superficialknowledge of many. And it is noteworthy that at the famousKodokan the victorious methods exemplified in actual contest


Flg.H (8)


can be narrowed down to perhaps hardly more than haH-a-dozen all told.

As a short-cut to mastery of a chosen throw the Kodokan hasdevised what is called Butsukari (from the verb "butsu" tohit or strike and the verb" karu " (to reap). This takes the formof an exercise between two pupils, one of whom applies theselected throw against his unresisting partner but only by meansof Kuzushi up to the point of Tsukuri or the destruction of hispartner's posture or balance without actually completing thethrow or Kake. Whereas several hundred repetitions of athrow in Randori against your victim would be not onlyexhausting for you but decidedly painful for your victim,recourse to the economy of Butsukari overcomes this objectionand enables you to familiarize yourself with the relevant tech-nique until you have, so to say, gained the "feel" of it and itssubsequent execution in Randori or contest becomes almost areflex action.

Fig.24 (A)

Fig.H (C)

JAK

K umi-kata (Methods of Taking Hold)Methods of taking hold of an opponent's jacket or belt, in

Japanese terminology Kumi-kata, are of great importance forthe successful application of a throw and should therefore becarefully studied by the serious judoka. I give them here intheir most convenient order.

For obvious reasons the lapels of the jacket most frequentlylend themselves to your grasp.

Normal or regular grip (Jun-ni toru tokoro): The thumbis on the inside of your opponent's lapel and the four fingersare on the outside. As a general rule this form of hold wouldbe applied with your right hand against your opponent's leftlapel and your left hand against his right lapel, but can ofcourse be applied with the same hand-right or left-againsthis right or left lapel respectively, although such form of a holdis less usual save in the case of the chokelocks to be later des-cribed.

Reversegrip (Gyaku ni toru tokoro): The thumb is on theoutside of your opponent's lapel and the four fingers are insideit. And in this instance actual experiment will convince youthat your right hand will usually be holding your opponent'sright lapel and your left hand his left lapel. As will appearlater, this reverse grip comes into play when you are applying

52

PIg.24 (D)

THE MANUAL OF JUDO

.lAK

Fig;25 Fig.26

KYUZO MIFUNE (10TH DAN)

See page xiv for the message from this Master of the Art of Judo.

OBIOTOSHI (BELT DROP)

,-I

I

,

I


one of the most powerful and deadly chokelocks in the Judorepertoire.

In the case of the belt or sash three main holds are operative.Thus in the normal or regular grip your thumb is inside andyour fingers are outside the belt which usually means that youare holding your opponent's rear belt with either your right OIleft arm encircling his waist.

Under or reverse side grip (Ura de toru tokoro): In theso-called under or reverse side grip your right or left hand ispassed underneath your opponent's belt with your four fingersoverlapping from beneath and your thumb resting convenientlyapproximately upon your first and second fingers.

Outer grip (Ornate de toru tokoro) : Your thumb passesunderneath your opponent's belt and your four fingers over itwith the back of your hand uppermost.

And in this context it is well once more to warn you againsttoo tight a grip until the actual moment of throwing, for thereasons cited in my introductory remarks.

Defence and Counter Technique (Fusegi and Kaeshiwa{.a)In this course of instruction I cannot undertake to provide

detailed defences and counters for all the many methods des-cribed. Not even authoritative Japanese textbooks on Judowith which I am familiar do that. Where advice under thishead seems likely to be useful and more readily understood, Ihave given it in its proper place. On the whole, however, Iam satisfied that a wealth of detail, lacking much photographicdemonstration, would tend only to confuse the student. Therelevant defences and counter measures are more easilyexplained and to my mind of more practical value in Kata-mewaza or Groundwork and in such cases I have done my bestto achieve comparative clarity.

On the other hand, in the sphere of Tachiwaza or throwseffected from a standing position, the student can hardly dobetter than train himself to think quickly and if possible a splitsecond ahead of his assailant so that he can anticipate theprojected throw. Then his safest course for the purpose ofnullifying it is to shift his weight and in this manner opposewhat is called in Judo parlance a "floating" leg to his attacker'sTsukuri or would-be destruction of his balance. As I havealready tried to explain, the right moment for Kake or actualthrowing is when your opponent's weight is on the point ofD


resting on his leading foot but before it has been completelyshifted to that foot. It thus goes without saying that in Judotiming is of primary importance. It is not denied that a power-ful judoka may succeed in throwing a weaker opponent byattacking his leg after the transfer of weight has been com-pleted, but even so the successful throw cannot fairly beregarded as a faithful exemplification of the rationale of theart, and a Japanese Yudansha critic's curt comment upon sucha demonstration would usually be "Muri da!" ("It's unreason-able !") Obdurate persistence in ignoring this basic principleand in placing more reliance upon "beef" than skill may dothe offender irreparable harm in his pursuit of the covetedBlack Belt and should be sternly renounced once and for all.

Of course all Judo instructors make every allowance forinfringement of this basic principle when the student is engagedin contest. Until the judoka has become thoroughly seasonedby frequent participation in competition, being a prey tonatural, excitement and nervousness he is bound to lapse inthis respect. On the other hand, the express purpose of so-called Keiko or practice in Randori is to afford the pupil anopportunity to cultivate true Judo under conditions that willenable him to practise his selected throws without being deeplyconcerned whether or not his opponent counters him. Randori(Free Exercise or Practice) and Shiai (Contest) are two differentthings and ought not to be confused. Of course there is nothingto prevent partners in Randori from agreeing on the spot toimprovise a purely private contest as a friendly test ofsuperiority, but unless the aspiring judoka is prepared andwilling to risk being thrown when trying out some particulartechnique his progress in the art is likely to be retarded. Manyof the most formidable JapaneseYudansha of my acquaintancewhen I attended the Kodokan in Tokyo thought nothing ofbeing thrown in Randori, but when engaged in contest therewas a very different story to tell!

Contact in Judo (Mitchaku suru)The word "contact" does not merely imply "one against

the other" but indicates also a state in which two bodies restin intimate liaison during an action-pulling or pushing-without the rhythm being broken.

Thus in a case where, for example, you want to draw yourOpponent in order afterw..rds to push him, the contact between

J

THE MANUAL OF JUDo 55

your body, your hand and the body of your opponent throughthe intermediary of the judogi must be included in your actionwithout ever being broken by slackening of the fabric. Yetthis continuous pressure does not mean continuous force orintensity.

The action of throwing in Judo is often likened to the bal-listics of a sling, the body being the stone and the judogi theleather. The stone is hurled by centrifugal force of the gyratorymovement without the leather being for an instant slackenedbefore the final relinquishment.

In Judo, whatever may be the directions towards which thehand successively directs the body, in order to unbalance itand then throw it, the contact "body-hand-fabric" must alsobe without break if maximum efficacyis to be attained.

Before beginning Kuzushi or disturbance of balance it isvital to establish contact, if it has not already been established,and between the sequence Kuzushi-Tsukuri-Kake the mostcritical moment is that of the transition Tsukuri-Kake wherethe most common fault is for the judoka to relax contact for abrief instant, and that instant may be utilized by one's oppo-nent to recover his balance or to counter attack.

You should establish this contact of the wrists but by a gentlecontinuous action" as for fishing," according to the expressionof Mr. Tabata, 10th Dan of the Kodokan. Any rigidity orshock would upset the rhythm of the action and warn theother; that is why, in his description of the natural posture(Shizentai), Mr. Hashimoto, 9th Dan, advocates "withoutstrength in the hands."

The ease and freedom of movement of a Master, his adap-tation of opportunities and the consummation of his throwdepend as much upon his posture (shisei) as upon his contact.Between rest and action the quality of his hold is not subject toany slackening and the throws are effected without jerkyabrupt tuggings or shocks. His strength is drawn into hisTanden or abdomen, transferred fully from his body into hishands not by local employment of each hand or of the arm butof a single block; then from his hands on to the body of theother without interruption. When you have realized all theimportance of contact, all sensation of slackening or of shockin your movement will be regarded as a rupture of contact..aftda disunion in your bodily action. The essential qualities ofJudo reside in the execution of throws with finesse, without


the expenditure of strength, joined to an irresistible rhythm.No less a person than Trevor Leggett, 5th :Danof the Kodokan,and the highest ranking non-Japanese Yudansha to date, hasaptly epitomized the rationale of the art in his saying that Judois not a test of strength and endurance but par excellence ofskill.

r

INSTRUCTION II

SELECTED STANDING THROWS (TAcmWAZA) OF HAND TECHNIQUE(TEWAZA)

ADHERINGto the sequence of classification given in my intro-ductory remarks, I shall now try to describe what I regard asthe more useful throws of the Hand Technique (Tewaza) froma standing position (Tachiwaza). The first throw on my list is :

Ukiotoshi (Floating Drop)You engage your opponent in the customary right natural

posture (migi-shizentai), i.e., your right foot slightly advanced,your right hand holding his left lapel in the normal grip, asdescribed in my first lesson, and your left hand his right sleevenear the elbow. He engages you in the same posture. Fromthis stance you retreat seven or eight inches and disturb youropponent's balance towards his right front corner. In thedemonstration of Nage-no-Kata or prearranged forms ofthrowing, fifteen in number, the victim's (Ukete) balance is notfinally broken until the third attempt. Theoretically, of course,the process of pulling your opponent forward towards his rightfront corner could be prolonged almost indefinitely, but inRandori or in actual contest you would naturally try to applyKake or the actual throw as soon as possible and would not, ifsuccessful, allow your antagonist to recover his natural posture.Instead you should suddenly drop on your left knee so that thecentrifugal force of this move draws your opponent forward farmore violently than he had expected and he can no longerretain his natural posture but instead finds his balance brokentowards his right front corner. Lastly, from the direction ofyour left side to your rear his falling body describes a curveand he lands on the mat with his back. (Fig. 25).

Although superficially regarded this technique may impressthe student as fairly easy, it is not really so and in fact exempli-fies much of the fundamental rationale of Judo, more particu-larly the efficacy inherent in the principle of not opposingstrength to strength but rather of seeming to give way only in

57


the end to lure the assailant to his own undoing. In a realfight, if rushed by a heavier and seemingly stronger adversary,you might resort to the Ukiotoshi to good purpose and throwhim so heavily as to knock him out. Assiduous practice of theUkiotoshi will confer upon you the knack of Kuzushi or dis-turbing balance from the natural posture when retreatingbefore your opponent's advance. Analogously, try to master thesame knack when pushing your opponent in the line of hispulling, always bearing in mind the principle of retreatingslightly faster than you are pushed and advancing slightlyfaster than you are pulled. By carefully studying the mostefficacious method of applying your strength to the greatestadvantage and in the most vulnerable direction in both pullingand pushing, you will be most likely to foster and develop skillin Judo.

I am taking it for granted that having mastered this throwas executed from the right natural posture you will experienceno great difficulty in applying it with the necessary adaptationsfrom the left natural posture when needless to say you mustdrop on your right knee and your opponent is thrown towardsyour right side.

Seoinage (generally known as the «Shoulder Throw")Although this throw is one of the fifteen throws demonstrated

in the Kodokan's Nage-no-Kata or Throwing Forms, I deem itmore practical and useful to explain it as generally applied inRandori or Free Practice as being more in consonance withconditions of real life. Thus in the Nage-no-Kata the Seoinageis applied as a defence retort to an overarm blow deliveredby your assailant, but unfortunately in a style which, I feelbound to say, no self-respecting thug with even the most ele-mentary knowledge of boxing would dream of adopting!

As in the case of nearly all other throws I shall confine mydescription to the right natural posture or migi-shizentai inwhich you are holding your opponent's left lapel with yourright hand and his right arm in the region of the elbow withyour left hand, and with your right foot slightly advanced.Once you have grasped the application of a particular throwfrom the right natural posture you should try the same throwfrom the left natural posture or hidari-shizentai in whichyou hold your opponent's right lapel with your left hand andhis left arm at the elbow with your right hand, and with your

I-

fI THE MANUAL OF JUDO 59

left foot slightly advanced. It is certainly most advisable thatalthough almost inevitably you will develop a preference forone or other side, you should try to accustom yourself to attacksin both directions in automatic response to your opponent'svarying movements which may invite your attempted KuzushiTsukuri and Kake on either side. Restriction of a given tech~nique to only one side, let us say while you are engaged in theright natural posture, may conceivably bring in its train the lossof valuable opportunities for applying a throw. Below are mydescriptions of the more important variants of the ShoulderThrow which bears some family resemblance to the well-knownCumberland Flying Mare but is, I think, a far more" scien-tific" version.

A favourable opening for an attempt at this throw maypresent itself when you have succeeded in disturbing youropponent's posture or balance towards his right front and he istilted somewhat forward with the weight of his body incliningon his tiptoes. See that your left hand is holding his rightsleeve from the inside. Now raise his right arm somewhat andthen pivoting on your right foot turn your body so that thatfoot is brought to the inner side of his right foot and pointingin the same direction. This movement should synchronize withthe relinquishment of your hold on his left lapel with your righthand. Thrust that hand and arm under your opponent's rightarmpit to grip his right upper sleeve or right shoulder. Yourback will be tilted somewhat backwards and kept in close con-tact with your opponent's chest and abdomen. Your kneesshould not be bent, only the upper part of your body ought tobe inclined forward in the fashion of a wheel hub. Youropponent is then lifted on to your back and with the use ofboth your hands you bring him over your right shoulder andlet him drop athwart your front. (Figs. 26 and 27). The reasonwhy you are instructed to keep your left-hand hold on his rightarm inside the crook of his elbow is in order to forestall apossible attempt to choke you with that arm in the very actof your lifting him from the mat in the hope of hurling himover your right shoulder. Of course when this particular throwis demonstrated in the formal Nage-no-Kata this danger doesnot arise but in Randori and still more in a real fight it mightvery well do so !

In a second variant of this throw you retain the grip with

L your right hand on your opponene. left lapol, then 10weryour

\

I


body slightly, bend your right elbow and slip your forearmdeeply under your opponent's right armpit. Your left-handhold on his right arm is much the same as also the remainderof the throw.

It is sometimes easier to let go the hold on your opponent'sleft lapel with your right hand, transfer the hold with thathand to his right lapel in the reverse grip, as described in thefirst lesson, and from this position, with bent elbow, insert yourright forearm underneath his right armpit and from this pointproceed as in the first method.

In yet a fourth method, should you feel that your opponent'sright-hand hold on your left lapel can be easily shaken off,break his posture towards his left front corner; then with yourleft hand sweep away his right hand; next advance your leftfoot to the inner side of his left foot and pointing in the samedirection. Using that foot as axis turn your body to your rightside and thrusting your left arm beneath his left armpit grasphis upper left sleeve or shoulder and throw him this time overyour left shoulder. Your right hand grips his left sleeve nearthe curve of the elbow to thwart any attempt on his part tochoke you from behind. It may be added that this left-handvariant of the Seoinage is not often seen in practice, but anyjudoka really proficient in it would surely prove a dangerousantagonist in contest.

The Seoinage or Shoulder Throw can be usefully applied bya short judoka against a taller opponent.

I need hardly say that for the successful accomplishment ofevery throw synchronization of the various movements is allimportant.

As regards methods of countering (Kaeshiwaza in Japanese),we have it on the authority of no less an expert than TakahashiHamakichi, 8th Dan of the Kodokan, that this throw has nocounter or is difficult to counter. However, although no doubtthis contention may be true when the throw is applied by ahighly skilled exponent, I would point out that it is sometimespossible to nullify the completion of this throw at the verymoment of Kake, when the upper part of your body is alreadyshouldered by your opponent, by passing your left leg roundyour opponent's left waist and hooking your left foot in hisgroin. If you succeed in this move a clean throw is no longerP?ssible and as a rule you may expect to roll to the mat togetherWIthyour opponent. True this is a somewhat crude, rough and

'I'HE MANUAL OF JUDO 61

Fig.17 Fig.28

"AI<

FIC.29 Fig. 30


ready method but if it proves effective why should you worry?My next selected throw of the Hand Techniques is called:

T aiotoshi (Body Drop)Unlike the Seoinage or Shoulder Throw just described, the

Taiotoshi is a throw equally suited to both the tall and shortjudoka. Other advantages are that openings for its applicationare comparatively frequent as, for example, when youropponent advances, retires or remains motionless, and that it isnot easily countered. Confining myself to action in the rightnatural posture an opportunity occurs when your opponentmoves his right foot forward, when he moves his left foot for-ward, when he leans forward from the fundamental naturalposture (Shizenhontai), when he stretches his body or whenyou surprise him with any sudden movement.

Tsukuri or fitting action for attack, otherwise destruction ofyour opponent's balance, can be effected when your opponentadvances his right foot and just before he plants it on the mat.Pull him in the direction of his foot. If your tsurikomi or lift-pull is successful he loses his balance and is hoisted on to thetips of his toes. Almost simultaneously place your right foot infront of his right foot and withdraw your left foot a little tothe rear. In order not to jeopardize your own balance take carenot to stretch your legs unduly. Your left hand holding youropponent's right sleeve is pulled towards your stomach as youturn your body to the left, while your right hand draws hisbody over your own. Your right arm from the shoulder to theelbow should be held tightly in contact with your body, andyour centre of gravity is at this stage above your left foot. Becareful not to lift your head so as not to hollow your back, anddo not turn your hip too much to the left. Your right legcrossing your opponent's right leg may be poised on the toes ofthat foot. The actual throw (Kake) is effected from this stanceand at that moment your body from the right foot to the rightshoulder should be as straight as a stick. It does not reallymatter whether your body is leaning against your opponent'sor away from it. In the former instance the throw may almostgive the impression of a hip or loin technique, but actually,of course, the dynamic impulse emanates from your hands.(Fig. 28).

Seoiotoshi (Shoulder Drop)Openings for the application of this hand throw are com-


paratively rare, but since it can sometimes be resorted toagainst a short opponent ordinarily less vulnerable to theSeoinage or Shoulder Throw already described, I have deemedit advisable to include a brief explanation of it here.

An opportunity to attempt it may occur when such anopponent is standing upright in the right natural posture. Withyour left hand take firm hold of your opponent's belt with theunder grip in the region of his right front comer and with yourright hand grasp his right inner sleeve. Now while drawing hisbody with your left hand on his belt twist yourself to the leftwith your back turned to his front. Simultaneously bring yourright elbow to the outer side of your opponent so that yourright shoulder becomes inserted under his right armpit. Nowdrop on to your left knee and with the co-ordinated action ofyour left hand gripping your opponent's belt and your rightarm and elbow engaging his right arm, draw him over yourright shoulder and land him on the mat in front of you in muchthe same fashion as in the case of the Seoinage. (Fig. 29).

One legitimate criticism which can be adduced against thisthrow is that in a real struggle on, let us say, a street pavement,the drop to your knee might prove unduly painful or evenresult in injury to the knee-cap.

Kataguruma (Shoulder Wheel)As in other cases I shall confine my explanation to the appli-

cation of this throw from the right natural posture. Your aimwhile manreuvring is to break your opponent's balance towardshis right front comer. The action of your hands and arms inbringing about this result in any direction is technically knownas a "tsurikomi", literally" lift-pull", by which is meant thatyour hand holding your opponent's lapel effects the requiredlift while simultaneously your hand holding his sleeve effectsthe required pull. This action is designed to draw youropponent as close as possible to you. It may very well causehim to lean forward somewhat. At that moment you shouldslightly advance your right foot, simultaneously lower yourhips, insert your right hand deeply between your opponent'sthighs and with the same hand firmly grip his right thigh.Then with your left hand lightly raise his right upper armand thrust your head and neck under his right armpit. Withthe combined strength of your right arm grasping his rightthigh and your neck hoist him on to your shoulders. From this

65

fig. 31

THE MANUAL OF JUDO

fig. 32 (A)


position lower your head and neck and instantly drop him tothe mats in front of you or alternatively towards your leftside. (Fig. 30).

Obiotoshi (Belt Drop)Although this hand technique can hardly be said to satisfy

the requirements of general elegance and is rarely demon-strated in friendly contest, it may commend itself to a judokawith exceptionally strong anns and if brought off successfullyin a genuine rough and tumble would be calculated to depriveyour opponent of all interest in the subsequent proceedings.

As before I shall assume that you are engaging youropponent in the right natural posture. An opening for theapplication of this rough throw may occur if he shows a ten-dency to protrude the lower part of his body when you pullhim, perhaps because his waist and loins are insufficientlylowered. At this juncture with your right hand seize with theunder grip the right front of his belt and with a slight liftingmotion draw him towards your abdominal region while simul-taneously with your left hand you dash off his right handholding your left lapel and from your opponent's right armpitturn the lower part of your body towards his rear so that hisbuttocks are brought in contact with your stomach and theright back corner of his ribs or side becomes flush with the leftfront corner of your ribs. Place your left foot to the back ofyour opponent's left heel and pass your left arm slantwise acrosshis front from his right breast to his left waist. In this postureyou should be holding your opponent under your left annpit.Then with your stomach slightly press and lift his buttocksuntil his body is somewhat tilted to the rear and supported byyour left hip or waist. Then with the combined force of theupper half of your body and your anns drop your opponentheavily to your rear. (Fig. 31).

In a real fight you need have no compunction about fallingalongside and jabbing him in the solar plexus with your leftelbow and so knock him out for the count.

fig. 32 (B)

Sotomakikomi (Outer Winding Throw)I should warn you that this particular hand throw can be

very violent and ought therefore to be carefully practisedagainst your Judo partner if unpleasant shock or even bodilyinjury is to be avoided.

"AI<

Fig.33


It may happen that before you have actually come to gripswith your opponent and while he still seems uncertain aboutwhat stance to assume he stretches out his right arm and triesto seize your left lapel or shoulder. Or while actually engagedin the right natural posture he may with his right hand takehold of your left lapel or shoulder and with his left hand holdyour right sleeve while at the same time you may sense that hisgeneral stance is somewhat insecure. Moreover if in these cir-cumstances you draw him with your body he may in Judoparlance" float" forward. Availing yourself of this openingfor attack you should with your left hand take firm hold of youropponent's right lower sleeve and with a slight drawing motionattach it snugly to your body. Advance your right foot towithin a foot of his right front corner. Simultaneously withyour right hand and arm hug his right elbow from above. Nowusing your advanced right leg as an axis or fulcrum turn yourbody from right to left. Your left leg should be shifted inbetween your opponent's right leg and your own right leg andheld slightly bent, your buttocks protruded so that closecontactis effected between your left flank and the right front corner ofthe upper half of your opponent's body. In this position hisright arm and body are, as it were, wound over your body sothat if you turn your body and fall to your right the resultantimpetus carries him over you in such wise that from hisabdomen to his flank he is pinned to the mat by your back.You should hit the mat approximately with your right side. Asin every other throw try to co-ordinate your movements andto observe the correct sequence. (Fig. 32 (A).)

From this brief description it will be evident that if you landtoo heavily and clumsily upon your prostrate opponent youmay as likely as not break one or more of his ribs. I have inmy day at the Kodokan known such a thing to happen.

An equally effective variant of the Sotomakikomi is knownas the Uchimakikomi or Inner Winding Throw.

The opening for this variant is virtually identical with thatof the Sotomakikomi as also is its entire rationale, so to speak.The difference begins at the point of Kake or complete destruc-tion of your opponent's balance, i.e. the actual throw. Thusinstead of taking hold of your opponent's right arm with yourrig~t a~ from over the elbow you do so from under his arm,w¥e WIth your left hand, back uppermost, you seize his rightwnst. Then as in the case of the Sotomakikomi you gradually


turn your body over which your opponent's body is wound.The relevant changes in the position of your feet are the sameas also is your final fall to your right which lands your victimunder you on the mat. (Fig. 32 (B).)

Both these throws could be effectively used in a real fightand intensely enough to knock out your adversary.

Formerly the Sotomakikomi and Uchimakikomi were classi-fied under the heading of Yokosutemiwaza or Throws in a lyingPosition with one's Side on the Ground, but they have nowbeen relegated to the Hand Techniques, as above.

~l:-;~,~.:

INSTRUCTION III

SELECTED STANDING THROWS (TACHIWAZA) OF LOIN OR WAIST

TECHNIQUES (KOSmWAZA)

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,

IN this category are included some of the most spectacularthrows of the copious Judo repertoire. The first on my list is :

Ukigoshi (Floating Loin 01 Waist)By way of a change from my general plan of describing

throws from the right natural posture, I shall explain theUkigoshi as performed from the left natural posture, as iscustomary in the Nage-no-Kata or fifteen formal prearrangedthrows of the Kodokan.

In the Nage-no-Kata an opening for application of thismethod is provided when your partner styled Ukete or Receiveraims a blow at your head with his right fist. In Randori orfree practice, however, you should attempt it from a leftnatural posture after successfully breaking your opponent'sbalance towards his front or generally if you contrive to makehis body" float" forward in a somewhat unbalanced manner.At that moment advance your left foot a pace and as you turnyour body to the right encircle your opponent's waist from hisright side with your left arm and manreuvre so that your leftfoot is placed just on the inner side of his left foot and pointingin the same direction. Your rear waist and central part of yourback should be brought into the closest possible contact withyour opponent's chest and abdomen. With your right handyou grip your opponent's left upper sleeve from the outside.From this stance swiftly twist your loins from left to right anddrawing him strongly forward throw him to the mat in frontof you. The position of your right foot may safely be left toyour discretion, but approximately it might be slightly outsideyour opponent's right foot. In some ways the Ukigoshi isreminiscent of the cros!Jc.buttockpractised in the Cumberlandstyle of wrestling but in essentials less crude and morethoroughly elaborated. (Fig. 33).

68

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SOTOMAKIKOMI (OUTER WINDING THROW)

~


Your attention is particularly called to the following salientfactors :

Inasmuch as this technique is to be applied when youropponent's body is " floating" forward and he is thrown chieflywith the power of the twist of your loins, your right handholding his left sleeve is employed merely to help in drawinghim forward. In the second place, while your left foot isadvanced and when your body is turned, be careful not tolower the latter or to bend your waist and loins forward, butrather to incline them backwards, and it is highly importantthat your hips and back should be in close contact with youropponent's chest and stomach. If your body is lowered andyour waist and loins are bent forward, the efficacy of the twistof your loins will be impaired. Thirdly, seeing that the objectof your encirclement of your opponent's body, in this case withyour left arm, is to maintain unbroken contact between yourtwo bodies, you should avoid gripping either his belt or anyother part of his clothing. If your two bodies are not linkedtogether, even if the twist of your loins seems adequate, itseffect will fall short of what is necessary to ensure a cleanthrow. Fourthly, when encircling your opponent with your leftarm, the inner side of the arm from finger-tips to upper sleeveshould hug your opponent's waist in the region of his rear belt,and at the time of touching him with your loins or when twist-ing the latter it is important that your two bodies should not beseparated. Thus, although accompanying the twist of yourloins a sensation of twisting and lifting may be imparted

Ito your left arm, this is not for the sake of throwing youropponent but simply to prevent the loosening of your loins andwaist.

Bearing these factors in mind you should experience no diffi-culty in converting this method to a right natural postureUkigoshi when obviously your right arm must encircle youropponent's waist necessarily from his left side, your right footmust be brought to the inner side of his right foot and paralleltherewith, and your left hand must seize his right upper sleevefrom the outside. The twist of your loins must then be fromright to left.

In contradistinction to the application of this technique inthe formal throws, it is by no means easy to create an oppor-tunity for its application in Randori or free practice. Amanreuvre recommended by one of my greatest instructors, theE

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UTSURIGOSHI (TRANSITION LoiN)


late Sakujiro Yokoyama, is to push your opponent a little; thenif he pushes against you in return promptly try to make him.. float" forward by a combined drawing and lifting movement.It will then be optional on your part whether to attempt a leftor right loin attack. If you contemplate a left loin ~ttack,relinquish your right hand hold on your opponent's left lapel,and if you do not grip his left sleeve or elbow from the outsidehe may inadvertently touch your left thigh with his left handand his body inclining forward he may try to recover himselfby advancing his left leg when he will be exposed to encircle-ment with your left arm.

A forward "floating" movement on your opponent's partmay sometimes be induced by applying the palm, say of yourright hand very gently to the vicinity of his rear belt andsurreptitiously lightly pressing and lifting him from the rear;then if you fall back a pace or two your opponent may un-consciously .. float" forward when you should instantly try toeffect ~ throw with your right waist and loin.

Haraigoshi (Sweeping Loin)Assuming that you are engaging your opponent in the right

natural posture, by the application of a tsurikomi (lift-pull) onhis left lapel and right sleeve you may succeed in breaking hisbalance towards his right front corner. Contrive to effect closecontact between your torso from approximately your rightarmpit to the flank of your loins and your opponent's torso fromhis chest to his abdomen while simultaneously you thread yourright arm under his left armpit, your hand touching his back.Draw him towards you with the weight of your body restingentirely upon your left leg as fulcrum. Let your right leg.. float" for a moment and then with the outer edge of yourright thigh touch your opponent's right front thigh; nextalmost simultaneously using your left toes as axis of rotationwith a twist of your waist from right to left sweep his rightthigh in the direction of your right side while your left handholding his right arm pulls him in the direction of your leftwaist.

You nel"dnot be over pedantic regarding the point of impactbetween your right and your opponent's right leg. Your attack-ing leg should be somewhat stiffened and can effectively strikehis leg even slightly beneath the knee, as recommended byKudo Ichizo, 8th Dan of the Kodokan, who also makes the


throw with the interior face of his calf touching the outer faceof his opponent's calf.

Although the twist of waist and loins in the Haraigoshiresembles that of the Ukigoshi, yet in the former throw yourloin is not so deeply inserted and so the force of the twist is notso great as that of Ukigoshi. Again, at the beginning of theHaraigoshi you are rather bending backwards in your oppo-nent's direction. The weight of your body is then resting uponyour right leg. But as you pull your opponent nearer, youtransfer the weight of your body to your left leg. The angleof contact between your two bodies may be almost 90 degrees.As in this position it becomes easy for you to adhere closely tohim with the right front corner of your chest and abdomen, youmake the throw with the feeling that your armpit and rightback corner of your flank are attached to him.

Kudo Ichizo referred to above describes his pet method ofexecuting the Haraigoshi to the left, although he himself maybe standing in the right natural posture! The more salientpoints of his explanation are the following: When my oppo-nent pushes with his right hand he loseshis balance to the frontand to the left, and I place my right foot close to his right foot.In this case my right toes become the axis of rotation and Iturn deeply to my right. With a movement of my left chestI push his right arm out of the way. At this stage his body isalready touching my left buttock and I use my left leg stretchedto throw him up in the air. This is the position of my left leg:slightly stiffened under my opponent's left knee, the interiorface of my calf touching the outer face of his calf, the toespointing downwards. In fact, when I turn on my right foot asan axis my opponent is already off the mat and floating in theair. I break his balance mostly with the movement of my righthand bringing him in the direction of his left front corner; themovement is the one you would do in swinging a stone at theend of a long string. All the following movements are to bemade at the same time, the toes of your right foot serving as anaxis, as you turn your body and place him on the back of yourhip.

Tsurikomigoshi (Lift-pull) Loin. This throw can on occasionbe successfully applied when your opponent has declined to belured into a stance appropriate for either Haraigoshi orUkigoshi, when, for example, he tends to bend backwards and


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to protrude his stomach. Assuming that you are engaged inthe right natural posture, apply a tsurikomi or lift-pull withboth hands and then without relaxing your hold, while turningyour body to your left and keeping both feet opposite and inline with those of your opponent, sink your rear waist to thelevel of your opponent's knees or even lower and in contactwith them. From this stance, while strongly springingyour waist, pull forward and downwards with both hands andcapsize your opponent to your front (Fig. 35).

There is an effective variant of this throw known as theSode-Tsurikomigoshi or Sleeve-Lift-Pull-Loin. As the nameimplies, with your right hand you grasp your opponent's leftsleeve from outside at the elbow, and keep it well raised as youlower your waist and loins while with your left hand graspingyour opponent's right sleeve you pull that arm downwards andsimultaneously you fling up your loins and waist and throwhim towards your right front. (Fig. 35 (A).)

Be careful to distinguish between the right and left naturalpostures when studying these techniques, since any mental con-fusion under this head is bound to nullify your execution of thegiven throw.

Hanegoshi (usually rendered "Spring-Hip Throw", althoughmore correctly it means "Spring Waist or Loin")

This is undoubtedly one of the most spectacular and effectivethrows in the copious Judo repertoire, and at the same tipleone of the most difficult to master. Nor is it necessarily suitedto the individual physical attributes of every Judoka. It is athrow in which your opponent is lifted through the impact ofyour bent leg while his body is leaning straight forward andnot bent at the waist or knees.

Openings for its application arise m when your opponent'sbalance is broken forward in the fundamental natural posture;(2) when his balance is broken forward from a right naturalposture; (3) when he moves back from a right natural postureand (4) when he moves to his right. For the moment I shallconfine myself to the orthodox version of the throw as givenby the late Sakujiro Yokoyama.

An opportunity for breaking your opponent's balance mayoccur if you have pulled him towards his right front corner, andhe is tilted somewhat forward with the weight of his bodyimposed mostly upon his right leg. In an effort to recover him-

Fig.34

Fig.3S(A) . Fig.36


self he may advance his left foot when with your right handyou should lift-pull him upwards; then only slightly loweringyour body bend your right knee and with its outer edge applyit above both your opponent's knees; with both your hands youimpart a slight lift-pull motion to your opponent and, as itwere, "spring lift " him to your right side.

It is important that the impetus of your throw should not beconfined to your right leg; the operation of your loins is essen-tial. Again, your left hand holding your opponent's rightsleeve pulls downwards and your right hand grasping his leftlapel presses and lowers in a direction opposite to that of the"spring lift" of your right leg. Thus with the harmoniousco-ordination of your hand'!, loins and legs you can achieve thebest results.

Ogoshi (Major Loin)There is undoubtedly a close family resemblance between the

Ukigoshi throw already described and the Ogoshi explainedbelow. The most important difference between the two tech-niques is that whereas when you apply the Ukigoshi both youand your opponent are engaged in the right or left natural pos-ture, when you apply the Ogoshi you do so from the self-defensive posture either right or left. Here I confine my des-cription to the right self~defensive posture in which, you mayremember, your knees are slightly bent and your waist is cor-respondingly lowered. Your opponent may also be standing inthe right self-defensive posture or even in one somewhatapproximating to the right natural posture. Now with yourright arm lightly encircle his body from under his left armpit,the arm deeply inserted along his belt, the palm of your righthand touching his back as far behind as possible. Now withthe palm of your right hand and with your arm apply a press-ing lifting movement so that your opponent becomes tilted for-ward on his toes. At that moment swiftly lower your right loina little, bring your right foot inside your opponent's right footand parallel therewith and pointing in the same direction. Turnyour body to the left so that the closest contact is effectedbetween your loin and back and your opponent's stomach andchest. Now raise and twist your loin and with your left handholding your opponent's right sleeve outside the elbow draw ittowards your right breast. The impact of your back waist andloin against your opponent's body is low enough to lift him off

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the mat. If these several movements have been properly syn-chronized your opponent should be thrown towards your rightfront. (Fig. 37).

Ushirogoshi (Rear Loin)The most suitable opening for an attempt at this throw is

when your opponent has tried unsuccessfully to score againstyou with a loin or hip throw and without having disturbedyour balance has his back touching your abdominal region.Say he has tried to bring off a throw with his right loin, loweryour body slightly while keeping it in close contact with youropponent's, and from behind encircle his waist, your right handholding his right lower abdomen. Straighten your knees, raiseyour waist a little and bend backwards while swinging youropponent off the mat. His body should be lifted and tiltedbackwards. Simultaneously, as you withdraw your body, youlet your opponent drop to the ground. If your opponent isholding himself loosely and his legs are entangled with yours,his body bent forward, it will be difficult for you to bring offthis throw. Instead his body should preferably be stiff and hischest stuck out, thus facilitating application of this technique.(Fig. 38).

Personally I do not rate the Ushirogoshi as a particularlyuseful throw in a genuine "rough house", but since it figuresamong the Koshiwaza or Loin Techniques I have thought itadvisable to include it here.

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Koshiguruma (Loin Wheel)This is, to my mind, a much superior throw to the foregoing.

Incidentally its modus operandi may commend it to pupils thathave some knowledge of Catch-as-Catch-Can methods.

Say that when engaged in the right natural posture you pullon your opponent's right sleeve in an ostensible attempt tobreak his balance towards his right front corner and in resistingyour move he turns towards his own left front corner, otherwisein the direction of your right back. Nevertheless, failing torevert to a natural posture he may tend to approach your rightwaist. Availing yourself of the opportUgity encircle his neCkwith your right arm; then with your left hand pull his rightsleeve downwards along your chest and abdomen, slightly sinkyour waist, pivot on your right foot to your left so that theupper half of your body projects from your opponent's right

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waist your left front waist aIfuost flush with his right frontwaist. Then as you fling up your waist, simultaneously twistingthe upper part of your body, your right arm wound round youropponent's neck is drawn forward with a circular movement;then with your left hand holding his right sleeveyou pull down-wards in such wise that his body is brought over your back andright side, and with your waist serving as an axle revolves as itwere like a wheel and falls to the mat in front of you-hencethe name" Loin Wheel". This throw can easily be intensifiedso as, in case of self-defence, to throw one's assailant violentlyenough to knock him out. (Fig. 39).

Tsurigoshi (Lifting Hip Throw)This is a technique in which, by way of a change, you help to

break your opponent's balance with one hand holding his rearbelt in the so-called regular or normal grip, that is, with yourthumb inside and your four fingers overlapping the belt. Thereare actually two variants of this throw known respectively as theOtsurigoshi or Major Lifting Hip Throw and the Kotsurigoshior Minor Lifting Hip Throw. The sole difference between thesetwo forms is that in the Otsurigoshi you pass your right arm (ifyou are engaged in the right natural posture) over your oppo-nent's left arm in order to grip his rear belt, whereas in theKotsurigoshi you pass your right arm under his left arm. Theappended description applies to the latter variant. '

Engaged in the right natural posture your left hand holdingyour opponent's inside right sleeve should be extended whileyour right hand is passed under his left armpit to grasp hisrear belt in the aforesaid normal hold. Should his body becomeslightly tilted forward, lift it with that hand and bring yourright foot inside his right foot and pointing in the same direc-tion. Turn your body from right to left and withdraw your leftfoot as far as possible to the rear outside your opponent's leftleg. Your loins and back should be in the closest possible con-tact with your opponent's abdomen and chest. Pull downstrongly with your left hand holding his right sleeve and couplethis movement with the flinging up of your loins in co-ordina-tion with the lift given by your right hand on your opponent'srear belt. If these movements have been properly synchronizedyour opponent ought to be hurled to the mat in front of you. Itis sometimes possible to assist the momentum of the final Kakeor attack by flicking up your opponent's right leg with the lower

Fig. 41 Fig. 42


part of your right leg planted on its inner side. All in all by nomeans a bad throw. (Fig. 40).

Utsurigoshi (Transition Loin)Assuming that you are engaged in the customary right

natural posture and that planning to apply a contemplatedtechnique your opponent has veered his left rear corner towardsyour right front corner or perhaps you have been able for someother reason to steal into his left rear corner, in such casepromptly grip his torso with your right hand in the region ofhis waist, then slightly leaning backwards and with the help ofyour left hand holding your opponent's right sleeve lift himfrom the mat. In an effort to avoid being thrown he may shiftboth legs, when with the power of both your arms and waistyou should swing him somewhat to the rear so that his bodybeing turned towards your right rear affords a convenientopening for the application of a waist or loin technique. In thatevent, as in the case of the Ogoshi (Major Loin) twist yourwaist to the left, pull downwards strongly with your left handgripping your opponent's sleeve, and throw him across yourfront. (Fig. 41).

I should not say that the Utsurigoshi figures among the morepopular or frequently utilized throws, but when brought off itis decidedly pretty to watch.

The foregoing completes my selection of Koshiwaza or'LoinTechniques. It is not, of course, absolutely exhaustive, but onthe whole I think it comprises the throws of the greatest prac-tical value to the average student.


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INSTRUCTION IV

SELECTED STANDING THROWS (TACHIWAZA) OF FOOT AND

LEG TECHNIQUES (ASHIWAZA)

I NOWcome to the third and last in sequence but by no meansleast important branch in the classification of standing throws.Indeed this branch enjoys the distinction of including the twomost popular and effective throws known to Judo, viz., theUchimata (Inner Thigh) and the Osotogari (Major ExteriorReaping) which I shall pre$ently describe. For instance, ananalysis of the most famous Kodokan contests during the lasttwenty-five years reveals that the most victories were won bythose two throws in the given order, i.e., Uchimata 897 or 16per cent. and Osotogari 720 or 13 per cent. of all matches held.However, they were closely followed by the Haraigoshi with560 wins or 10 per cent. and the Hanegoshi with 510 wins or 9per cent.

To the same category belongs a series of what may be calledankle trips which admirably exemplify the basic principle ofJudo and enjoy the additional advantage of imposing the mini-mum physical strain upon the performer. For that reason theyare naturally favoured by older judoka who are beginning tofeel unequal to the throws necessitating body torsion for theinsertion of hips, loins or legs. For convenience of reference Ishall describe the more important ankle trips last in this lesson.Study first then

Hkaguruma (Knee Wheel)You are engaged in the right natural posture. While retreat-

~g make as if to break your opponent's balance towards hisnght front corner with the weight of your entire body carried~m the ball of your right foot. This manoeuvre of courseunplies the orthodox tsurikomi or lift-pull with your right handholding his left lapel and your left hand liolding his right sleeveoutside the elbow. Now maintaining a convenient distancefrom your opponent, your weight still resting on your right leg,

l apply the ,ole of your left foo::ently to the outer edge of hU -


right knee-cap. Bend forward somewhat and twist your bodyto your left while simultaneously with your left hand holdinghis right sleeve you pull him towards you in the arc of a circle,reinforcing this movement with your right hand which graspshis left lapel. Given correct synchronization your opponent'sbody should turn on his knee as axle to his right front corneruntil his back hits the mat towards your left rear corner. (Fig.42).

It is also possible while engaged in the right natural postureto throw your opponent by applying your right foot to his leftknee-cap. If when you are trying to break his balance towardshis right front corner he resists your attempt and pulls againstyou, let go your hold on his left lapel with your right hand andlightly grasp the inner side of his left sleeve in the region of theelbow and draw him in the direction of his left front corner.If he then advances his left leg and you judge that yourKuzushi has succeeded in its purpose, support the weight ofyour body this time upon your left foot and apply, as stated,the sole of your right foot to the outside of his left knee-cap.In this case, however, since the tension of your left hand grasp-ing his right sleeve is somewhat lessened, your opponent isthrown chiefly with the combined help of your right hand, thecurvature of your body and, of course, the percussion of yourright sole against his left knee-cap. On no account sho~ld thecontact between the soleof your foot and your opponent's knee-cap resemble a kick from which injury might arise.

Uchimata (Inner Thigh)This is a magnificent throw which can be most effectively

applied by a comparatively tall man against a shorteropponent.

As with all other standing throws the Uchimata can be exe-cuted to either right and left, and in view of its exceptionalvalue as a fighting method I shall try to describe it in both theseways.

An indispensable preliminary to Kake or final attack (theactual throw) is to break your opponent's balance to his frontand compel him to bend forward With his legs spread morewidely apart than usual. To this end it is a good plan to takea deep hold on his ri~ht lapel with your left hand. Make thefullest use of your weight in applying this Kuzushi. Now withyour left foot as axis and left knee bent, concentrate, as it were,


the whole strength of your body in your left toes looking in thedirection in which your opponent's balance is broken, andsimultaneously thrust your right thigh between his legs in suchwise that its outside back is applied to the inside of his leftthigh. Tense your body until it is almost parallel with the mat,stretch the inserted right leg and throw your opponent up intothe air so that he falls towards your left rear corner. Before theimpact of your attacking thigh takes place it is essential thatclose contact should be effected between the right side of theupper half of your body and your opponent's chest. When lift-ing your opponent into the air with the thrust of your rightthigh be careful that your thigh touches the inner side orcrotch of his thigh, otherwise not only will the efficacy of thethrow be impaired but you will run the risk of injuring histesticles. (Fig. 43).

When the Uchimata is executed to the left you grip youropponent's left lapel very deeply with your right hand and sobreak his balance to his front until he is bent forward. This for-ward movement causes him to spread his legs and so facilitatesthe attack with your left leg. The outside of your left thigh isinserted and touches the inside of his right thigh. In this posi-tion stretch your left leg and throw for all you are worth.

Although the Uchimata is formally classified as a leg throw,yet when the leg slips well in between your opponent's legs italmost suggests a hip throw.

Osotogari (Major Exterior Reaping)Another superb contest throw as demonstrated by the

Kodokan statistics quoted above, and incidentally my own so-called Tokuiwaza or pet throw which I was accustomed to exe-cute to the left of my opponent. Here again, considering itsoutstanding value, I shall try to explain both methods of attack.

A projected throw from the right natural posture presupposesthe breaking of your opponent's balance to his right back comeras an indispensable preliminary manoeuvre. To this end youhave to get as close as possible to his right side. There are twomethods of achieving this aim, viz., by pulling your opponentto you by means of the appropriate tsurikomi (lift-pull) or bymoving forward from your original stance. But after havingeffected the necessary approach by either method, one executesthe throw itself (Kak6) in virtually the same manner. Use bothhands in unison. With your right hand holding your oppo-


nent's left lapel high up at the shoulder push him backwardswhile with your left hand holding his right sleeve outside theelbow you pull him towards you and by means of the combinedaction of your hands bring his weight to bear upon his rightheel. Advance your left foot to a point almost opposite or alittle outside his right foot and support your entire body uponthe toes of that foot. Raise your right leg and sweep the outeredge of your opponent's right thigh as forcibly as possible withthe outer side of your right thigh. Synchronize this action witha downward pull of both hands on your opponent's right sleeveand left lapel respectively. If you are successful, your oppo-nent should be hurled heavily to the mat. (Fig. 44).

Although in the orthodox version of this throw the sweepingmovement with the right leg is made more or less sideways, noless an authority than Maeda Takesato, 8th Dan of theKodokan, prefers to sweep to his own rear. However, this is aminor detail and in my opinion the best Judo policy is for thepupil to develop his own individual style and to beware ofslavish standardization. Thus although in many demonstratedversions the attacker is shown bending slightly forward in theact of sweeping his opponent's thigh with his own, I was taughtby the great Mifune, 10th Dan, to turn my head out-wards, to my left if executing the throw from the right naturalposture, and to my right if executing it from the left naturalposture, at the very moment of sweeping my opponent's thigh.My gaze would be directed upwards, approximately towardsthe ceiling. I always found that this movement seemed toimpart more power to the sweep of the thigh.

When the Osotogari is executed from the left natural postureyou must break your opponent's balance towards his left backcomer. The weight of your body rests upon the toes of yourright foot which is advanced to your own right opposite or alittle beyond your opponent's left foot. You sweep your oppo-nent's left thigh with your left thigh. In both cases the outerside of the thigh is the vehicle of impact. Since the sweep withthe attacking thigh is made, properly speaking, against anopponent whose balance has been broken towards his right orleft back corner, it might at first sight seem more logical thatthe back corner or angle of his thigh should be swept by theback corner or angle of the attacker's thigh-right or left, asthe case may be. But if the attacker adopts this type of Kake itwill not prove sufficiently effective, and it is therefore advisable

I


that the outer side of the attacker's thigh should be used tosweep the outer side of the opponent's thigh. It is in this respectthat the Osotogari has to be differentiated from the Osoto-otoshi (Major Outer Drop) to be described later, seeing thatin the execution of the latter throw the back of the thigh isdriven down against the back of the opponent's thigh.

The Osotogari has been justly described by Maeda Takesatoas " a grand and decisive throw" and by another expert as " avirile technique that has many followers".

Ouchigari (Major Internal Reaping)A description of this technique naturally follows the Osoto-

gari above. Its popularity as a formidable and an effectivecontest throw is shown by its position in the Kodokan classifi-cation already quoted. It stands eighth on the list with 230wins or 4 per cent. It was not so frequently practised in my dayat the Kodokan and although mentioned among Ashiwaza orLeg and Foot Techniques in the late Sakujiro Yokoyama's well-known textbook on Judo, a copy of which he bequeathed to mebefore his lamented death very many years ago, it is not actu-ally explained therein.

In these circumstances I offer no apology for basing my des-cription in part upon data supplied by Oda Tsunetani, 9th Danof the Kodokan, quoted in the valuable French publication" International Judo" (" Kokusai Judo") of which I have else-where availed myself.

A stance on the part of your opponent that invites attack bythe Ouchigari is one in which his legs are rather more widelyapart than usual. In the right natural posture your opponentwill be holding your left lapel with his right hand. Retort bygripping the outside middle of his right sleeve with your lefthand. If his legs are conveniently open, pull on his right sleeve,jump first on your left foot and then move forward your rightfoot, simultaneously contriving to strike his chest and face withyour chest, now throw your right arm round his neck, thrustyour right foot inside his left leg and from about the base of histhigh sweep it powerfully to your rear. Needless to say thesemovements must be carefully co-ordinated and synchronized.Your opponent may try to keep his balance or to counter bymoving his hip backwards, but since your body strikes his chestand face he will not find escape so easy. Not a bad variant is tolift your opponent's right thigh with your left hand and at the

III

OUCHIGARI (MAJOR INTERIOR REAPING'

OSOTO-OTOSHI (MAJOR OUTER DROP)

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same time sweep his left leg from within with your right leg, asalready described. Your opponent's stance is further weakenedif you can slant him on to his heels before the final attack.(Fig. 45).

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AshiguTuma (Leg Wheel)Although Kodokan contest statistics for the last twenty-five

years give the Ashiguruma only 10 contest wins and place ittwenty-sixth on the list of throws employed, I regard it as adecidedly elegant and effective technique and as such wellworthy of study.

Say you are engaged in the right natural posture and thathaving pulled your opponent along a curved orbit towards yourright side you try to break his balance towards his left frontcorner; as a result his body may be somewhat tilted forwardwith his left leg drawn back, and his natural posture in whichhis weight had been resting on his right leg may be disturbed.In an effort to recover it he may advance his left leg, in whichcase, taking advantage of the opportunity, the weight of yourbody supported on your left leg, you should bring your rightflank into close touch with your opponent's left front corner,straighten your right leg and apply its edge obliquely from theregion of his projected left front thigh to the knee of his rightleg upon which his weight is resting, thereby blocking itsadvance. Your left hand holding his right sleeve should pullinwards and downwards while your right hand grasping his leftlapel should press downwards with a slight turning movement.Simultaneously you must as it were sweep against your oppo-nent's legs with your extended right leg which serves as an axleover which wheel-like his body rotates and falls to the mat. Inexecuting this throw the foot of your outstretched right leg doesnot touch the ground on your opponent's right side, but is heldsome inches above it. (Fig. 46).

By way of a variant, you can sometimes, while still engagedin the right natural posture, use your left leg to effect thisthrow. To do this, let go your right hand hold on your oppo-nent's left side lapel and swiftly substitute therefor a normalgrip on his left upper sleeve from outside. Remember that thenormal or regular grip is one in which your thumb-in this caseyour right-is on the inside and your four fingers are on theoutside. Now if you pull your opponent with that hand towardshis left front corner, he may very well advance his left leg withF

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his body slightly tilted and the weight resting on that leg.Taking advantage of this opportunity you simply reverse theorder in which you used your right leg to apply the throw;instead this time you support your weight on your right footand bring your left flank in close contact with your opponent'sright front corner, straighten your left leg and stretch its outeredge slantwise from and against his right front thigh to theregion of the knee of his left leg. Pull downwards and inwardswith your right hand holding his left sleeve and press down-wards with your left hand holding his right sleeve. If both yourTsukuri and Kake have been successful, your opponent's bodywill rotate over your left leg as axle and land on the mat onyour right.

Osoto-ot()shi (Major Outer Drop)Examination of Kodokan statistics reveals that as a popular

contest throw the Osoto-otoshi ranks considerably higher thanthe Ashiguruma just described. Thus from a classificationextending over twenty-five years it appears that the Osoto-otoshi scored as many as 158 wins as against only ten for theAshiguruma. Certainly the Osoto-otoshi can easily be utilizedas a decidedly violent throw to knock out an opponent in a realfight.

A favourable opportunity for application of the Osoto-otoshi may occur when you have succeeded in breaking hisbalance more towards his direct rear than his right back cornerand when his weight is therefore resting more upon his rightheel. Now with your own weight supported by your left leg,which you should bring opposite your opponent's right foot,assume a somewhat bent attitude, lift your right foot with bentknee and pass the foot and leg behind his right side; thenpromptly straighten the knee and with all your strength driveyour right back thigh downwards against your opponent's rightback thigh while simultaneously with both your hands you re-inforce this momentum and throw him heavily backwards onthe mat. In this movement you should push him backwardswith your right hand holding his left lapel and pull himtowards you with your left hand holding his right sleeve.(Fig. 47).

Although at first sight and superficially regarded there mayseem to be some resemblance between the Osoto-otoshi andthe Osotogari, closer scrutiny shows that they are actually two


distinctive throws. Thus in the Osoto-otoshi the direction ofyour Kuzushi or disturbing balance is towards your opponent'sdirect rear with his weight resting upon his right heel, whereasin the Osotogari the direction of the disturbance of balance istowards his right back corner and his weight is resting on theback corner of his right foot. Again, in the Osoto-otoshi thedirection of your advanced right leg is your direct front,whereas in the Osotogari it is your left side. In the Osoto-otoshi the actual throw is effected with your right back thighagainst your opponent's right back thigh, whereas in theOsotogari it is effected more with the right back corner or sideof your right thigh against the right side or back corner of youropponent's right thigh.

Osotoguruma (Major Outer Wheel)Opportunities for bringing off this throw are comparatively

infrequent, but if they do occur the resultant fall may some-times be very heavy. On one occasion during contests at theKodokan a particular friend of mine was taken unawares andthrown so drastically that he lost Consciousnessfrom concus-sion, but soon recovered and suffered no untoward conse-quences thereafter.

If, for example, while engaged in the right natural postureyou have disturbed your opponent's balance towards his directrear and the weight of his body is imposed upon the heels ofboth feet, you should bring up your left foot to a point moreor less alongside the right side of your opponent's foot with theweight of your body resting on that leg. Then straighteningyour right leg pass it behind your opponent's right leg in sucha manner that the back of it stretches from his right back thighto his left back shin and in close contact therewith. Supple-menting the impact of your right leg with the strength of bothyour hands, which execute the usual tsurikomi or lift-pullmovement against your opponent, you bring him wheel-likeover your right leg, which serves as an axle, until he falls tothe ground.

Tama-arashi (Mountain Storm)Although I can find no mention of this throw in the

Kodokan classification of tricks used in contest during the lasttwenty-five years, it nevertheless enjoys a fair reputation andhas been commemorated in a Japanese novel entitled" Sugata

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THE MANUAL OF JUDo 89

Sanshiro ", the name of the hero, a Judo champion who hasmade a speciality of this particular throw with which he defeatsall and sundry.

To effect the Yama-arashi from the right natural postureyou hold your opponent's right inner sleeve with your lefthand but, in contradistinction to the customary right handgrasp of your opponent's left lapel you use that hand to grip hisright lapel in the normal hold previously described. With thiscombination hold you draw him more and more towards hisright front corner, and if in response he begins to inclinetowards that corner with the weight of his body resting on hisright leg until he appears to be standing on tiptoe, you mustbring your right back corner into close contact with youropponent's right front corner applying the edge of the shinof your right leg to the side of your opponent's right shin. Nowwith the full power of your right leg sweep his right leg andat the same time with. your right hand make a lift-pull(tsurikomi) on his right lapel, while with your left hand holdinghis right sleeve you draw him with a circular movement andhurl him to the mat.

The foregoing completes my selection of throws executedwith the leg. I shall now try to explain the more typical throwseffected by the impact of either the ball of the foot or the innerarch of the foot against one's opponent's ankle or immediatelyabove it. To the former category the suffix "harai" or" barai ", derived from the Japanese verb "harau", meaningto sweep has been given, and to the latter the suffix "gari",derived from the Japanese verb "karu" meaning to mow orreap. All these ankle trips admirably exemplify the validityof the teaching that the moment to attack your opponent's footis a split second before it is firmly planted on the mat butnever either when it is so planted or when it is raised fromthe mat with the leg in which in Judo parlance is called a" floating" or buoyant state. First then

'I

Ashiharai (Foot Dash or Sweep)Assume that you are engaged in the right natural posture.

Your opponent may essay to disturb your balance towards yourright front corner. Observing the basic principle of not oppos-ing mere strength to strength you appear to yield to the pullhe is applying and so contrive to advance more than he isretreating. Simultaneously with your arms holding your

90

Fig. 49

THE MANUAL OF JUDO

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Fig.51 Fig.52

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! THE MANUAL OF JUDO 91

opponent's left lapel and right sleeve you make a lifting circularmovement designed to raise him upward in order to break hisbalance towards his left back comer. But once his weight hasbeen transferred from his right to his left foot it is too late toattack either of them because the right leg will be " floating"or buoyant and the left foot already on the mat. Indeed anattempt to sweep the right "floating" foot might quite easilyexpose you to the danger of a counter technique. Similarlyif your opponent has transferred his stance from his left to hisright foot, his weight wholly imposed upon the latter, anattempt to sweep that foot would be tactically bad and eventhough through sheer "beef" you did succeed in throwingyour opponent, your method would run counter to the basicprinciples of Judo and should not be encouraged. On the otherhand, if your opponent first withdraws his right foot, then inorder to withdraw his left foot tries to transfer the weight ofhis body to his right leg but has not yet completed the transferand his right foot is not yet quite planted on the mat, while hisleft leg is " floating", the moment is opportune for you to sweephis right ankle with the sole of your left foot. And as alreadysaid, you should reinforce these moves with the circular upliftexerted by your arms holding your opponent's lapel and sleeve.In that case, even should your opponent try to transfer hisweight from his left to his right foot, the latter can be easilyswept, as his body is inclined towards his right front rorner.Be careful that the sweeping movement of your foot againstyour opponent's ankle does not degenerate into a kick fromwhich pain and even injury might result. The sweep shouldbe a firm steady pressure whose dynamic impulse is not con-fined to your leg and foot alone but includes the motive poweremanating from the rest of your body and more especially fromyour saika tanden or lower abdominal region. This principleapplies to virtually all Judo methods and cannot be too stronglyimpressed upon the earnest student of the art. (Fig. 50).

OkuTi-Ashi-HaTai (Pursuit-Foot-Dash or Sweeping AnkleT hTow)This too is quite a spectacular form of ankle attack. You

should watch for an opportunity when your opponent's feetare in line and inclined to come together. If you are in theright natural posture and your opponent is moving up his rightfoot towards his left and, of course, before it i.$firmly planted,


sweep that foot strongly with the sole of your left foot. Atthe same time lift him with both hands, wrists uppermost andarms held lengthwise. Lean slightly forward with your entirebody raised on the toes. (Fig. 51).

Deashi-Harai (Advanced Foot Dash or SweeP)As the name implies, the sweep with the sole of your foot is

directed against your opponent's advanced foot-the right, ifyou are engaged in the right natural posture. An opening forrecourse to this technique can occur when your opponent hasadvanced and ~oved his right foot rather more than usualto his left and there is a tendency for both his feet to cometogether. In that case when he is on the point of shifting hisweight on to his right leg but has not yet entirely done so,you may advantageously attempt this trip. As in the previousthrows described under this head, apply the sole of your leftfoot to the outside of your opponent's right ankle or about theback of his heel and simultaneously pull him with both yourhands towards his right front corner until he falls. Be carefulwhen executing this trip that through inadvertence your leftinside ankle bone does not hit the right outer ankle bone orshin of your opponent with painful consequences to both ofyou. See that when making the sweep your left foot is suffi-ciently curved.

If you prefer to use your right foot in this method of attack,you can engage your opponent in the left natural posture, thatis, with your left hand holding his right lapel and your righthand his left sleeve at the elbow. Then watch for the momentwhen he advances his left foot and tends to bring it up to hisright foot. Then before the transfer of his weight to his leftfoot has been completed, sweep his left ankle with the sole ofyour right foot. (Fig. 52 illustrates the latter method).

Tsurikomi-Ashi (Drawing Ankle Throw)Assume you are engaged in the right natural posture. Pre-

serving the natural posture, much as in the case of the Uki-otoshi elsewhere described, while disturbing your opponent'sbalance towards his right front corner you withdraw a paceor two so that your opponent is pulled towards you and hisbody begins to incline forward while he endeavours to preventhis natural posture from being broken. If at this juncture youwere suddenly to fall on your left knee and unexpectedly

,


pulling your opponent you threw him, the technique would bethe Uki-otoshi. However, in the case of the Tsurikomi-Ashiyou should pull the upper part of your opponent's body some-what more than the advance of his right leg so that you causehim to lean forward. Finding his balance disturbed towards hisright front corner he advances his right foot and tries to pre-serve his natural posture. Your retort is to entrust the weightof your body to your right leg, then to straighten your left legand apply the sole of the foot to your opponent's right legabout midway between his knee and ankle, while at the sametime, as with this movement you obstruct the further advanceof his right leg, you bend backwards and twist the upper partof your body towards your left back corner. With both handsholding your opponent's left lapel and right sleeve respectively,you should maintain a progressively strengthening pull towardsyour torso. If these several movements have been successfullyco-ordinated your opponent's balance will be broken more andmore towards his right front corner until finally he falls to themat. (Fig. 53).

Sasae-Tsurikomi-Ashi (Propping Drawing Ankle Throw)This trip is best applied when your opponent is posed on the

toes of one foot with his body rather stiff and upright. It is lesseffective against an opponent who stands loosely ~th a ten-dency to bend or lean backwards. Move your body to the rightand place your right toes outside your opponent's left foot butless deeply than in the case of the Tsurikomi-Ashi. Use yourright toes as fulcrum or pivot and turn your body to your leftback but with a larger circular movement than in the firstinstance. Also the point of impact of your left sole is directlyoutside your opponent's right ankle and not midway betweenknee and ankle as in the case of the orthodox Tsurikomi-Ashi.Your aim is to pull your opponent continuously towards hisright front corner until he has no more room to escape; in thismanner you disturb and eventually break his balance (Kqzushiand Tsukuri) until he falls. As usual, synchronize the pull andlift on your opponent's sleeve and lapel with the pressure ofyour left sole against your opponent's right ankle. Fig. 53 (A)).

Kosotogari (Minor Exterior Reaping Ankle Throw)It may happen that when engaged in the right natural

posture you try to pull your opponent towards his right front


Fig.53(A)Fig.53

Fli.5-f Fig.55

1


corner, when fearing that his balance may be disturbed or evenbroken in that direction he advances his right foot compara-tively more to the front with the weight of his body restingrather upon the heel than the toes of that foot. This stanceaffords the most favourable opportunity for recourse to theKosotogari, especially when as he withdraws his hips and waistto the rear the weight of his body tends to rest upon the backof the heel of his right foot. Now assuming a stand with yourright foot pointing towards his right foot but at a convenientdistance from its toes, your body held upright and supportedby your right leg, bend back the big toe of your left foot in thesemblance of a sickle and while your left foot rubs againstthe mat hook or "reap", as it were, the back heel of your oppo-nent's right foot and at the same time pull him towards you.In this movement your left hand holding his right sleeve andyour right hand grasping his left lapel must help the attackmade with the "sickle" of your left foot until his balance isfinally broken towards his right back corner and he falls. (Fig.54).

The Kosotogari can also be applied when your opponenttends to move backwards. Say he attempts to pull you and toretreat or being pushed by you falls back a little. First of allhe may draw back his left leg with the weight of his body stillresting on his right leg; then while you are being pulled orwhile you are pushing, tilt him towards his right back corner,advance your right foot as before and .. reap" his right backheel with the .. sickle" of your left foot. Effectively executedthe Kosotogari can be quite a heavy throw.

Kouchigari (Minor Interior Reaping Ankle Throw)The most appropriate moment for attempting the Kouchi-

gari, if you are engaged in the right natural posture, is whenyour opponent has advanced his left leg a little more thanusual and his left foot is on the point of touching the groundbut has not yet quite done so, and when the weight of his bodyis about to be transferred to that leg but before the processis complete. The appropriate Kuzushi or preliminary disturb-ance of the balance is as follows: First of all pull him in thedirection of his right front corner when in an effort to main-tain his natural posture he may advance about as far as he hasbeen pulled. If so suddenly pull him towards his left frontcorner. This move often provides the most effective stance


for Tsukuri and final Kake involving the complete breakingof your opponent's balance and his downfall. The applicationof the inner reaping movement is as follows: Support yourweight upon your right foot and apply the instep of your leftfoot to the inner side of your opponent's left heel in thesemblance of a sickle sweeping it in the direction of its advance.Simultaneously with both hands assist this movement untilyour opponent finally loseshis balance and falls. (Fig. 55).

Several important factors should not be lost sight of in prac-tising this throw. Remember that once your opponent hasactually planted his left foot on the ground and has completedthe transfer of his weight to that leg, excessive strength wouldbe required to bring off the throw. Again, sometimes youropponent may contrive to shift his stance and expose you to thedanger of a counter technique. You must therefore be on thealert not to miss the most suitable moment for recourse to theKouchigari. Nor is it sufficient to confine the "dynamic" ofthe reaping action to the instep of the attacking foot; as invirtually all Judo throws your entire bodily force, includingthe action of your hips and loins, must be called into play toensure the perfect execution of this throw.

Need I again remind you that it is equally possible for youto .. reap" your opponent's right foot from the inside with theinner edge or instep of your right foot? To do so naturallynecessitates corresponding adjustments of stance.

The best and perhaps only way to escape the Kouchigari is tolift the threatened foot rapidly before it is swept and just beforeyour opponent has "enveloped" it.

Harai-Tsurikomi-Ashi (Sweeping Drawing Ankle Throw)There is a strong family resemblance between the Sasae-

Tsurikomi-Ashi (Propping Drawing Ankle Throw) and theRarai- Tsurikomi-Ashi now to be described. There is very littledifference, for example, between your own posture (shisei) andyour applied Tsukuri or method of destroying your opponent'sbalance. In the orthodox method, when you are engaged inthe right natural posture, this technique presupposes an attackwith your left foot against your opponent's right leg in theregion of his outer ankle bone. Watch for an opportunity whenhe is about to shift his weight on to his right foot but beforehe has actually done so and then sweep that foot with your leftfoot in an obliquely back direction and throw him. O-Cho-

l


Yoshio, 8th Dan of the Kodokan, adds the following details asrecorded in the French" International Judo ", already quoted.The movements of the hands are important, but those of thewhole body are even more so, above all those of the hips. Thehand movements first. When your opponent is about to placehis right foot on the mat turn your right hand slightly inwards,pull forward and to the right, your left forearm pressing againsthis chest backwards and to the left. Your weight is on the rightfoot which is outside his left foot, your toes slightly turnedinwards. Your left leg is held very straight, the foot turnedslightly inwards; then direct all your power towards your littletoe and the ball of the foot nearest the joint of the big toeand sweep to your opponent's right rear corner pressing againstthe bottom of his instep. These movements are almost simul-taneous. When you are both in the right natural posture buthe advances his left foot, compel him to place it somewhere tothe inside with the help of your right hand and pull with yourleft hand parallel to the mat so as to bring him on to his toeson both feet. Break his balance to the left front corner. Whenhe moves his left foot forward place your right foot slightly infront of his left foot with your toes turned slightly inwards. Inthis case your left foot becomes straight and in line with yourbody from the toes to the head like a stick and you sweep thebase of his right instep. At this instant your left hand, whichhas been pulling parallel to the ground to the front, changesdirection and pulls downwards to the rear left corner veryswiftly and you throw.

When you are in front of an opponent in the extreme of thenatural posture and you wish to apply this throw with your'right foot, first change your posture to the left natural postureby moving your right foot; you disturb his balance by liftinghim a bit; move your left foot to the inside of his right foot andsweep his left foot with the inside of your right foot. (Fig. 56illustrates the latter method).

INSTRUCTION V


among Judo methods characterized by "general elegance ", itcannot be doubted that when thoroughly mastered by the pupilit may be practically applied to good purpose in a genuinerough and tumble. Indeed I remember even now how on morethan one occasion a hefty English or American bluejacketlooking for trouble in the old Yokohama "Blood town " ofunsavoury reputation managed to find it at the hands and feetof a comparatively small Japanese policeman who hurled himthrough space with precisely this Tomoenage.

Let us assume, as before, that you are engaged in the rightnatural posture. Relinquish your left-hand hold on youropponent's right sleeve and with both hands grasp his left andright side collar in the normal grip already explained. Maskingyour true design, push strongly against him as though trying todisturb his balance towards his direct rear. Now if he seeks todefend himself by pushing you in return, slip your left legbetween both his legs and utilize his strength exerted in pushingyou back in order to make him lose his balance towards hisdirect front; then retaining your firm hand grip on youropponent's lapels slide to the ground with your buttocks as farforward as possible and the heel of your left foot lowered toyour direct rear. At the same time bend your right legand applythe sole very lightly to your opponent's lower abdomen. Stillwithout in any way relaxing your hold on his lapels throw your-selfbackwards breaking his balance more and more. At tliis pointstraighten your bent right leg the sole of whose foot has beenapplied to his lower abdomen and the propulsive force of thismovement should suffice to send him fiying over your head tothe mats beyond, describing an arc in its flight through space.(Fig. 57).

Although in this technique your opponent is thrown by thecombined action of your hands drawing the upper part of hisbody downwards and the propulsive force of your foot operat-ing reciprocally in opposition to each other, yet if the pro-pulsive force of your foot is inadequate you may very well failto bring off this throw. It is therefore advisable that when youlower your buttocks you should conserve the propulsive forceof your bent right leg. It is also essential that as they touchthe mats your buttocks should be as far forward as possible.If they are not, then your right leg being automaticall.yextended at the start of the movement cannot be so convem-ently bent and, of coune, subsequently straightened to send

SELECTION OF THROWS EFFECTED IN A LYING POSITION

Sutemi~a

I NOWcome to the fourth and final branch of the Nagewaza orthrowing methods. The throws included in this category ofSutemiwaza, sometimes called "sacrifice" throws or "abandon-ment technique", require you when executing them to fallyounelf with your back or your side on the ground. The worditself is derived from the verbal stem of "suteru " meaning tothrowaway, abandon, discard, etc. and "waza" technique. The" u " in sutemi is a short vowel and so slurred as to be scarcelyaudible. Thus the word is pronounced almost as if written.. stemiwaza ".

The technique of the sub-division in which you fall with yourback on the ground in order to apply the throw is styled" Masutemiwaza" and that of the sub-division in which youfall with your side on the ground in order to apply the throwis styled" Yokosutemiwaza ".

Since the execution of these throws makes comparatively lessdemand upon the performer's physical strength and bodilysuppleness than does that of the throws from a standingposition (Tachiwaza) already described, they are often favouredby older judoka who find it advisable to conserve their energies.At the same time, I think that after studying and testing foryounelf the throws I shall try to describe under this head, youwill agree with me that in a real fight their successful applica-tion might come as a nasty surprise to an unscrupulousaggressor.

MASUTEMIW AZA

Tomoenage (Throwing in a Circle or Whirling Throw, oftencalled the Stomach Throw)

It is possible that you already know something about thisthrow from casual demonstrations or displays to which it lendsitself quite effectively. And although I myself do not rank it

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your opponent flying over your head. Your aim must thereforebe to synchronize the several movements involved to the bestadvantage, i.e. lowering of buttocks, raising of right foot, con-tact of buttocks with the mat, application of the sole of rightfoot to opponent's lower abdomen, etc. Be careful not to useundue force when applying the sole of your foot to youropponent's stomach, otherwise you may injure him. It is there-fore a good plan to curve the toes backward and apply approxi-mately the forepart of the sole to your opponent's stomacha little below the navel. It goes without saymg that in a realscrap you would be far less scrupulous about the forceemployed with your right foot to hurl your victim over yourhead to the ground beyond.

Dranage (Rear Throw)There are two ways of executing this throw. In the first and

older version the assailant threw his opponent from behind,whereas in the later version he takes a frontal hold. In myhumble opinion the older version is much to be preferred to thenewer one and its execution is besides more in consonance withits name of " Rear Throw". I therefore make no apology fordescribing it here in somewhat greater detail than the newerversion, after which I shall devote a paragraph to the latter forpurposes of reference and comparison.

A blow aimed at your head by JOur opponent witli his rightfist can provide an opening for tliis throw. To dodge the blowyou may shift the upper part of your body obliquely to theleft, and your opponent being carried forward by the momen-tum of the blow may involuntarily tend to turn slightly to theleft on his right foot until finally his balance is impairedtowards his right back corner. Taking advantage of the oppor-tunity slip behind his right back corner and lowering your waistembrace your opponent with your arms in the followingmanner: Bring your chest into the closest possible contact withthe region of his waist, your left arm extended from his rearalong his belt so that the palm of the hand is applied to thelower part of his side at his left front corner and your ri~ht tothe front corner of his lower abdomen and slightlI" pomtingupwards, and in this stance clasp him firmly to your eft breast.To throw him you should bend backwards. Then as with bothyour arms you exert a lifting pressing movement in the direc-tion of your left shoulder and using also the strength of your

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"102 THE MANUAL OP JUDO

body, yoUlift your opponent so that his feet are separated fromthe mat. Now lower your body somewhat, throw yourself back-wards and hurl your opponent over your shoulder to your directrear. This is a genuine rear throw. (Fig. 58).

In the later version, when your opponent aims a blow at youwith his right fist, you advance your left foot to the outside andslightly behind your opponent's right foot. Then place your lefthand, which passes behind your opponent's back, on his left hipand simultaneously place your right hand behind his back asfar as his right hip. Now advance your right foot in front ofyour opponent's feet with the left side of your head placed infront of his chest. Your opponent is thus thrown off balance asyou lift him from the mat and let yourself fall and propel youropponent over your left shoulder. If the throw has been cor-rectly applied with sufficient momentum, your opponent shouldturn over in the air and land on his back.

It may be advisable for you to practise both these methods soas to be prepared to take advantage of either opening.

Sumigaeshi (Corner Throw)In contradistinction to most of the throws hitherto described,

the Sumigaeshi is applied from the self-defensive instead of thenatural posture, i.e. with both knees and torso bent andlowered. You thread your right arm under your opponent'sleft armpit so that hand and arm are applied as far as possibleto the upper part of the left rear corner of his back, and yourleft hand grasps his inside right sleeve from the elbow in theregion of the forearm in the normal grip. Alternatively you canpin his right arm snugly against your left armpit and with yourright hand hold his left front belt at the side also in the normalgrip. To get your opponent off balance you alternately pulland push him and if you succeed in making him advance hisright foot, while his left foot is raised in a buoyant state, themoment is opportune for attempting the Sumigaeshi. Main-taining maximum contact between your two bodies, advanceyour left foot to the outside of your opponent's right foot, loweryour buttocks to the front, apply the shin of your right leg toyour opponent's left inner rear thigh, and throw yourself toyour direct rear; simultaneously with your right leg fling upyour opponent's left thigh in the direction of its rise. Concur-rently with your left hand pull your opponent's body down-wards and with your right hand push and lift it. If these moves

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THE MANUAL OP JUDO 103

have been properly co-ordinated your opponent should landfrom the tip of his right shoulder obliquely on to his back. (Fig.59).

An important point to be observed in connexion with thistechnique is that if when the weight of your opponent's bodyis resting on his right leg he happens to be holding himselfloosely, even though you fling up his left inner thigh with theshin of your inserted right leg as you lie on the ground, yet bykeeping it buoyant and putting no strength into it he may verywell nullify your effort to complete the throw. Consequentlythe most favourable opportunity for utilizing his brokenbalance is when his body is being held somewhat stiffly.

r okosutemiw{l{.aThe rest of the throws in this section belong to the sub-

division of Yokosutemiwaza or throws effected with one's sideon the ground. The first on my list is the so-called

Ukiwaza (Floating Throw)This throw has been rightly described as one for advanced

judoka and since it is also a throw that could be very effectivelyused in a serious struggle I propose to deal with it at somelength. Thus first I shall describe it as demonstrated in the pre-arranged Nage-no-Kata or Forms of Throwing and then on thebasis of valuable data supplied by Yamaguchi Magosaku, 8thDan of the Kodokan, quoted in the French publication" Inter-national Judo" (Kokusai Judo).

It is assumed that you are engaged in the right self-defensiveposture, each holding the other with the right part of the bodyforward. You should hold your opponent's left side collar orlapel with your right hand in the normal grip or alternativelywith your right arm threaded under his left armpit so that yourhand is applied to the upper part of the left rear corner of hisback. In this stance you first pull him to his right, then to hisleft, then a second time to his right, when he tends to losebalance towards his right front corner. When the weight of hisbody is poised more or less on the little toe of his right foot,advance your left foot deeply to the outside of his right foot.and block its further advance with that foot. Simultaneouslybending backwards abandon yourself to the rear throwing youropponent with your bodily momentum. You fall yourself withyour left rear corner coming in contact with the mat. It should

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THE MANUAL OF JUDO

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be noted that not only in this method but generally in allYokosutemiwaza your body lands with its rear corner on themat while your thrown opponent's body and your own liealmost side by side, whereas in the case of the Masutemiwazathe direction of your own fall is the direct rear in which yourtwo bodies form almost a straight line.

In his description of this throw Yamaguchi Magosakuremarks that on approaching your opponent the latter maymove his right foot forward. You then move back a largepace with your right foot behind you, pulling him and break-ing his balance to the front left corner. He may move his leftfoot forward to keep his balance. At that very moment youshould lift him slightly and so induce him to move his rightfoot naturally forward to the right front corner. You shouldthen break his balance in the same direction; stretch your leftleg, which you open widely to the left, and abandon your bodyto the left throwing your opponent in the direction of your leftshoulder. Your right hand inserted under his left armpit shouldbe held like a spoon with all your strength in your little finger.Whether you apply this throw to left or right, the direction inwhich you break your opponent's balance should be the sameas that in which you abandon your body, both moving in thesame direction like a rolling wheel or arc. Make good use ofyour hands to lift him slightly in helping to break his balancejust before you stretch out your left leg, open it widely,abandon your body on to the left side and throw him in thedirection of your left shoulder. (Fig. 60).

Tokogake (Side Body Drop)It is again assumed that you are engaged in the right natural

posture, and as in the case of Ukiotoshi, while preserving yournatural posture you retreat a pace or two and drawing youropponent in your wake try to disturb his balance towards hisright front corner. In his turn your opponent advancing as faras he has been pulled tries to retain his natural posture. But atthe third step you should bend back a little and pull him morethan expected so that his body like a stick unbalanced towardshis right front corner is tilted vertically in that direction withhis weight resting almost on the little toe of his right foot. Atthis juncture you should support your entire body on your rightleg and with the sole of your left foot sweep the outer anklebone of your opponent's right foot, while simultaneously hold-

FIC.62 FIC.63

JAI(

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ing your body like a stick you fall to your rear bringing youropponent with you. In falling your left back corner comes incontact with the mat but your right back corner does not. As innearly all Judo throws operation of the hands is all important.So with the Yokogake the momentum of your own voluntaryfall and of the throw executed against your opponent is intensi-fied by the pull which you give in the direction of your bodywith your left hand holding your opponent's right sleeve, andthe lift-pull (tsurikomi) imparted by your right hand graspingyour opponent's left lapel. If the technique has been correctlyexecuted your opponent should land on his back. (Fig. 61).

In practising this throw you should be careful to avoid undueviolence. If for instance at the moment when with both handsyou are pulling your opponent you drag him directly down-wards, he may be thrown very heavily, and there is a risk ofinjuring his shoulder. Thus an inexperienced pupil is welladvised to exercise caution in this respect. If the Yokogake hasbeen correctly done your opponent should not fall far awayfrom you, and his body should lie almost parallel with yourown.

Tokoguruma (Side Wheel)As in the case of the Uranage already described, the Yoko-

guruma can be attempted in retort to a blow aimed at yourhead by your opponent. You dodge the blow with a quick bodyshift to your left. Your opponent's turn to his right back corner,his posture and the way he applies both hands, etc., are exactlythe same as in the Uranage. However, should you try to applythe Uranage your opponent may thwart your purpose by bend-ing his body to the front. Instead you should from the frontinsert your right leg deeply between your opponent's thighs andutilizing the momentum of his forward bend twist your bodysomewhat to the left and drop to the mat. Simultaneously syn-chronizing the operation of your left hand with the movementof your body, you pull and turn your opponent, and with theadded help of your right hand throw him in the direction ofthe side of your left shoulder. (Fig. 62).

Toko-otoshi (Side Drop).Say you are engaged in the right self-defensive posture, i.e.,

WIth somewhat bent knees and lowered waist, your right armthrust under your opponent's left armpit, your left hand hug-

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ging his forearm from the elbow on the outside. If in this posi-tion you pull him alternately to his left and right front corner,he may sometimes have his weight resting on his right leg. Nowyou must pull him more and more towards his right frontcorner; then with the upper inside edge of your left ankle youshould rub against the region of the outer ankle of your oppo-nent's right foot and in that manner block the further progressof that leg, while simultaneously retaining your hold on hisright forearm you abandon your body to your left back corner.Both your hands help to draw your opponent to your body untilhe is, as it were, dropped towards his right front corner. Asyou abandon yourself you turn your body slightly so that yourleft rear corner comes in contact with the mat. Your oppo-nent's fallen body and your own come to rest almost parallelwith each other. (Fig. 63).

In the execution of this throw the manner of clasping youropponent is highly important. If when so doing you loosenyour arm hold on your opponent he will run the risk of injur-ing his shoulder. Again, since your opponent is thrown by themomentum of your falling body, if in the course of the throwyou relax your arm hold, the efficacy of your technique willbe impaired. Therefore until the very end of the throw becareful not to loosen your hold.

Tokowakare (Side Separation)This throw may be called a companion throw to the Yoko-

gake already described. You are engaged in the right naturalposture; your hand hold is the same as with the Yokogake; theTsukuri or destruction of your opponent's balance is also muchthe same. As he is pulled your opponent keeps pace with youand advances with the weight of his body resting on his rightleg, and his balance being imperilled towards his right frontcorner he may be tilted forward. In that caseyou should throwout both your legs to his right side, the upper half of your bodyturned slightly to your left, and as you let yourself fall in thisposition your opponent should be thrown towards his rightfront corner. (Fig. 64).

It should be pointed out that although there may seem to bequite a family resemblance among the three throws, Yokogake,Yokowakare and Yoko-otoshi, there are none the less certain~etails in which they differ from one another. The moreunportant are cited below.

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Fig.64

THE MANUAL OF JUDO

Fig.65

Fig. 66

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As regards the manner in which the two contestants engageeach other: In the case of the Yokogake and Yokowakare theymay do so in either the right or left natural posture, whereasin the case of the Yoko-otoshi they are engaged in the right orleft self-defensive posture. Then as regards the Kuzushi ormethod of disturbing opponent's posture or balance, in mostinstances the assailant, when attempting the Yokogake andYokowakare, pulls his opponent continuously towards eitherthe latter's right or left front corner, whereas when attemptingthe Yoko-otoshi he pulls his opponent alternately towards thelatter's left and right front corner. Then when we come to themethod of Kake or actual execution of the throw, whenattempting the Yokogake the assailant sweeps the upper partof his opponent's outer ankle with the sole of his foot, whereaswhen attempting the Yoko-otoshi he does not sweep his oppo-nent's foot with his foot but only advances his foot so as toprevent the further progress of the foot on which his opponent'sbalance has already been disrupted. However, in the case ofthe Yokowakare, although the assailant does not sweep hisopponent's foot with his foot, as in the case of the Yokogake, oras in the case of the Yoko-otoshi advance one foot, the tempoof the disturbance of the opponent's balance is sustained untilthe moment when the assailant thrusts out both legs in fallingto throw his opponent. Besides the foregoing, there ,are othersubtle differences in the manner of disturbing balance(Kuzushi) and of effecting the actual throw (Kake), but formost practical purposes emphasis on the foregoing three pointswill suffice.

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T ani-otoshi (Valley Drop)As in the case of the Yoko-otoshi, when applying the Tam-

otoshi you are engaged in the right self-defensive posture. Youmake a feint to break his balance towards his right front corner,when he may quite likely oppose this move either by drawingb.ack or by attempting to disturb your balance towards yourrIght front corner, when his weight may rest on his right leg andhis left foot may be pulled back. Then he may begin to with-draw his body together with his right leg and while his weightis not yet wholly removed from that leg his balance may tendto be disturbed towards his right back corner or if for any otherreason his natural posture is broken in that direction you canadvantageously attempt the Tani-otoshi. Advance your left


leg in such wise that it is applied downwards with a scrapingmovement from the upper part of the right back corner of youropponent's right shin. Simultaneously abandon the upper halfof your body to your left front corner while with your right annthreaded under your opponent's left armpit you lift and pushhim slightly and with the combined force of your left arm hug-ging his right sleeve and your body you drop him towards hisright back corner. (Fig.65). .

The points in which the Tani-otoshi differs from the Yoko-otoshi can be epitomized as follows: In the first place, in theYoko-otoshi your body falls to your back corner, whereas in theTani-otoshi it falls to your front corner. In the second place,in the Yoko-otoshi your opponent's body falls to his frontcorner, whereas in the Tani-otoshi it falls to his rear corner.Thirdly, whereas in the execution of the Yoko-otoshi it is essen-tial at the time of both Tsukuri and Kake until the completionof the technique to retain your clutch with one hand on youropponent's sleeve, in the execution of the Tani-otoshi retentionof yout hold is necessary at the time of Tsukuri but not sonecessary at the time of Kake.

Before passing on in my next lesson to a description ofKatamewaza or Groundwork, I should again impress upon youthe advisability of familiarizing yourself thoroughly with themeaning of the Japanese Judo terminology given in the glos-sary appended to my first lesson. More especially should youmaster the meaning of the important terms Kuzushi-disturb-ing balance, Tsukuri-destroying balance, and Kake-theactual throwing. The late Dr. Jigoro Kano, the great creatorof Judo and founder of the Kodokan, defined Tsukuri andKake respectively as " fitting action for attack" and " attack".The words are different but their implication is the same. Qnedoes not need to be unduly pedantic in the use of these terms;it is far more to the purpose that one's mind should be clear asto their technical significance when applied to specific tech-niques.

rINSTRUCTION VI

ItATAMEWAZA OR GROUNDWORK-SELECTED HOLD-DOWNSOR OSAEKOMIW AZA

ETYMOLOGICALLYthe Japanese term Katamewaza is composedof tWoideographs, the first " Katame " meaning literally "hard-ening" and "defence" and the second "waza" meaningliterally "act", "deed", "work", "art", "trick", "tech-nique", etc. It is classified into three sub-divisions, viz., (1)Osaekomiwaza or Hold-downs; (2) Shimewaza (sometimescalled Shibori) or Chokelocks and Strangleholds otherwiseNecklocks, and (3) Kansetsuwaza or Gyaku, meaning Bone-locks. An overall name Newaza is usually applied to this branchas a whole.

Although doubtless Katamewaza lacks the spectacular attri-butes of Tachiwaza or tricks executed in a standing position,and perhaps for that reason has been to some extent relegatedto a secondary place even at the famous Kodokan of Tokyo,there has latterly been in international Judo circles a steadilygrowing recognition of its great importance which, in myopinion, can hardly be exaggerated. I can quite well imagine asituation in which, if one were up against an exceptionallytough antagonist, even a heavy throw might fail to prove con-clusive. Or again, if one were involved in a life-and-deathstruggle within a confined space, a railway compartment, forexample, there would be no room to apply a standing throw. Insuch a situation one's ignorance of Katamewaza might easilylead to one's ignominious defeat and knock-out, if not neces-sarily death, whereas if one were thoroughly well versed in the.numerous methods of Katamewaza, one would stand a farbetter chance of overpowering one's adversary and renderinghim helpless until official help arrived, even without beingforced to proceed to the extremity of killing him, as one couldeasily do. The justification for this confidence will appear fromthe fact that apart from the necessarily painful methods ofchokelocks, strangleholds and bonelocks included in the sub.

~ divisions of Shimewaza and Kansetsuwaza, one has the choice111

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112 TUB MANUAL OF JUDO T TUB MANUALOF JUDO 113of ~old-do~.ns or Osaeko~w~ wher~by o~e's adversary can . corner from which his opponent is trying to g~t up. In thisbe lIDD10bihzed for an mdefinite penod, if one's victim is i context I cannot do better than quote some pertlnent remarksignorant of the art, without excessive strain on one's own part I made by Tsunetani Oda, 9th Dan of the Kodokan, from a

And admitting that during early stages of training practi~ \ translation appearing in the current issue of the French publi-in groundwork inevitably imposes quite a severe dem:md upon I cation" International Judo" (Kokusai Judo) :the pupil's strength and endurance, the fact that it is on the I "Keep down the shoulder or hip which is trying to raisewhole attended by less danger of injury than Tachiwaza

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itself and control the points of contact such as the elbows andwherein a clumsy fall may sometimes result in a broken bone' the knees. He who is underneath should try with all his mightwill recommendit to older judoka who are not quite so nippy , to find openings; he who is on top, for his part, should takeon their pins as they used to be. Apart from these mundane I care that they do not appear. When first applying a hold-downconsiderations, groundwork is a splendid physical exercise and \ do not be too relaxed or too tensed up or too occupied withbrings into play muscles and sinews not always reached in what you are doing, but keep an eye on the position of yourTachiwaza. body and be completely relaxed when your opponent tries to

~though reluctant to inflict upon you an over~ose of theory, counter attack by lifting you up. Defend yourself with yourI think you can profitably devote some attenbon to a brief forehead, hands, feet and shoulders as supports, and escape byexposition of rationale and basic principles. In Osaekomiwaza turning around in order to apply another sort of hold down.or hold-downs, the spot to which your strength must be applied For young people Katamewaza is considered uninteresting, butis gene.rally your opponent's body. For the moment therefore nevertheless there are many interesting points in Osaekomiwazalet us liken his body to a rectangular board lying on the ground. ,which do not appear in Nagewaza. Besides Newaza has moreIf you wanted to lift this rectangular board your simplest plan I variations and is less dangerous than Nagewaza, and in a shortwould be to raise one of its corners. And conversely,if you ' time one makesmuch more progress. It alsocultivatesa spiritwanted to prevent the board from rising, your simplest course of patience which is very important in real life."would be to push down the corner trying to rise. Now substi- I When to the comparatively painless techniques of Osaeko-tuting a human being for a rectangular board, if you want to i miwaza or hold-downs are added the potentially deadly choke-prevent a prostrate opponent from getting up, you must, locks and strangleholds afforded by the Shimewaza or Shiboriaccording to circumstances, bring your waist, hips, loins and sub-division and the potentially painful and crippling methodsshoulders to bear with the appropriate amount of strength of Kansetsuwaza or bonelocks, no reasonable judoka need haveagainst the point at which your opponent is trying to rise, e.g., cause for complaint about the tameness or lack of variety ofshoulder or hip for the most part. But when you bring strength the Katamewaza repertoire!to bear against the direction in which your opponent is trying to Mindful of the danger latent in the two last sub-divisions, theget up, as likely as not he will suddenly try to get up from an ~ late Sakujiro Yokoyama, one of the greatest Judo masters of allangle against which your strength has not been directed! From time, in his book on the art, a copy of which he bequeathed towhat has been said it will be realized that in these hold-downs me many years ago, urges that for insufficiently experiencedor Osaekomiwaza, everything depends upon a combination of pupils the most advisable sequence of training would be fromquick thinking, correct timing, agility, patience and endurance. Nagewaza to Osaekomiwaza and then gradually to ShimewazaIt is therefore essential that, on the one hand, the person being and Kansetsuwaza.held down should endeavour as far as possible to detect the The first hold-down I shall try to describe for you here ispoints where his assailant's strength is lacking while, on the calledother, the assailant who is uppermost and is trying to hold himdown should constantly manipulate his position so that suchvulnerable points of weakness are not available and so that heis ready on the instant to bring pressure to bear against any

Kesagatame or Hongesa (Scarf Hold or Lock)As in practically all Judo techniques so in the domain of

groundwork all holds can be applied from both the right and


left side of one's opponent. And adhering to the generallyaccepted practice I shall confine myself to an explanation of theright side approach. Any intelligent pupil, once apprised of theright side approach, should be fully competent to convert it intoa left side approach when the respective postures of himselfand his opponent make such variants advisable.

Assuming then that you are kneeling on the right side ofyour recumbent opponent you must swiftly change your p0s-ture so that you are reclining against and facing him withyour right waist touching your opponent's right waist, and theclosest contact established between your two bodies obliquelyfrom your opponent's abdominal region to his left breast. Yourright arm should be thrust from under his left armpit so thatthe hand grasps his left shoulder, and your left hand shouldhold his right sleeve as deeply as possible from the outside sothat his right arm is firmly hugged against your left side. Yourbreast should press heavily down upon the upper part of youropponent's chest. Your right knee should be bent and the thighapplied as snugly as possible to his right flank. Your left legshould also be bent and stretched out to your rear touching themat. Now if your opponent tries to get up by raising, say, hisright shoulder, you must thwart his attempt with the pressureand control of your chest and left arm. Again, if he tries to pullyou over his body from right to left, you should let go your rightarm hold on his left arm and prop yourself with your handplaced on the mat on that side, controlling him with theco-ordinated operation of your hips and both legs. Again,should he, while twisting his waist to the left withdraw his bodyand try to shift you to the rear and get up, you must uninter-ruptedly advance your waist and both legs maintaining un-broken contact so that no open space is left between your twobodies to facilitate his efforts to shake you off with thismanceuvre. Supplementing these counter measures with thecontrol exercised by your left arm and chest, you may succeedin baulking all his efforts to get up. (Fig. 66).

Fusegi or Defence Technique. There are several possibledefences against the foregoing form of hold-down, but I shallcontent myself with describing two methods which seem to memost likely to be effective. As a general principle your move-ments should be directed to disruption of the relative positionsof your assailant's body and your own, which are, so to say, aprerequisite for a successful hold-down, and to releasing your-

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self from your assailant's control rather than to merely localdefence or attack.

AssUIDi?gth~t you are being held with a Kesagatame appliedon your nght ~lde"that th~ h~ld has bee~ rigidly applied, andt...l1atyour assailant s body 18s~ened, gnp-his belt at the backwith your left.hand and push him upwa~d, straightening yourarm as you bndge. yo~r body and turn sh.ghtly to your right insuch a way as to tIp him forward on to his face. Then holdinghim up with your hand, slide your body under him. This movewill almost balance him on your abdomen or bring your abdo-men into contact with his buttock. Retaining a firm hold andbridging your body, turn over to your left, landing your assai-lant on your left side.

A second method may offer itself when your assailant neg-lects his legs and brings them close together. Push him upwardwith both your hands, arms straightened; simultaneously bridgeyour body, tilting your assailant towards your face. Then onrecoil of the movement roll forward with the action of arocking-horse so as to get your assailant on the mat underneathyour body. Be careful not to relax the pushing movement asyou roll.

It goes without saying that there are counter moves to thesedefences, but an attempt to describe them all in detail wouldtend only to confuse you and would besides expand this coursefar beyond the limits set for it.

Kuzurekesagatame(Broken Scarf Hold)Engaged with your opponent in the Hongesa position

already described you substitute for your right-hand holdenfolding his neck from his left side a hold in which your righthand may either be threaded through his left armpit to griphis right-side collar or else spread with the palm on the matbetween your opponent's left arm and left flank. (Fig. 66 (A).)

Fusegior DefenceTechnique: Bring the heelsof both yourlegs close to your buttocks, swing your body, twist your hips tothe right; clench the fist of your left hand and insert it underyour opponent's throat. Simultaneously stretch both legs andextricate your right arm. When your opponent to prevent thewithdrawal of your right arm pushes with his body, hug hisright arm against your left flank; with your right hand seizethe region of his front belt, switch your body in the oppositedirection to the left and overturn him towards the back of your

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left shoulder. If in defence against this manoeuvre youropponent twists his body to the left and pushing with his righthand places it on the mat, insert your left hand from under-neath and pushing it above his head remove it. At the sametime twist your body to the right so as to establish contact withhis back, and extricating your right arm escape from theholding.

An effective continuation technique or Renrakuwazastemming from the foregoing method is thus described: Ifyour opponent has contrived to extricate his right arm fromunder your left armpit, instantly pass your left arm under hisneck and seize his back collar near his left shoulder with yourthumb inside and carry on the immobilization as before. (Fig.66 (B).)

Ushirokesagatame (Rear Scarf Hold)This method is applied with your back turned towards your

supine opponent's head, as shown in Fig. 66 (0), as you attackhim from his left side. With your left arm you enfold his leftarm and pin it tightly under your left armpit while at thesame time with your right elbow you press strongly against hisright upper arm.

Katagatame (Shoulder Holding or Shoulder Lock)This is an appreciably more drastic hold-down than the fore-

going and pregnant with belligerent possibilities. There are twovariations of this hold-down both of which I shall try to des-cribe below.

In the first method the manner of adjusting waist, hips andlegs is just the same as in the Kesagatame. Assuming as beforethat you are attacking your opponent from his right side, yourright arm must be passed from over the tip of his left shoulderunder his neck. Then your left arm must be threaded fromunder the tip of his right shoulder until both your right andleft hands meet and clasp each other. Now the role played byyour head is vitally important. Its right side should pressstrongly against the upper part of the right side of your oppo-nent's head in such a way that his right upper ann is lockedbetween the right side of your neck and his face. With the.sustained pressure of the right side of your head and neck youforce his rig-ht arm well over to his left so that it is firmlypinned or locked and rp.ndered helpless. (Fig. 67).

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120 THE MANUAL OP JUDO

In the second method of Katagatame, although the grip withboth your hands and the manner of controlling the free move-ment of your opponent's upper right arm are identical with. thefirst-named method, the disposal of your legs is quite different.Thus you should bend your right knee as if you were going tosquat, the shin touching the mat, while you maintain the maxi-mum contact with your opponent's right side, your buttocksuppermost and your left leg extended to your left side. Fromthis position your opponent's efforts to rise should be opposedas in the first method.

If you are inclined to debase the Katagatame into a speciesof "rough house" lock designed to inflict acute discomfort ifnot disablement upon your opponent, see that your left handpassed under the tip of his right shoulder to meet your righthand passed from over the tip of his left shoulder under hisneck, clasps your right hand so that the latter hand is, as it were,cupped in the palm of your left hand held upwards, withfingers normally overlapping the little finger edge of the righthand in a firm grip. In this hold the sharp wrist bone of thethumb edge of your right hand can be held against your oppo-nent's jugular vein and carotid artery, and the maximum left-ward pull of your left hand on your right hand may exert suchpressure at these vulnerable points as to menace him withunconsciousness, if nothing worse.

If you are applying the Katagatame from your opponent'sleft side, you have merely to reverse this hold so that your leftIhand is cupped in your right hand palm, the sharp thumb edge.of your left wrist held against your opponent's carotid artery,'When with the maximum rightward pull of your right hand on'YOur left hand you may similarly exert such pressure as toTeduce your opponent to insensibility.

Defence against Katagatame: As before assume that you arebeing held down on your right-hand side. Contracting themuscles of the shoulders and neck resist your assailant's pres-sure on your right arm and shoulder; wriggle to the right andleft in quick succession to confuse your assailant and make himmisdirect his pressure on you or change his position. If yourassailant switches his pressure towards your face, turn yourright shoulder quickly to your left. This move will not free yovbut will break the holding and open a way for escape. As youturn your shoulder, force your right arm down against your.assailant's right arm, then drawing your right elbow to your


side turn your body sharply to your right to face your assailant.Simultaneously draw up your right knee and press it againstyour assailant. These several actions should be carried out inswift succession to retain the initiative.

A second defence method presupposes tOesame initial actionsas described above. When your assailant changes his pressureupward, utilizing his force turn your body over upward, pivot-ing on your head and shoulders so as to land yourself on themat on your knees above your assailant's right shoulder. Thenif your assailant does not draw his arm away attack him withan armlock. Otherwise you may be able to apply the Kamishi-hogatame or Upper Four Quarters which I shall nextdescribe.

Kamishihogatame (Locking of Upper Four Quarters)In this hold-down you take up a kneeling position behind

your prostrate opponent's head as he lies on his back. Yourright hand is passed from under his right arm to grasp his rightside belt in the normal grip; your left hand is similarly passedfrom under his left arm to grasp his left side belt. His head isbeneath your stomach, and your head bears down approxi-mately in the region of his midriff. Both your knees are openedand your waist is lowered to the utmost. Now if your opponenttries to rise froma shoulder, you must at once manipulate yourtorso so as to push that shoulder down. If he twists his hips andwaist and makes a desperate effort to get up, control and res-train him with both hands. Similarly from whatever directionhe seeks to rise you must apply the appropriate hold-downpressure. (Fig. 68).

Moreover, remember that even if your hand-holds and themanipulation of your body are on the whole good, yet if whenyou are directing your strength to one point only you allowyourself to become unduly absorbed and tensed up over theimmediate problem confronting you, there is always a dangerlest your opponent should take advantage of an opening at aspot where your strength is absent and manage to shake youoff and get up. This sort of risk is not, of course, confined tothis particular hold-down; it is always present in every branchof groundwork. What therefore you should always aim atachieving is a technique which will enable you to preserve yourpresence of mind and to avoid the strain of putting yourstrength ceaselesslyinto your entire body so that you can con-


serve your energy and always have a useful surplus uponwhich to draw to counter your opponent's efforts, whateverform they happen to take. The importance of this golden rulecan hardly be overrated.

Defence: Bridge your body and endeavour to turn it to yourright and left. While so doing find an opportunity to insertyour right arm between your assailant's head and your chest.then press your arm against your assailant's head sideways andin the form of a recoil revolve your body to your left so as to getyour head out of the cover of your assailant's body. This moveshould bring your body in a position at right angles to yourassailant's. The holding is now broken and a way is open foryou to attack in your turn. Quickly bring up your right kneeagainst your opponent's left groin, push away his right leg withyour left foot and clamp his body between your legs in order tohave control over his movements. If you have an opportunity,grip your opponent's collar at the back of his neck with yourright hand, fingers inside; with your left hand the collar at theright side of his neck, the thumb inside. Then bending yourright arm over your right shoulder, bring the forearm into con-tact with the front of your opponent's throat and apply a neck-lock.

In another defence, turn your body to your right and drawback your right shoulder with a jerk to extricate your right armfrom your assailant's hold, and with the freed hand grip youropponent's belt at the front; with the left hand at the back.Then pushing your assailant upward with your right hand,pulling with the left, turn him over your body to land him toyour left.

Ku(.ure-Kamishihogatame (Broken Locking ofUpper Four Quarters)This is a simple variant of the foregoing. It can sometimes

be applied if your opponent hoping to escape from the Kami-shihogatame, manages to draw out one arm and thrusts it underyour right armpit. In that case you may advantageously fromabove your opponent pass your right arm under his upper armand take a firm hold of his back collar. In all other respects therest of the technique ismuch the same as the Kamishihogatame.

Tokoshihogatame (Lateral Locking of Four Quarters)It is assumed that you are applying this hold-down from

your opponent's right side, as usual. You take up a kneeling

r THE MANUAL OF JUDo 123

position on the mat. Your right arm is passed from abovebetween ~ legs. and under his left thigh so as to secure anormal gnp on hISbac~ belt. Your left arm is passed from hisright shoulder under hIS neck to secure .a regular grip of hisback collar. You must keep your knees Wlde apart and in closecontact with your opponent's right flank. His right hand ispinned between your left upper arm and your left upper thigh.Your breast is placed above his stomach. Now if your oppo-nent in an attempt to get up moves to his left, you should followhim up in order not to permit contact between your knees andhis side to be broken, while too with the help of your left armand thigh you do everything in your power to prevent him frommaking use of his right arm. Similarly you must do your bestto counter his efforts to get up by applying your strength ofarms, knees and body to the point from which danger threatens.(Fig. 69).

Defence: If attacked with this hold-down from your rightside, grip your assailant's belt at the front with your right handand bridge your body as high as you can and at the same timepush your assailant down towards your leg with the help ofyour left hand. Then by withdrawing your right hip turn yourbody to your right and raise your right knee against your assai-lant's abdomen. These movements should break the hold andopen a way for counter attacks.

In another method, grip your assailant's belt, the front withyour right hand and the back with your left. Then, pullingwith the left and pushing with the right, turn your opponentover your body and land him on the mat.

Kuzureyokoshihogatame(Broken Lateral Locking of Four Quarters)

Your opponent is as before lying on his back and you areattacking him from his right side. Your left hand is passed overhis left shoulder so as to grip his left-side belt. Your left elbowis kept taut so as to control his head and shoulder. Your righthand is inserted between his thighs to take hold optionally ofhis back mid-belt or his trousers. Your right knee is placedagainst your opponent's right flank and your left leg stretchedto the rear with both feet raised on the toes and your hipslowered. Strength should be infused into your lower abdomenand your chest expanded. (Fig. 66 (D).)

Hv way of continuation technique or Renrakuwaza from the

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Kuzureyokoshihogatame you may sometimes detect an open-ing for recourse to the Tateshihogatame or Lengthwise Lock-ing of the Four Quarters described further on. The modusoperandi in that case is to relinquish your right hand grip onyour opponent's trousers and thrust your right hand fromunder his left armpit so as to stretch his left arm upwards.Then you straddle his torso and apply the Tateshihogatame(q.v.). It goes without saying that your choice of Henka orchange will be dictated largely by your opponent's efforts toescape.

Fusegi or Defence Technique sometimes called Nogare-Kataor Escape Methods: With your left hand seizeyour opponent'sback belt and with your right hand his front belt. Swing yourbody to the right. Insert your right knee under his body, braceyourself strongly and you may escape. Or else insert your kneemore and more deeply and contrive to get your opponentbetween your legs to break the holding. Or else insert yourright hand from between your opponent's left arm and yourown body and as you arch your body backwards to your leftrear extricate your right arm and so loosen the holding. In thefirst two cases if your opponent presses heavily forward withhis body utilize his momentum, twist your body to the left andyou may succeed in capsizing him over your left shoulder.

T ateshihogatame(Lengthwise Locking of Four Quarters)

I rate this method as among the more effective contestOsaekomiwaza and as such well worth study. It is assumedthat your opponent is lying on his back and that you havestraddled his torso equestrian fashion. Now pass your right handunderneath his left armpit and your left hand underneath hisright armpit, and with your four fingers inside grip his backcollar. Stretch both legs so that your right leg is thrust fromthe outside under your opponent's left leg and your left legfrom the outside under his right leg in such wise that both yourlegs are coiled round his extremities. (Fig. 66 (E).) Your upperbody is carried forward somewhat so as to effect the maximumcontact between your own and your opponent's chest andabdomen. In this position while keeping your body soft andsupple you contrive to control your opponent's freedom ofmovement and so prevent him from rising. Should he try to getup whether to right or left you must strive to foil his efforts by

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opening your legs coiled round his. If he discontinues his effortsyou revert to your original hold-down position or by main-taining contact with your legs stretched outwards control youropponent's freedom of action. Certain variants or modifica-tions of hand-hold (Henka) are permissible. Thus your lefthand may be passed as before under your opponent's rightarmpit, but this time your right hand, instead of being passedunder his left armpit is passed over his left-side neck. In thatcase your left hand takes hold of his back collar with your fourfingers inside; your right hand takes a similar hold. Or elseboth your hands may be joined in a firm grip. Or else withyour left hand you can grip your opponent's back collar andwith your right hand your own left cuff. Or again you cangrasp either his right and left front collar. You can also enfoldyour opponent's neck with both arms.

If your opponent's right arm should inadvertently becomesandwiched between your right shoulder and his right-sideneck, an opening may be afforded you for swift application ofa modification of the Katagatame or Shoulder Lock. In thatcase with your right hand (which enfolds your opponent's neckfrom his left) you grip your own left lapel with the four fingersinside and with your left hand your right sleeve at the elbowand strongly constrict both arms.

On the principle of Kenyoho or combination methods theTateshihogatame can sometimes be converted into a Shime-waza or Chokelock. The modus operandi is then as follows :With your left hand you seize your opponent's left-side collar,thumb inside, and apply your forearm to his throat. Your rightarm is passed from his left-side neck to his back neck with athrusting sensation and grips your judogi at the left elbow andin this position you may be able to subject your opponent'sthroat to crushing pressure from front and back.

Another quite effective version of the Tateshihogatame isdescribed by Kudo Shihan in his useful little handbook onJudo. As before your opponent must be supine on the mat andyou overlap him from the chest to the abdominal region. Inquite marked contradistinction to the basic method abovedescribed you pass your left hand over your opponent's leftshoulder far enough to grasp his rear belt with the thumbinside, and pull on it. Next your right hand is inserted fromunder his left armpit and under his left upper arm so as tostretch his arm upwards and bring the inner side of his

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wrist against the region of your right shoulder and with yourright hand you take hold of your own left-front collar, thumbinside. Both your legs are held so high that they can be appliedto the region of your opponent's armpits. Your upper body isthen launched so far forward that it is prostrated obliquelyover your opponent's left shoulder and the left surface of yourface comes in contact with the mat. The knack of manipulatingyour legs in this method must be mastered to ensure its efficacy.Thus the sides of both your feet must clip your opponent'storso. (Fig. 66 (F).)

It may be useful to supplement this method with TsunetaniOda's description of the Kuzure-Tateshihogatame or BrokenLengthwise Locking of the Four Quarters. In this method youropponent must as before be lying on his back and you haveassumed the astride position on his torso from his chest to hisabdominal region. Your left hand is passed from over his leftshoulder to his back so as to grasp his belt approximatelybetween his middle back and his right side. Your nght hand ispassed from under his left armpit and upper arm to enable youto grip your own front collar. Your right elbow is tightened sothat your opponent's left arm is even exposed to the risk of anUdegatame or Armlock. Your left leg is posed in such wisethat from his right-side neck it is bent to enable you to squaton it with a thrusting sensation. Your right leg from his left-side abdomen thrusts into his back. Your buttocks are raisedand your left-side chest is lowered. Your body in relation toyour opponent assumes a leftward oblique posture. Both yourfeet tend to be inserted somewhat under his trunk. In thisposition you may be able to control his upper body and leftarm. (Fig. 66 (G).)

Defence (Fusegi) or Escape Methods (Nogare-kata)This method applies more especially to the basic version of

the Tateshihogatame. Using your left hand try to unloosenyour opponent's leg hold and if successful scissor his right legbetween both your legs. Insert your left hand from betweenyour opponent's right leg and your own body. Twist your bodyto the right. With your left hand push and lift him to the backof your right shoulder and simultaneously twist your right armto the inside and extricate it. There are several other variantsof this highly important immobilization for an exposition ofwhich the reader is referred to my Judo on the Ground.

INSTRUCTION VII

f

SHIMEWAZA OR NECKLOCKS

ALL Japanese authorities on Shimewaza are agreed that onno account should the assailant's strangling arm be applied tohis victim's throat in the semblance of an unyielding stick. Itought rather to be coiled round his neck like a clinging rope orcord which constricts an area of the victim's throat or neckvery little beyond the bounds necessary to cut off his respira-tion. But the moment before applying the lock you are advisedto take a deep breath in order to infuse the maximum strengthinto your body generally and your lower abdomen or saikatanden more especially. When applying the lock you musteffect adequate control over your opponent so that while hisbalance is broken you preserve your own stability. You mustpractise so that you will be able to apply both hands to themost vulnerable spot on your opponent's throat. On the otherhand, when you in your turn are subjected to a chokelock andrealize that your respiration is in jeopardy, you are advised ifstill articulate to exclaim "Maitta!" ("I'm beaten !") or ifdeprived of speech to tap your assailant's body sharply where-upon he must at once dIScontinue pressure on your throat. Inneither Randori nor Shiai ought Shimewaza to be attemptedunless there is a Yudansha present competent in case of needto resort to Katsu or methods of resuscitation.

If you have gained reasonable proficiency in the Osaekomi-waza or hold-downs, you should be ready to tackle the moredangerous and important methods of choking and strangling anopponent into submission, whether in play or earnest. I shalltry to explain the more effective chokelocks in their orthodoxsequence, but it goes without saying that in either friendly com-petition or in a real fight you would on the spur of the momentchoose the most appropriate method. The first chokelock onmy list is

Namijujijime (Normal Cross)Although chokelocks can, under certain conditions, be

applied against a standing opponent from a standing position,most of them have been elaborated on the assumption that both

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Ag. 70

Fig.71

Flg.n

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assailant and victim will be in a more or less recumbent positionor that such chokelocks will be applied from behind a seatedvictim by an assailant usually with one knee on the mat.

To apply the Namijujijime you sit astride your opponent'sabdominal region with your knees braced on the mat at eitherside. With your left hand directed to your opponent's leftyou take a firm normal grip of his collar from behind, then crossyour right arm over your left to take a similar hold of his rightback collar. Remember that the normal or regular grip meansthat your hands are held with backs uppermost and palmsdownwards so that the little finger edge of your wrists constrictsyour opponent's neck. As you bend over him draw your armswith a sustained fluid movement to left and right and simul-taneously spread your elbows outwards. Thus the efficacy ofthe chokelock at this final stage depends less upon the strengthof your arms than upon the outward movement of your elbows.Needless to add, the potency of every Judo technique withoutexception gains greatly from a well-developed saika tanden orshitahara (lower abdomen), as explained in my introductoryremarks. Care must ever be taken not to localize the motivepower of your Tsukuri and Kake but to call into play all yourbodily resources when your attack is being pressed home.(Fig. 70).

Defence: Try to insert your fingers inside your collar andby strongly pulling on it on either side endeavour to weaken thepressure on your throat. Or perhaps a sudden powerful upwardpush with your hand against the elbow of your assailant'suppermost arm may disturb his astride position on yourstomach and capsize him to the mat on that side. Co-ordinatethese manreuvres with the violent oscillation of your torso fromside to side so as to weaken your assailant's astride position onyour body. Speed is imperative if your defence efforts are tosucceed because once your assailant's hold on your neck andthroat passes a certain stage there is always danger lest suddeninsensibility should supervene. So be doubly careful if you arepractising these holds in the absence of a black belt competentto apply Katsu in an emergency!

Katajujijime (Half Cross Lock)In this chokelock you use one hand-which is optional and

immaterial-in exactly the same way as in the Namijujijime,described above, to hold your opponent's back collar in the


normal grip, i.e. with palm downward, but with the other handyou take the so-called reverse (gyaku) grip of your opponent'sback collar, i.e. in such wise that the palm is held uppermostso that the thumb edge of your wrist presses against the side ofyour opponent's neck. It is, as I have said, immaterial whichhand takes the normal and which the reverse grip, but see thatthe hand passing over your other hand takes the normal grip.The hand taking the reverse grip should as much as possibleencircle the lower part of your opponent's neck. The rest of thechokelock, Tsukuri and Kake is effected in much the same wayas in the Namijujijime. (Fig. 71).

The defence against this chokelock is similar to that againstthe Namijujijime.

Gyakujujijime (Reverse Cross Lock)To my mind this is by far the most effective of the choke-

locks applied from the front with the help of the victim'scollar or lapel. In this method both your crossed hands takethe reverse hold of your opponent's back collar, i.e. your palmsare uppermost and the thumb edges of both wrists press againstyour opponent's neck. For the rest the movement of your armsat the moment of Kake necessitating the outward spreading ofyour elbows resembles that of the other two chokelocks alreadydescribed.

There is, however, an additional movement calculated toincrease appreciably the efficacy of the reverse cross lock. If,let us assume, your right hand and wrist are on top of your left,abandon your body to your right and as with the momentum ofyour roll you draw your opponent almost over you, encircle hiswaist with your legs and interlock your feet behind his back inthe process. If, on the contrary, you roll over to your left whenyour right hand and wrist are uppermost, the movement will in-evitably loosen the tension of your grip and so nullify the lock.I t is naturally immaterial which of your hands is uppermost,but when you are executing this lateral roll it is essential thatyou should do so outward to the right from the thumb-edge sideof the uppermost hand if that hand is your right and to the leftwhen your left hand is uppermost. (Fig. 72).

The defence against this chokelock is to all intents and pur-poses the same as in the two preceding instances but owing tothe intrinsically greater power of the reverse cross lock the taskof escape from it is proportionally more difficult.

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Fig.n (&)

Fig.n (c) Fig.73


Okurierijime (Sliding Collar Lock)We now come to a method of choking which presupposes

that your opponent is seated on the mat and that you areattacking him from behind. Place your left knee on the mat.Pass your right arm over his right shoulder and across his throatand as far back as possible take a normal hold of his left lapel.Now thrust your left hand and arm under his left armpit andseize his right front lapel in the same normal grip. Place theright side of your head against the left side of your opponent'spull his body slightly backwards and choke him with your rightforearm. If your opponent tries to escape by shifting his body,since your right hand has a far-reaching hold on his left frontcollar, the attempt will only increase the pressure on his throat.This chokelock differs from the earlier ones described in thatinstead of strangulation being caused by pressure on thevictim's jugular vein and carotid artery it is due to pressure onhis windpipe. (Fig. 76 (A).)

It may be added that the hold with both your hands oughtto be taken as deeply as possible and close contact effectedbetween your chest and your opponent's back. At the momentof choking your opponent both your elbows should be drawnin closely to your flanks. The efficacy of the Okurierijime canoften be intensified by your falling backwards, pulling youropponent with you and coiling both your legs round his bodyas shown in Fig. 72 (B). The object of this manoeuvre is stillfurther to immobilize your opponent and render him morevulnerable to this particular chokelock.

Yet another quite effective variant of the Okurierijime isdescribed as follows: In this case it is assumed that youropponent is either in a half-sitting half-rising posture or onall-fours on the mat. You approach him from his right side andfrom over his right shoulder pass your right hand under histhroat and seize his left-side collar with your thumb inside.Your left hand is passed over the nape of his neck and insertedfrom under his left armpit so as to take a similar grip of hisright-side collar. Then as you pull your opponent's body in thedirection of his right-front comer you apply your left waist tothe region of his right-side neck; both your legs assume a posesimilar to that of a left Kesagatame or Scarf Holding and fromthis point you must exercise the weight of your body to themaximum extent and with the powerful traction of your handsconsummate the chokelock. It is important that when you pull

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Fig 74

Fig 7S

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your opponent's body towards his right-front comer controlshould not be relaxed up to the moment of strangulation.(Fig. 72 (C).)

It goes without saying that the best means of defence is toescape before your opponent has achieved complete controlover your body, but failing that you should endeavour tonullify the potency of your opponent's strangling right arm bypulling strongly on it with both your hands. Switch your bodyto the right and try to extricate your head.

Another method: Try to pull down your opponent's rightarm, then stretch your body backwards and endeavour towithdraw your head from between your opponent's right armand breast.

Katahajime (Single Wing Lock)In this chokelock also your opponent is supposed to be

squatting or seated on the mat and you are behind him withyour left knee on the ground. If you plan to choke your manwith your right hand, then from your rear position pass thathand round the right side of his neck to his front and take anormal grip of his left lapel as far back as possible. Thrustyour left hand and arm under his left armpit and over his leftshoulder and apply the palm of the hand to the upper part ofthe nape of his neck, stretch your waist, pull strongly with yourright hand holding his left lapel and with your left hand pushhis head well forward, and with this combined action chokehim into submission. As a variant you can grasp your rightupper forearm with your left hand and as before exert strongforward pressure against your opponent's head. (Fig. 73).

To lessen the likelihood of your opponent's escape from thisnecklock it is well to unbalance him backwards and to main-tain the closest contact between his back and your chest.Naturally these movements should be coincident.

Defence: Before your opponent has completely thrust hishand and arm behind th~ n~pe of your neck with your righthand take hold of his right sleeve and pull it downwardsagainst your chest, when you may perhaps succeed in foilingthe attempted chokelock and escape.

Sodeguruma (Sleeve Wheel)From the same kneeling position behind your seated

opponent pass your left hand over his right shoulder and acrosshis throat until you can take a normal grip of his left front

T THE MANUAL OF JUDO 135

collar; then pass your right hand across your left wrist and overhis left shoulder and take hold of the slack of his tunic slightlyabove your left hand which is gripping his left collar. Use bothhands to pull your opponent backwards and he will be speedilythrottled into submission. This is one of the more effectivechokelocks not usually illustrated. And in this method too theobject of attack is your victim's windpipe. (Fig. 73 (A).)

Defence: Seize the left front of your collar with both handsjust below your opponent's left hand and pull it down along-side the breast.

Hadakajime (Naked Chokelock) NO.1Unlike the chokelocks hitherto described, the naked choke-

locks can be applied without utilizing your opponent's tunicat all, and for that reason they have a good deal to recommendthem. In the first method I want to explain you make yourattack from behind your opponent with your left knee on themat. Now with the inner side of your right forearm, i.e. thethumb edge, encircle your opponent's neck from his right sideso that it touches the lower part of his throat and beingextended over his left shoulder enables you to place the palmof your right hand in the crook of your left elbow. To effectKake or the final attack you should simultaneously press hishead forward with your left hand applied from behind andconstrict his throat with your right wrist with a combinedpressing and pulling action, the latter being against your leftinner arm. (Fig. 74).

Once this naked chokelock has been applied escape from itis by no means easy. Try to pull down your opponent's rightforearm near the middle and draw your loins backwards so asto place your body beneath his body. If these moves succeedyou may succeed in extricating yourself from your assailant'shold.

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Hadakajime (Naked Chokelock) No. 11Perhaps an even simpler yet equally effective naked choke-

lock is the following: As before take up a semi-kneeling posturebehind your opponent. Pass your left hand and arm over hisleft shoulder and across his throat in front with the thumbedge of your wrist against it and cup the palm of that handin the upturned palm of your right hand near his rightshoulder. Then with the left side of your head press strongly


against the right side of his head and simultaneously pull hardwith your right hand clasping your left so that the sustainedtwofold pressure on his windpipe and against his head speedilyreduces him to submission.

If you prefer it you can reverse the order and instead ofpassing your left arm over your opponent's left shoulder passyour right arm over your opponent's right shoulder, thumbedge of wrist against his throat as before and similarly cup yourright downward palm in the upturned palm of your left hand.But now the right side of your head should be pressed stronglyagainst the left side of your opponent's head.

Seeing that the efficacy of this form of Hadakajime largelydepends upon the traction power of the pulling arm and thatmost men are stronger in their right than in their left arm,the first described method will probably prove the morepopular.

You can apply a very formidable variation of the nakedchokelock from behind your seated opponent while you your-self are standing up instead of kneeling. To do this you should,if using your left arm to encircle your victim's throat, placeyour left knee against his left shoulder, your right leg stretchedconveniently to the rear and proceed as above, the left side ofyour head pressing firmly against the right side of his. Insteadof cupping your left downward palm in your right upturnedpalm, you can with much the same effect clasp the back ofyour left hand with your overlapping right hand and so chokeyour victim by sustained pressure of your left wrist bone on hiswindpipe.

Again, as in the case of the two kneeling naked chokelocksalready described, you can, if you prefer it, use your right armto encircle your opponent's neck from behind when, of course,your right knee should be placed against your victim's rightshoulder, your left leg stretched to the rear, your right cheekpressed against his left cheek, and the back of your right handclasped tightly with your overlapping left hand. (Not illu-strated).

I shall later in a separate lesson supplement my explanationsof what may perhaps be regarded as the more orthodox "tricks"with a description of some others to include certain methodswhich, on account of their ruthlessness, have been banned inordinary Judo competitions but methods which might conceiv-ably serve a useful purpose in a life and death struggle.

INSTRUCTION VIII

il

KANSETSUWAZA OR THE ART OF BENDING AND TWISTING

THE JOINTS

IN this lesson there will be included several locks applied alsofrom a standing position against a standing opponent, althoughmost of those described presuppose that you have either your-self thrown your opponent or have caught him unawares in amore or less recumbent posture.

But before describing selected methods I intend to say a fewwords in explanation of an important yet simple basic principlegoverning the Jujutsu and Judo technique of bending andtwisting the joints. On the most plausible assumption that as

\ a rule you would be confronted by a standing opponent andthat you planned to assault one of his joints, what would beyour most readily accessible objective? What but one of hishands? For that reason the Jujutsu and Judo pupil is taughthow most effectively to apply the basic holds against the handof a willing subject who in his turn practises these holds onhim.

Face your partner and in the first place seize his right handfrom the back with both your hands in such a way that theirlittle finger edges are laid across the base of his hand belowthe palm and your two thumbs are pressed against the back ofhis hand approximately midway between the first and secondphalanges, i.e. between the first and second fingers. Exertingabdominal force try first a simple direct bending backwards ofthe captured hand from the wrist. It goes without saying thatin a genuine attack successwould almost entirely depend uponits unexpectedness. Given even the slightest warning of yourintention, any man of average strength could thwart it. But alittle practice in this method will suffice to convince you thatit really is about the most effective that could be devised forbending your victim's hand backwards and inflicting pain onhis wrist.

The next stage in the process is for you to twist the capturedhand outwards and downwards to your left and your victim's

137

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right, synchronizing this move with a step backwards with yourleft foot. This reverse action or gyaku is capable of inflictingconsiderable pain upon your victim and when expertly appliedmay even destroy his balance to his right back corner and throwhim to the ground.

A corresponding hold can naturally be directed against yourpartner's left hand in which case the outward and downwardtwist should be made to your own right and your victim'sleft.

A hardly less painful and effective attack can be made bytwisting your victim's hand outwards and upwards to your leftand his right. If in earnest your best plan would be to seizewith your right hand your victim's right hand when it hap-pened to be hanging down rather loosely with the back turnedoutwards, and an instant later apply your left hand so that bothyour thumbs could be pressed against it between the first andsecond phalanges. If this outward and upward twist succeeds,your victim will usually be forced to bend forward in acute dis-comfort, and were you so minded you could easily convert thehold into a hammerlock beloved of "catch" tactic.s. Thecorresponding attack upon your victim's left hand necessitatesa preliminary left hand hold on his wrist, supplemented byyour right, then the pressure between the phalanges with bothyour thumbs as you twist the captured hand outwards andupwards to your right and your victim's left. If and when thelast-named twist is applied and you are bent upon knockingout a real enemy, you can couple the twist with a swift kickin your victim's solar plexus delivered with your right or leftfoot, whichever seems more convenient. An attack of thisnature would entitle it to be called a demonstration of Atemi-waza or the art of assaulting vital spots which I shall explainbriefly in my tenth and last lesson of this series.

I must also point out that the Kansetsu methods described inthis lesson, although fairly comprehensive in their scope, do notpretend to exhaust the Judo repertoire under this head. Butan attempt to include the many subtle variations which' aredetermined by the movements of your opponent would expandthis course considerably beyond the limits set for it. For therest, once you have mastered the basic principles, you ought tobe capable yourself of improvising other locks adapted to theparticular situation.

The first method I shall try to describe is called

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THE MANUAL OF JUDO 139Udegarami (Entangled Armlock)

Since disablement of your opponent's right arm wouldu:'ually in a gen~ne fight prove m<?recx:ipplingto him than thedisablement of his left arm, and smce m order to achieve thislaudable object you must in this particular method attack fromyour opponent's left side, on this occasion I shall assume thatyou are involved with your opponent in groundwork and havebeen manceuvring with a hold-down in view.

If, for example, you have been contemplating a Kesagatameor Scarf Hold on your opponent and are reaching over withyour left arm to pass it under his right upper arm in order tograsp his right shoulder, he may in an attempt to ward off thisattack push against your throat or try to grip your lapel. In thatcase, leaning over his torso with your right hand take hold ofhis right wrist in an overlapping grip, his arm being bent at theelbow; then thrust your left forearm under his right upper armand grasp your own right wrist with your left hand also in anoverlapping grip, i.e. back of hand uppermost. Now if withyour right hand you continuously press your opponent's fore-arm downwards and with your left forearm prise up his upperarm from underneath, this remorseless counter-action willinflict severe pain on his elbow joint and if not relaxed in timewill dislocate it. (Fig. 75).

If you are attacking from your opponent's right side, then hisleft arm must necessarily be your objective. You must thenhold his left wrist with your left hand and pass your right fore-arm underneath his upper arm to grasp your own left wrist.Then downward pressure is exerted with your left hand on hisforearm and upward pressure with your right forearm fromunderneath his upper arm.

If your opponent can forestall your attack by straighteninghis menaced arm in time, this armlock is not likely to succeed.

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Udegatame or Udehishigi (Armlock or Arm Crush)This method is best applied from either side of your

opponent who is assumed to be lying on his back, and yourmost convenient posture for attack is one in which you haveone knee on the mat.

In this case I shall assume that you are on youropponent's right side. An opportunity for attempting theUdegatame may occur if your opponent happens to stretch outhis left arm to grip your right lapel or extends it near your


Fie. 76

Fig.76 (A)

, THE MANUAL OF JUDO 141

throat. With lightning swiftness apply both hands against hisleft elbow joint from the outside in such wise that your lefthand, palm undermost, rests directly on the joint and yourright hand clasped over the back of your left hand strengthensthe downward pressure in the direction of your body. Thusyour opponent's arm is held in a straight line. While his elbowjoint is being pushed in your direction his shoulder too cannotmove and his hand is immobilized against your shoulder so thatif you increase the downward pressure with both your handson his elbow you can eventually dislocate the joint. (Fig. 76).

The following effective variant of the Udegatame isdescribed in Kudo Shihan's little manual on the art: Inthis case it is assumed that you are engaged with youropponent in the Left Self-Defensive Posture or Hidarijigotai.If your opponent chances to be tightly holding your right innerupper sleeve with his left hand an opportunity may be affordedfor recourse to this method. Draw your right shoulder to therear and thereby causing your opponent to project his leftshoulder simultaneously wind your right arm from the inner tothe outer side of his left arm and from his left shoulder pull itdownwards. This movement should coincide with the over-lapping of the fingers of both your hands against his left elbow-jomt, more precisely with your left palm superimposed uponthe back of your right hand. Then as you swerve your body tothe left you twist your opponent's elbow downwards to theutmost extent. If your opponent rotating to the front tries toescape quickly apply your left foot to the region of his right-front waist, abandon your body to the rear and instantly con-summate the lock. (Fig. 76 (A).)

Defence: Should you be subjected to this form of attack thebest method of escape, if you have time, is to relinquish yourleft-hand hold on your opponent's judogi and so separate fromhim.

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Ude-kake-hiza-gatame (Knee Armlock)This is a more spectacular and potentially violent and

crippling lock than the two preceding ones. An opening forrecourse to it may occur if while engaged in Tachiwaza orupright practice you fail to bring off a Tomoenage or StomachThrow. Say in trying to execute this throw you have fallenon your back and your opponent has been pulled downwards

~I in such a position that his right knee is between your thighsr

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on the mat, his outstretched right hand touches the region ofyour left waist, and the outside of his elbow the inside of yourleft knee. At this juncture take hold of both your opponent'slower sleevesand pull him towards you. Thrust your right footinto the upper part of his left thigh or groin pushing it backso that he cannot move his body freely. Immobilize youropponent's right arm by pinning it against your left side. Hisright shoulder is similarly prevented from movin~ freely. Nowpress down strongly with your left knee upon hIS right elbowjoint, your left foot and shin resting on the upper part of hisright back. If your opponent doesn't give the signal of defeatin time the elbow may be dislocated. (Fig. 77).

The same lock can be equally well applied to your opponent'sleft elbow, should he in the midst of falling inadvertentlyextend his left knee between your thighs, with his outstretchedleft hand touching the region of your right waist and the out-side of his elbow the inside of your right knee. Holding bothhis lower sleeves pull him as before towards you, thrust yourleft foot against his inner right thigh or groin and push it backto the fullest extent. Immobilize his left hand and arm againstyour right side and bring the maximum pressure of your rightknee to bear upon the outside of his left elbow. Your right footand shin are placed upon his left back.

For the success of this armlock it is of course essential thatyour opponent's attacked arm should be pinned with the out-side of the elbow uppermost, as described above.

Defence: It should be emphasized that once these armlockshave reached a certain stage escape is bound to be difficult.However, in this case it is possible that you may be able totwist your right wrist inwards and extricate it from youropponent's left-hand hold or at any rate neutralize the lockor again you may manage to thrust it inwards in the reversedirection so that it comes into close contact with youropponent's body thus foiling the attempt.

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Ashigarami (Entangled Leglock)This is another potentially crippling lock which should never

be recklessly applied save in a serious encounter with a lawlessadversary bent on mischief. In much the same way as in thecase of the preceding lock, an opening for the Ashigarami canoccur if you have either failed to scorea stomach throw with yourleft leg or you have deliberately missed it in order to manreuvre


your adversary into a posture appropriate for recourse to theAshigarami. Thus your opponent's left leg may be advancedtowards the region of the righ.t s~deof your waist. Now let gothe hold of your left hand on hISnght sleeve and grasp his rightfront collar in the normal grip. Coil, as it were, your right leground your opponent's left leg in such a way that it passes fromthe outside and over it until your heel comes into contact withhis inner left thigh or groin. In much the same way as in thepreceding lock, thrust your left foot against the inside of youropponent's right thigh or groin. Pull with both hands and pushwith both your feet. Your opponent's left ankle being heldagainst your right side near your right armpit and his torsobeing pulled with both your hands, he cannot draw back. Asyour right leg from above presses down upon your opponent'sleft knee joint, severe pain can be inflicted and, failing submis-sion, dislocation is likely to result. (Fig. 78).

According to circumstances the Ashigarami can be appliedwith equal effect to your opponent's right leg. If, for example,he exposes it to your attack by advancing it towards the regionof the left side of your waist. In that case, simply as beforeexchange your sleeve hold for a collar or lapel hold so thatboth your hands are grasping his right and left lapels. Coil yourleft leg round your opponent's right leg from the outside andover it so that your left heel is dug into his inner right thighor groin. Then thrust your right foot against the inside of youropponent's left thigh to help immobilize him and prevent hiswithdrawal. His right ankle is held against your left side nearthe armpit. Your left leg from above presses down upon youropponent's right knee joint and if your technique has beencorrect pain and possible dislocation will surely extort sub-mission.

There is a minor variant in the manner of holding youropponent's collar or lapel which can also be recommended.Thus when applying the Ashigarami against your opponent'sleft leg-the method first described-you exchange your left-hand hold on your opponent's right sleeve in the normal gripfor a reverse or gyaku grip with that hand on his left frontcollar or lapel. This means that your fingers will be insideand your thumb outside his lapel. Your right hand may holdthe same lapel slightly below your left hand and in the normalgrip. This method too is very powerful in its effect.

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144 I.;!\

THE MANlJAL OF JUDO

Fit 78


]umonjigatame or Udehishigi-juji (CrossArmlock)I rate this as one of the more formidable Kansetsuwaza or

Bonelocks. An opportunity to apply it may occur when, if youhave thrown your opponent and are seated astride of him instruggling to extricate himself or for any other reason' hestretches out his right hand in an attempt to clutch your lapel.On the instant capture his right arm with both your hands andswiftly shift your position from astride of him to a seatedposture at his right side as nearly as possible at right angleswith his torso. The hold with your right hand should be on hiswrist whereas the hold with your left hand should be somewhatfurther up his forearm. Naturally your right-hand grip will befrom your right to left overlapping your opponent's wrist whileyour left-hand grip will be from left to right overlapping hisforearm, and in both cases the outside edges of your littlefingers will be facing his elbow. As you roll backwards from thisposition draw your opponent's captured right hand towards youuntil you have it snugly trapped in your right crotch. Extendyour left leg and place it over his throat and chest to preventhim from rising. Keep your right leg bent with kneeupwards and front part of the ankle in close contact with youropponent's right armpit. As you fall back be careful that youropponent's captured right arm is held with the inner sideuppermost. Draw it a little towards your right side. A slightlift of your buttocks coupled with downward pressure on youropponent's arm will inflict severe pain on, and ultimate disloca-tion or sprain of the elbow joint unless submission comes ingood time.

In the execution of this hold you must on no account loseclose contact between your two bodies, and it is essential thatyour thigh should be kept as near as possible to the point ofyour opponent's shoulder-in this case the right. (Fig. 78 (A).)

Defence: With your left hand loosen your opponent's leftleg, which is extended across your throat, in the direction ofyour head and so perhaps escape. Or else switch your body toyour right, twist your trapped arm inwards and so perhapsnullify the lock.

Ashihishigi (Leglock or Leg Crush)This is another very formidable lock which, on account of its

dangerous possibilities, has been excluded from friendly clubcompetitions. For my own part, however, I am unable to agree

Fig 78'(A) -, I-I"

1II

"I'-

IFit. 79


that it is actually more dangerous than several other methodspermitted in such competitions including certain standingthrows which, if clumsily executed, may easily disable thevictim. In any case, considering the possible usefulness of theAshihishigi in a real fight I feel fully justified in describing itfor your benefit but with the proviso that you will never reck.lessly apply it in friendly practice or competition with a Judopartner.

This painful lock can be applied against a supine adversaryfrom either your own recumbent or standing position. Onceyou have grasped the technique of the recumbent lock youshould experience no difficulty in converting it into one appliedfrom a standing position. Furthermore, as in virtually all Judomethods the Ashihishigi can be used against either the right orleft leg of your opponent. The following is an explanation ofhow the lock is applied when both of you are recumbent on themat and when you are attacking your victim's right leg.

'{he necessary posture for Tsukuri is one in which, usuallyin the course of groundwork, you are seated on the mat nearyour opponent's feet, say at his right side facing him. Trapyour victim's right foot under your right armpit with yourright arm coiled round that leg well below the knee from theinside, taking care to keep the thumb edge of your wrist-bonecutting into the flesh immediately at the base of the calf-themost sensitive spot. Your left hand may then either grip thefingers of your right hand or vice versa, whichever you preferor you can torture your victim's right leg in a sort of brackethold, Le. your left hand grasps his right leg from its outsidebelow the knee in an overlapping grip while your right handwound under his leg in the manner already described graspsyour left wrist in an overlapping grip. Synchronizing the move-ment with your hand hold, you must thrust your straightenedright foot into your victim's left or right crotch to keep himfrom getting up and then while falling backwards exert themaximum upward crushing pressure against the base of the calfof the capturea right leg. In a real fight this lock, if maintainedfor any length of time without relaxation, would effectuallycripple your antagonist.

Making the necessary readjustments you can, of course,apply the Ashihishigi to your opponent's left leg. This changenecessitates a preliminary posture outside your opponent's leftleg and facing him as before. Pin his left leg below the knee

1


under your left armpit with the thumb edge of your leftwrist-bone digging into the flesh at the base of the calf.Decide for yourself which of the two hand-grips you prefer.If you choose the bracket hold, then your right hand mustoverlap your opponent's left leg below the knee from theoutside of his leg, and your left hand must take an over-lapping grip of your own right wrist. Your left foot must thenbe pushed into your opponent's left crotch to immobilizehim. Kake or final attack is the same in both cases. (Fig. 79illustrates the former variant).

The Ashihishigi can on occasion also be successfullyapplied from the inside of either the right or left leg of youropponent and with either the simple or bracket grip. But insuch case you must trap his right leg under your left armpit andhis left leg under your right armpit. Quite clearly, from theinside position you could not apply the crush in any other way.On the whole, however, I am inclined to think that the methodfirst described is the more effective.

The Ashihishigi can further, as mentioned at the outset, beusefully applied by standing against a supine opponent. Theseveral hand holds are identical with those used in a recumbentposture, but the final Kake is achieved without your havingto fall on the mat. Instead it generally suffices for you to bendbackwards and press strongly upwards with your thumb-edgewrist-bone crushing your victim's lower calf, as alreadydescribed.

I'

fUdehijigi (Arm Bracket)or Udehishigi(Arm Crush)

This is a lock to be attempted when both you and youropponent are engaged in a standing position. An opening forits application can occur if your opponent carelessly stretcheshis right arm to his front. With your right hand grasp his rightwrist from its inner side so that the thumb side points towardshis elbow, and the inner side of his arm is kept uppermost, i.e.your hand must be over his wrist. Advance your left foot a littleand turn your body to the right so as to bring you round tohis right side. Pin your opponent's right upper arm under yourleft armpit. Your left under arm should be held in close contactwith your opponent's elbow or its upper part and should passunderneath so that with your left hand you can grasp your ownright lower lapel. The role of your right hand gripping youropponent's right wrist is to push the latter downwards in the

t

148 THE MANUAL OF JUDO THE MANUAL OF JUDO 149

reverse direction, forcing your opponent to tilt forward on h1stoes. As you keep up the downward pressure on his right wristhe is unable to relax and severe pain is inflicted on his elbowjoint culminating in dislocation if he does not surrender. Forthe successful execution of this lock it is essential that whilepressing your opponent's wrist downwards its inner side is un-interruptedly kept turned upwards. Should he manage toloosen it, the efficacy of the lock will be lost. (Fig. 80).

This lock can equally well be applied against your opponent'sleft arm, should he afford you an opening by carelessly stretch-ing it to his front. You should by this time be able to work outthe necessary modifications for yourself. Your left hand mustnow grasp his left inner wrist from above and the encirclingarm is your right, with your opponent's left upper arm pinnedunder your own right armpit, and the hand of your encirclingarm holding your own left lower lapel or thereabouts. Youhave naturally swerved round to your opponent's left side. Thesuccessive steps to the final Kake are much the same.

Udehishigi-wakigatame (Side Arm Crush or Lock)This somewhat awkwardly designated lock might be essayed

by you against an assailant who had grasped your throat fromthe front with both hands intending to throttle you. Take holdof his right wrist from the outside with your left hand and ofhis hand from the inside with your right hand in proximity.Keep your body straight but leaning back slightly and co-ordinate this move with a powerful well-sustained inward twist(to your own right) on your opponent's captured right arm.As you do this pivot more to your right and bring youropponent's arm underneath your left armpit with your left armpressed firmly against his elbow joint from the outside. At thisstage bend backwards and try to combine your downwardpressure of your arm against your victim's elbow joint with abackward bend of his wrist with your hands, thus threateninghim with a dual dislocation or painful sprain. In all cases whenapplying these locks try to call into play the latent power ofyour saika tanden or lower abdomen and not to confine youleffort solely to your arms and/or legs. (Fig. 81).

If you are applying this arm crush to your opponent's leftarm to counter his attempt to choke you from the front, thenyour right hand takes the outer grip of his wrist and your lefthand the inner hold of his hand. The inward twist of his arm

][

fig. 80

FiC.81

150 THE MANUAL OP JUDO

is then to your left. Your opponent's left arm is brought underyour right armpit and you pivot to your left. The succeedingmovements are the same as in the first instance.

Arm Entanglement in Retort to attempted Blow .This particular method is not generally listed in Judo text-

books and I have never seen a precise Japanese definition.Doubtless, however, it would figure among the Udegarami orentangled armlocks.

Assume that your opponent has aimed a blow at your headwith his right fist. Intercept-if you can !-this blow by captur-ing his wrist with your left hand. Violently bend his armupwards at the elbow and as you advance against him threadyour right forearm underneath his right upper arm and placethe palm of your hand so that it overlaps your left hand whichis gripping his wrist. Combine downward pressure with yourleft hand on his wrist with an upward prising pressure of yourright. arm from under his right upper arm. Keep as far to yourleft and as close to your opponent as possible and turn yourhead and face also well to your left in order not to expose your-self to the risk of a swinging uppercut with your opponent'sleft fist on the point of your jaw. Such a fate once befell a notvery large Japanese policeman who tried to demonstrate thisparticular hold on a big and powerful English friend of mine,a hotel proprietor in the Japanese lake district. The Japanesepoliceman went down for the count. So take heed how youtry this hold on a tough antagonist handy with his mits! (Notillustrated).

Before completing this description of chosen bonelocks andholds which does not profess to be exhaustive, I don't think Ican do better than quote some cautionary comment on thesubject volunteered to me many years ago at the TokyoKodokan by the famous Judo master Sakujiro Yokoyama, now,alas, no more, who honoured me with his friendship throughoutmy membership of that school. It was to this effect, freelytranslated from the original Japanese into colloquial English:

crAllthese fancy holds and locks are very well in their way.But one has to be very careful how one tries them out againsta rough and tough opponent, especially if you are not quitesure that he is wholly ignorant of Jujutsu or Judo. So whenin doubt the best plan is, in my opinion, to close with yourman right away and throw him heavily with one of the recog-

THE MANUAL OP JUDo 151

nized hand, foot, leg or hip throws. Once you have him on theground, he is virtually at your mercy and far more amenableto Kansetsuwaza than when he is standing up."

So please bear this advice in mind when practising the stand-ing Kansetsuwaza explained above (and equally when studyingthe unorthodox and irregular methods I shall do my best todescribe in my next instruction).

I

.III, I

II

I'

INSTRUCTION IX


thumbs below, merely reverse the escape movement by pressingdownwards and outwards against them.

On the doubtful hypothesis that an attacker would be sofoolish as to seize one of your wrists with both hands thus leav-ing you with a free hand and arm to strike with 'if you areloath to be so rough, you can use it to reinforce th~ upward ordownward thrust of your captured hand according to the posi-tion of your attacker's thumbs. Thus if your right wrist is heldand your attacker's thumbs are uppermost, insert your left handbetween your assailant's two hands and use it to strengthen theleverage of your right arm.

Another plan, perhaps a better one, is to advance a step andlower your body so that your elbow is below your assailant'shands. Keep it bent at an acute angle. Making the fullest useof your weight push upwards and force your wrist out of hisgrasp. Remember always to supplement all these moves withyour abdominal power.

The most effective breakaway from a wrist hold in whichyour assailant's thumbs are underneath is to turn your bodyslightly to your left so as to bring your right elbow verticallyover your fist; then using the weight of your body and yourabdominal power force your hand down through his fingers. Acomplementary push against his torso with your right shouldercan put him off balance and still further facilitate your break-away.

However, if you know anything about boxing and your assai-lant's intentions were really unfriendly, an uppercut with yourfree left fist to the point of his jaw would obviate the necessityfor a breakaway. And if you have assimilated the admittedlysuperficial instruction in Atemiwaza or the art of attackingvital spots provided in my next and last lesson in this seriesyoucould just as readily knock him out for more than the countwith a slicing blow to his left carotid artery delivered with thelittle finger edge of your free left hand.

As in the case of the Kansetuwaza described in InstructionVIII, the foregoing wrist breakaways by no means exhaust theavailable supply, but I do not consider this section of the art ofsuch vital importance as to justify further extension of the list,and once you have familiarized yourself with these break.awaysyou will, I think, find them sufficient to meet most contlllgen-cies likely to arise in real life.

METHODS OF ESCAPE AND COUNTER ATTACK; SOME DRASTICTRICKS

THEREis always the likelihood latent in every technical text-book that some at any rate of the methods described willalready be known to some if not all readers. This risk must befaced, and I can but hope that readers will not be over exactingand will not grumble should portions of these pages turn out tobe familiar. Moreover it is well to recall in this context the sagecounsel of Alexander Pope embodied in the oft quoted lines:

" A little learning is a dangerous thing;Drink deep or taste not the Pierian spring;There shallow draughts intoxicate the brain,And drinking largely sobers them again".

In any case, a writer on a technical subject is bound to pro-ceed on the assumption that his readers know next to nothingabout it and must therefore be thoroughly grounded in basicprinciples before they can safely pass on to their elaborationand practical application.

I want now to begin with a description of the simplest andmost effective manner of extricating yourself from a hand gripput upon you perhaps by an opponent larger and stronger thanyourself and therefore confident in his ability to render youhelpless.

Instead of dissipating your energies by aimlessly tugging atyour captor's hands, note the position of his thumbs. If he hastaken the grip of your two wrists with his thumbs uppermost,lower your waist slightly, draw in your elbows and invoking theforce of your saika tanden or lower abdomen push steadily up-wards and outward to right and left. The leverage against theassailant's thumb is so powerful that very few wrist holds fromthe front, however strong the assailant may be, can resist thisbreakaway.

Should your opponent have grasped your wrists with his152 K.


Counter to Attempted Necklocks From the FrontInstruction VIII already includes one method, the

Udehishigi-wakigatame or Side Arm Crush which can be use-fully applied against such an attempted necklock. The follow-ing three simpler methods can also be recommended:

No.1. Clasp your hands together and drive them from eitherleft or right against your assailant's outstretched arms. Thismove should suffice to break his hold.

No.2. Again clasp your hands; then suddenly thrust yourarms upwards between your opponent's arms and as close tohis wrists as possible. The violent separation of your armsshould break his hold.

No.3. Bring your left forearm over your opponent's rightand under his left arm. Cup your left hand in your right, forceyour left forearm upwards and twist your opponent's arms tothe left. If further punishment seemsadvisable, you might stepin and drive your knee into your opponent's groin and perhapscouple this attack with an Atemi chop with the little finger edgeof your right or left hand against his carotid artery or jugularvein. Always remember to reinforce every such attack withthe weight of your body and the power emanating from yoursaika tanden.

No.4. Last but not least, the Yokosutemi or Side BodyThrow can be successfully invoked if you are quick enough.Hold your opponent's left lapel with your ri~ht hand and hisright sleeve with your left hand. His very gnp on your throatwill facilitate the task of breaking his balance towards his rightfront corner. Abandon yourself slightly to the left as you fall.Keep your left leg just outside his right foot. Synchronize yourfall with a strong upward lift with your right hand grippingyour opponent's left lapel and an equally strong downward pullwith your left hand holding his right sleeve. The combinedimpetus of your own fall and hand action should sufficeboth tobreak his incipient stranglehold and to hurl him to the mat orground away over to your own left. If you find it inconvenientto get a left lapel hold with your right hand, try suddenly push-ing up with that hand the elbow of his left arm the hand ofwhich is gripping the right side of your neck. By forcing his leftarm upwards and sideways to your left you may get him offbalance and so appreciably strengthen the momentum of your"sacrifice" fall. It will be easier to raise his left elbow if his leftwrist is crossed over his right wrist in either a normal or reverse


chokelock on your throat but should it happen to be undermostyou can alternatively try your Yokosutemi to your right sideand use your left hand to thrust his right upper arm upwardsfrom underneath his elbow. But in that case it might be adyj.sable to substitute for your right hand hold on his left lapel aright hand hold on his lett sleeve.

That I am not here merely wandering in the realm of hypo-thesis will appear from the fact that many years ago during aJudo lecture and demonstration given by me at the BritishConsul's house at Tsangkou, China, I successfully applied theYokosutemi to foil a sudden assault on my throat made by anathletic member of my audience. He was sent flying across themats and came to a sudden halt against a flower-pot which heshattered !

l

Counters to Front Waist HoldsAlthough only an arrant idiot or tyro would seriously

encircle the waist of an able-bodied man from the front in thehope of overpowering him, still on the assumption that it takesall sorts to make a world, I had better cite a few simple methodsof countering such an imbecile method of attack.

No. 1. At the moment your assailant's arms are passinground your waist, thrust your left forearm underneath his rightupper arm with the thumb edge of your wrist-bone held againsthis arm somewhat above his elbow. With the palm of your righthand press heavily against the frontal point of his right shoulderand with your left hand clasp your right wrist from above withfingers overlapping. Apply counter action by prising up youropponent's right upper arm from beneath with your left fore-arm and pressing down his right shoulder from above with yourright hand. Bend back slightly and bring your saika tandeninto operation. The knack of this particular " entanglement"may take some little time to acquire, but if the " entanglement"is properly executed severe pain is inflicted on the victim anddislocation of the shoulder might even ensue if the hold werelong enough maintained.

No.2. A violent upward thrust with your right hand aimedat the tip of your opponent's nose, in such wise that the lowerfleshy ridge of your open palm causes the impact, is calculatedto disconcert most people.

No.3. If your opponent h~ actually succeeded in en~clingyour waist and has already lifted you from the ground m con-

I.


templation of hurling you down again, losing no time pressyour right palm violently against his ~orehead f~om the ~ip ofhis nose upwards and thrust back hIS head WIth maxunumforce. The odds are that he will collapse as though poleaxed toescape a broken neck.

I was once privileged in Japan during the Russo-Japanesewar to witness a real life demonstration of the efficacy of thiscounter to a frontal waist lift. As Tokyo correspondent for theLondon Daily Mail I was paying a visit to a prisoner-of-warcamp at Narashino near Tokyo, accompanied by a Japanesejudoka of my acquaintance, not a member of the Kodokan butof another ryugi or school. On our arrival at the camp wefound a group of Russians engaged in an impromptu wrestlingmatch. The evident champion, a powerful thick-set specimen,invited my Japanese friend to "have a go". My friend con-sented. Then the moment they faced each other in the arenathe Russian got his mighty arms round my friend's waist, swunghim bodily in the air and clearly concluded that all was oversave the shouting, when my friend suddenly applied the counterdescribed above and the Russian ignominiously bit the dust,figuratively speaking, greatly to the surprise if not edification ofthe onlookers who had confidently anticipated an easy triumphfor their champion.

Counters to Seizure from BehindThere are many of these counters but the appended selection

seems to me to include the more practical methods, firstly, toa rear hold under your arms and secondly, to a rear hold pin-ning your arms to your sides.

Anybody so ill advised as to clasp your waist from behindunder your arms is simply asking for trouble since he has con-siderately left at your disposal both your elbows which areamong the more formidable natural weapons available to thejudoka possessing even a superficial knowledge of Atemiwazaor the art of attacking vital spots. But your first obvious retortto this crude method of attack is to bash your assailant in thenose with the back of your head. As in every analogousinstance, concentrate in the blow all your bodily strength fromyour saika tanden upwards. As his head is jolted backwardspivot slightly to your right and with your right elbow deal hima violent blow on his neck or the point of his jaw. If he ducksto his left twist your body to your left and deal him a violent


blow with your left elbow on his jaw or neck. Then if this treat-~ent ind~ces him to stagger back a pace or two, jab himvIOlently 10 the stomach or solar plexus with either elbow andso kn.ock him out. Eyer b~ar in mind the necessity of supple-ment10g all local actIOn With the power emanating from yoursaika tanden.

If seized fro~ behind. so that your.assa.ilant has pinned yourarms to your sIdes, as 10 the forego1Og10stance bash him onthe nose with the back of your head or if you happen to bemuch sh.0rte: than your adversary stamp hard on his instep;then tak10g 10stant advantage of the momentary slackening ofhis hold, hunch your shoulders, drop on your right knee, applyyour left hand to the front of his left thigh, grasp his right collarwith your right hand and sling him over your right shoulderin much the same way as in the case of the Seoiotoshi describedelsewhere in Instruction II.

Another method sometimes favoured is to bend down, thenwith both hands clutch your assailant's ankles, pull his legs upbetween your own and as he crashes come down yourself back-wards as heavily as possible upon his stomach. The doubleshock is calculated to cool his ardour for a continuation of thestruggle.

Combined Trunk Squee(.e and Reverse Stranglehold(Japanese Term: Dojime and Gyakujujijime)Let me say at once that this method is no longer allowed in

friendly competitions for fear of injury to the victim. Yet in myday both at the Kodokan and the Tenshin Shinyo-ryu schoolwhich I used to attend it was practised as a matter of course,and personally I cannot agree that it is really any moredangerous than several other permitted methods of defence andattack. It would certainly be admissible to counter a seriousfrontal attack. It could even be invoked against an assailantwho had seized you round the waist under your arms or againstone who had closed and was grappling with you. For its successyou must first manage to apply the reverse chokelock orstranglehold (Gyakujujijime) to your opponent's neck andthroat. I hope you haven't forgotten this. Remember that incontradistinction to the so-called "Normal Cross Lock"

(Namijujijime), your palms are held ul?permost a.n~~e ~humb-side edges of your wrist-bones cons.met your ~c~ s JUgul~vein and carotid artery. SynchronIZe the application of thIS


lock with your backward fall and at the same time encircle youropponent's waist with your legs below the ribs and interlockyour feet behind his back. Drag him to the ground over youand combine the maximum pressure of both your knees againstboth sides of his trunk with the maximum constriction of hisneck and throat with your hands. Unless his powers of resis-tance are abnormally great he must either give in or pass out.

As I have already said, the Dojime either alone or in combi-nation with any other method is not allowed in club competi-tions, but this rule need not deter you from practising it byagreement with your partner who should on no account delaygiving the signal of defeat the moment he begins to experiencethe warning symptoms of a choking sensation, a singing in theears and a feeling as though his eyes were popping out of theirsockets. In a real fight you would not, of course, hesitate togive your opponent his quietus. You in your turn should be onthe look-out for these tell-tale premonitory symptoms and, ifengaged in a friendly tussle, relax your grip in good time.

By way of defence against the Dojime alone, try to dig yourelbows as far down as possible between your assailant's grip-ping thighs and your own body and press strongly outwardswith them and so compel him to relax his hold. In a real fightyou need not scruple to dig your thumbs into his groins oneither side thereby inflicting such pain that he will be forced toabandon the hold.

A useful method of foiling an assailant's attempt to encircleyour waist from the front is the following: Grasp his belt or thetop of his trousers with either hand, and with your free handhit him hard on the point of the jaw. Follow up by pushingback his chin with the hand that delivered the blow and bypulling him with the hand holding his belt or trousers, thushurling him to the ground.

How to Seize an Opponent From BehindFrom what I have said about counters to seizure from your

rear it should be obvious that the methods attempted by yourassailant are incorrect.

If, therefore, the roles are reversed and you wish to bringyour opponent to the ground from behind without otherwisehurting him, simply place your hands on his shoulders and jabyour right or left knee into the small of his back or alterna-tively place your right instep behind his right knee, knock his


knee forward and pull his shoulders back. Then as he falls backagainst your chest pass your arms under his armpits and lowerhim to the ground. After that he ought to be entirely at yourmercy.

Leg :Entanglement from Supine PositionI describe the following method for what it may be worth

but without wholeheartedly recommending it as a decisivetechnique in itself.

If facing an oncoming assailant, instead of, say, attemptingto get to grips and apply the Tomoenage or Stomach Throw,drop on your back and as soon as your attacker is within reachhook his left ankle from the outside with the back of your leftfoot; simultaneously press the sole of your right foot stronglyagainst his left knee-cap from the inside. Couple a pull withyour left foot hooking his left ankle with the press of the soleof your right foot against his knee-cap and the odds are thathe will lose his balance and fall backwards to the ground. If soit ought not to be very difficult for you to trap his left leg in theAshihishigi or Leglock described in Instruction VIII. Inciden-tally, if instead of merely pressing your opponent's knee-capwith the sole of your foot you were to convert such pressureinto a violent kick, you might even dislocate his knee-cap.

This Leg Entanglement can, of course, be applied to youradversary's right leg by reversing the movement, but as a rulethe attack on the left leg seems the more convenient.

Dangerous Necklock Counter to Scarf HoldThis is another violent counter measure wholly forbidden in

friendly competitions, but one which in my early days at theYokohama dojo of the Tenshin Shinyo-ryu we never scrupledto apply.

Say you have been thrown in a sudden attack and yourassailant is bending over you from either side approximatelyin a posture reminiscent of that adopted for the application ofthe Kesagatame or Scarf Hold described in Instruction VI.Assuming that he is on your left side proceed as follows: Placeyour palms under his chin and shove his head violently back-wards. In swift sequence bring up your right leg, place thelower part of the calf across his throat and with all your forcethrust his head backwards towards your feet. If at the sametime you take hold of his right sleeve with your left hand

r ,.....


dropped from his chin, the resultant counter action may verywell endanger his neck. In any case it is calculated to renderhim helpless and exposed to your successive attack (Renzoku-waza). If he has been bending over you from your right flank,merely change legs: your left leg is then brought up andpassed across his throat. The final stages are the same as in theformer instance.

I now append a description of four highly dangerous neckand spine locks (Kubigatame) for which I am indebted to myfriend N. Livingstone-Learmonth who took the trouble to trans-late the details from the .. Manuel Complet de Judo etJujutsu ", edited by Messrs. Lamotte and Marcelin. His des-cription was originally printed in the October, 1950, number ofthe Quarterly Bulletin of the London Budokwai from which Ihave copied it with due acknowledgment. In doing so I mustin turn repeat his warning that these locks are extremelydangerous and should never be practised unless under the directsuperVisionof a Black Belt.

Tsurijime (Pull Choke)With your opponent lying on his back you should squat on

his chest and place both hands on the back of his neck, high uptowards the occiput. While applying your whole weight uponhis chest press his head towards you with your hands. This holdextends the upper spinal vertebra and can be fatal.

~

l' okohanten (Side T umover )While in the prone position on your left side facing your

prone opponent, encircle his waist with both legs in the scissor-hold described by me for the Dojime (Trunk Squeezing). Atthe same time pass your right arm from the rear over his rightshoulder around the back of his neck thus bringing his headbeneath your right armpit. A combination of both kidney-squeeze and spine lock will soon make him submit.

Kensuigatame (Hanging Choke)A simple standing necklock. Force down your opponent's

head with your left hand, slipping your right arm beneath histhroat. Pass your left arm over the back of his neck. Place yourright palm in the crook of your left elbow, as in the Hadaka-jime or Naked Chokelock, and press down on the top of his t

I

. THE MANUAL OF JUDO 161

head with your right armpit. Now twist his neck raising himas much as possible.

Fukurokensui (Hanging Bag)

In ~ hold y~>uare st~ding and your opponent is presumedto be lymg on his back, his feet towards you. Raise his legs inthe air, slipping one over each of your shoulders, and take holdof his belt with your hands. Now lean right over him, usingall your weight to press down upon his neck and spine.

To my mind the third method described, the Kensuigatameor Hanging Choke, is the poorest of the four. It is fraught withthe peril ever latent in all fancy holds attempted from thestanding position in that any prospective victim apprised ofyour amiable intention, as he could hardly avoid being, couldeasily hit you hard in your solar plexus with his fist or jab itwith his elbow before completion of the hold. An eventenderer portion of your anatomy would alsobe very vulnerableto attack I

INSTRUCTION X


Atemiwaza cannot therefore be safely taught until the pupilhas already become well grounded in Nagewaza (the art ofthrowing) and Katamewaza (groundwork) exemplified in bothRandori (free exercise) and Shobu or Shiai (contest) and evenin the various Kata or prearranged forms whereby he can bestcomplete bodily tempering and control of movement.

In this lesson I make no pretence to anything like anexhaustive survey of the subject, not only because my ownknowledge is far from complete but also because I do not deemit advisable to furnish too many details which, should they bewidely diffused, might be prostituted to base ends by unscrupu-lous persons.

The wide scope of Atemiwaza will appear from some obser-vations made by Dr. Yamada Yasushi, 7th Dan of the Kodokan,i.e.

In attacking, there are 38 methods :

With the use of the fingers ... ... ... 13Withthefist... ... ... ... ... 10With the ulnar border of the' himd, the palm

andelbow... ... ... ... ... 7Withthefoot... ... ... ... ... 5Withthehead... u_ --- ... ... 3

As each can be applied to right or left, this makes a totalof 76, without counting the different variations in the mannerof applying the blows. In striking in Atemi one must strengthenthe mind and body. Occasionally when the need is great andone's life is in danger one must use whatever comes to handin striking at the vital spots: with a glass, stick, burning brand,boiling water, etc., the most important point here being to strikeonly at the vital spots. Here ISa list of 80 Atemi spots easilyto be found on the anatomical charts in works of acupuncture:

Head ... ... 19 spotsNeck .., .., 9 spotsChest ... ." 16 spotsStomach .., ... 17 spotsArm ... ... 6 spotsLeg ... .., 13spots

The chart supplied (Fig. 82) in this section gives only tenvital spots, although I have specified twelve in the text. Very

ATEMIWAZA OR THE ART OF ATTACKING VITAL SPOTS

IT has been pointed out by the late Sakujiro Yokoyama in hisclassic textbook on Judo that among the older Jujutsu schoolsinstruction was concerned chiefly with preparing the pupil forcontest. For this purpose the curriculum included not onlyNagewaza and Katamewaza but equally Atemiwaza or the artof attacking vital spots. Nevertheless since the last-namedbranch was regarded as esoteric or secret, beginners were notreadily initiated into its methods. But in Yokoyama's opinion,the harm likely to result from the teaching of Atemiwaza is notsufficient to warrant its retention as a permanent mystery. Onthe other hand, considering that in contest the risks attendanton its application would be too great, instruction can for themost part be little more than theoretical. Generally too it isimperative that the utmost caution and circumspection shouldbe exercised in the diffusion of this dangerous knowledge.Mindful of this responsibility, it is the rule alike at the TokyoKodokan and most Judo clubs in other parts of the world thatinstruction in Atemiwaza should be withheld until the studenthas attained the "Dan" or Black Belt grade, by which timehe ought rightly to have developed not only physical skill butcertain moral qualities calculated to deter him from the reck-less abuse of his special knowledge.

Since the methods of Atemiwaza comprise not only hittingvital spots with the fist but poking with the fingers, "chopping"with the little finger edge of the hand, jabbing with the elbow,battering with the head, jolting with the knee-cap and kickingwith the ball ct the foot and the heel, it is clear that unlikeRandori or Kata, Atemiwaza could not be safely practised witha human partner or only to a very Hmited extent. Use is there-fore made of rolled straw, sand-bags, the punching ball or evena wooden wall so as to develop the necessary degree of accuracyand power in applying the various techniques. Lacking absoluteproficiency in such methods, the tyro who relied upon Atemi-waza for victory in a genuine emergency would be courtingdisaster.

162

164THE MANUAL OF JUDO

Fit. 82

FII.12

Ft,. 13 -.- - - - - FII.14

III

I


few more are known to myself. None the less, a judoka familiarwith these spots and thoroughly versed in the correct methodsof assaulting them would be a decidedly formidable customerin unarmed combat.

A fundamental rule which must be observed if any Atemimethod is to become fully effective is that after delivering theparticular attack, ~hether with the finger end, the ulnar borderof the hand, the fist, the elbow, the ball of the foot or toe thekn.ee-cap or the heel, ~ou should with ~ghtnin~-like rapiditybnng back the attacking member to Its starting-point. AsYokoyama remarks in his chapter on Atemiwaza, if you neglectthis rule, even though you may have accurately struck the rele-vant vital spot, the efficacy of your attack will be appreciablylessened. According to circumstances, Atemiwaza can beequally well applied against either a standing or lyingadversary.

The vital spots (Kyusho) enumerated below together withthe respective methods of attacking them correspond to thoseshown on the attached chart and should be checked in relationto the latter. As I have already said, Kasumi (temples) andKachikake (chin) are not shown on the chart. A list of theoriginal Japanese terms is also supplied for reference. Theseterms generally possess the advantage of greater concisenessthan their English equivalents.

Tendo (Bregma, top of head): Perhaps the least convenientspot of all for attack without a lethal weapon.

Uto (Nasion) : Approximately the spot in the middle of theforehead. This can be hit or poked. Although the clenched fistmay be used for this purpose, a blow with the little finger edgeof the hand is the most effective.

Kasumi (Temples): Not shown on chart but easily identifi-able. They can be struck violently with the little finger edgeof the hand. If the attack is successful the victim faints.

Dokko (Mastoid process behind the ears) : If your opp~)D~ntis already on the ground and at your mercy, you can mfllctgreat pain on him by pressing the knuckle of your second fingeragainst this spot. .

Jinchu (Philtrum) : The spot under the nose. This spot canbe effectively struck with the fist, the little finger edge of thehand, or elbow. It is highly sensitive. . .

Kachikake (Chin): Not shown on chart but familiar toeverybody. It can be attacked with the fist or elbow.

I 166 THE MANUAL OP JUDO

Suigetsu (Solar Plexus or pit of the stomach) : This spot canbe powerfully hit with the fist, elbow, knee-cap or can bekicked. As in boxing, so in Atemiwaza, this vital spot is oneof the most vulnerable in the human body. On an Atemi chartbequeathed to me by my first Jujutsu (not Judo) teacher of theTenshin Shinyo-ryu at Yokohama, this spot is described as themost secret of that school. When kicking your opponent in thisspot, keep the toes curved and deliver the blow with the ballof the foot. Remember to withdraw the foot as also any othermember used for this attack instantaneously after deliveringthe blow.

Denko and Getsuei (Hypochondrium) : Region of the lowerribs. It can be struck or kicked. The right side is called Denkoand the left side Getsuei.

Myojo (Hypogastrium) : About an inch below the navel. Itcan be powerfully kicked.

Tsurigane (Testicles) : It can be assaulted with the knee-capor finger-tips or kicked.

Shitsukansetsu (Knee-joint): It can be kicked. A fairlyeffective method of attacking it is described in Instruction IX.

The relevant parts with which to attack an opponent areappended. The sequence is given to correspond approximatelywith the figures shown at the top of the diagram included inthis section.

Fig. 1. Hi;:;agashira:Patella or knee-cap.Fig. 2. K akato : Heel.Fig. 3. Ashiura: The ball of the foot.Fig. 4. Ryogantsuki: Middle finger and ring finger end.Fig. 5. Olecranon or elbow.Fig. 6. Tsukidashi (finger end) and T egatana (ulnar border

of hand).Fig. 7. Kobushi (fist) and Horyu (the side fist).The suffix ate (pronounced" ah-teh ") usually attached to the

root word means to strike, thrust, poke, kick, etc., as the casemay be. Thus the term" Ude-ate" means the art of attackingthe vital spots with any part of the arm, and "Ashi-ate" meansthe art of attacking the vital spots with any part of the footor leg. Furthermore, under the former heading we get:

Tubisakiate or attack with the finger tip.Kobushiate or attack with the fist.T egatana-ate or attack with the little finger edge.

"...


Hijiate or attack with the elbow.

Under the latter heading we get:

Hi;:;agashira-ateor attack with the knee-cap.Sekitoate or attack with the ball of the foot.Kakatoate or attack with the heel.There are also pertinent to each of these classifications many

Japanese subsidiary terms descriptive of the nature of theattack, e.g., whether a blow, poke, thrust, kick, etc., delivereddirectly, obliquely, slantwise, from above, from the rear, etc.etc. Thus, for example, "Nanameate" implies an oblique 0:slanting blow, "Yokoate" a lateral blow, "Ueate" a blow fromabove, "Tsukiage" an upward thrust, "Shitatsuki" a down-ward thrust, "Ushirotsuki " a rear thrust, "Ushirosumitsuki"a rear corner thrust, " Tsukkake ", straight, direct,"Uchioroshi ", a downright blow on the head. These terms areapplicable to the fist. The term" kirioroshi ", applicable to thelittle finger edge, implies a downward slicing blow. "Maeate",applicable to the knee-cap, means a frontal attack. "U shiroate,"applicable to the elbow, means a rear blow. In the case of theball of the foot and the heel, we have "Maekeri " or frontalkick, "Y okokeri" or lateral kick, "Ushirokeri" or rear kick,etc. An exhaustive citation of all these subtleties would tendrather to confuse than to enlighten the reader, and has there-fore been avoided.

And here I must reluctantly take leave of my readers for thetime being. I do so with the repeated intimation that themethods described in all ten Instructions of this manual veryfar from exhaust the Judo repertoire whose name is veritablylegion. In any case it is the considered opinion of nearly everyexperienced yudansha or holder of "Dan" rank that themastery of comparatively few methods is always preferableto a superficial knowledge of many. Throughout my own longmembership of the Kodokan I witnessed the exemplifica-tion of this truism in countless contests wherein the victorsalmost invariably scored with not more than two or threethrows at most. Even when their opponents had been apprisedbeforehand of their "specialities", they were usually caughtnapping.

All-time professional instructors are in a special category andmust of necessity familiarize themselves with the minutiae ofvirtually all Judo techniques. The case is otherwise with the


amateur whose main purpose in studying Judo is usually themixed one of acquiring an art intrinsically valuable as analmost unrivalled system of unarmed defence and attack, with-out lethal weapons, and at the same time a splendid means ofkeeping its votaries physically and mentally fit.

The best parting advice I can offer you is that you shouldconscientiously try out all the methods described in this manual,then discard those that seem to you least suited to yourphysical and mental make-up and finally concentrate on theresidue until at least approximate mastery has been achieved.

.-

r

ABDoIIDIALbreathing, deep,portance of, 21-22

Advanced Foot Dash, 92Aite, see Glossary, 24Arm Crwh, 139-141Arm Crush or Bracket, 147-149Arm EntlUlglement in retort to

attempted blow, 15~151Armlock, Entangled, 131Ashiate, 166Ashibarai, 8gA8higarami, 142-143Ashiguruma, 85Ashihiahigi, 145-147Ashiura, 166Ashiwaza, 8o-g7Atemiwaza, 19-20, 162-168Awasewaza, lee Glossary, 24Ayumiashi, see Glossary, 24

BALANCE, Disturbing and Destroy-ing,35-42 .

Behind, COunters to SeIZUre from,It7

Behind, how to seize Opponentfrom, 156-157

Belt Drop, 64Belt, Methods of holding, 51-53Body Drop, 62Breakfall,42-49Broken Scarf Hold, II!}Broken Lateral Locking of four

Quarters, 122Budokwai,x,18Bujutsu, 21, 24Butsukari, 49-51

~ see Glossary, 24Chin, 165Chugaeri, 47

INDEX

Un- Contact in Judo, 54-56Comer Throw, 102-IOgCounter Attack, Methods of,

161Cross Armlock, 145

152-

DAN, 18, 25Dcashibarai, 92Defence and Counter Technique_ 53-54Denko, 166Dojimc, 157-158Dojo, 16, 17, 18-19Dokko,165Drawing Ankle Throw, 92-93

ENTANGLEDLeglock, 142-143Ed, see Glossary, 25Escape, Methods of, 152-161

FLOATINGDrop, 57-58Floating Loin, 68-70Floating Throw, 103-105Foot Dash, ~IFukurokensw, 161Fumi-komi, see Glossary, 15Fusegi, 25, 53-54Fudoshin, see Glossary, 25Fukushiki-kokyu, see Glossary, 25

GETSUEI, 166Glossary of Terms, 23-g2Gonosen-no-Kata, see Glossary, 25Groundwork, 19Gyaku, see Glossary, 25Gyakujujijime,25, 130

16g

17°HADAEAJIKB, 135-136~, 73-'14Hanging Bag, 161Hanging Choke, 160Hantei, see Glossary, 25Haraigoshi, 70-71Harai- Tsurikomi-Ashi, 96-97HenIta, 124-125Hen-O, see Glossary, 25Hidariiigotai, '25HidariShizentai, 26Hijiate, 26, 167Hikiwake, see Glossary, 26Hizagaahira-ate, 26, 166Hizagatame, 141Hizaguruma,8<HJ1Hongesa, 11S-115Horyu, 166Hypochondrium, 166

INNEa Thigh, 81-82Inner Winding Throw, 6IM)7

JIOOHONTAI, 35Jigotai,26,35Jinchu, 165Judo, Contact in, 25, 54-56Judo, Divisions of, I!)-!IOJudo, Essentials for Practice of, 17-

18Judo, Etiquette of. 18-19Judo, Rationale of, 16-17Judo, What is it? 15-16Judogi, see Glossary, 26Judoka, see Glossary, 26Jujutsu, 15,26Jumonjigatame, 145Ju-no-Kata, see Glossary, 26

KACHIKAKE, 165Ka~hi~,26,53-54,60Kakatoate, 167Kake, 26, 41Kamishihogatame, 121-122Kangeiko, see Glossary, 26Kano, Dr. Jiguro, 15-16, 18Kansetsuwaza, 26. 137-151Kappo, 20, 26Kasumi, 165

INDEX

Kata or Fol'IDI, 20. 27Katagatame,1I8-121Kataguruma. 26, 68-64Katabajime. 134Katajujijime, 129-130Katam~, 27.111-126Katsu, 20, 27Keiko, see Glossary, 27, 54Keikogi, see GlOSMry,27Kesagatame, 1IS-1I5Kiai,21-22Kime-no-Kata. see Glossary, 28Knee ArmIock. 141-142Knee-joint, 166Knee Wheel. 8<HJ1Kobushiate, 166Kodokan, vii, ix, 16-18, toKoizumi, Gunji, x"KokusaiJudo", x, 84Koshiguruma, 75-77Koshiwaza, 68-79Koso~, 93-95Kotsurigoshi, 77-79Kou~, 95-96Kubiptame,l60Kwm-Kata, 28, 51, 53Kuzure-Kamishiliogatame, 122Kuzureyokoshihogatume, 123Kuzurekesagatame, I '5Kuzushi, 28, 35-38, 55Kyu, 18, 28Kyusho, 29. 165-168

1...APEu, Methods of holding. 51Lateral Locking of Four Quarten

122-123Lateral Dash. 105-J06Leg Crush, 145-147Leg Entanglement from supine

Position, 159Leggett, Trevor, 56Lengthwise Locking of Four

Quarters, 124Leg Wheel, 85-87Lifting Hip Throw, 77, 79Lift-Pull Loin, 71-73Livingstone-Learmonth, N. 115Loin Wheel. 75-77

MAwA Takesato, 83, 84Major Exterior Reaping. 811-84

INDEX 171PmLTRUIf, 165

Propping Drawing Ankle Throw, 93Posture, Fundamental Natural, 30,

35Posture, Fundamental Self-Defen-

sive,35Posture, Left Natura1, 26, 35Posture, Left Self-Defensive, 35Posture. Right Natura1, 29, 35Posture, Right Self-Defensive, 35Pull Choke, 160

Ankle Pursuit-Foot Dash, 91-92

f.,

I

Major Interior Reaping .84- 8SMajor Loin, 74-75Ma~or Outer Drop, 87-88Major Outer Wheel. 88Martial Arts. 21, 24Mastoid ~, 165Masutemi~, 19, ~103Mifune, Kyuzo, Dedication, vii. 38,u?~" ...~~~tai, :i4, 35Migishizentai. 3S-35 .Minor Exterior Reapmg

Throw, 93-p5Minor Intertor Reaping Ankle

Throw, 94-96Mokuso, see GlOSMry,29Montei, see Glossary, 29Morote Seoinage, see Glossary, 29Mountain Storm, 88-8gMovement in Judo, 30, 38-40Mudansha, see Glossary, 29Myojo, 166

I

NAOE-NOoKATA,20. 29, 57. !l8, 59,68. 103

Nag~, 19,57-110Naked Chokelocks, 135-136Namijujijime, 127-13°Nasion, 165Necklocks from the Front, Counter

to, 154Ne~, 19,29,111-151Nigiri-katami. see Glossary, 29Nogare-Kata, 124, 126Normal Cross. 127-129

08101'0SHI,64O-Cho- Yoshio, 96-97Oda, Tsunetani, 84, 113()goshi, 74-'15Okurl-Ashi-Harai, 91-92Okurierijime, 132-134Osaekomi~. 19, 30, 111-126Osoto-otoshi, 87-88Osotogari, 82-84Oso~ 88Otsurigoshi, 77-79Ouchigari. 84-85Outer Winding Throw. 64-66

RANDORI,20, 30, 39, 51,54.57, 59Rear Loin, 75Rear Scarf Hold, 118Rear Throw, 101-102Renrakuwaza, 118Renzokuwaza, see GlOSMry,30Reverse Cross Lock, 130Ryogantsuki, 166Ryugi, see Glossary, 3°..47

SADtATanden, 21. 22, 30, 38, 91.127, 129, 152, 153, 154

Sasae-Tsurikomi-Ashi, 93Scarf Hold, 113-115Scarf Hold, dangerous Necklock

Counter to, 159-160Sekitoate, 167Seoinage, 30, 42, 58-62Seoiotoshi, 6!Hi3Shiai,~o,35,49,54Shibonwaza,30,127-I36Shihan, see GlOSMry,30Shirnewaza,30,127-136Shintai, Advance and Retreat, 30

~8-41Shisei, see Glossary, 30Shitahara, 22, 30Shitsukansetsu, 166Shizenhontai, 30, 33Shizentai, 30, 33-35Shobu,30,35Shochugeiko, see Glossary, 30Shoulder DroP! 62-03Shoulder Holding, 118-121Shoulder Throw, 30, 58-62Shoulder Wheel, 26, 63-04Side Arm Crush, 149-15°

172

Side Body Throw, 154-155Side Drop, 106-107Side Separation, 107-109Side Turnover, 160Side WheeJ, 106Signals of Defeat, 22Single Wing Lock, 134-Sleeve Wheel, 134-135Sliding Collar Lock, 132-134Sodeguruma, 1~4-1~5Sode- TsurikoJDlgoshi, 73Solar Plexus, 64, 166Sotomakikomi, 64-66Spring Hip Throw, 73-74Stomach Throw, g8-IOIStrangleholds from Front, Counter

to, 154Suigetsu, 166Sumigaeshi, 102-103Su~miwaza, g8-IIOSweeping Drawing Ankle Throw

96-97Sweeping Loin, 25, 70-71

TACHIWAZA,19,31,53, 57-97Taijitsu, 15Taiotoshi, 42Tai-Sabaki, 31, 41-42Tanden, see Glossary, 31, 38Taniotoshi, Iog-IIOTateshihogatame, 124Tegatana-a~, 166Temples, 165Tendo, 165Testicles, 166Tewaza, 57~7Tokui, see Gln'lSary, 31Tomoenage, g8-101Tori~, see Gl~, 31Transition Loin, 79Trunk S9ueeze, 157Tsugiashi, 31, 39Tsukidashi, 166Tsukuri, 31, 41 and throughout textTsurigane, 166Tsurigoshi, 77-79Tsurijime, 160

INDEX

Tsurikomi, see Glossary,throughout text

Tsurikomi-Ashi, 92-93Tsurikomigoshi, 71-73

31 and

UCHIIlAxDtOIa,6~7Uchimata, 31, 81-82Udea~, 166Udegarami, 139Udegatame or Udehishigi, 139-141Udehijigi, 147-149Udehishigi_juji, 145Udehishigi-wakigatame, 149-150Ude-kake-hizagatame, 141-142Uke~, see Glossary, 31, 68Ukemi, :JI, 42-47Ukigoshi, 6!J:.70Ukiotoshi, 57-58Ukiwaza, 31, 103-105 .__Upper Four Quarters, Locking of,121-122Uranage, 101-102UshirogOshi,75Ushirokesagatame, 118Uto, 165Utsurigoshi, 79

VALLEY Drop, Iog-IIOVital Spots, see A~waza

WAISTHolds, Coun~ to, 155Waza, see Glossary, 32

YAMA-ARASID,88-89Yawara, 15Yokogake, 105-106Yokoguruma, 106Yokohanten, 160Yoko-otoshi, 106-107Yokoshihogatame, 122-123Yokosu~, 154-155Yokosu~waza, 103-110Yokowakare, 107-109Yokoyama, Sakujiro, 84, 113Yubisakia~, 166

Yudansha, see Glossary, 32

Documents

37119815 E J Harrison Manual of Judo