judo the art of defence and attack

7/22/2019 Judo the Art of Defence and Attack

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In PreparationHIGHER JUDO

byDr. M. FeldenkraisThis is the first book in a series of three

volumes designed for students who already pos-sess some elementary knowledge of Judo, and whowish to make themselves familiar with the moreadvanced actions.Dr. Feldenkrais has made a serious studyof Judo, and has attained Black Belt efficiency.In igher udo he explains how Judo practicecan educate and train a person to become inde-pendent of his heritage. He stresses that size,weight an~ strength are not major concerns to aJudo expert.It is universally recognized that Judopromotes a sense of balance and self-confidence,and cultivates an ability to overcome brute forceand inherited weaknesses, but the reasons for

these effects have long been left unexplored.In this book, Dr. Feldenkrais discusses the inter-mingled working of gravitation with the bones,muscles and nerves of the body and explains therelationship between the body and the conciousor unconcious mind.

The book contains three hundred line draw-ings which serve to illustrate each movementdescribed in the text.

~UDq,THE ART OFDEFENCE

[I AND ATTACK.fEL ENKR IS

W~RNE ~ __ -- -; f


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~Here is a textbook on Judo that

will give a sound basic knowledgeof the subject. It covers the wholefield of Judo in the sense thatevery kind of technique used isrepresented by some outstandingexamples.

The beginner will find that he isbeing guided by an experiencedhand and that he is getting clearand reliable information.

The work should also proveinvaluable to more advancedstudents and instructors who havenot had the opportunity of learn-ing Judo at its source and will findhere hints advice and explan-ations they have not been able tofind elsewhere.

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y the Same uthor JUDONARMED COMBAT(NOW OUT OF PRINT)

BODY AND MATURE BEHAVIOUR(ROUTLEDGE AND KEGAN PAUL)

In PreparationHIGHER JUDO

THE ART OF DEFENCE AND ATTACK

ByM. FELDENKRAISJUDO BLACK BELT HOLDER

WITH 103 LINE DRAWINGS FROM PHOTOGRAPHS OFMR. KAWAISHI AND THE AUTHOR

V.. , 'FREDERICK WARNE CO. LTD.

LONDON AND NEW YORK


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CopyrightLondonPREF E

Revised Edition I9Reprinted . I9 iReprinted . I95Reprinted . . I95I

AFEWyears ago I proposed to Messrs. FrederickWarne Company to publish in English oneof my earlier books on Ju-Jitsu, the Frenchedition of which was honoured by an intro-duction by Professor Jigoro Kano. They madethe counter-suggestion that it would be moredesirable to write a book, a complete treatiseon Judo, specially intended to assist the studentto acquire a practical knowledge of this art.The extent of Judo and the difficulty of teach-ing the art by a book are responsible for thefact that even the original language has not acomplete manual on Judo, but many excellentworks treating more or less extensively onparts of it. Professor Kano himself told mewhen I last met him in Paris that he hoped tolive at least until he could compile such a workfor the future generations.My publishers suggestion decided ProfessorMikonosuke Kawaishi (fifth Dan) and myselfto materialize the work we planned long ago.5

Printed in Great Britain


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JU OWe spent almost two years preparing thephotographs and had the satisfaction of obtain-ing some illustrations showing both of us inaction which I am not afraid to call unique.

We have covered the entire field of Judoincluding counters combinations and all the atas We have also added the best and mostingenious tricks of ancient Ju-Jitsu; specialattention has been devoted to self-defence tricksas taught in Dojo and to their application inreal fighting with and without weapons.The occupation of Paris unfortunatelybrought to an abrupt end our long and in-structive collaboration since I founded theJiu-Jitsu Club de France. Now I have writtenthis first book single-handed. Most of theillustrations however are made from photo-graphs where the incomparable skill and graceof Mr. M. Kawaishi are to be seen.

I also wish to express my thanks to Mr.A. F. Stuart for the care he has taken in pre-paring the illustrations from the photographs.

ONTENTSINTRODUCTIONPRELIMINARYFIRST LESSONSECOND LESSONTHIRD LESSONFOURTH LESSONFIFTH LESSONSIXTH LESSONSEVENTH LESSONEIGHTH LESSONNINTH LESSONCOMPETITION RULESGRADESTHE OUTLINES OF JUDO

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INTRO U TIONI HAVEimed at producing a textbook on Judothat will give a sound basic knowledge of thesubject. It covers the whole field of Judo inthe sense that every kind of technique used isrepresented by some outstanding examples.The beginner will find that he is beingguided by an experienced hand and that he isgetting clear and reliable information. Thework should also prove invaluable to moreadvanced students and instructors.

Those among the latter who had not theopportunity of learning Judo at its source willfind here hints advice and explanations theymay have been unable to find elsewhere. Judois an art and only with a clear understandingof its technique and a true insight into itsprinciples can one attain a higher level andgreater skill.The novice should not try to master all thedetails of the throws and holds from the verybeginning. The best way at first is to practise9


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U Othe tricks in their essentials. Then read theinstructions again, looking for more detailand perfection. The knowledge and skill soacquired will enable one better to appreciatefurther dev.elopments, which might be over-looked or considered superfluous by theinexperienced. This way of proceeding isstrongly recommended, as it will make traininghours interesting right from the start.Modern Judo has been built up by ProfessorJigoro Kano out of the ancient Ju-Jitsusystems.The essential aim of these was to overwhelmthe opponent. Judo is planned to make menfit both in body and mind, making use of allthe knowledge of attack and defence accumulatedin nearly twenty centuries by Ju-Jitsu experts,methodically arranged into a single system andbased on a single principle. Judo includesJu-Jitsu and is superior to it in every respect.The word Ju-Jitsu itself has been super-seded by Judo, so that J u-Jitsu hasbecome obsolete in Japan, though still usedelsewhere.

The meaning of the words Ju-Jitsu and Judo emphasizes the explanation I havejust given. The word Ju-Jitsu is derivedfrom J u, meaning gentle, soft orgiving way, Jitsu meaning art, so10

U Othat Ju-Jitsu means the gentle art, thesoft art, or the art of giving way. As Do means principle, Judo means the principle of giving way or the prin-ciple of the gentle art. The word art isnot conspicuous in Judo, but it is understood.Judo is far more than a method of attackand defence, though it is the effectiveness ofJudo as a means of defence that has made itfamous. For Judo is the art of using the bodyin general. It is planned to improve generalwell-being and a sense of rhythm, and developsco-ordination of movement as no other methodor sport can possibly do.The senses of time and space are so muchbettered by Judo practice that soon everydisciple becomes aware of a certain improve-ment and progress in whatever occupation,hobby or sport he may have followed previously.Indeed Judo should be considered as a basicculture of the body, much as matriculation isnecessary before starting serious work in anyof the sciences. Young boys and girls pre-pared by a few years Judo practice will notonly be magnificently equipped for any physicalemergency in life, but will also find themselvespossessing an alert, strong, and well-trainedbody. Judo training will prove to be anII


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JUDOinvaluable preliminary to such artistic pro-fessions as dancing or acting, as well as to anysport or occupation where physical fitness andgrace of movement are essential.Professor Kano describes Judo as the art ofthe highest or most efficient use of mental aswell as physical energy directed to the accom-plishment of a definite purpose or aim. Onemay wonder why stress is put on the wordmental. The reason is that in Judo the bodyis educated to respond faithfully and materializethe mental image of the desired act. There

. are no aimless,mechanical,unintelligent move-ments in Judo as in gymnastics. There isalways an opponent in front of you and theexercise consists always in using the body tothe accomplishment of a definite purpose or aim.Here is another point that makes Judopractice absorbingly interesting. It trains thebody into submission to the personality. Theviolinist s fingers are trained to purposefulmovements and are utterly submitted to hiswill. They express his personality when hehas attained complete mastery over them. Sodo the feet to the dancer. So does the wholebody to the Judo expert. To call Judo anart is not to use a far-fetched phraseology.The constant presence of an opponent gradu-I2

JUDOally develops a special attitude of ever-readinessto meet any emergency. Observation andwatchfulness are trained py the constant atten-tion to the opponent s actions. The powersof judgment and imaginative enterprise arebrought into play when seeking to find theweak point in the opponent s position andcontriving instantly the means of taking im-mediate advantage of it. Judo develops quickdecision and prompt action, without whichno opportunity of attack or defence is of anyavail.

The ever-increasing speed and smoothnessof movement taught in Judo make the bodygraceful, alert and strong. The musculardevelopment resulting from Judo practice isharmonious and physiologically sound. Wedo not, indeed, make use of special arbitrarymovements unless abnormal defaults or under-developments of particular muscle groups areto be corrected. The body is left alone toadapt itself in a natural way. This and thealmost inexhaustible variety of movementsmake hypertrophy or under-development ofcertain muscular groups impossible.There is a great deal to say about the fightingspirit in the best sense of the words) fosteredby Judo. The irascible, quarrelsome character


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JUDOis indeed gradually weeded out, and none ismore reluctant to get into a squabble than aJudo expert. He does not make use of hisskill against you for the same reason that youdo not avail yourself of your physical superiorityto a child. But when fighting is unavoidablehe will stick to it with the tenacity of an Irishterrier, ignoring pain, never losing his temper,and certain to win. For constant attentionis paid in Judo, simultaneously with the teach-ing of attack and defence in the most efficientway, to the paramount aim of enabling men

. and women to have perfect control over mindand body.

U OPR LIMIN RY

To learn Judo you need I a teacher, 2 acostume, and 3 a mat.eI This book was written to enable you tolearn Judo with a friend whom we refer to as

an opponent throughout, instead of as a teacher.Judo teachers are not easy to find, and expertssay that spending two years finding a good oneis saving time. This book claims to replacethe good teacher as far as Judo can be learnedwithout personal contact with a master.2 We practise Judo in a costume called udogi which is seen in the illustrations ofthis book. The belt is not only a means ofholding together the buttonless jacket, but alsoan indicator of grade according to its colour. 1Any costume consisting of jacket, trousersand belt is good enough for the purpose oflearning Judo, provided they have no buttons,

1 See page 166, Grades.IS


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U Ono pockets, and are strong enough to standthe hard use to which they will be subjected.It is clear that any costume ample enough notto hinder your movements, with nothing on itto scratch your skin, with sewn-up pockets ifnecessary to prevent eventual twisting of fingers,will provide a sufficient garment to start Judo.Trousers are a precious auxiliary in groundtechnique only.People are generally clothed, and it is logicalto learn the art of defence in the conditionswhich are most likely to occur and to knowhow to take advantage of them. Special notehas been made, however, as to how to tackle anude opponent.3 Judo is taught in a special hall calledDojo, the floor of which is covered with aquilted mat made out of assembled Tatamis-a kind of thick rectangular straw carpet.Dojo means Buddhist monastery. This evokesthe idea of immaculate cleanliness, solemnity,respect and seriousness. This association isqueer to people who do not know the standardsof Samurai morale and the background of theirfighting spirit. Judo as well as Kendo a kindof fencing with double-handed swords haveto them a moral meaning, to us-just methodsof attack and defence.16

JUDOFor the purpose of practical Judo, however,

any mat or flat surface of sufficient softness willdo. Any available material is good if it willhelp you to build up a flat and even surface.The mat is perfect if you can strike it fairlyhard with your elbow or knuckles withoutbeing discouraged from trying again. It shouldbe a square, measuring about 15 feet each way,covered with a one-piece stretched cover. Astretch of lawn soft enough to stand the above-mentioned test is ideal.

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RST LESSONTo learn Judo properly you must study itseriously from the very first lesson. You mustlearn to perform your throws and holds withoutbeing hindered by the thought that youropponent might hurt himself when thrown tothe ground. Moreover he should not beif you want him for another lesson. So letus start from the beginning by learning breakfalls Ukemi and thus make falling a pleasure.This is not a joke; it will not be long beforeyou will be throwing yourself to the groundjust for the pleasure of breaking the fall.

JUDO

Breakfall BackwardsLie flat on your back slightly bending theknees with the soles of the feet on the ground.

Lift your head off the ground and look atyour belt. This position of the head mustbe borne in mind at the beginning so that itbecomes a habit with you; it will spare yourhead from hard contacts with the floor or themat. Now tap the ground with both arms.

FIG. I.

You will soon find that this is producing ajerky shake in your head because you aretapping either with your hands only or with theparts near your elbows. You must tap theground with the palm and that part of thearm which normally touches your body asshown in Fig. I. Try it yourself as manytimes as necessary until you get a very loudsmacking sound when striking the ground.When you have mastered it there will be no19


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JUDOmore jerks in the head. This tapping is calledHa Uchi from Hane wing) and Utsu flap orstrike), as this movement suggests a fowl flapp-ing its wings.

Now sit up with your legs thrown out androll backwards while beating the ground withboth arms as you have learned to do. Trythis as often as necessary until you can do itwithout the slightest incon-venience. You must time yourhitting the ground so that it isneither too soon nor too late.Just try again and you will findthe right moment yourself. Assoon as you have mastered thisreally easy exercise get to yourfeet as shown in Fig. 2. Besure to bend your legs as muchFIG.2. .bl has pOSSl e so as to touc yourheels with your buttocks if you can; then

roll on to your back, tapping forcibly withboth arms as before.Stand up to your full height, bend to theposition shown in Fig. 2, and roll on yourback, tapping as previously Fig. 3) Try afew times to make the three movements succeed

each other smoothly as if they were one.Note the position of the arms when hitting

JUDOthe ground; they ought to form an angle of30 to 45 with the body.Increase this angle to 60or more if your chest andshoulders are broad andheavy. There should be nouseless extra movements ofthe legs or hips as somebeginners insist upon doing.You will not need this break-fall before the third lesson,but be sure to know it well by that time.

FIG.3.

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U O

Breakfall SidewaysYou probably noticed that you learned tobreak the fall starting with the lowest position,

so that you could not hurt yourself as youmight have done had you let yourself falldirectly from the standing position. The mostdelicate woman can learn thisbreakfall without the slightestrisk.Now that you have learnedcorrect tapping, all the otherbreakfalls are really mattersof detail.Sit up with your legs thrownout and roll to your right side,tapping the ground with the

FIG.4. right arm only. Try this fivetimes. Repeat the same move-ment to the left side, tapping with your leftarm.Squat in a position as in Fig. 4 with theright foot somewhat in front of the left, androll to the right side about five or ten times.Change the position of the feet and repeat thesame to your left side.Stand up in a normal upright posture, yourfeet slightly apart. Bring your right foot in22

U Ofront of the left, and allow yourself to fall tothe ground, as in Fig. 5,and tap with your righthand.In the beginning youshould not actually throw

yourself to the ground, butproceed cautiously. Bendyour left knee while movingthe right foot as described,so that the fall is gradual,and learn to tap with thewhole of the arm, the handhitting the ground at the same time as your

FIG.5.

FIG.6.body. Fig. 6 shows the correct position ofthe body when it touches the ground.

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Fundamental Position Shizen-Tai)In Judo contests there is no restriction as to

the way of gripping your opponent. You maystart attacking even without taking hold ofhim. Nevertheless, there are some positionspreferred to others for instructional purposes,just as in boxing; there the left guard isusually adopted, but you maytackle the other way if you prefer.

Fig. 7 shows the natural right-hand posture generally used. Gripthe opponent s left collar lapel withyour right hand and with your lefthand grasp his right sleeve justabove the elbow. Closer examina-tion of Fig. 7 will give you moredetails. The body should be carriederect. Do not cross your legs when

moving. In other words, use the foot carry-ing the greater part of the weight of the bodyas the leading foot, and the other (trailing foot)follows in the track of the first without actuallycoming up to it before the next step is made.Good boxers move in the same way. It is asimple movement, but rather difficult to putinto words. It is called in Japanese tsugi-ashi.

FIG.7.

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JUDOFirst Leg Throw O-Soto-Gari)

Starting in the position shown in Fig. 7,take a short step backward withyour left leg, at the same timepulling very gently the oppo-nent s sleevewith your left hand.If you jerk or pull sharply, theopponent will stiffen his bodyand resist. If you pull gentlyand smoothly, just making himfeel the tug of your body mov-ing backwards, he will followyou, putting his right foot for-ward (Fig. 8). Thus you have FIG.8.performed the fitting movement Tsukuri)for the first leg throw 0-80to-Gari). This throw consists inhooking the opponent s ad-vanced leg with your right leg

so that the bend of your kneetouches that of the opponent(Fig. 9), and pulling the sleeveyou are holding with your lefthand outwards to your left whileFIG.9. twisting your right hip tQhdpthe movement of your left hand,pushing and lifting at the same time with your

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JUDOright hand. The co-ordinate movement ofyour arms and leg is originating from the.. Vist..of the hi\J. which is essential though over-looked in most books outside Japan. Withoutthis movement, which secures you a betterbalance than that of your opponent, the throwwill be slow and ugly to look at.

Your opponent, when falling, has to releaseyour right sleeve and breakthe fall with his left hand,as shown in Fig. 10. Youhave to release your oppo-nent s left lapel, otherwiseyou will be pulled downto the floor by the fallingweight of his body, but youmust continue holding hisright sleeve with your leftwill soon learn the reason for

FIG. 10.hand. Youthis.

Novices object to releasing the hold on thelapel when falling, suggesting that, clinging totheir hold, they might bring down the opponentwith their falling weight. This may be true,but it is dangerous in practice, as not onlywill he be unable to tap with his left arm, buthe will have to undergo a severe shock againstthe ground doubled by the opponent s weight

JUDOover his chest, which in a real contest mightcause injury.Repeat this throw a dozen times, very slowlyat the beginning and then faster and faster.This does not mean that you have to hurry ;hurry leads to confusion. Real speed isobtained when all the separate movements ofyour limbs are fused into one harmonious,smooth and graceful motion. This is acquiredby repetition of the throw in an impassive moodwith a relaxed mind and body. A relaxed bodydoes not, however, mean keeping your musclesabsolutely loose; it only means that theyshould not be stiffened unnecessarily all thetime. They are stiffened as much as necessaryfor the action Kake itself at the very momentit is done. This applies to all you will learnthroughout this book. When you have mas-tered this throw, let your opponent take yourplace while you learn the breakfall. Note alsoKa~ meaning the actual attacking, and Tsukuri,meaning the fitting action for that attack.Now try the throw on the opponent s leftleg. You start in the same position as before(Fig. 7), gripping the opponent s left lapelwith your right hand and his right sleeve withyour left hand. Take a short step backwardswith your right foot while pulling your opponent

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JUDOgently by the lapel to make him advance hisleft leg. Twist your left hip to the rightbringing the bend of your left knee behind thatof the opponent and pulling with your righthand outwards to your right assisted by theleft hand which pushes and lifts the opponentby his right arm you bring him down.He must release his hold with his right handand use it to break his fall while you releasethe hold of your left hand so as not to be pulleddown by the impetus of his falling weight butmaintain this time your hold on his lapel.Again let the opponent try the throw whileyou learn the breakfall to the right.Beginners are inclined when attacked ontheir left side to release their grip on theopponent s sleeve and to put their hand onthe ground. Care must be taken not to releasethis grip and put your left hand on the groundbecause you may twist your wrist. Whenattacked just let go of the lapel and tap withyour right hand on the mat your left handclinging to the opponent s sleeve.Be sure not to kick the opponent s leg whenhooking it. You must not kick when practisingJudo. We kick and hurt the opponent onlyin real defence using Atemi Some instructorsuse the Kekayahi form of this throw and insist

JUDOon giving a sharp kick backwards. This ismixing obsolete forms of Ju-JitslJ with Judo.You must upset the opponent s balance beforeusing Kake the kick is thus unnecessary. Ifyou rely on the kick for upsetting his balanceyou will not only be disappointed but maybreak his leg or twist his knee a result whichcan be obtained without learning Judo. Judomeans mastering your opponent by your ownperfect self-control.

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JUDOirst ip Throw Uki-Goshi

Grip your opponent s leftlapel with your right hand,and his right sleeve aboveand behind his elbow withyour left hand. Pull gentlywith your right hand. Hewill advance his left leg. Putyour left great toe in frontof his (Fig. II), let go ofthe lapel and slip your right

FIG. II. arm under his left armpitaround his waist. Pivot tothe left on your left toes so as to bring yourright hip underneath the oppo-nent s stomach, your knees beingslightly bent. Make sure yourright foot is not too far fromyour left foot (Fig. 12).

Press the opponent s waistagainst yourself with your righthand on his right haunch andjust straighten your knees, twist-ing your shoulders and headwell to the left (Fig. 12) andpulling his sleeve with your lefthand. Your opponent is lifted FIG.12.3

U Ooff the ground and tilted over your righthip as shown in Fig. 13 andthrown to the floor as inFig. 14.Note the position of the feetin Fig. 12. Your right footshould always be within thatof the opponent, never on theoutside of it, a common faultwith novices. Putting yourright foot too far to the rightlessens the lifting power ofyour hips and impairs yourbalance once the opponent isoff the ground. Fig. 15showsthe respective areas withinwhich the left and rightfeet should be placed.Try ten lifts on your

opponent, just get-ting him off thethrowing, let him down31FIG. 14.

ground and, without

FIG. 13.

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U Oon to his feet again. Change positions andgive him a chance.Now repeat the same thing, actually throwingyour opponent. Remember to turn yourshoulders and your head well to the left, asshown in Fig. 12, and lift your opponentsolely by straightening your legs, not byleaning forward, as you may have the intentionof doing. When you feel your opponent tiltedover your hip, loosen your right arm and lethim break his fall, tapping hard with his leftarm.. Again change positions and learn to breakthe fall in your turn. Ten repetitions are therule-the more the better. Be sure to taphard to prevent your loins from hitting theground too roughly.This throw should not be associated withthe wrestler s hip throw, as it might be atfirst glance. The wrestler throws his armround his opponent s waist much as we do,but leans forward and uses his weight andrush to throw him. In Judo you must liftyour opponent by straightening your legs only,and only a little physical exertion is necessaryto lift even a very heavy opponent. Any girlwill learn, in one or two lessons under experttuition, to lift and throw a man of 15 to 1732

U Ostones or more. The straightening of onlyslightly ent 1 knees is, in this case, the mostefficient use of your strength.

1 T he reason for only slightly bending the knees is givenby the f ollowing algebraical equ ation:Let P = lifting power of the hips when straighteningthe knees see Fig. 16).

F = a force which applied at e ch knee would pro-duce the same effect as the complicatedmuscular effort of the leg. F shown ondiagram Fig. 16) as resulting from differentforces, fl and f2.

FIG. 16.

h = the difference of level of the point of applica-tion of P before and after straightening theknees, i.e. the distance along which P worksduring the movement.d = the distance along which F works during thesame movement.

Work is measured by the product of the force and the33 c


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U Odistance along which the force works. Thus the valuesof work of the forces P and F are respectively Ph and Fd.As there are two knees the law of conservation of workis consequently Ph = 2Fd Hence:dP =2x-xF h

When the knees are slightly bent d is, as can roughlybe deduced from the diagram, about six or seven timesgreater than h. That is to say a force of only 1 stoneapplied to the knee, which is within the scope of a childI2 years old, will be lifting

P = 2 X ~ X 1 = 14 stones it /1, ~If the knees are bent too far h increases more rapidlythan d, so that the ratio ~ decreases while one continuesbending the knees to become equal to 1 when the kneesare at right angles, where you will need 1 stone at F tolift only 1 stone at P. Hence the remark about onlyslightly bending the knees.

U O

First Immobilization Hold Kessa-GatameYou will remember that when throwing your

opponent, you have been advised to maintainthe grip of one of your hands on the opponent ssleeve, with your left hand when you werethrowing him to your left see Figs. 10 and 14)and on his lapel, with your right hand whenhe was thrown to your right. One reason whywe do so follows; others will become apparentin due course.

FIG. 17.

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Throw your opponent to your left by thefirst leg throw. Should the throw be clearenough, you have secured a point in the contest.You may then break off and start again. Ifnot, you may continue attacking, trying toimmobilize, or hold down, your opponent.You have a fine chance if you are still grippingthe sleeve as you should be. Kneel down onyour right knee while throwing your right armround your adversary s neck Fig. 17) and,35

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U Osupporting your body on your left foot andright hand or forearm), put your right leg inthe position shown in Fig. 18. Turn yourhead to the left, away from the opponent, andtuck your chin into your chest, lowering yourhead as far as you can.Notice how the opponent s right arm ischecked and prevented from being of any useto him. This holdis secured while

kneeling downwhen, withoutslackening you rgrip on theopponent s rightsleeve, just aboveand behind hiselbow, you bringhis wrist under

your armpit. Push his elbow upwards withyour clenched hand and press your forearmagainst your body. Note also the grip of theright hand on the opponent s jacket.Let your opponent lie flat on the ground,secure the hold as described, and let him tryto get out by any means without, of course,touching your face. He may push your throatwith his hands or forearm if he can. N ow let36

FIG. 18.

U Oyour opponent hold you down and try in yourturn to get out. You will find it verydifficult, though your opponent s hold is surelynot without faults. Anyhow, you will learnmore about this hold in our next lesson, inwhich you will find answers to the questionsyou may be wanting to ask after your firsttrial. Start anew three times and let youropponent do the same.Should you have followed the instructionscarefully you must be fairly tired by now.Have a hot shower if possible. If only a coldone is available, do not stay under it too long.Cold showers after great physical efforts areharmful, although this practice is encouragedand indulged in by many athletes. Workproduces heat in the human body as in anyother machine. This heat has to be dissipated.Perspiration is actually carrying it away, to-gether with part of the products of the burntfuel of the human motor. A hot shower willopen the pores of the skin, dilate all vesselsand promote the cleansing of the body byeasier perspiration. You feel relaxed and com-fortable in a few minutes.

A cold shower produces a constriction of allvessels and pores and perspiration is stopped.It is true it braces you up as any stimulant37


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JUD 0will but your muscles stiffen and the elimin-ation of the toxins will be done by your lungsand kidneys so the harm is not apparent.Still you stop Nature doing its work in theway it has chosen. Give a fair trial to a hotshower after hard strain and you will certainlylike it.

A last word. The day after your first lessonyou may feel stiff all over your body especiallyat the neck. It is usual to feel so; even well-trained athletes have stiff muscles when theytake up Judo. A day s rest may be advisableafter the first lesson.

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SECOND LESSONAN accomplished Judo exponent generally com-mences any serious practice with fifty breakfalls.For our second lesson however we need onlystart off with thirty-ten falling backwardsand ten each falling to the right and left sides.The other twenty which we are about to learnare ten breakfalls rolling forward over the leftshoulder and ten over the right. Until wehave mastered these forward rolls we shallcontent ourselves with practising the threebreakfalls we know.

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JUDOwell but use your forearm instead. Strangledwith the left p ut your right hand against theelbow joint of the strangling arm your lefthand over your right and with a fair effort ofboth arms and loins ~lip your right elbow tothe ground in such a position as to make thewhole stress of the opponent s elbow bear as acontinual compression on the bones of yourright forearm. Use the strength of your arms

FIG. 36.

to keep balance only. As soon as you feelyour opponent hesitating strain your neck andarms and bring his elbow over your head toyour left while your head meets the movementmoving to the right.Repeat the hold five times each side resistingas described but tapping immediately you feel

you ought not to resist further.. This is a most interesting trick and of vitalimportance in the art of self-defence. If youdo not feel stiff after the last lesson repeat the60

.Jr

JUDOfirst immobilizing hold until tired and thenhave a hot shower.

You will be ready for another lesson the dayafter to-morrow.


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Third Leg Throw Hiza-GurumaFrom the recognized starting position pullgently the opponent s sleeve with your lefthand while stepping slightly backwards with

your left leg. The opponent advances hisright foot and throws his weight on to his leftleg for the next step. At thismoment press your right saleagainst the outside of his leftleg somewhat under his knee,pulling hard on the left lapel Fig. 37). Being unable tosupport his balance since hisleft leg is prevented fromadvancing, he stumbles andfalls to your right side on theground.Note how near your left foot FIG.37.is to the opponent s right footand that it is placed somewhat to the rightof it.Failure to accomplish this throw is often dueto the fact that novices push their opponent sleg in front instead of pressing it on the outsideof the fibula. Another common fault is usingthe inner border of the foot instead of the

actual sole as shown in Fig. 37.63

JUDO

THIRD LESSONDo the usual number of breakfalls, fifty alto-gether, with twenty rolls over the right shoulderand none over the left, until the right sidebreakfall is good enough. Some people learnit easily, in one lesson sometimes; others willrequire many lessons before the roll is performedwith a smooth and graceful motion.You have learned two leg throws, attackingthe opponent s advanced ankle. Here is athird one.

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U OTry the throw ten times and then repeat iton the opponent s right leg. Then attack hisleft leg again, paying more attention to theauxiliary lifting motion of the left hand. Notethe well-balanced position of the assailant, the

way he carries his body, the posture of hipsand shoulders. His left knee is very slightlybent, trunk leaning backwards, allowing for thelong reach of the opponent s right foot.There are other forms of Hiza-Guruma.

JUDO

64

Some hints on the First Immobilizing HoldKessa-Gatame

Throw your opponent by De-Ashi-Barai, thesecond leg throw, and secure the first immobiliz-ing hold you have already learnt. Do yourealize why we assume such a position, insteadof kneeling on the opponent s chest, or sittingon it in the way women mount horseback, orsimply lying over his body? The man secur-ing the hold obviously does not use the wholeof his weight to bear on his opponent, and thisseems to be illogical when he should be tryinghis best to hold the other down. The explana-tion is that by using any of those naturalways of tackling an opponent on the groundyou cannot hold down a man stronger andheavier than yourself, while Kessa-Gatame per-mits of holding down an opponent you couldnot hold in any other way. Let us examineclosely Fig. 18 and see how it works.Your opponent may try to get up from arecumbent position on his back in any of thefollowing ways :( I) By putting his left hand on the groundto support the body while sitting up. This iseasily checked by stiffening your left leg withits sole on the ground far behind and pressing6S B


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JU.D 0the opponent s shoulder to the ground withyour chest. The leverage is so much in yourfavour that there can be no question of hissitting up this way. 2 ) By pressing his left hand against yourback and powerfully lifting his hips, with hissoles placed on the ground so as to throw youto the right corner over his shoulder. Again,your right leg being stretched out forward andyour trunk leaning slightly backwards at thesame time keeping tight hold with your arms),you create a leverage sufficient to discourageany further attempt on his part.The leverage created by your leg in eithercase places your opponent in the position of aman wanting to jump with a pole far too long.No matter how strong his legs may be hecannot leave the ground holding at one end apole 30 feet long while the other end is thrustfar ahead into the ground.

3) By grabbing your belt or the upper rimof your trousers at your left haunch and witha powerful effort of the hips and pull of hisleft hand, m king you roll over his chest on tohis left or left corner over shoulder.It is in order to make this movement difficultthat we do not put the entire weight of the bodyon the opponent s chest. Any man of average66

JUD 0strength can roll and push over to his left alog of wood of fifteen stones placed on hischest, but he cannot turn and lift you from theground while the greater part of your weightis away from his axis of rotation. Just moveyour loins away from his chest, stretching theleft leg, and the momentum necessary to moveyou is far beyond the power of any man, except.perhaps of an exceptionally strong and experi-enced wrestler, in which case we have othermeans to check him, as we shall soon see.

4) He may try to slip out his right arm,turning to his right nd tugginghis right shoulderPress your left elbow against your body, yourleft hand tightly holding his sleeve behindthe elbow, exactly in the position shown inFig. 18; no man is able to overcome the gripthus created around the imprisoned arm andslip it out. -If necessary lower your head andbring your right thigh under the opponent selbow, as a wedge, to prevent him from turningto the right.

A free body, a ball for instance, can movein six different directions, i.e., forwards, back-wards, to the right, to the left, upwards anddownwards. A man standing on his feet orsitting on a chair cannot move downwards;and when lying on his back there are only four67


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JUDOdirections left, as motion upwards can hardlybe taken into consideration.

We have thus exhaustively examined thefour possible main movements and the meansto check them.Secure the hold and let your opponent trythe four movements in succession. You will

find no difficulty in holding him down at yourconvenience. Now let him try to get free by.any means he likes. If you stiffen your body,a much stronger opponent may, by wriggling,tugging and pushing, occasionally break yourbalance, also you will be wasting energy andtiring yourself needlessly. Just be ready todefend as best you can the point where thecounter will be launched, and, with the bodyand mind relaxed, be ready to move and assumethe appropriate positions. As in modern war-fare, to beat an opponent stronger than yourselfyou must have confidence in your own greaterskill and mobility.

IUD 0Second Immobilizing Hold Kata-Gatame

The first immobilizing hold is used byexperts just to e~able them to secure the secondor other holds. They will maintain the positionfirst held for thirty seconds and will be contentwith this only if they cannot do better. InJudo, according to the efficiencyprinciple, youmust not waste time, and the second immobiliz-

FIG. 38.

68

ing hold will, in most cases, help you to winin a fraction of a second. Another advantageis that it can be used against a nude opponent.

Discreetly allow your opponent to free hisright hand. He will soon be pushing yourchin with it. Push his elbow Fig. 38) and,suddenly withdrawing your head, bring hisarm over your right shoulder. Lower yourhead at once Fig. 39) so as to prevent himmoving back his arm. Hook your hands69


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U Owith the knuckles of the right hand upwardsthe hard and narrow edge of the radius at yourright wrist is thus pressed against the opponent snape at a point where it bears on the cervicalnerve an unbearable position which bringshim to immediate submission.Now try again pushing histilting your chin backwards to

elbow andavoid any

U Oexactly as shown in Fig. 40. Twist your leftshoulder backwards pulling your right handhard with the left your head pushing that ofthe opponent.

FIG.39.Space will not permit us to give the reasonsfor every detail as we should like but if youstudy the figures closely and carefully imitatethe postures of the combatants you will find

FIG. 41

FI G. 40 .

actual contact with his hand. The movementgains in smoothness and promptitude in thisway.See that your head is lowered sufficiently.If this is neglected the opponent may be ableto show some resistance pushing his elbowagainst your neck. If this happens it is toodifficult to correct the position of your headso twist your hips to bring your legs into theposition shown in Fig. 41 and press your head71

them by experience. Great care has indeedbeen taken to reproduce every essential detailin the figures and close imitation will perfectyour study.Clasp your hands as shown in Fig. 40 and70


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U Oagainst your opponent s right temple. Pullwith your left hand and he will tap at once.Another way to gain a rapid victory startingfrom the first immobilizing hold is describedin the following paragraph.

72

\\ Fb::st Head LockI JUDOLift up your head so that your opponentwill be sure to push your chin with his freeleft hand or forearm touching the face beingexcluded in Judo practice. This is what youwant him to do. Clasp your hands exactly asshown in Fig. 42 press his chest leaning yourshoulders towards his left groin and lift hishead from the ground. The extension of thevertebrre of the neck forces him into submission.Note the well-balanced position of the legs.Giving way to your opponent s pushing move-ment the harder he pushes your chin theharder his head is pulled into the bent position.You are doing Judo-using the opponent sstrength against himself. In actual fighting orin a serious bout you can bend your arms soas to press the right shoulder over the opponent snose and mouth to block them and stop hisbreathing.Blocking the air passages should follow andnot precede the pressing on the chest and thebending of the opponent s head as this lattermovement induces complete expiration and aman cannot continue in this state for morethan a few seconds without inhaling althoughhe may be able to stop breathing for a minute73


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Third Hip Throw Koshi-Guruma)The third hip throw is in principle a refine-ment of the second Kube-Nage), which canbe best secured, as you already know, when

the opponent is .made to advance. Koshi-Guruma can be used in the same way, andalso when the opponent is turning, advancingor retiring.Gripping the opponent sleft lapel and right sleevewith your right and left handsrespectively, move slightly toyour right, trying the secondleg throw De-Ashi-Barai ) onhis left ankle. Let him eludeyour right foot while you con-tinue moving to your right.The opponent is naturallyleaning forward to facilitatethe lifting of his left foot and bringing itover your attacking leg. At the very momenthe is turning to his left to face you, his leftfoot touching the ground, turn on your lefttoes placed far to your right Fig. 43) and bringyour right leg in front of that of the opponent.Your left toes, moving to your right, shouldbe placed as far as possible to the opponent s

JUDOor so, provided he already has air in his lungs.This detail is more of an auxiliary against apowerful man, very much stronger than your-self. In most cases, if your right hand ismoved high up on his nape, as near as possibleto the occiput, as shown in Fig. 42, the painat the neck is absolutely unbearable.

JUDO

F IG. 4 2.

You must make sure not to jerk the oppon-ent s head, as by doing so you might sprain hisneck and seriously injure him.These last two holds can be used in actualfighting as well as in Randori or in competi-tions.

74

FIG.43.

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JUDOleft on a straight line running through hisgreat toes. Bend your leftknee while turning and lean(Fig. 44) well to your left sothat you can straighten your

right leg (with little weighton the foot) and hip as muchas shown in the figure.Continue twisting yourbody to the left (Fig. 45),pulling the gripped sleev~and, assisted by the righthand, bring the opponent on to the mat (Fig.46). Try again, exercising the turning on the

FIG. 44.

FIG. 45.

U Oyour different movements are made into asingle smooth and swift motion. You willsoon obtain a sharp and clear fall to thedelight of both of you. And, of course, letthe opponent take your place.As the name indicates, Koshi waist Guruma-wheel, the opponent should be made to rollover the lower part of your waist or hips, asshown in Fig. 45.Note the position of your right leg across theopponent s legs as well as the position of yourloins. Your right leg must be touching bothyour opponent s legs. Your weight is almostcompletely supported by your left leg, with thetoes well turned to the left. Examine theillustrations very closely for the position ofthe hands.

Ten minutes Randori will now help you topractise all the movements you have learned.Remember that your opponent in Randori isthere to help you to perfect your Judo byimproving his own. Try to beat him by skilland not by strength. Observe that when yousucceed in a fine throw, having struck atthe right moment, and ,.,kilfully,your opponentappreciates it almost as much as you do your-self. But if your success is due only to yoursuperior bulk and power, he will stiffen his77

FIG. 46.

left toes, the opponent standing motionless withhis left foot advanced. Try a dozen times till76


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U Obody and mind and your Randori will degen-erate into a personal squabble. That is notJudo.

Because size and natural power cannotbe acquired people who lack them may notenjoy sport which depends upon strength onlyand not skill but in Judo skill correct timingand good position are within the reach of every-body provided one cares to give the necessarytime and application to acquire that knowledge.

OURTH L SSON

78

YOURbreakfalls should now be quite satis-factory provided you have followed my adviceand have been doing fifty of them at the be-ginning of each lesson. If your breakfall for-ward over the right shoulder is smooth enoughtransfer the movement to your left.

In the three leg throws you have learned wefound the opponent moving forward very muchas in an ordinary walk. We watched himadvance one of his legs then we fittedTsukuri his balance and performed the attack Kake , which consists always of

pulling the opponent appropriately with thehands one leg sweeping or pressing in theleg direction opposite to the hands. All threethrows O-Soto-Gari, De-Ashi-Barai, and Hiza-Guruma, may apparently be applied to theopponent moving straight backwards. So faras the position of the legs is concerned anadvanced foot after every step backwards willdo just as much but a greater muscular effort79

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JUDOFallin~ Forward Chugairi

Put your right foot well forward and yourhands near to it as shown in Fig. 19, and before

FIG. 19.

trying to roll over, make sure that your rightknee ~s outside the right elbow,which is slightly bent and turnedslightly ahead in the directionyou are going to roll. Makesure, also, not to put your headbetween your arms. Pay atten-tion to these details in order tomake the fall a smooth roll overthe right elbow and shoulderFig. 20 , which movement willgently guide your body in a curveto the ground. If you keep yourhead exactly as shown in Fig. 20it will not touch the ground. Now roll overas shown in Fig. 21, tapping with the left40

FIG. 20.

JUDOhand at the moment your body is assuming aposition as shown in Fig. 22. Practise this adozen times, being careful notto turn your hips to the right, acommon fault with beginners,as the full weight of the bodywould then fall on the rightbuttock, and the resulting break-fall would be clumsy and quitedifferent from the rolling break-fall you are learning to do.You should generally use theimpetus of the rolling body inorder to get to your feet with-out effort. Bend your left legas shown in Fig. 22, leaving the left kneepinned to the ground, and your tapping will

FIG. 21.

FIG. 22.

help you to attain an upright position. Fig.23 shows the end of the movement.


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U OObserve the straight line of the body at thehips; this is the secret of the graceful fallsmade by Japanese instructors.Bending the body at thispoint makes the roll ugly and

clumsy.Repeat falling over the rightshoulder twenty times. Thisbreakfall takes some time tolearn but as you will not needit yet awhile you can inthe meantime practise itthoroughly so that when it isneeded you are ready to

make use of it. Do not try the breakfall tothe left until you have mastered the fall to theright.

FIG. 23.

U O

42

andori andorimeans free exercise. The two oppo-nents try to improve their skill in throwingchoking and holding down in other words

forcing each other to a state where submissionis the only possible alternative. They may useany trick they like provided they neither kicktouch the opponent s face nor twist fingersand toes.The object of andori is not necessarily tobeat the opponent but to acquire skill andexperience in Judo. It should not be a questionof who wins so much as how it is won. With

your mind untroubled as to whether you arewinning or losing with your body relaxedyour movement smooth you will soon findyourself attempting throws holds and locksyou would not otherwise think of usingthrough lack of experience. This is thereforethe main object of andori you may not atany given moment be mastering your opponentbut you will be storing for the future theexperience you cannot do without. andori is practised from the very outsetbetween master and student but of coursefree practice between beginners is not advisablewithout some knowledge of what to do. Here43

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are a few suggestions but first learn to bow.Fig. 24 shows the way we do so. You mustJUDO

Five-Minute RandoriStart from the fundamental position. Pullthe opponent s sleeve and attack by the firstleg throw O-Soto-Gari . Let the opponent

escape the throw by lifting his right foot offthe ground and stepping back over your attack-ing right leg. By doing so he has his left footadvanced. This is an opening for the firsthip throw Uki-Goshi . Throw him by this.Repeat the two movements ten times and thenlet your opponent do the attacking.Now start by pulling on your opponent sleft lapel. Attack by O-Soto-Gari with yourleft leg. He should escape by stepping back-wards with his left leg over your hooking leg.His right foot is advanced; attack by the firstleg throw on this leg. He escapes. Go backto the hip throw. Repeat ten times.Repeat the same and follow your opponenton the ground securing Kessa-Gatame, the firsthold-down. If your opponent can free him-self from the hold let him at once secure thesame hold on you. Three repetitions will do.

FIG. 24.bow before and after Randori, also beforestarting a bout and to finish it.

44 45

U O--

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Second Leg Throw De-Ashi-BaraiFrom the fundamental posture, pull youropponent s right sleeve to make him advance

his right foot (Fig. 25), stepping backwardswith yours. You have probably realized thatin the first leg throw youwere standing mostly on yourleft foot and you could hookwith your right leg. Thesecond leg throw enables youto attack an advanced rightleg when it happens to find

you supporting your bodymostly by the right leg (Fig.25), without bringing yourweight on to the other leg.F (While being engaged in thisG. 25.. last operation your opponentwill have already stepped forward with hisother foot.)

Hook with your left sole the opponent sright ankle from behind, push 1 it in the1 Pull would be the right word. The Judo expertuses his feet almost as hands. Here he is pulling theopponent s ankle towards himself. European people can-not use their feet so nimbly at the beginning and they push the opponent s ankle in the direction of his toes.46

.

direction of his toes and with your body lean-ing backwards pull on his sleeve as shown inFig. 26. Your right handlifts and pushes equally toyour left and helps to upsetyour opponent s balance. Caremust be taken to follow theopponent s ankle with thehooking sole after it is sweptoff the ground until his balanceis actually broken.Note the position of thelegs in Fig. 25. When step-ping backwards with yourright foot you should en-deavour to put it on the ground so that it is

FIG. 26.

FIG. 27.

more or less on a straight line runningthrough it and your opponent s feet. The47

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movement of your hands is producing aforce acting in the opposite direction fromthat produced by the sole of your foot. Inall leg throws the opponent is forced to swinground much as a log of wood pulled by a ropeat each end would be see Fig. 28).The log is naturally lifted from the ground,so should your opponent be. Of course, youcannot obtain such a good result at the begin-ning; only experts in Judo can produce such

FIG. 28.

a clear stroke by the perfect and simultaneousmovement of legs and arms. Now continue,repeating the movement ten times, and afteryour opponent has done the same, practisethis second leg or ankle throw (De-Ashi-Barai )on the left leg.Be sure to touch not kick) your opponent sankle only with the sole of your foot. Novicesgenerally kick, and with the inner border of thefoot, which is painful to both of them, andmoreover reduces the force of the movement8

considerably. A second point to bear in mindis the direction of the pull on the sleeve andthe action of the right hand. Again novicesgenerally push down instead of pulling thesleeve. The right hand helps the left but liftssomewhat, while urging to your left.You should be able, by this time, having gotthe idea of the movement, to reverse thesemovements to the left leg-easier to do inpractice than to describe.Now try De-Ashi-Barai again on your oppo-nent s right ankle. Step slightly sideways toyour left when pulling your opponent s sleeve,so that you can hook his advanced right anklebefore it is placed; not too soon, but at thevery moment the opponentmoves his weightontoit. This needs practice and attention, but itis great sport once you have mastered it. Thethrow is as clean as a slip on a banana-skin,or a fall when skating. This is Judo; youare exerting no great strength with your arms,but are using your body and mind efficiently.Ten trials, please, before resuming your read-ing; then twenty more and the same numbernext time. I am sure you will not find thesetrials as tedious as they sound here. Again tryit on the other foot, then improve your break-fall while your opponent learns the throw.49 D

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ward in the same direction as that of youropponent.Stiffen your right hip andleg, continue turning to the left,and emphasizing this movementwith your arm around youropponent s neck Fig. 32), bringhim over your right thigh andto the ground.Pay attention to the positionof th~ right hip at the actualthrow Kake . The hip is nowunder your opponent s stomach as it was inthe first hip throw. There is a perfectly

straight line run n i n gthrough the right greattoe, knee, hip, shoulderand head of the attacker.Fig. 33 explains theI e a din g ide a of thisthrow . Your right legis forming an obstacleover which the opponent

is urged to stumble,due to the action ofturning your body, towhich his head is firmly held by your arm.

This is why the right calf is brought under

Second Hip Throw Kube-NtlgePull your opponent more gently by his lapel

than by his sleeve, retiring first with yourright leg he will advance his left leg, Fig. 29),then step ck with your left leg far behindyour right foot, half turning your body to theleft Fig. 30). Accentuate your pull on the


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your opponent s right knee as low as possible,so that when your leg is straightened youropponent s leg is lifted from the ground. Asthis is the leg on which he is standing, the fallis very neat. Closer examination of this figure

will give you an insight into the technique.Try ten throws without worrying too muchabout the lifting action of your right leg. Justbe sure that your right foot is well apart fromyour left, and that your right hip and leg areas straight as possible, and bring your opponentto the ground by spinning your shoulders tothe-left. By and by you will be able to bringinto action finer movement and improvedtechnique. Note the position of the right footplaced on tiptoe.

Give your opponent a chance to learn hissecond hip-throw Kube-Nage .

S2

The Art of Strangling Shime-WazaJudo is the only sport employing strangle-holds. This may sound brutal to the Europeanear, but I can tell from my own experience that

you will not think so after a few weeks practice.Attacking the throat is one of the most commonmethods of fighting in the animal world. Youcannot possibly leave out this way of Naturein an all-round science of attack and defencesuch as Judo. You are probably ticklish inthe region of the throat and perhaps you canvery easily be brought to submission by anyJudoka Judo exponent) within a second ortwo, although you may be of considerablephysical strength. Within a few weeks, afterthe necessary training, you will be able toresist any attack on your throat, apart, of course,from that of a Judo expert proficient in strangle-holds.

Besides stopping breathing, temporarily orfinally, by squeezing the throat from without,we use other and more efficient methods ofattacking the neck. Any man can withholdbreathing for many seconds without the slightestinconvenience, so it is not lack of air that willbring submission within a fraction of a second,as will result from a correct strangle-hold. We53

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shall explain the mechanism of each action aswe come to it.There are three acutely sensitive points on

the neck where pressure produces a strongchoking effect. Let your opponent lie downon his back. Mount astride his waist, restingon one knee, with the sole of the other foot onthe ground. Press your index finger againstthe point immediately beneath the projectionof the thyroid cartilage of the larynx, ordinarilycalled Adam s apple ; a spasmodic coughwill at once follow.

Now press your right index finger againstthe hollow formed by the left angle of theopponent s lower jaw and the big muscle run-ning from the sternum (chest bone) in thedirection of the left ear, the sterno-cleido-mastoideus, which will become apparent ifyour opponent turns his head to his right andtries to tilt it up from the ground. You arecompressing a whole bunch of vessels andnerves of vital importance: the jugular vein,the nervus vagus (pneumogastric nerve), thecommon carotid artery and the sympathetictrunk. There is also a corresponding point onthe right side of the neck.

The compression of the carotid artery stopsblood circulating to the brain; that of theS

L

sympathetic trunk and vagus causes spasmodiccontraction of the heart, lungs and diaphragm.We cannot discuss processes beyond the scopeof this book, but a tight strangle-hold appliedto this point in the neck will makeyour opponentunconscious before he is aware that he is faint-ing. You must be ready to slacken your holdas soon as the opponent taps in submission.In a few lessons your opponent will learn toknow the extent to which he can resist the holdand when to tap in time. In due course yourneck will become stronger and you will be ableto stand for a very long time holds which wouldhave killed you at the beginning.A further strangle-hold, described below,maintained tightly for a second or so, willinduce a state of apparent death due to theshock on the sympathetic trunk and vagus.However brutal this may sound, there is noreal danger if a black-belt Judo expert knowingKatsou is present, as the patient can be restoredto consciousness as easily as he was renderedunconscious. But you will find yourself in anembarrassing situation in the Judo expert sabsence, so be careful.

I used to be sceptical about Katsou myself.When I first applied it I was almost sure itwould not work, but experience showed me IS

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was wrong. Not only is the patient readilyrestored to consciousness, but he does not feelthe slightest inconvenience afterwards, resum-ing Randori practice as if nothing had happened.In fact, he may pretend it was an agreeablefeeling to lose consciousness in this way; pain-lessly as one falls into a dream. If restorationto consciousness is due to medical intervention,headache the next day is the general rule.Katsou treatment leaves no trace whatever.

First Strangle-hold Kata-Juji-JimeWith your opponent recumbent on his back,

you mount astride his waist, resting on your

FIG. 34.

left knee, the right sole on the ground, 1 asshown in Fig. 34. Slide your left hand under-

56

1 This position should be preferred to that often recom-mended, where you are advised to put both knees on theground and squeeze your opponent s waist with them, aposture in which your opponent naturally tries to throwyou off to the right or to the left by sharply twisting hisloins. You cannot do very much to keep your balance,because if he tries a series of jerky twists ending with apowerful one on that side where he feels your balancewill be most easily broken, he may probably succeed inupsetting you. The position, however, is not undesirablein general and is often used as a means of bringing theopponent between one s legs in order to secure a strongkidney-squeezing scissor) hold? which will be dealt with57

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58

your opponent s windpipe, as your aim is tocompel him to admit defeat, not to inflicttemporary or permanent injury. Graduallyincrease your pressure, pushing your elbowagainst his head until he taps on yourbody, when your action must cease immedi-ately. In fact, you must be expecting sub-mission and stop as soon as you feel he istapping.Try three times, then let your opponent try.Repeat the same, substituting left for right andvice-versa.

The mechanical actionof this hold is analogousto that of a strap brake on a wheel. Hence theimportance of pulling tightly on the right lapelwith your right hand so that the strap willnot slip round the neck. To increase pressureon the throat, the contact surface of yourforearm must be as reduced as possible. Theulnar border must then be used as it is narrow.Experts twist the fist so as to project the endof the ulna against the opponent s throat,increasing pressure to the maximum available,as shown in Fig. 36.To resist this strangle-hold you must preventor at least check the elbow of the stranglingarm from lowering down. A piece of woodpushed underneath the elbow would do very

neath your opponent s chin to secure a firmhold on the left side of his collar with yourthumb inside the collar, as near as possible tohis nape. Take hold of the right lapel, thrust-ing your right hand under it, palm upwards.

FIG. 35.

Gradually stiffen your left wrist and push itagainst your opponent s throat while pullingtightly with your right hand. Fig. 35 showshow to use the weight of your body to increasethe pressure of your left wrist. Be sure not touse all your strength at once in case you breakin due course. But it is a failure for securing the firststrangle-hold. While having one foot on the ground,your opponent cannot possibly turn you over on that sideand wiII naturally push you to the other. Being warned,you wiII easily keep your balance. Another reason whywe prefer this position is that it enables you to take thearm back in case the opponent shows too much resistanceto the strangle-hold.

JUD 0 JUDOThere is, of course, the intermediate case-


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will be needed to obtain a fall, as you will thenhave to overcome the impetus or momentum ofyour opponent s body moving backwards beforeyour pulling produces its effect.In the first case, when moving backwards,your pulling effort is added to that of the

opp~nent moving forward on his own behalf.The opponent is actually providing all theenergy necessary to move his body while youprovide just the extra effort required to makehim move a little more than he originallyintended. In the other case, however, youwill have to stop his body moving backwardand then urge it forward, which means pro-viding a greater effort than the opponent.As Judo teaches the most efficient way ofusing the body and mind, the difference be-tween the two cases is too great to be neglected,so that though you may be able to throw youropponent in a particular case by one of thesethrows while he is moving backward, youshould not get into the habit of attacking inthis way. Your skill will betray you whenyou will most need it-I mean when dealingwith an opponent physically much strongerthan yourself. Acting against his movementyou may have to attempt an effort beyond yourpower-you had better keep to Judo.

the opponent is attacked when he is motionless.This may be practised. It is probable thatas a novice you were actually doing so. Allnovices stop the opponent when carrying outthe ake That is the reason of the failure toproduce the throw as soon as the opponentstiffens his body to resist.Only practice will help you to realize thereal meaning of the above statements. As yourmovement becomes more natural, smooth andfluent, you will be surprised to find th~ opponentevery now and then thrown as by a spell, as ifhe obeyed your will and not your effort. Thisis Judo. You are an expert if you can repro-duce such throws whenever you wish.

Just try a few minutes Randori and now seewhat you can do after what we have said.Perhaps the trial was not a great success,although it may have been an improvement.Do not worry about that. Skill is not acquiredby merely understanding the technique. Youcannot play the piano by reading about it.Only from practice and exercise do you obtainreal skill, and the teacher s part is to make thatpractice more encouraging.

x F

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Fourth Leg Throw O-Uchi-GariGrip your opponent s left lapel and rightsleeve with your right and lefthands respectively. Let himstand with his feet wide apart,the left foot slightly advanced.Advance your left foot with thetoes turned well outwards, to

form an equilateral trianglewith those of your opponent Fig. 47). Hook the advancedleg within your right leg,so thatthe crooks of your knees touch.Push the opponent with yourright hand backwards to hisleft corner, while sweeping hisleft leg from under him with

your hooked leg Fig. 48).Loosen your grip with bothhands when you feel him losingbalance, so as not to fall overwith him. He should at thesame time loosen his grip on youand show his skill in breaking hisfall backwards, tapping forciblywith both arms. You should bothtry this a dozen times in turn.82

Now we shall pass to the dynamics of thethrow and learn how to use the fourth legthrow O-Uchi-Gari in motion. From thefundamental right-hand posture step slightlyto your left with the left foot where youropponent has advanced his right foot. Pull without jerking) your opponent s lapel withyour right hand in acircular motion to yourright and sweep yourright leg round his nowadvancing left leg, hook-ing it from the inside asbefore, with your rightleg bent at the knee asshown in Fig. 48. Tryto sweep his leg off theground at the very mo-ment he is moving hisweight on to it. Do nothook with your right leg too soon and pushafterwards, as beginners persist in doing. Theaction of your right hand and leg should besimultaneous, but hooking following the pushwill still do. Do not push very hard at thebeginning, for the fall is very sharp and youropponent may bang his head against theground. There is of course no danger if he8

FIG 47

FIG 48

FIG 49

JUDOmakes sure to tilt his head as he falls and U O


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Fifth Le~ Throw Ko-Soto-Gari)Let your opponent stand with his legs wideapart hook his right leg with your left legjust below the crook of his knee and push

with both hands backwards. Let go of eachother for the same reason as inthe foregoing throw.Now make your opponent advance with his right foot by theusual Tsukuri, then pull with acircular outward movement ofyour right hand to your right.He is stepping to your rightautomatically with legs wide apartas in the fourth leg throwO-Uchi-Gari). Now hook hisright leg as shown in Fig. 50pushing at the same time backwards with both hands. Again be careful atthe beginning until you get used to the fallfor you may succeed every now and thenbeyond your expectation. This throw is easilylearned on both sides and you may do so atonce.

IS minutes Randori. Try to move backwards and forwards without checking thenumber of paces. Vary your attacks so as to8S

looks to the left as in Fig. 49.You will transfer the movement to the otherleg when your Tsukuri and Kake on this sideseem to be satisfactory.

84

FIG. SO.

U O JUDO


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bring in all the throws you have learned.Insist most of all on hip throws and do notforget the immobilizing holds and the strangle-hold which you know.You will find that the first hip throw Uki-Goshi is rather difficult to use. Indeed, it is.For some lessons consider it just as an exercisefor the loins and thighs; in this respect it isinvaluable. Try to learn how to elude youropponent s left-hand push which stops youfrom throwing your right arm around h~swaist,after which the throw is really secured. Youmay take some time to find it out, for it isnot obvious.

86

--

First Shoulder Throw Kata-SeoieFrom the fundamental right-hand posture

pull gently the opponent slapel to make him advance .with his left leg. Put yourleft great toe in front of thatof the opponent Fig. 5I).While turning on left tiptoe,put your right foot insideyour opponent s right foot,bend your knees slightly.Let go of the lapel with yourright hand and bring theelbow crook of this armunder the opponent s right arm Fig. 52) justabove your left hand. Turnyour shoulders and head wellto your left so that yourback presses flatly against theopponent s waist. Straightenyour knees to lift him Fig. 53)from the ground. Pull with

your left hand and lift withthe right arm to urge the liftedopponent to the ground Fig.54).Try a dozen times to merge87FIG.52.

FIG.51.

JUDOthese separate movements into one single

JUDONow learn the following combination. Pull


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motion. Let the opponentdo the same and then startagain making sure that yourbelt comes right under youropponent s when your backtouches his waist.

Now repeat the same whilemoving around. Start turn-ing to your left the instant theopponent p ulled with yourright hand is advancing hisleft leg so that when youhave completed turning he has just com-pleted the step with his left leg.Lift the opponent sright arm with yourleft hand gripping athis sleeve and pullit while introducingyour right elbowcrookunder it. Doingthis will help you tomake the opponentgo on his toes andstoop slightly leaningsomewhat against your back as shown in Fig. 52.Do not transfer this throw to the other side.88

FIG. 53.

FIG. 54.

.-400

the opponent s lapel as for the first hip throwUki-Goshi . Let the opponent interfere withyour right arm thrusting round his waist.Change the direction of your right arm as ifyielding to the opponent s resistance and bringit under his right arm as you have just learnedand throw him by the first shoulder throwKata-Seoie .

89

JUDO JUDOknee to the ground and squeeze the opponent s


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Second Strangle-HoldSit astride the opponent s waist, one kneeon and the other off t he

ground, as in the firststrangle-hold. Grip hisright collar with yourright hand, slipping thefour fingers, palm up-wards, as far as possibleunder the lapel towardshis nape, and clutchyour hand with thethumb on the outside.Cross your left handFIG.55. and grip the left sideof his collar Fig. 55) in exactly the same way.Put your head on the ground and pull hard

FIG. 56.at the collar, gliding your elbows along yourribs Fig. 56). You may also put the otherQO

~.

body with both knees, putting your head moreforward on the ground Fig. 57).After a few lessons you will find youropponent tapping much later than he did atfirst, when he gave way merely because of hisapprehension and the unpleasant feeling ofhaving somebody s hand on his throat. Whenhe loses that apprehension he has to be com-pelled to give way.

FIG. 57.

People who do not learn Judo cannot standthis strangle-hold, but you must be able tobring even the experienced to submission.Again, you must not rely upon your strength,as it won t help you very much. If youwatch a Judo expert applying this strangle-hold you wonder why his opponent tapped, asthe expert has hardly made any effort at all.The reason is that while you may be relyingon the total amount of pressure your handsexert on an opponent s neck, the expert centres

U O U O


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his effort on a small area just in front of animportant number of vessels and nerves.Examine Fig. 58. See the position of thehands and note how pressure is brought withthe end of the radius at the wrist or stillbetter with the beginning of the wrist markedwith a small arrow exactly at the point bearingon the jugular vein the carotid artery thesympathetic trunk and the vagus. You cannotbe expected as a noviceto be so sure of yourmovement as to affect

either of the groups justas you wish. Perhaps weshall have the occasion togo into closer study ofthis subject in a moreadvanced course of Judolater on. For the time being these instructionsare quite sufficient.Try a few strangle-holds by altering yourhands L e. with the left hand uppermost atfirst and then the right hand over the left.

There should be no difference in the resultbut you may find you have a preference for oneway which you should keep to in future.Now let the opponent push the elbow ofyour hand which is uppermost in order to92

FIG. 58.

-

slacken your grip on his throat and then tryto get out by shaking you off his body. Hemust be careful or he may become unconsciousif he continues resisting after seeing black spotsbefore his eyes but as time goes on and hisneck becomes stronger the strangle-hold mustbe perfectly executed to force him intosubmission.

U O U OQolds very similar at first to the uninitiated,


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Third Strangle-HoldThis is the way to tackle a reluctant andskilful opponent who has learned enough Judoto resist the foregoing hold. Suppose that the

opponent s action on your left elbow (in thecase of Fig. 59) is sufficient to make your holdunsuccessful. It is un-likely that you will oftenmeet with such cases,if at all, but we willnevertheless proceed asif it were so. Kneeldown on your rightknee, tug hard at hiscollar with both elbowswell bent Roll on theground on your rightside, making the oppo-nent interested enoughin your movement to bring him on to hisleft side. While rolling, put your left soleagainst his right groin or against the haunch

bone, your hands bringing his head towardsyour chest (Fig. 60). Submission or uncon-sciousness are the only alternatives the oppo-nent has.We have thus examined three strangle-94

FIG. 59.

--

but acting at different points and forcingsubmission in three different ways.The first causes choking through compres-sion of the trachea; the second interferes withthe blood flow of thebrain (compression ofthe jugular vein andcommon carotid artery)or by shock (compres-sion of the sympathetictrunk and vagus); thethird compresses thephrenic nerve at thecervical plexus, and, ifmuch strength is used,the cervical nerve oneach side of the nape.I think you have hadenough of this some-what macabre disserta-tion, so let us cheer up with a lively RandoriI am afraid, too, your arsenal is increasingrapidly. If you want to find your way moreeasily, have a rest before we launch on furtherstudies. Three Randori of five minutes eachwith intervals of one minute should bring thelesson to its end.

FIG.6

9S

JUDO

Sixth Leg Throw Ko-Uchi-Gari


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I T LESSONDo fifty breakfalls as usual, rehearse the fiveleg throws, repeating each one of them tentimes on either side. Do the same with thethree hip throws and shoulder throws as de-scribed, without transferring these to the otherside. Ten minutes Randori and then oneminute rest.

Now repeat three immobilizing holds oneither side with the opponent lying down.Try the three strangle-holds.

Hold your opponent s leftlapel and right sleeve abovehis elbow with your rightand left hand respectively.Pull steadily in order tomake your opponent ad-vance his right foot while

. you step with your left footnear to it, somewhat to theoutside. Gradually, with-out jerking, pull his lapel tomake him advance his left foot in a turning

movement to your right,placing your right foot atthe rear of your left foot,which is thus freed fromsupporting your body.Press your left soleagainst your opponent sleft ankle at the Achillestendon Fig. 61). Sweepthis foot in the directionof its toes, at the sametime pushing your oppo-nent with both hands

backwards to his left corner Fig. 62).97 G

FIG.61.

FIG.62.

JUDOIn order to get the sensation of a real fall,

JUDOYou may now complete the classification of


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which will help you in further work, let youropponent put his feet very wide apart, morethan he would naturally do, and try the throw.Try several times and then let him bring his feettogether. .This sixth leg throw Ko- Uchi-Gari isintended especially against people, generallywrestlers, who place their feet wide apart, andshould not be attempted when the feet are tooclose together. The preliminary Tsukuri atthe beginning of this description is intended toforce your opponent s feet farther apart thanthey would be normally.

Now start again and try to time your move-ment so as to sweep his left foot from under~neath him at the very moment he is placingit on the ground and shifting his weight on to it.I do not think you will find it so easy as itsounds, but it is worth while trying. Startslowly, intentionally being late with your solepressing at his ankle. Steadily increase yourspeed until you find the right moment; youcannot possibly mistake it, the throw is sodifferent from those you have been doingpreviously. The opponent is pushed off hisfeet as if he were on a slippery skating-rink.

I

I

L

leg throws we have already started :I. Three leg throws in which you attack theadvancing opponent at his moving leg Firstand Second Leg Throws) or rear stationaryleg Third Leg Throw), while your handspull to help your opponent increase his move-ment forward.

2. Three throws in which you attack theopponent, who is side stepping while yourhandspush him backwards. In the light of whatyou know already, the throws in which yourhands push will be made easier by youropponent s moving backwards.

We have means thus of attacking theopponent s legs in all movements he mayundertake; and no more can be usefully saidabout leg throws in a preliminary Judo courselike the present one.

99

Fourth Hip Throw Harai-Goshi)JUD 0

~

JUDOweight above the fulcrum at the upper part of


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From the usual fundamentalright-hand posture pull youropponent s sleeve with yourleft hand. With your righthand pull his lapel upwards Fig. 63) and place your leftfoot, with the toes turned welloutwards to your left, in frontof your opponent s feet Fig.64). Your left toes should beplaced so as to form anisosceles triangle with them.Turn on the toes of the left

foot, bringing your right leg to cross in frontof your opponent sright thigh Fig. 65).Swing your legbackwards in a lift-ing motion, at thesame time twistingyour opponent toyour left with yourhands. He then losestouch with theground, and as thereis considerably more

100

FIG. 63.

FIG. 64. FIG. 65.

your thigh, he is briskly tilted upside downover it Fig. 66).Repeat this throw ten times and try to mergeall these particular movements into one singlemotion, and then let your opponent learn thethrow while you try toperfect your breakfall.TJ,1e Harai -Goshi is aneat and graceful throw,and no amount of practice. . \,IS too much for It. Thegreater your skill, themore opportunities youwill find to use it.

Among all the tricksof Judo there are a cer-tain number which aremore often used thanothers by experts in bouts and competitions.Hip throws are considered better tricks thanleg throws. Indeed, greater skill is necessaryto throw a trained opponent by a hip throw,and the throw is also a more distinct one.The opponent is lifted from the ground andflung in the air as if he were as light as a feather.If ever you see a Judo expert famous for hisHarai -Goshiexecuting it, you will be forced101

FIG.66.

U Oto admire the grace of his movement. Watch-

,........

U Obut just sufficiently to permit your turning


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ing him will be an resthetic pleasure.There are as many different forms of theHarai-Goshi as there are different forms ofevery throw we have dealt with. We havedescribed the standard and essential forms ofthem-the true Judo forms. Generally everythrow is somewhat modified by each exponent,but, of course, these variations are only minordivergences from the standard forms we havedescribed. In Europe you may find expertsusing the throws in a way which moreresembles wrestling than Judo. They obtaintheir throws by using a great amount of strength.These people had not the chance to learn thetrue spirit of the art; they just caught theouter form of the movements. You shouldbe able by now to tell a real Judo expert froma would-be one.

Try the following combinations. From thefundamental posture attack your opponent sleft foot by the second leg throw De-Ashi-Rarai). Let him elude this attack by raisinghis left foot off the ground and stepping back-wards over your attacking leg. Before heregains his balance, twist your body intothe position of the throwing man in Fig.65, hardly jumping up on your left foot,

102

your toes outwards to the left as much asnecessary, and throw him by Harai -Goshi.The throw should be much easier than before,for your Tsukuri is half done by the preliminaryattack. Repeat this twenty or thirty timeswithout stopping.Mter your opponent has done the same, tryto attack his left leg from the inside by thefourth leg throw (0- Uchi-Gari) and againthrow him by Harai -Goshiat the moment heis regaining his balance with his raised left legafter having eluded your attack. Twenty timeswill do.

103

,......

U Oarm with your right hand, your thumb being


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First Arm Lock Ude-Hishigi or Ude-GaramiThe general term for locks is Kwansetsu-

Waza, from Kwansetsu, meaning joint or articulation, and Waza, meaning art or way. Gyaku is less pedantic and means reverse, disarticulate. Most of the namesof locks contain Hishigi, meaning crush, orGarami, meaning break, preceded by thename of the member to which the lockis applied.The first lock is named Ude-Hishigi-Hiza-Gatame, which means arm-crush-knee-Iockor control. It is certainly precise, but ratherdifficult to remember . We shall take theliberty of employing the abbreviation Ude-Hishigi or Ude-Garami, in the sense of ArmLock, preceded by an ordinal number.Let the opponent lie on his back. Takehold of his right sleeve above the elbow as inthe fundamental posture. Put your right toesunder his ribs near to his arm-pit. Bend yourright knee, shifting almost your entire weighton to this foot. Hook the wrist of his right14

pressed to your index finger as shown inFig. 67. Swing yourleft leg in a circularmotion to your leftaround his head (Fig.68) and a c r 0 s s histhroat. Stoop forward,well bending the rightknee, and sit downgradually on theground. Its weight andmomentum is thus counterbalancing yourbody and it helps you to roll down graduallyon your back without falling backwards. Dur-ing the first attempts, becareful of this point, for ifyou were to fall you mightbreak his elbow. As an extra

precaution, do not pull withyour right hand before youare told to do so.Your buttocks should betouching your right heel whensitting on the ground. Pressthe opponent s throat down with your left leg.Twist his captured wrist so that the crook ofhis elbow looks upwards. Pull it in between 5

FIG 67

FIG 68

JUDOyour legs as much as you can, tilting your head

..---

JUDOalter the situation at all. Just stoop forward as


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off the ground. Clip his arm with your thighs,and cautiously push the captured wrist down-wards and to your right, as if to break the elbowagainst the upper part of your right thigh atyour crutch (see Fig. 69).Mter a few trials all these separate move-ments will follow each other easily, but greatcare should be taken not to fall backwards

FIG. 69.and pull the captured wrist before you tou

judo the art of defence and attack

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