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MODERN JUDO

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By Charles

Yerkow

Volume I-Basic-The author has always placed heavy emphasis on sparkl1ng, clear-cut sequence photos and this book Is no exception.

More than 400 fast-action pictures coupled with clear, simple Instructions ,;ulde the beginner In his quest for higher Judo learning. $5.00 Volume II-Advanced-Judo players who have had find this volume an excellent guide and reference

sequence photos spell out advanced techniques

considerable random for continuing Judo

experience w!lI success. Action of value to all experienced players. $5.00

Volume 111-40 Gokyo Techniques-In this book for the advanced student, the author details and clearly !lIustrates a teaching presentation of the 40 throwing techniques.

An excellent book for all advanced students. $5.00 All three volumes In a set $13.00

SPORT JUDO

By Charles Yerkow Here Is an extremely popular treatment for those who choose not to take Judo quite as seriously as the real enthuslwsts, Hunareds of lllustratlons show the various steps of. each throw In slow, movle-l1ke progression.

The text and photcs are expertly combined to make this book a manual of seif-Instructlon and a valuable addition to the l1brary of anyone who considers Judo a useful means of self-defense. $4.50

KILL OR

Manhandling

and

Mob

By Rex Lt. Col.,

GET KILLED

Control

Techniques

Applegate USA, Retired

Our enemies, m1l1tary, criminal, or subversive, must be beaten at their own game and this book Is designed to help you meet this situation with Intensely practical and forthright descriptiOns of the techniques of hand-to-hand combat and mob or riot control. Extensive changes have been made In the current edition to Incorporate the latest methods and one completely new chapter Is devoted entirely to the use of chemIcal munitions In mob control. The original concept of training for Individual hand-tohand combat has been retained and broadened.

Individuals and groups wlll definitely benefit from the use of this book. $3.75

LIVING OFF THE COli"t~ RY

By Bradford

Angier

The perfect survival handbook.

Here -Is the sage advice of one of America's foremost woodsmen on how to Uve off nature when no other means are avallable. The author entertainingly presents the principles of securing free the necessities of Ufe and detalls when, how and what to look for when you are mlles from c1vlllzatlon.

Used as a text by many survival Instructors throughout the country.

Contains down-to-earth facts on food, shelter, clothing, fires and many other subJects with excellent photos by the author and drawings by his artist wife. $5.00 I.

Available

through

your local bookseller

or direct from

THE STACKPOLE COMPANY HARRISBURG, PENNSYLV ANI A

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By Charles Yerkow The Author

From the word HAJIME this book will improve your ability to win in this keenest of all competitive sports. The first book of its kind in the field, CONTEST JUDO is a highly unique contribution intended to improve the play of beginners as well as advanced Judoka.

Charles Yerkow has long been established as an international authority on the subject of Judo.

His efforts to publicize and promote this mushrooming sport reach the far corners of the earth.

It covers in detail important aspects such as evaluating your opponent before the bout begins, how best to play and counter-play, the techniques most often used in a shiai, what dangers exist when you try to kill an opponent's attempt to throw you, how to conserve energy, and how to train to win.

He was attracted to Judo more than twenty years ago and has been an instructor in JiuJitsu and Judo for about the same number of years. Yerkow has been active in physical education most of his life and is currently instructing Judo at Queens College and at various YMCA clubs in New York City.

Equally important, details of the latest nationally prescribed rules; on how to plan and stage a Judo tournament; how to judge or referee; are fully covered in the author's easy-to-understand style, aided by clear action photos.

His many personal achievements in the Judo field include the vice-chairmanship of the National A. A. U. Judo Committee and the rank of Second Degree Black Belt of Kodokan, Tokyo. He is the author of six previously pub-

So

Top-ranking Judo teachers and competitors have contributed their advice, time, and talent to this compreheQsive text on winning contest Judo.

A special attraction is a complete chapter devoted to the story of the extensive Judo program throughout the Strategic Air Command.

lished books on the sport . . . MODERN moo in three volumes-Basic, Advanced, and 40 Gokyo Techniques-meets the needs of beginner and expert alike; SPORT JUDO-a popular treatment; JUDO KATAS-designed for brown and black belt holders; and OFFICIAL JUDO.

.

Your Judo library will not be complete without this book.

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COMPANY

Harrisburg, Pennsylvania

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THE STACKPOLE COMPANY Harrisburg, Pennsylvania

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BY THE SAME AUTHOR MODERN

JUDO,

Volume I-Basic

MODERN

JUDO,

Volume II-Advanced

MODERN

JUDO,

Volume III-Forty

SPORT

Technique Technique

CONTEST JUDO

BY CHARLES YERKOW

Gokyo Techniques

JUDO THE STACKPOLE

COMPANY

JUDO KATAS PRENTICE-HALL,

INC.

Q THE STACKPOLE COMPANY HARRISBURG, PENNSYLVANIA

Author's Preface

Copyright @ 1961 by Charles Yerkow ALL RIGHTS RESERVED Library of Congress Catalog Card Number:

61-10819

Printed and bound in the United States of America

by THE TELEGRAPH PRESS, Established 1831, Harrisburg, Pennsylvania

This book is the first of its kind devoted entirely to the techniques and conduct of Judo in contests, treating the various aspects of shiai in the hope that the record of past tournaments, observations, and the advice and instruction of some of the top U. S. and Japanese Judo players will prove of value to everyone reading these pages.

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

A contest or shiai does not have to degenerate, as so many do, into bull-rushing and power tugging and pushing. Such playing shows improper teaching and training.

When two good Judoka pair off for a bout you will witness a greater degree of caution, faster and harder attempts at throwing, but always the proper application of Judo principles and techniques. It will appear that you are watching a routine randori, since there will be a freedom of movement and relaxed postures. As you watch, however, you will notice that the attacks are quick and hard, that each player is intensely on guard and constantly aware of and utilizing every opportunity that presents itself. v

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As you know, there are three ways in which Judo is practiced and played: 1. Kata-or the prescribed forms.""

2. Randori-or free-style playing.

3. Shiai-or playing in contests.

Surely you have seen good and poor kata and good and poor randori, and you have seen good and poor contesting, and may have even participated in one or the other. What you know, therefore, is that shiai is an extension of randori, and randori is an extension of kata.

What this means is that every contest should be based on the application of correct Judo principles.

Although kata can be taught through a book in simple explanations and illustrations, randori and shiai pose a problem since both depend on free movement, timing, and the sensing of the moment at which to hit the opponent with a throw.

If you have had proper training and practice in Judo, you will have developed your imagination to the point where you will be able to visualize technique applications from the text and illustrations in this book.

Nothing can be more exasperating than to step onto the mat for a contest against another Judo player and 'then be taken-either through some oversight on your part or through some unexpected or clever move on your opponent's part. EitheT way, you lose. The contest goes on, players winning or losing to the degree of their ability, endurance, or luck, and the most that you can do is promise yourself to be more cautious in the future, and, of course, train harder.

The question is: Will hard training be enough? What .Judo Katas, By Charles Yerkow, Prentice-Hall, Inc., N.Y.

vi

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

.

The most logical answer is: There is no substitute

for

experience. Nothing can alter this fact. As proof, one of our top U.S. National AAU Judo Champions has, since an early age, been entering every and any Judo tournament he could find, contesting against every conceivable type of opponent and style of playing. This results not only in developing a fine degree of skill but also creates a mental attitude which spells out a seasoned and contestwise Judo player.

Reading about Judo contests is not going to produce champions. Reading about a player's pet way of executing a throw or using a mat technique is not going to give you the same ability. Reading about the many ways and means employed to out-play opponents in "contests is not going to give you the edge over them when your turn comes.

But all of this, as presented in this book for the first time, will "give you advice and information which you may put to use, fitting it to your own particular needs, abilities, and nature.

This book, therefore, is an attempt to help1. Players who wish to improve their contesting skill and strategy.

2. Players who need information on how contests are judged and refereed, and how to stage and conduct tournaments.

The author extends his sincere thanks and appreciation to all who assisted and contributed to the preparation of this book.

CHARLES YERKOW Vice-Chairman National AA U Judo vii

Committee

Contents Page Introduction

1

Chapter One: Most Effective Contest Techniques. .

7

In throwing: Uchimata, Tai-otoshi, Seoinage, Osoto-gari, Tsurikomi-goshi, Ouchi-gari, Kouchi-gari, Ogoshi, Tsurigoshi, Haraigoshi, Hanegoshi, Ashi-barai, Tomoenage, Sukuinage In holding: Kesagatame, Katagatame, Tateshihogatame, Kuzure-Kamishihogatame In choking: Okurieri-jime, Hadaka-jime, Gyaku-juji-jime In locking: Ude-gatame Training for Contest Judo, by Captain Phil Porter

Chapter

Two: Favorite

Techniques

49

Tai-otoshi, by SjSgt George Harris, 4th Dan-O-soto-gari,

by Frank M. Hatashita, 4th Dan-Counter to Ippon-Seoinage,

by Prof.

Takahiko Ishikawa, 7th Dan-Employment of Armlock in Ncwaza,

by Prof. T. Ishikawa, 7th Dan-Hane-goshi,

by Henk Janssen, 3rd Dan-Hidari-Tsurikomi-goshi,

by Dr. Eichi K. Koiwai, 4th DanRight Uchimata, by Dr. Tsuguo Naruke, 4th Dan-Harai-goshi, by Captain Pml Porter, 3rd Dan-Hane-goshi,

by A(3C Toshiyuki Seino, 3rd Dan-Sukui-nage,

by Prof. Masato Tamura, 6th DanUchimata, by Vince Tamura, 5th Dan- Taiotoshi (Advancing and Ret"eating), by Walter Todd, 4th Dan-Oguruma, by. Ben Campbeli, 3rd Dan

Chapter Three:

The Beginning

Of A Contest

75

Discussion of good practices

Chapter Four: Playing To Win Conserving energy-Killing opponent's binations and counters- Taisabaki

85 throw-Repeat

attacks, com-

Chapter Five: Mat Techniques In Tournaments..

When to drag opponent to mat work-Escaping up in mat work-Choking-Locking ix

123

holds-Covering

Page Chapter Six: Judges and Referees

137

Problems and methods of judging and refereeing a tournamentCalling points,. half-points, decisions, and draws-Timekeepers

Chapter

Seven:

Staging

the

Tournament

149

Notices-Facilities-Publicity-Registrations - Eligibility - Classifications-Conduct of Tournament-Duties of Officials-Conduct of the Bout-Illegal Actions-Dual Meets-News and Results Bulletins

Chapter Eight: Judo In The Strategic Air Command

175

SAC'sJudo Program Conclusion Terminology.

185 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..

Index

187 189

x

Introduction FOR MANY YEARS now the sport of Judo has been growing in the United States and in every country of the world. Since 1953 when the First National AAU Judo Tournament was held at San Jose State College and when the original Amateur Judo Association was formed, contesting has been increasing and is now an accepted activity in all clubs. The National Tournament is held once each year under the auspices of the U.S. Judo Black Belt Federation and is sanctioned by the AAU. Throughout the year local and regional contests are held and the winners of these are eligible for the Nationals; also, inter-club meets, invitational tournaments, and the regular promotional-contests serve the singular purpose to sharpen players' techniques and prepare them for the next shiat.

The major portion of this book is directed at the Judoka who is sufficiently advanced in both stand-up and mat work to play randori but who may have been exposed only to brief contesting sessions and therefore lacks experience. He may hold the rank of Brown Belt or lower, or he may even hold a Black Belt, but for any number of reasons he may have limited experience in Judo contests. Hard training and more contesting will eventually develop him, but it 'Stands to reason that the path can be shortened considerably through the pointers and advice presented in the following pages.

Though any technique of Judo can be and is used I

during contesting, the records show that most experienced contestants employ pet techniques, and th~se pet throws are fairly limited in number. If you have been practicing the Gokyo (Forty Basic Throwing Technique~)* and have been playing randori, then you have surely developed a few pet throws of your own.

One chapter of this book will present in general outline the most often used contest techniques.

A:pother chapter will give you important pointers in the pet techniques of several top Judo players, contestants and teachers, the specialists in Taiotoshi (body drop), Uchimata (inside thighs), Osotogari (cross hook or major exterior reaping), and others, explaining to you how best to employ these throws.

As for judging and refereeing, the usual rule is for a Black Belt holder of high rank to act in this capacity during important contests, and the usual assumption is that any Black Belt knows his Judo and therefore knows how to call the points and decisions. Unfortunately, such is not always the case, again due to any number of reasons, so that a chapter on this aspect was deemed necessary and is included for those who need such information.

Our final consideration has to do with what in reality is the very first factor that determines the success or failure of a tournament-the planning, preparations, publicity, matters pertaining to weighing-in, pairing, scoring, etc. An entire chapter in this book covers the many problems of a tournament director and his assistants, and we trust that the comments and outlines will serve as a valuable guide.

But above all this, every shiai is illuminated by one prevailing principle-Sportsmanship.

There is no shame .Modern

2

Judo, Volume Ill, The Stackpole Company,

Harrisburg,

Pa.

.

in being thrown. And there is nothing to boast about if your throw succeeds. In the true spirit of Judo y.ou play to win, of course, but you also pay attention to how you accomplish it. All that you are doing is testing your skill, and satisfying your ego. Do it so that neither spectator nor opponent has cause to reproach you.

The ways which the old-time Judo masters of Japan employed for these very same purposes are on record for anyone wishing to research the subject. There are humorous and serious stories about some master of old who traveled from town to town searching for a worthy opponent, challenging him, fighting him, and coming out winner or loser. Since the very early masters were those of the art of Jiujitsu, and since the techniques of this science were anything but gentle and sportsmanlike, the results in far too many instances were disastrous for somebody.

Later, after 1882 when Professor Jigoro Kano formulated Judo, the competitive spirit emerged and developed sharply to the present day specialties one witnesses in randori and shiai.

If we pause to think about it, a Judoka of today is not very different from the masters of old. It is quite normal for a young man, who is packing for school, a new job, or simply going on a vacation, to take along his training outfit (Judogi) in the hope that he will find somebody with whom he may have a work-out. And he usually finds someone somewhere, and they locate a gym or a dojo, and they have their work-outs, putting their pet throws and mat techniques to work, pitting skill against skill, practicing and playing Judo, and enjoying it. If there be a dojo in the new city or community you can be sure this is the first place a Judoka will visit and ask permission to practice.

3

,.........-

Properly organized and sanctioned Judo contests afford mutual benefits and personal satisfactions to all participants. Yet, with due respect to all those who may ob. ject to the next statement, Judo as originally formulated and what is often seen on the mats today are nearly poles apart. Contest Judo) as it has been named by many, is a specialized way of conduct and play in which a contestant strives with all his power (but too often with insufficient skill) to score a winning point against his opponent, no matter how and at what cost, and strives at all costs and no matter how not to be thrown. Another term which has been applied to this kind of playing is Power Judo) usually a sign of beginners at work. We are all grateful that this kind of playing is not finding much favor. It is one thing when a seasoned player drives in hard for a throw, but quite another sorry state when a beginner does it.

It is the seasoned player who knows every trick and technique in the book. He steps on the mat, greets the referee and the judges, and then his opponent, and then he proceeds to employ good Judo, in the best style and traditions of the sport. This kind of contesting is a pleasure to see, and worthy of everyone's study.

The same question is always asked regarding the outcome of a tournament.

"Who won?"

When the answer is given, the winner faces the lllevitable "How did he win?"

"A clean, hard throw" is the ultimate in tribute.

"What did he use?"

"Neatest Hanegoshi I'd seen in a long time."

And so this becomes the topic of conversation in Judo circles for as long as the particlar tournament is mentioned and discussed. Had the verdict been that the 4

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

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

Bear in mind also the truth that nobody can give you advice about any particular throw that will be best for you. Every player has his own way of using his best throw.

It took him a long time to develop it. It works for him.

It may not work for you. No matter how much you admire Uchimata) if you haven't the feel for this throw you simply haven't the feel for it. You will often hear a top player remark, when asked to perform a certain throw during general practice, that he doesn't have that throw. That's exactly what he means-he does not have the knack for that throw.

The best way to develop any throw is through constant practice, both in uchikomi and randori-practicing over and over the position of correct fitting-in against a partner who is not resisting you, and then applying the same technique during free-style playing.

Of the forty throwing techniques as outlined in the Gokyo) only about ten are used consistently for contests.

The next chapter will present these in a brief review.

5

Chapter One Most Effective Contest Techniques THE RECORD SHOWS that the most often used throws in Judo contests are: Uchimata Taiotoshi Seoinage Osotogari Tsurikomigoshi This is not to say that other throws are not employed.

Any throw can be used, bUt the reason you see the above big five always attempted is that once the thrower secures his position the opponent can rarely save himself.

All of these are big and hard throws, and they leave no room for argument after the referee calls it "Point!" ("Ippon!"). And, if properly applied, the big five leave very little opportunity for countering.

Other big and small techniques used are: Ouchigari and Kouchigari Ogoshi and the forms of Tsurigoshi Haraigoshi and Hanegoshi Ashibarai Tomoenage Sukuinage Obviously, you have a great variety to choose from for your own purposes. If any throw comes naturally to you, this should be the one to develop and perfect for contesting.

You can use other techniques for feinting ,., I

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

'What follows is a general description of the basic ways in which these fourteen throwing techniques are practiced; also, comments regarding their application both in practice and in contests.

If your opponent carries himself in a good natural posture (Shizentai), you will have difficulty getting him with this throw. Also, if he is considerably taller than you, you should not attempt Uchim~ta.

Your opponent's balance must be broken to the front at the instant when you attack. Note also that your body is turned so that his hip line is almost parallel to yours, with your back turned to him.

In the Nage-no-Kata practice, Uchimata is classified as a leg-throwing technique. However, too often in randori and shiai a player will move in so deeply that his opponent rides practically on his back, the extended leg merely serving to prevent the opponent from escaping the throw. Whenever Uchimata is taught or demonstrated, the attacking leg is always used against opponent's opposite leg-throwers right leg, for instance, against opponents left leg-as shown in figure 2.

Uchimata (Inside thighs) This leg-throwing technique is done in many ways, the most common being when the opponent resorts to a wide stance when approaching you or in circling around you. The top Uchimata players are able to execute the throw to either side, and they advocate this for practice.

In application, you must enter deeply under your opponent-your supporting foot must be quite close to his feet-and then you must sweep upward against one of his thighs, doing so from the inside as shown in figure 1.

4

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

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Figure 2. In Ut"himata your right left leg.

8

leg may sweep against

opponent's 9

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

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

Needless to caution you, the attacking leg is NOT sent straight up against opponent's groin as illustrated in figure 4. This is a dangerous practice! It shows incorrect instruction.

When Uchimata is used in shiai, the technique is always executed as a winding action, thus becoming Uchimakikomi-the thrower making his attack complete by twisting and winding, with his attacking leg high and his head almost touching the mat, and finally finishing the throw by falling over hi~ opponent. The start of one such throw is clearly illustrated in figure 5-a successful splitsecond attack during the First National AAU Judo Tournament at San Jose State College in 1953. Note the 10

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

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

II

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

There is nothing more beautiful nor more devastating than a skillfully executed Uchimata in a contest. But if you should take a liking to this throw and begin using it, be sure NOT to practice it as shown in figure 4-in this form it becomes an "injury" attempt. Injury will 'also result from an inconsiderate application of Makikomi when using this same throw, winding in and then indiscriminately crashing down on top of your fallen opponent as illustrated in figure 6. Whenever Uchimakikomi is ,done it must be with bodies in contact as in figure 5, and the winding action progressing smooLl-tly all the way down to the mat, the whole technique simply being that the opponent is not permitted to escape the throw.

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

Every Uchimata player, of course, has his own peculiar style, and your job will be to study all of them. All of them will be based on the fundamentals as already explained, and you may deviate from the fundamentals only after you have mastered them and know full well what you are doing.

For example, figures 7 and 8 illustrate the "far out" approach to Uchimata, as effectively executed during the 1958 National AAU Judo Tournament held in Chicago.

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Figure 6. The winding of any Makikomi application usually ends with the thrower crashing on top of fallen opponent, and rolling over him.

Do it with caution, and keep body contact to minimize injuries.

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Figure 8. Note distance supporting left foot traveled to complete this powerful throw which won Chanko the Middleweight Championship that year.

13

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Feeling out his opponent (figure 7) for the right moment in which to break his balance and move in, the thrower on the left finally tries with a long but successful reach (figure 8) and scores a point. This form of Uchimata does not end with a Makikomi.

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

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nero From the starting position of figure 9 a sudden twist to the right could result in Uchimata as seen in figure 8.

However, -here the thrower bri~gs hi~ right foot around his left (figure 10) to place it deeply between partner's feet, and at the same time sweeping his attacking left leg into place (figure 11).

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Figure 9. Holding opponent's jacket at armpits affords turns to either side.

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Figure 11. Opponent's balance must be broken to the front, and the hip must be deeply placed, then turn hard to your right to complete the throw.

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Figure 10. By twisting from position of figure 9, you can enter for a left-side Uchimata.

Tai-otoshi (Body drop) With opponent's balance broken toward his right front by the action of your hands, his right foot is blocked with your own right foot (figure 12) and he is then thrown sharply near your right side. Success in Taiotoshi depends on precision in timing and swiftness of execution; otherwise your opponent has ample time to step over your right leg and save himself.

15

-----

In figure 13 note that the thrower has his back to his partner but is blocking his right leg, and, though the position resembles that of Taiotoshi, it is in reality a combination of Taiotoshi and Seoinage. In this way it has been named Fumikomiseoinage.

It is also called Seoiotoshi.

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Figure 12. Tai-otoshi is done in many ways, always without body contact.

In a true Taiotoshi

Figure 13. With body contact Tai-otoshi becomes Seoi-otoshi. In either form, the hands must control opponent's upper body, and his foot must be blocked.

there is no contact

between

the

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

Note the difference between the two positions. In figure 12 the thrower is clear of his partner. This is Taiotoshi. Thrower's right forearm may be placed in any one of three areas-along opponent's left chest, along the middle of his chest, and even under his right arm as here illustrated.

Throughout the throw the right arm lifts while the left maintains forward pull to keep opponent's balance broken, his weight on his advanced right foot.

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

Either way, these throws are used extensively in shiai, Taiotoshi is a strong throw, in most instances slamming the opponent squarely on his back for a full ((Point."

When the throw is done from an exceptionally low position, or when the opponent makes an effort to save himself by squeezing toward the mat, injuries are likely to occur. Figure 14 illustrates a player in a position of trying to kill the throw, in this way falling on his own inside shoulder and risking a broken collar bone. In any contest 17

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

Caution: Any time you try to kill a throw you risk an injury (in another chapter of this book you will find explanations on how to evade or kill throws in a safe manner).

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Seoi-nage (Over-shoulder) From a natural posture, holding opponent's right sleeve and left lapel, and without releasing either hold, his balance is broken to the front with the action of both hands, then your right forearm is inserted sharply under' his right upper arm at the instant when you pivot into position, as in figure 16. In this form the throw is called Moroteseoinage.

The opponent is thrown cleanly over the shoulder. Note that unlike Seoiotoshi in figure 13, the thrower's feet are inside opponent's feet and the waist inserted slightly deeper.

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

In figure 15 a small contestant

scores with

.

Taiotoshi

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

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

18

L Figure 16. Position of Seoinage while still holding opponent's left lapel with your right hand.

.......

Figure 17. Position of Ippon-Seoinage which is often applied in contests.

19

The same throw can be executed as Katateseoinage or If}ponseoinage) shown in figure 17, your right arm being slipped under his right upper arm. The important thing it NOT to carry his upper arm on your own right shoulder, since in such position your opponent has the chance to catch you in a choke. Note that here too your feet are placed inside his feet.

Seoinage is a very old throw, and almost everyone uses it in one form or another. The lower your position, the easier it will be to throw your opponent and less likely for him to attempt a counter-throw.

One school of thought advocates that the throw itself (Kake) be done from the position of figure 16 by straightening your legs, thus lifting the opponent onto your back and then throwing him over. Another school of thought has it that the thrower should remain in his low position, using his hand action and body twist to effect the throw (Seoinage is classified as a hand technique), and should straighten up only after the opponent is thrown over the shoulder and can no longer save himself.

Either way, the important factors are: 1. Break opponent's balance (kuzushi) and almost instantly step in.

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

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

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

reaping)

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

20

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f

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-' I~ r

-- " '*- -'. Figure 18. For a successful Osotogari opponent's balance must be broken to his rear, and you must be at his side.

I

~

Figure 19. Injuries to the knee may result from Osotogari being tried from too far out.

have the opportunity to use leg technique. Though the masters differ in their opinions how Osotogari (big outside reaping) should be done, they do agree that the safest way of trying it is when you can place yourself at your opponent's side, as shown in figure 18. In this way there will be less chance of injury to the opponent's knee through the action of your attacking leg.

When this throw is attempted indiscriminately by the novice, it usually begins from too far in front, as illustrated in figure 19. What usually happens is that the opponent resists the J;eaping action of the leg, and thereby invites injury to his knee. In this position the best thing 21

the opponent on the left could do would be to step with his own left foot toward his left rear, swiftly, in anticipation of the Osotogari attempt, and apply an Osotogari of his own. The thrower on the right, however, even in this awkward position (figure 19) could effect his throw by closing the bodies with the action of his right hand, lifting upward at the same time, and turning his own body toward his left slightly (almost into a throw resembling Haraigoshi).

~~ '"

/

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1'4

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

I

If the opponent strongly resists a properly applied OsotogariJ as in figure 20, you should continue your attack, raising your right leg high and driving his upper body to the mat. This is a common sight at any shiai.

Figure 21 illustrates a powerful Osotogari applied during the 1958 Eighth Air Force Judo Tournament at Westover Air Force Base. Note the fine toe balance of the thrower.

Tsurikom i-goshi (Low hip throw)

Figure 20. Once you have the position for Osotogari and opponent strongly resists, you may still score by continuing your attack. Keep driving in.

22

From a natural hold on sleeve and lapel, this throw must, like all throws, utilize opponent's broken balance, in this case to his front. As the left hand pulls against his sleeve at shoulder level, the right forearm is thrust under his left arm, all of this being accomplished with a step-in 23

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

In both instances what is important is body contact.

Note that the thrower's feet are inside opponent's feet in both forms of Tsurikomigoshi.

r.;

Ouchi-gari (Major inner reaping, or leg hook) This throw is a favorite with many contestants because of its straight frontal attack which does not give the opponent too many chances for countering, provided his balance is broken to the rear as indicated in figure 24.

f~

I "I

~; Figure 22. Position for Tsurikomigoshi-your right forearm under opponent's left armpit, your left hand breaking him to his front.

Figure 23. If opponent takes a defensive position Tsurikomigoshi will be difficult.

Here the throw is applied to the left side while retaining the regular hold on sleeve and lapel.

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

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

Some players develop this throw by taking hold of opponenr;s sleeves underneath, and by then pulling forward on one sleeve while pushing upward against the other, thus breaking opponent's balance completely.

24

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r('

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

25

Experts in Ouchigari recommend this tec~nique as a preparatory action for Taiotoshi and Tsurikomigoshinote the position of the thrower's right hand, readily usable to control partner's left shoulder for either of the two throws.

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

Kouchi-gari (Minor inner reaping, or heel hook) This throw is done in two situations: when opponent steps forward you must reap his leg out from under him before he plants his foot (on the principle of Deashi-

~

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

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

In the second instance you will be facing your opponent in this same st.ance but you will be much closer to his chest, and using your hands to control his body, reaping his leg to throw him straight back. ..

~,.. " \"\.

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

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

26

It is interesting to note that both Ouchigari and Kouchigari are often resorted to as follow-up techniques from a major throw, such as Taiotoshi or Uchimata.

Figure 26 illustrates the exact moment when a contestant caught his opponent with Kouchigari after opponent successfully blocked an attempt at Uchimata during the National AAU Tournament at Tampa in 1960.

27

~

O-goshi (Big hip throw) In its pure form the encircling right arm of the thrower on the right simply hugs the waist of the opponent.

Ogoshi is not easy to secure in a contest because the opponent will seldom permit the arm to be inserted. For this reason it is usually attempted to the opposite side, as in the case of Tsurikomigoshi.

-- -.--

~

.

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

Harai-goshi (Sweeping thighs, or floating thighs) This throw is done either from a lapel hold or when you manage to slide your right arm under opponent's left arm, as shown in figure 29. Needless to say, you must have upper body contact and a broken balance against your opponent for the throw to succeed, and there is no point in banging your leg against his until you have begun to lift him with your supporting left leg (figure 29).

........

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Figure 27. Be sure to get in low for O-goshi.

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Figure 28. To insure the throw for a contest point, grab opponent's belt at the back for Kotsurigoshi.

In the event that you manage to encircle your opponent's waist and have him in an unbalanced forward position as shown in figure 27, you might want to insure the throw by grabbing the opponent's belt in the back, as indicated in figure 28. In this way your Ogoshi becomes 28

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....

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Figure 29. For Harai.goshi upper body contact is a prime requirement and must be managed with your hands and the fitting of your body. Only then should you sweep opponent's leg.

29

........--

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Figure 30, Ippon! in a clean Harai-goshi Nationals in Tampa,

to the left during

the 1960

Haraigoshi is classified as a waist technique; therefore the placement of your hip is important before you can use your float~ng leg to sweep his thighs. This is clearly illustrated in figure 30. Haraigoshi is being done here to the opposite side. N ot~ how the thrower has extended his right leg in order to carry his opponent over, and also note thrower's slightly bent left leg, used in this manner to prevent the opponent from mounting over and saving himself. This moment in an excellent Haraigoshi was caught at the 1960 Tampa Tournament.

Hane-goshi

(Spring hip)

This throw is similar to Haraigoshi in principles of body contact and broken balance, but the attacking leg is bent so that it can at the same time block and sweep opponent's thighs, as illustrated in figure 31. The old 30

......

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

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

Figure 32 shows an exciting instance when the thrower succeeds with Hanegoshi, twisting and winding, with a Kiai (shout) all the way. Note the distance of thrower's head from the mat, and the manner of sweeping high with his right leg. Figure 33 shows the completion of the throw, and since the victor followed his opponent right into the mat, his Hanegoshi had become Hanemakikomi, the entire sequence caught during the 1960 Tampa Nationals.

31

---Okuri-ashi-barai (Side foot sweep) If your opponent is in the habit of moving around you, or if you can induce him to do so, then you have a chance to try this foot sweep. As he is about to bring his trailing foot up to his advanced foot, you must sweep swiftly and at the right moment, using your arms to lift him slightly, as shown in figure 34, and then snap him downward with your sleeve hold.

.

i'

~

\ i -'" Figure 32. Tosh Seino of Strategic Air makikomi during 1960 Tampa Nationals.

Command

applying

Hane-

\

Figure 34. For Okuriashibarai foot. Never kick.

Figure 33. With the throw completed, holds his position.

32

with a Kiai all the way, Seino

or any foot sweep, use the bottom of your

Novices always indicate with their movements that they will try OkuriashibaraiJ and it is fairly easy to sense their intention and then offset their attempt. The contest-wise player will employ his foot sweep so adroitly that you will never know what hit you-the saying is "First I was standing vertically, then I was down horizontally."

Any foot sweep (Ashibarai) requires the utmost ill 33

JI

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

The Okuriashibarai player will use this technique to either side, and he will do it whether he holds your lapels or your sleeves. The usual way is to use a sleeve hold. But then again from his sleeve hold he might switch into a Tsurikomigoshi. (Several of the combination'techniques will be discussed in another chapter.)

Sukui-nage (Scooping throw) This hand technique is mostly used before either contestant has had a chance to grab the other. The thrower waits for the opponent to step forward. and reach for the

'.t-M

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

34

lapel. The attack may then succeed if the thrower is able to step behind his opponent and grab either the pants or his thighs, the throw then being accomplished from this position (figure 35) straight back through a lift and a drop. It is a hard fall to take, and the thrower should exercise caution.

This throwing form in Sukuinage may also be employed as a counter to a waist technique, though it is not seen too often at tournaments.

Tomoe-nage (Overhead, or circle throw) The best moment for this throw, of course, would be when your opponent pushes hard against you; if you then keep his balance broken to his front with the action of your hands on his lapels, and at the same time drop closely under him and bring your foot smoothly under his abdomen, you will have every chance to score with your Tomoenage.

Bear in mind, however, that your opponent may not be the pushing type but will rather hold back. In such cases Tomoenage is difficult to secure. It now becomes a matter of pushing your opponent in order to induce him to push back, and when he reacts in this way you must act instantly in breaking his balance toward his front. Your attacking foot should not be employed too soon but rather when he is directly over you, as shown in figure 36. Yet even at this moment a clever and agile player will know how to twist out of the throw and save himself.

If you use Tomoenage you must also expect it to fail, in which case your opponent will follow you into N ewaza.

Therefore, if you are weak in mat-fighting techniques, avoid the use of this throw. Since Tomoenage is classified 35

------

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I ....

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

In Osaekomi the four most frequently used holds are: Kesagatame (Side arm hold) In principle you must capture opponent's right arm and shoulder as shown in figure 37. Keep your head pressed

y'

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

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

Many experts in Newaza will use Tomoenage in their strategy. If they score with the throw they have the point, and if they fail they still have a strong chance in winning through either a holding, choking, or locking technique.

The sacrifice (Sutemi) players are usually known at the tournaments, and their opponents therefore avoid going down for N ewaza.

Holds, Chokes, and Locks Whenever a throwing technique fails, the contestants will either repeat their attacks or will resort to combinations. Regardless of how the throw is attempted, if it should score for a half point, then the contestants might continue in mat-fighting (Newaza), employing Osaekomi36 I

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

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

Katagatame (Shoulder lock hold) There are times when your opponent manages to free his captured right arm while in Kesagatame. You must act instantly by pushing his arm (it is best done if you push 37

j

-figure 39. All that is required from the position of figure 38 is to straddle him, keeping your knees well bent and close to his armpits, with your body pressed down hard against his (figure 39).

K uzure-kamishihogatame (Reverse body hold) The reason that the broken form of Kamishihogatame is usually secured in contests is that it affords changes in position against a strong opponent. The hold may be used with both legs bent up, or with one bent as shown in figure 40. Some players use this technique by stretching .....

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

....

~

against his elbow) across his face, and then immediately place your head into contact with the side of his head, thus locking his arm as illustrated in figure 38.

Tateshihogatame (Full body hold) Strong players are able to unseat you when you hold them in Kesagatame or Katagatame, and most contestants will shift these holds into Tateshiho as illustrated here in

l~

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

out both legs wide to the rear. Either way, the hold is ad exceptionally powerful one, but you must anticipate your opponent's intention to free himself and you must train yourself to move in such ways as to keep him from escapmg.

In Shimewaza the four mostly used chokes are: Okurieri-jime

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

38

I

(Sliding

lapels)

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

39

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III

.

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

L____ Therefore, tne point to bear in mind when you secure Okurierijime as shown in figure 41 is to break the opponent's posture and hold it thus, and if necessary even fall completely to the back (in which case you should control your opponent's body with your legs covering his upper thighs).

Hadaka-jime (Rear forearm choke) This is the only choke used in Judo where the lapels are not utilized, the ba~e forearm being plac~d against the opponent's neck (figure 42) and then the combined action of forearm and shoulder applying pressure in opposite directions causing the technique to take effect.

40

I I

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

Note how the opponent .

is held in a broken

posture

to the back, and how the player in the rear is using his head in order to prevent his victim from twisting away.

Gyaku-juji-jime (Inverted cross choke) This is the most often used choke when facing your opponent-inserting your hands with palms up so that your right hand grabs his right lapel and your left hand grabs his left lapel.

This choking technique can be applied when your 41

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

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

Only one arm lock is permitted in contests under Kodokan and AAU Rules. The lock is applied against the elbow, and is technically called Udehishigijujigatame.

In shortened form this lock is called Udegatame, as illustrated in figure 44.

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

This lock can be secured in many ways. The most common method is to be astride your opponent and pretend that you want to choke him. His usual reaction is to extend his arms, or at least one arm, in trying to push you off. If you quickly seize this extended arm and wrap your leg over him into position as illustrated, you will have caught his arm between your legs for Udegatame.

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

Caution: In the heat of a contest many players have the habit of locking the arm and then falling back, applying pressure as they fall. This is a dangerous practice, and has resulted in many dislocations of the elbow. Top Judo players always secure their position, and only then apply the pressure.

Preparation

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

I

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

42 III

Ii

III III

in con-

All of the foregoing indicates that you cannot hope to enter any contest without first preparing yourself fully.

And you cannot hope to win contests without adequate preparation and hard training. The following paragraphs were specially written for this book by Phil Porter who 43

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

Training For Contest Judo

By Captain Phil Porter (Sandan) USAF. I've been asked to outline some thoughts on contesting and preparing for contesting. Of course, I can only speak from my comparatively brief experience in Judo, and tell about the contest men I have known. So take this not from an expert, but from a fairly experienced and enthusiastic competitor.

Before one can hope to be successful in contesting, the masters say that one has to develop the proper fighting spirit. It seems that this spirit, or "fighting heart," is developed right along with proper uchikomi and randm'i (form and free practice). The point is that the attitude one needs is the same for good practice and good contesting. This attitude is one of determination to commit everything, to do one's very best, to win in spite of any obstacle. There are other facets to this attitude which I'll cover later, but the heart of it is "I can and will succeed, whatever the cost."

With one's mind set on this resolve, the correct practice is easier, and if the practice is right, tournament victories will follow. So with this in mind we can look at some of the component attitudes and methods which make for good practice. It is impossible here to discuss individual techniques, but some generalities about all techniques can be noted.

First, "what" to practice before the "how." The uchikomi practice has been very much neglected by Americans. Without fixing rigid rules for the proportion of time which must be spent on uchikomi and randori) let's just say that many top contest men do at least 1200 to 44

1500 uchikomi repetitions per week-that's more than 250 per day. If you practice three times per week, you should do at least 200 repetitions each time. It is best to have your partne-r count them, and do 25 to 50 repetitions in a set without stopping. Do 100 of each technique-even 200 of your favorite. If you don't waste time between sets, you can easily do 200 uchikomi in 20 minutes, as 25 will take you less than 90 seconds (time yourself-if it takes longer you're going too slow).

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

Lazy, indifferent, dead practice gains you little, but a short period of intense, alert, live uchikomi and randori will help you gain rapidly both in fighting spirit and in technique. Here are some general attitudes and methods which make for fast progress in both uchikomi and randori.

Attack explosively I By this I mean with the utmost speed, and with as much power as you can deliver. Technically, of course, mechanics tell us that power comes from speed, but I'm referring to the muscular followthrough which not only gets you into position quickly, . but slams into the opponent with complete concentration of energy. After 15 or 20 of this type of attack you'll probably be staggering, but carryon to 25 and more and you'll be getting tremendous benefit from performing the techniques in this way. The same can be said of randori-attack explosively and your style will improve.

Always attack with a continuous motion from kuzushi through kake. That is, never attack in such a way that you must stop in the middle of a technique. With Hanegoshi) for instance, the attacker's body travels in a para45

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

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

Make your movements as big as possible. This refers to the extent of travel of the two bodies in the execution of a throw. If you follow the first two rules, attacking explosively and in some curved continuous pattern, you may still fail because of the smallness of your movement.

Methods of getting the big motion are: 1. Attack from as far away as possible.

2. Follow through as much as possible.

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

4. Stay relaxed but alert between attacks. These moments of relaxation will help keep you going, and they provide you with the quietness in your own body needed to sense the right moment to attack the opponent. Also, attacking from a loose stance and grip, you are less likely to telegraph your techniques.

These are just a few ways of making both your uchikomi and randori more effective.

There is one other point which might be of help, of the many which could be stressed. This is the value of progressive practice of any technique. In Judo it seems that we spend a good deal of time correcting bad habits.

These bad habits are often imbedded by not practicing slowly and carefully when we first learn a technique. The beauty of the uchikomi practice is that we can practice 46

slowly and carefully until we get the movement precisely as it should be. Then we can turn on the steam, attacking explosively with a big and continuous motion. I believe that if we will practice this way, with as little useless talking and sitting around the mat as possible, our Judo will shape up into something fit to contest with.

47

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Chapter Two Favorite Techniques EVERY JUDO PLAYER sooner or later develops his own individual style in using a throwing or mat technique. The common sight after a bout is to see several other players approach the winner and ask how he managed to break through his opponent's defensive posture in order to get in his favorite throw. Some players will not be too reluctant to talk about their pet throws (tokuiwaza) while others flatly refuse to discuss these aspects.

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

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

Staff Sergeant George Harris, 4th Dan S/Sgt George Harris has been active in the Strategic Air Command Judo program since 1952. From the beginning an outstanding contest man, he won his First Degree Black Belt in 1954 after winning the Over-All Championship of the 15th Air Force. The next year, 1955, saw Sgt Harris compete in 16 team contests without a loss as a member of the AAU-USAF team which toured 49

-Japan. Harris first placed in the National AAU Judo Tournament in 1956, when he won third in the heavyweight division. In 1957 and 1958, however, Harris came through with the National Heavyweight and Over-All Championships, and in 1958 headed the U.S. Team to the World Championships.

Forced to retire because of injuries in 1959, Harris again won the AAU Heavyweight title in 1960, .the only man in the history of National AAU competition to do so three times. His favorite throw is left Taiotoshi; he also uses right UchimataJ KouchigariJ and Ouchigari. He is a SAC Combative Measures instructor at Travis Air Force Base, and holds a Fourth Degree Black Belt.

Tai-otoshi

By S/Sgt George Harris Of course there are many ways to attack with this very versatile throw, but I will cover only my favorite method on the left side.

First, the opportunity I use occurs when my opponent is circling toward my right or stepping forward. When his weight is thrown forward or to the side on his left foot is the moment for attack. There are several methods for making him take this step, such as attempting a left Ouchigari or KouchigariJ or even faking a right side hip technique.

Having the opponent's weight on his left foot, I keep pulling as strongly as possible toward his left side or front, whichever way he is moving, with my right hand.

To complete the off-balancing I drive my left hand, which holds the center of his lapel, straight across his chest toward the direction he is moving.

The throwing movement is then executed by stepping across with my left foot at the same time my hand is 50

Figure 45. George Harris throwing with left Taiotoshi in competition.

Note the straight line from toe to head, and the lowness of his attack.

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

Incidentally, I try to execute this whole movement from as far out as I can, as this gives me space to get my left leg across in front.

O-soto-gari

By Frank M. Hatashita, 4th Dan President, Hatashita Judo Club of Canada As you can see, this is a posed Osotogari. To a novice, 51

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

Counter to Ippon-Seoinage

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

Though the following counter is one that may be used against I pponseoinage, like all counters it relies on the important element of anticipation-sensing opponent's intention.

The counter move itself is done in the following manner: As opponent moves in for his Ipponseoinage, you must taisabaki slightly to his side (figure 47) and at the same Figure 46. Frank Hatashita demonstrating O-soto-gari.

Osoto appears as if the man who is heavier and stronger will be the winner-it is therefore like a double-edged sword. Therefore, to make this technique a success it is a must that your chin should be placed on the breast bone while executing this throw; this will lock your body and you will avoid a counter from your opponent.

Professor Takahiko Ishikawa, 7th Dan There is hardly a Judo player in the United States who is not familiar with the exceptionally fine teaching ability of Professor Ishikawa, and his ability in contests.

On the first score, Professor Ishikawa has been and is still on the list as official instructor at the Kodokan (Black Belt Section) and the Metropolita:n Tokyo Police. On the second score Professor Ishikawa won the All-Japan Judo Championship in 1949 and 1950. Need more be 52

Figure 47. Prof. Takahiko Ishikawa demons!rating counter to Ippon-Seoinage. Anticipating the attack, he steps slightly around opponent.

Figure 48. Lowering into position, Prof.

Ishikawa grabs near leg.

53

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Employment of arm lock in Newaza

By Prof. Takahiko Ishikawa It is not practical to prescribe any set pattern of action for Newaza during contesting, except to say one must be constantly on guard and must strive to take advantage of whatever presents itself at the moment. Opportunities occur swiftly, but as swiftly are lost. Often you may find that your opponent is as clever as you and is able to upset your attempts at Osaekomi, forcing you to shift to another technique.

As an example, if you are holding in Kuzurekamishihogatame or in Yokoshihogatame, it may happen that your opponent nearly succeeds in twisting away from you. In such cases an effective counter-move on your part is to apply a lock to his free arm.

Figure 51 clearly illustrates opponent's left arm completely locked. Your own left forearm is entwined through his left elbow, and your right arm is placed over his left wrist, and then locked inside your own left bicep.

Figure 49. Through opponent is lifted.

the use of stomach and body,

Figure 50. The throw is completed by pulling opponent's body downward with right hand.

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

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

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

54

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Figure 51. Prof. T. Ishikawa demonstrates applied from it holding position.

effectiveness

of an armlock 55

H ane-goshi

By Henk Janssen, 3rd Dan Figure 52 depicts Henk Janssen, SandanJ of the Hatashita Judo Club of Canada, during a Black Belt Tournament. Janssen was 1959 Winner of the Eastern Canadian Championship as well as 1959 Winner of Ottawa Eastern Canadian Championship.

Frank Hatashita describes Janssen's application of Hanegoshi as follows: He holds the left lapel, not as deep as for H araigoshi or the Nage-no-Kata. He holds his opponent close and when applying tsukuri he holds the lapel and armpit to prevent slipping of opponent's ]udogi. This would also prevent the arm lock that sometimes is applied in the holding for H anegoshi.

Figure 52. Henk Janssen succeeds with Hane-goshi tournament.

56

H idari-Tsurikomi-goshi

By Dr. Eichi K. Koiwai, 4th Dan President, Philadelphia Judo. Club This throw may be applied from a normal stance while holding opponent's left lapel and his right sleeve.

The breaking of balance should be accomplished while opponent's left foot is still in its rear position (figure 53).

Speed and timing are important, of course, but th<?se elements may prove ineffective if you fail to observe the following points:

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during a Black Belt

Figure 53. Dr. Eichi Koiwai demonstrates opening position for left Tsurikomigoshi. Note right hand holding at armpit.

Figure 54. With a well-lowered and deeplyinserted hip, Dr. Koiwai stresses the impor: tance of turning the whole body.

57

-Right Uchimata

By Dr. Tsuguo Naruke, 4th Dan Instructor, Philadelphia Judo Club The thrower makes opponent's legs open a little wider (figure 56) and makes him stoop and slant forward (break your opponent's balance to the front). Meanwhile,

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55. At thispoint the throw is completed, the lefthand

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arm.

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

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

3. Once you begin your throw, be sure to spin your whole body and continu~ to rotate, with your left hip inserted deeply, lowering yourself sufficiently below his center of gravity (figHre 55).

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

58

Figure Figure 5"6. In applying his Uchimata, Dr. Tsuguo Naruke first breaks opponent's balance to the front, entering at the same moment.

57.

Following his entrance with his

right foot, Dr. Naruke immediately slides into position with his left foot, transfers his weight, and sends his right leg to the rear.

59

Captain Porter won the USAF-United Kingdom 180pound and Over-All Championships in 1957 and 1958.

Returning to the United States in 1959, Porter won the 180-pound and Over-All Championships of the 2nd Air Force in 1959 and 1960, and placed in a tie for fourth place in the 160-pound division at the 1960 AAU Nationals in Tampa, Florida. He holds the Third Degree Black Belt, and has competed in 219 tournament contests.

Haraigoshi

By Capt. Philip S. Porter The opportunity I use for left Haraigoshi occurs when my opponent has stepped to his left front, or when he is standing still but has thrown his weight on his left foot.

Figure 58. By pulling is thrown over.

opponent's

right sleeve sharply around, opponent

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

Captain Philip S. Porter, 3rd Dan A veteran of nine years in Strategic Air Command Judo, Captain Philip Porter has been an active contestant in Air Force and AAU Judo since 1952. Porter began his Judo career at Travis Air Force Base in California, winning the First Degree Black Belt in 1954.

While serving a four-year overseas tour in England, 60

Figure 59. Left Harai-goshi as executed by Phil Porter in competition.

Spring of the body is complete, and the rolling twist which delivers the opponent to the mat is almost finished.

61

r

One method I use to get into that position is to fake an attack with a right side, such as Osotogari, or a hip techmque.

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

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

ponent is standing still in the ordinary shizentai posture.

There is really more to it than that, as I have to catch him when his weight is balanced slightly forward on his toes due to some previous movement of my body or feet.

This is sometimes very difficult, but if one stays alert and constantly tries to attack at the right instant, the opportunity will present itself. This timing is very important. in Hanegoshi-without it you can't hope to make the throw correctly.

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

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

AI3C Toshiyuki Seino, 3rd Dan Airman Third Class Toshiyuki Seino has been a Strategic Air Command Combative Measures instructor for approximate\y one year.

Prior to that Seino, who grew up in Los Angeles, competed in SOLJthernCalifornia. At age 21, Seino is a Third Degree Black Belt, veteran of six years in Judo and a 1960 National AAU Champion in the 160-pound division.

In 1959, Tosh Seino placed second in the 150-pound division, losing one point on a counter to 5th Dan Mas Yoshioka, 1950 150-pound National Champion.

Seino's favorite throws are Hanegoshi, Seoiotoshi, and Hanemakikomi. He is also very skillful with Okuriashibarai.

H anegoshi

By A/3C Toshiyuki Seino The opportunity I use for Hanegoshi is when my op62

Figure 60. This photo of To~h Seino clearly shows his tremendous drive and turning action. Note that the head is almost on the floor, and that the left foot and leg have sprung to full extension. (See figures 32 and 33.)

63

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opponent's feet with the toes pointing in the direction I want to throw. However, at the instant of contact with my opponent, I try to come in very low with my waist and turn my shoulders and head well around and down.

This insures low, solid contact below the opponent's waist.

The kake or completion of the throw is performed almost all by the spring and turn of the body. If the bo?y contact has been made and the opponent is stuck to my hip and leg, the throw is inevitable as I try to put my head down to the mat and turn my body completely over (figure 60).

A final point is that I try to make one complete circular motion, starting low, and springing up and over. The whole motion should be complete without any stopping or hesitating.

(See figures 32 and 33.)

Professor President, The fame circles that ments here.

Sukui-nage

By Prof.

Masato Tamura) 6th Dan Jiu-Jitsu Institute of Chicago of Masato Tamura is so well known in Judo there is no point in listing his accomplish-.

As competitor and teacher he ranks tops.

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Sukui-nage.

Masato Tamura

On front major throws, most of the students have a tendency to bend forward when applying these throws, They would have better results if they kept their stance straighter. I notice when they apply Seoinage, for instance, they usually bend their head from the neck looking at the mat, causing their back to curve, and consequently making the lift much heavier. The knees should be bent, but the back and neck should be erect. To throw, bend from the hips with the upper body straight, thus applying the fulcrum point lower.

64

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Now when the opponent resists one of your major throws, such as Seoinage) Tsurikomigoshi) Ashiguruma, etc., he more or less opens himself to your Sukuinage.

This throw, illustrated in figure 61, is one of the throws that can be used to outmaneuver an opponent.

Vince Tamura) 5th Dan For an extremely brief glance at Vince Tamura's com. petitive ability, consider that he has won the ISO-pound National AAU Championship for 1954, 1956, and 1959, as well as winning consistently in various local, district, 65

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

and sectional tournaments. His style is precise and smooth. Though his pet throw is UchimataJ he will also apply a variety of other techniques. Here Vince Tamura gives you several pointers on his Uchimata.

Uchimata

By Vince Tamura The applications of left Uchimata are numerous, but there are two popular ways of placing the sweeping leg on the opponent's inner thigh. Some prefer to lift the opponent's left inner thigh with their right leg, which seems easier to apply. I believe if the player attacks the opponent's right inner thigh, he would have better success, especially if the opponent happens to be taller.

There will also be less chance of being countered.

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

66

Figure 62 illustrates Uchimata to the left during the National AAU Championships held in Chicago. The same pointers hold true in this case, except that they are applied to the left side.

Walter ToddJ 4th Dan Chief Instructor, International Oakland, Calif.

Judo & Karate School,

Walt Todd began his Judo training at the Kodokan in 1946, and received his 1st Dan the same year. In 1948 Walt returned to Japan and trained under famed Professor Kyuzo Mifune, 10th Dan; also training under various masters in NewazaJ Nage-no-KataJ ]u-no-KataJ Kimeno-Kata and I tsutsu-no-Kata; he also received special training in how to referee contests. In 1954 Todd received his 3rd Dan while teaching Judo at Travis Air Force Base, and then in 1958 was promoted to 4th Dan by the Hokka Yudanshakai.

Tai-otoshi (Advancing)

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

From the natural posture (shizentai) the opponent steps forward with his right foot. At the instant his right foot touches the mat, you must pull strongly forward with your left hand, being careful not to pull downward.

At the same time turn your body to the left. This is illustrated in figures 63 and 64.

Immediately place your right foot in front of your 67

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Figure 67. opponent's right foot (figure 65). At this instant pull down and to the left, while turning your body in the same direction (figure 66).

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

68

Figure 69.

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

To further explain the use of the right arm, I have included the illustration in figure 69. Note that the elbow is downward. While doing my Taiotoshi I try to think that my right fist is going to touch my left shoulder.

The technique requires close body contact in contrast to the normal Taiotoshi. Sometimes, while attempting my Tai-otoshi, my opponent moves to the left, and then my throw becomes Seoinage.

Important points. to remember: l. Your pull must coincide with the instant your op, ponent's foot steps forward and touches the mat.

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

3. From the moment of the start of the throw until its 69

...,...

conclusion, you must turn. your head continuously to the left.

There is one thing I keep in mind while throwing. The instant my opponent's foot touches the mat, I yank forward) not downward. Not hard, but very suddenly. Then I do an about-face as rapidly as possible, and his momentum will carry him over. The theory is that if the opponent is moving rapidly enough forward, anything in front of him and below his center of balance will throw him down. Sometimes he will go over the shoulder, hip, or the leg.

Tai-otoshi (Retreating) From the normal posture of shizentai your opponent is retreating. The instant he steps backward with his right foot, you must step behind your own "right foot and move in toward your opponent. Your right forearm is under his left armpit, as in the normal Taiotoshi. This is illustrated in figures 70 and 71.

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Figure 72.

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

Ben Campbell) 3rd Dan At San Jose State College, Ben Campbell has been an impressive example of perseverance and skill, consistently placing high in all tournaments, local and national. As someone else has said of him, "He is just about the most skillful player in the country, left Oguruma being his favorite." This writer, too, has been admiring Ben's style through the years at our National AAU Tournaments and agrees wholeheartedly with the evaluation.

Due to circumstances, it was not possible to secure illustrations of Campbell executing his throw, but he has .,graciously agreed to describe the steps necessary for its success, and has supplemented this with several clear diagrams.

71

........-

According to the best authorities, Oguruma resembles Haraigoshi} the slight difference being in that the thrower in Haraigoshi may position himself directly in front of his opponent (see figures 29 and 30) while in Oguruma the thrower places himself on the outside of the circle.

Oguruma

By Ben Campbell First of all, my opponent may be in one of three positions in relation to me, as illustrated in figures A, B, and C. Notice that the direction of off-balancing (shown by the arrows) changes with the position of my opponent's feet. Now, taking figure C-as this is the one I consider the most basic-I

shall try to follow through.

.

Step 1. While drawing my opponent onto the balls of his feet and toward his left front corner, using an armpit hold (see figure 81), I quickly step across with my right foot to a position of about 8 inches to the side and in front of his right foot. As soon as my right foot makes contact with the mat, all of my weight is placed on it, on the ball of the foot. The direction of my right foot: is parallel to the line running between his two feet (figure D). While taking this first step my body is lowered, and while pulling my opponent toward a position of broken balance with all my force, I attempt to make him hold my body weight from falling. In other words, if my op-

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ponent and I were to let go of each other at this point, I would fall straight to the mat on my right side.

Step 2. While maintaining my "pull," I raise my left leg-knee first-and pivot on my right foot and at the same time drive my left foot, straightening my left leg as I do, directly across my opponent's left knee-cap. My weight remains on the ball of my right foot. Contact is made between the outside of my left leg, diagonally across the front of my opponent's leg (figure E). Very little contact is made with my left hip. I do try to touch the front of his chest with the side of mine, however.

Though there is a slight gap between the positions of figures D and E, there is not between figures E and Fthe force now being continuous and crescendo-like.

Step 3. At this point there is no sweep with my left leg, as in Haraigoshi. As my opponent's body is being pulled forward across my thigh and lower leg, there is a tremendous corkscrew action, following directly into a Makikomi. Notice that during this step the direction of broken balance changes, too.

When my opponent is standing in either of the other positions (figures A and B), the steps are basically the same, the only difference being in the length of the first step and the direction used to break opponent's balance.

73

.........-

Oguruma is a very powerful throw against players who remain stiff, or who are very large and powerful.

Summary The sum total of this chapter alone should give every Judo player a lifetime of study and practice.

In the following chapter we will take up the preliminaries of a contest.

Chapte,r

Three

The Beginning of a Contest THERE ARE MANY preliminary considerations long before the actual tournament begins. Your club will have received Notices sufficiently in advance to enable members to prepare and mail in their Applications, which call for such information as name, rank, age, weight, club affiliation, etc. This is a necessary routine.

Your very first requirement is to arrive early (Read the Notices!) and immediately register with the Tournament Director or his assistants. Do not neglect this. There is on record the case of a player who travelled over 3,000 miles at his club's expense, was late in registering, and so never entered the contest. Arrange your time so that you arrive e~rly, and. register immediately.

Also, be sure that you weigh in according to the posted Notices. This may require you to weigh in at the start of the eliminations, or weigh in each day upon arrival at the gym or dojo where the t-ournament is held.

Realize that the pairings are made hours in advance of the actual bouts, and that the bouts are conducted in weight categories using two or three mat areas at the same time. For this reason you as a competitor cannot afford to be missing when your name is called.

74

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Figure 75. Competitors warm up with exercises and light randori just before the 1958 tournament in Chicago. Note a few of the trophies on display table.

Figure 74. Line-up of top U.S. Judo players during the 1960 National AAU Championships held at Tampa.

A "line up" may be called before the tournament starts (figure 74), observing the traditional ceremonies with all contestants present, special announcements being made, etc., after which everyone will be free to warm up in general practice (figure 75).

Note: You should make it a firm habit always to warm up before practice, and especially before a contest. Also, make it a habit to observe the practice of other competitors.

If you observe, and remember, you will have a fair evaluation of what to expect when you face anyone of the players as an opponent. As they practice fitting into position time after time for their favorite throw, they are unconsciously showing you what they will use in the contest.

A word of caution. Many players use a throw merely for warm-up purposes, and nothing more. Their Tai76

~

otoshi or Seoinage is not important-they will hit you with something you least expect. Maybe Uchimata. Maybe Ashibarai. You have no way of knowing a player's strategy, but then neither can he guess yours.

Certain players employ a variety of techniques, drawing opponents into anything they will open themselves to. If you should observe this during the eliminations, you can be sure this is a good all-around competitor rather than the specialist who uses one or two throws which, if discovered, begin to work less effectively.

In Judo tournaments, as in general practice, certain rules are observed.

1. A clean body, with short-clipped finger nails and toe nails, and a clean Judogi.

2. When off the mat, wear slippers or shoes.

3. When you step on the mat when your turn is called, greet first the Referee and the Judges, then take your place as indicated by the Referee. When the Referee calls you to the center of the mat, greet your opponent.

77

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4. After your bout is finished, you reverse the order of greeting, first bowing to your opponent, and then to the Judges, and finally you extend your greeting to the Referee before you step off the mat.

There is a saying that many a contest has been lost not on the mat but while waiting to play. This is a mental battle every contestant wages while waiting his turn, wondering who will be his opponent, wondering how he will fare against him. This is wasted energy. This is lack of confidence in one's own ability.

Experience, of course, will lower this state of anxiety.

You will notice that the old-time competitors seldom waste time in wondering whether they will meet up with this player or that player. They know the extent of their ability, they know that they are here to compete against another player's skill, and they know they will do their. best, win or lose. Most contest-wise players maintain a relaxed posture throughout a bout, but they are keenly alert and sense every intention of their opponent.

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-- ----Figure 77. Never reach blindly for your opponent's

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Figure 76. Referee's call Hajime! brings two eager yet cautious competitors together for the final bout during the 1960 Tampa Nationals.

78

lapel.

Once the Referee gives the signal and you greet your opponent, the bout begins. And this is the moment when you must know what to do.

Figure 76 depicts a cautious moment as two top competitors approach each other during the 1960 National AAU Championship in Tampa.

The usual beginner's error is to step forward and reach out confidently for his opponent's lapel, as illustrated in figure 77. What this does is invite an immediate attack, usually in the form of a hard Taiotoshi (figures 78 and 79).

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Figure 79. And broken balance leads to a fall.

Figure 78. Any over-confident leads to broken balance.

approach

At the moment when you reach for your opponent, you may be in an extremely vulnerable position. Exercise caution. Even induce him to attack first (figure 80) so that you may gauge his style (if you have never seen him play before).

Figure 81. Standardgrip is on lapel and sleeve,but armpit holds give chancesfor a variety of throws.

The manner in which your opponent grabs you usually indicates the technique he will use.

Armpit holds, such as shown in figure 81, are good for a great variety of big throws, such as UchimataJ OgurumaJ HaraigoshiJ OsotogariJ TomoenageJ etc.

Sleeve holds afford footsweeps and lo!\, hip throws as well as kneewheels, as in the case of the hold illustrated in figure 82.

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Figure 80. Press your attack with caution. Remember that your opponent is gauging your style and habits.

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Figure 82. Grab whatever is nearest you. In this manner learn to control opponent's movements.

80

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founded with Uchimata, to the left and to the right.

Of course, soon enough these little strategies become

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LFigure 83. Whenever you permit your opponent to lift your leading arm you invite a big throw.

A lapel and sleeve hold (figure 83) also forecasts variety, centering perhaps on Taiotoshi, Seoinage, Ouchi-

gari or Tsurikomigoshi.

.

Since every player has his own individual strategy, and since every bout depends so much on the invisibles and the movements that are taking place constantly, it is obvious that no hard and fast rules .can be given. You, as a contestant, must have faith in your ability, and you must observe others while they practice or go through. their warm-ups. If you should have the opportunity to watch certain contestants during their bouts, all the better for you.

Note how certain experienced players pace themselves by feeling out their opponents, while other players drive in from the start and keep up this drive relentlessly.

One of the top contestants in the U.S. Nationals uses Uchimata while warming up, but when he faces an opponent he resorts to Taiotoshi.

Another top player lulls his adversaries into a state of confidence by throwing with Ashibarai all through the preliminaries; then, as the difficult finals approach and' opponents take up a wide stance in their efforts to offset the now-familiar footsweeps, they are dumped dumb-

known

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who

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and competitor; the Taiotoshi and Uchimata specialist may finally reach a point beyond which his throw grows less and less effective. In some instances this is true, yet most of the specialists seem ~o have endless means for luring or leading an opponent into the required position for the throw. If you are wondering how they acquire these means, the answer is experience in contests.

There are times when two specialists in the same throw meet up. Such a bout is quite interesting to observe, since each player knows all the tricks for creating openings and he also knows all the tricks for evading them.

If a point is scored under these conditions it is a remarkable sight, though very often such bouts go into decisions and even draws (figure 84).

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82

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Four

Playing To Win

Figure 86. An instance of extreme caution during the 1960 Tampa Nationals.

Figure 85. For a favorite throw a player needs his favorite grip. Don't let him get it.

It cannot be stressed strongly enough that throughout a contest, and especially at the beginning, you must be' on the alert, constantly aware of what your opponent might try from every conceivable position. The experienced player will always be on guard not to let his opponent secure his favorite grip on sleeve, lapel, or armpit (figure 85). And should the opponent manage to wrap his arm around and take hold of the belt, the wise contestant will resort to the extreme in defensive posture (figure 86).

Perhaps one rule will be helpful for your contesting.

Don't let your opponent throw you) but you must try with all you've got to throw him.

THE PLAYER with the best technique is the one who will come out winner in a Judo contest. This is a simple fact, but it carries many meanings. Contesting technique means not only having a good throw but also knowing how to conserve energy, how to attack repeatedly either in combinations or with follow-ups, how to block opponent's attempts, how and when to kill his throw, and how to anticipate attacks and counter them.

Competitors conserve energy in various subtle ways.

There is the simple expedient of playing with a relaxed posture and waiting for the opponent to press the attack.

This gives opportunities to counter-throw, but it requires a fine sense of anticipation-guessing when and what the opponent will use against you. If you guess wrong, you'll be thrown.

If your opponent has the .habit of pushing you toward the edges of the mat area, this in a way also gives you a chance to conserve energy by drawing him out, or inviting his attacks (figure 87). .

Contest-wise players have a system of conserving energy by pretending to be tired, permitting the opponent to attack almost to the throw itself, but then suddenly unleashing their pet throw and scoring a full point.

85

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Another method that has been employed, but which soon enough becomes apparent to the referee, is the loose tying of the belt, knowing that it will not remain in place long, and hoping that the referee will call "Time out" to permit retying the belt, thus affording a period of rest.

Whenever time-out is called during your bout, immediately take advantage of it in a sitting posture and resort to deep breathing with a completely relaxed body. Don't waste energy by looking around to see what is going on.

Your problem is right there on the mat, and you want to be in the best shape to meet your opponent again. If your own belt has become loose and the referee gives you the chance to retie it, then take your time doing so, all the while breathing deeply. If you take too long, however, the referee will urge you to action. But it is worth the try.

Figure 88. Teach yourself not to use body power to block opponent's efforts. Learn Taisabaki.

When it comes to blocking opponent's attempts, there are numerous ways, from the sheer use of body power and weight to the very subtle steps and turns of taisabaki.

For example, when your opponent hits you with a waist technique as in figure 88, it is a simple enough matter to block his throw by stiffening your body against his attacking leg. Note, however, that he might catch you on your right leg, as in this illustration, and if he is strong enough he might even manage to twist around and complete the throw. Whenever such a throw is tried against you, two forms of taisabaki can be used more effectively and with less effort-leaning against the throw as in figure 89, or turning your body as you pull free your sleeve, as in figure 90.

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Figure 89. Anticipate opponent's intention, and break his balance as he attacks.

Figure 90. A poorly-timed throw can easily be killed with a slight turn of hips.

If your opponent should try Seoinage (figure 91) and if you anticipate the intention, it is easy to stop it by snapping back your own right arm and at the same time

pushing opponent away, as illustrated here.

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I 1_ Figure 92. Be careful how you try to kill opponent's dangerous method, often resulting in arm injuries.

Figure 91. Note simple method of killing opponent's

throw. This is a

Still another way of killing his throw, pmvided your right arm is free (or your left arm, if opponent is trying to throw you to the left side) is to. attempt jumping over and at the same time reaching for the mat to save yourself, as illustrated in figure 92. However, this is a dangerous practice and you should be aware of it, since your inside arm (your right arm in this instance) is exposed to a bad twist in the shoulder or elbow. In figure 93 the 89

Seoinage.

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Figure 95. Unless you get thrown, this is a good method by which to ride your opponent to the mat for Newaza continuation.

Figure 93. Evading a throw by falling shoulder first to the mat is also a dangerous practice, here caught by the camera during the Tampa Nationals.

rides his man into the mat. This is a risky evasive action and you had better know when to do it and when not to try it. Try it only if you feel the throw is weak. Otherwise you might be caught in mid-air and turned over.

The same applies for trying to hurdle a throw, as in figure 96. Many players will attempt to jump over an attacking leg or waist, only to find themselves twirled over onto their backs a split second before they reach the mat with their outstretched foot.

thrower is trying a Makikomi and his adversary is trying to slide off onto his own inside shoulder, exposing himself to a shoulder dislocation or broken collar bone.

In figures 94 and 95 the player on the right is almost caught with an Uchimata but, as illustrated, successfully 0

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player on right pushes hard for-

Figure 96. Jumping over opponent"s hip or leg is not a good practice.

He might get you on your second jump.

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Figure 98. If you have a good technique,and show it too soon, your opponent will find it easy to step over or evade.

Figure 97. Some players develop a forward-lean stance as a defensive measure. It often leads to being thrown with Tomoenage.

It is the beginner who enters a contest and makes all the errors. He steps confidently toward his opponent and reaches straight out with his right hand in the hope of . grabbing his man's lapel-and finds himself flat on the mat. Or he leans forward and bends from the waist up, imagining he now has a strong defensive posture-then discovers that his opponent has him in T omoenage (figure 97-taken during the 1960 Nationals at Tampa).

Or, if he manages somehow to stay upright, .he makes the mistake of immediately feinting with his best throw, thus giving his opponent an easy time in stepping over the attacking leg, as in Taiotoshi (figure 98). If you have a good throw, do not show it right from the start. If, for example, you are paired against a player who is weak (and you know this for a fact) it would be much wiser for you not even to employ your good throw. Use something else to score, and save your big throw for the tough contestants coming up, and even then do not show your best technique but rather try and set him up with any kind of lure or combination of movements. Only after he is set up should you resort to your best throw, and then use it all-out.

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Figure 99. Note hard drive for Taiotoshi during 1960 Tampa Nationals, and evasive tactics of sliding over extended leg.

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Figures 99 and 100 illustrate a dramatic moment during the 1960 Nationals at Tampa when in the final rounds of the Unlimited Division a contestant used an all-out

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Taiotoshi but his opponent managed to step over and save himself by forcing his thrower to the mat.

Every beginner asks how he can avoid being thrown

by Uchimata. The answer is that if a good Uchimata player is your opponent you will have little chance of escaping his throw. Contest-wise players, however, manage to anticipate opponent's intention, and then take a chance moving out of the way, letting the attacking leg sweep upward (figure 101). In this position it is often possible to employ opponent's momentum and throw him with a hand technique, such as Ukiotoshi.

Figure 100. At this point the throw is completely killed, the bout going into mat fighting.

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If you are facing an exceptionally good opponent yet you feel you have a chance against him but must wait for just the right opening, a good strategy is to repeatedly back up off the mat area (figure 103). What will happen (since leaving the mat is not allowed by the rules of contesting) is that the referee will order both of you back to the center of the mat to resume fighting. Every time this happens you must observe the manner in which your opponent handles himself. Note the way he steps, or grabs your lapel or sleeve. Try to figure out how best to lure him into a wrong step, or at what moment it would be safest to try your pet throw.

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Employment of taisabaki may kill an Uchimata, as in. figure 102. Note thrower's lean to his right side, and how his adversary is using his arm to prevent the final movement in the throw, and is carrying his own left leg high and safely out of reach. Only the top players are confident enough to try these methods.

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Figure 105. By hooking opponent's knee you can force your attack.

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Figure 106. Some players can even secure a clean Osotogari.

Figure 107. In the heat of the bout you may overlook complete your throw out of bounds, without scoring.

After a throw has been attempted, certain players have. a neat way of dropping to their knee, thus killing the throw, and from this position they will use their hands to hold you at a distance (figure 104). If this should happen to you, and if you can manage to move in swiftly as your opponent rises, as in figure 105, you will have an opening for an Osotogari (figure 106).

mat area and

Figure 107 shows a clean Haraigoshi during the 1960 NatioP-als, but if you look closely you will see that the thrower will not score. Reason: the player taking the faU has shrewdly maneuvered himself toward the edge of the mat area and will take the fall off the designated space, thus killing his opponent's throw. Figure 108 shows

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Figure 108. This action, too, is taking place too close to mat edge, and may not count.

another action during the same tournament, and here the thrower has missed with his footsweep, while his adversary has caught the attacking leg with his left ha~d and is ready to execute a counter technique. But the counter technique failed to score, too, as the throw ended off the mat area.

All of this proves that your best teacher is experience, but certain suggestions will perhaps help in the phases of repeat attacks, combinations and counters.

100

If you have, for instance, a powerful Taiotoshi, you have every chance of scoring with it. But assume that your opponent turns out to be quite alert and cleverly evades your attempts to set him up. The question is, can you nevertheless get him?

Repeating your attack over and over is one way of doing it. Drive in, and if he blocks or sidesteps, drive in again, and again. It is quite common to catch the opponent in this way on an off-beat step and succeed with your throw.

This approach can be used with almost any throw, except the sacrifice techniques, of course.

Another way of catching an opponent off guard is to feint repeatedly. This method sets up a tempo for him to expect, but he is not certain when your real attack will take place.

And still another method, one that does not reveal to him your intended throw, is the stamping of the foot hard against the mat, and watching opponent's reaction.

Assume that you are a Taiotoshi specialist. You make several tries for your throw, but your opponent manages to side step and block you. Now on your next at4;empt you simply stamp your foot against the mat. Being on guard, and thinking that you may be pressing your attack, he may move aside as he had been doing. Again you stamp your foot, and again he moves aside. Pretending that you will stamp your foot again, you know he will anticipate this and will move away, and in that instant you can often break up his composure and his taisabaki and drive in for a successful throw.

This method is nothing more than a way of distracting your opponent's attention, fooling him into a false sense of security, causing him to relax his guard for that split second you need in order to catch him for your best 101

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throw. In one way it may be likened to feinting, or drawing out opponent to see what his reactions will be, and in this way deciding on an attack.

Realize, of course, that no method is foolproof. An alert, clever, and good opponent seldom lets himself be led into the wrong body posture or step. And it is this very condition that makes all of Judo, and particularly a shiai, an exceedingly interesting and satisfying sport and art.

In other words, one method of playing may be good for one man and be entirely foolish for another. Imitation in blind form, simply because a move looks beautiful when an expert performs it, is dangerous. One of the best tournament players in the U.S. has a way of wiggling his hips just before he drives in for his Uchimata. He wiggles and swivels, and he always "catches" his opponent for an "Ippon!" Other players watch this with fascination, and some even try to do the same thing, but it's usually. no more than a shaking of the body and the throw seldom comes off effectively. Either you've got it or you haven't. got it. Another equally excellent competitor goes in for his tremendous Uchimata from a rock-still stance from in front and center of his opponent-invariably creating the impression that he couldn't possibly reach his target, yet he always does. (See figures 7 and 8.)

Experienced tournament players also employ their throws in combinations. This works quite effectively and is more than a start in the right direction for anyone w.ho has not had enough contesting in his Judo. Remember, however, that in working your combinations you must exercise caution not to be countered, and must employ the correct method of breaking opponent's balance for the technique you intend using.

If you have Osotogari in mind and plan to set him up

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with a weak Taiotoshi, it must appear that your first move really wants to take him (figure 109), but all the while your right hand must be working subtly to prepare him for Osotogari (figure 110).

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Figure 112. Osotogari or Ouchigari; as shown here, may still take him for a point.

Figure III illustrates also an attempt to feint wii:h Taiotoshi but here the opponent resorts to a strong defensive posture which he cannot correct too quickly.

An Osotogari could be used as in the previous example, but an Ouchigari as illustrated in figure 112 is a better technique to try.

104

Whenever you employ a big waist technique the chances are your opponent will try to hop or mount over your hip, as in figure 1I3 (thrower is fitted for Ogoshi).

As you move in, and at the instant when you feel his body tensing for the jump-over, you have a chance to catch him with a Haraigoshi} as illustrated in figure 1I4. In such instances many players in using Haraigoshi will Qend their knee (of the attacking leg) and thus prevent opponent from mounting over the extended leg.

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Consider a Tsurikomigoshi attempt as in figure 115.

Here, too, your opponent might try to jump over your waist and save himself. If he should attempt it, your simple follow-up in the combination would be to use Haraigoshi (figure 116).

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The following example employs a feint with an Ashibarai, as illustrated in figure 117, with a hold on his right sleeve and left lapel. The first sweep against his leg-in this case your left foot against his right-must indicate that you are really trying to score; however, you let him see the move coming, which will cause him either to lift his foot out of the way or to drag it along the mat as he steps toward his left side. On your second try for an Ashibarai you don't even plan to make contact with his foot as you have done in figure 117, but you instead take a deeper step toward his left foot (with your right foot), and at the same time you corkscrew your body around, turning your back fully to him, and then try for either a I:Iaraigoshi or an Oguruma, as illustrated in figure 118.

The entire move, of course, must be executed like a whip.

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Figure 120. Follow up your Ouchigari immediately with a Kou~higari.

Another good combination is the use of Ouchigari (figure 119) and if it fails immediately shift into a Kouchigari attack, as in figure 120. Your hands must be working throughout this throwing combination, constantly breaking opponent's balance toward his rear.

But bear in mind that it is very easy to counter a poorly executed Ouchigari. In other words, the advice is that you drive in hard for Ouchigari, with every intend~n of taking your opponent. Do not expose too much of your side and back to him when you attack. Then, if he proves alert and manages to offset your move, swiftly try for his other leg with your Kouchigari. This is a common combination used in every shiai, and it is also done by first using Kouchigari, and following up with Ouchigm'i.

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Figure 121. However you feint, bear in mind the position you need for your follow-up throw. Note bad position here for Osotogari, but

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Nearly every player will attempt Osotogari, and therefore this throw is expected by your opponent. By the same reasoning, Osotogari works well as a feint (figure 121). Since it would be difficult to secure a throw from this position, you as the thrower would merely pretend that you want to use OsotogariJ and as your opponent stiffens against it, you can quickly pivot and break his balance for a Taiotoshi, as shown in figure 122. Note the ,position of thrower's left foot in relation to the right foot of opponent.

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Figure 124. You can shift into a Toinoenage.

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Now compare thrower's left foot position in figure 123 with the position in figure 121. In figure 123 throw~r is again feinting with Osotogari, except that this time his follow-up will be a sacrifice technique, breaking his .opponent's balance to the direct front and then trying .for Tomoenage, as illustrated in figure 124.

In both instances the position of the thrower's left foot is very important, being inside and facing forward for Taiotoshi, and being at right angles and more to the outside for a try to get Tomoenage.

110

A very effective follow-up or combination is the use of Haraigoshi (figure 125) with the full expectation that your opponent will anticipate the throw and will try to jump over your attacking leg. As you pivot into position you must not block his outside thigh too strongly nor too high, because you want him to feel that your throw is on the weak side. As he attempts to straddle your sweeping leg, simply twist your body away (in this instance toward your left side) and at the same time execute an Uchimata (figure 126).

The techniques of counter-throwing are many and quite involved. It is said that to be skilled in counterthrowing you must first be skilled in throwing, for this is th~ only way in which you will learn to recognize what is being tried against you, learn to anticipate such attacks, 111

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and eventually learn how to counter them with effective throws of your own.

The simple counter-moves sometimes are no more than a latching onto the opponent and falling back with him, as illustrated in figure 127. Here the thrower, who is in front, has tried a waist technique, and his opponent has simply wrapped his arms around him and is now preparing to counter-throw to his rear left side by falling to the mat himself. This is too often seen at tournaments but it is definitely not a skillful execution. Whenever you attack your opponent with any big waist technique, or whenever you expose your side, or particularly your back, to him, you must be on the alert for this kind of counter.

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Figure 129. Use a take-down and apply Hadak-

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By anticipating an Ipponseoinage, as in figure 128, you can easily break opponent's balance to his rear by drawing him backward with your captured right arm and at the same time pressing hard against the middle of his back with your free left hand, taking him completely down to the mat and there applying a choke (Hadakajime, in this case), as illustrated in figure 129. Note how the thrower's body is kept in a broken position by the player applying the choke; in other words, once you kill his throw and begin taking him down to the mat, the take-down must be done swiftly and under complete control-under no circumstances should you permit your man to push you so far to the back that you end up with him on top of you. He should be on his back, and you should be squatting behind him, holding him broken, and applying the choke.

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Figure 131. Using his body power, he lifts opponent and throws him straight back for a full point.

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There are players who fit into position for waist techniques but do it in an overconfident manner, imagining that either their throw is foolproof or that their opponent is not alert enough. This is illustrated in fig-ure 130. If this happens to you, simply lower your own waist below his center of gravity, and then with the use of body power lift your opponent into a counter-throw directly to his rear (figure 131). This is one of the usual countering moves in tournaments, but too often the thrower attempts to do it with his arm power, his legs held straight, rather than lowering himself and using his whole body to achieve the lift-up.

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Figure 132. Anticipating Ouchigari, player on right turns his body in order to counter.

Figure 133. By extending his own left leg, he is able to sweep opponent's legs.

Another simple counter is the one- used against Ouchigari, as begun in figure 132, showing the attacker trying for your left leg. The point to remember is that he must really be trying, and not merely feinting. If you feel he is coming in with the intention to make his throw count, then a taisabaki (stepping circularly forward with your right foot) will open him for your counter throw, as shown in figure 132. Your attack begins immediately115

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Figure 134. Continuing to turn his body, he pulls sharply against opponent's right sleeve to complete the throw.

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your left leg sweeping toward his left leg and catch.lng the backs of both of his thighs, as illustrated in figure 133. Since he is now completely off balance (actually the action of his attacking right leg is helping you sweep him), all you need to do is continue your leg movement and at the same time snap his upper body downward with your left hand which is holding his sleeve, as in figure 134. / 116

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Many experienced players are able to counter a footsweep with a footsweep. However, you may also train yourself to use a form of Taniotoshi for this same purpose. Since your opponent will usually sweep from the side where he is holding your sleeve, you may even anticipate his move, as in figure 135. If you have managed to get your foot out of the way of his sweep, or if he completely misst:s your foot, then you have the chance to step in deeply "Sothat your right leg blocks his left leg (figure 136), and you can throw him at your right side, tipping him over your extended right leg.

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Figure 138. In his momentarily off-balanced position you have a chance to retaliate with a similar footsweep.

In figure 137 the player on the left is trying a footsweep, but since his partner is firmly planted it is obvious that it will not work. Assume that you are in the position of the player on the right, and this footsweep is tri~d against you. At the instant when your opponent touches your foot with his, you must counter with the same footsweep against his right foot, sweeping hard and at the same time snapping him down with your arms (figure 138). /'

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Figure 140. Sweeping against his supporting foot is possible as a counter.

If your opponent hits you with a good Hanegoshi you will only realize what has happened after you have taken the fall. But there will be times when your opponent will try his throw from too far out, with his own balance in a precariously weak position, as illustrated in figure 139.

As you resist ~is pull and lift to take you over, a counter can easily be executed by using your left leg to sweep him, as in figure 140.

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If you are good in NewazaJ then you need not fear the type of counter-moves that will have ""youinvolved in mat work if they should fail. In figure 141 your opponent has tried a waist technique, but has failed because you anticipated his intention. However, in anticipating you have carried it a step faTther by letting your body be halfcarried over, so that you are in reality throwing yourself around your opponent (figure 141) and falling into a counter-throw, which CQuidbe either a SumigaeshiJ Yokogumma or UkiwazaJ simulated in figure 142.

Also bear in mind that your oppol1ent may drag you down to the mat from any throw that you attempt, provided the throw is weak or slow enough to give him this opportunity. Certain players who are strong in Newaza will purposely pretend to fumble their throws, just" so they can drag you down for mat work, because they are sure they can get you with a choke or hold or lock. It is, of course, against the rules to drag your opponent down from a standing position. A good referee will not tolerate such playing.

120

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Figure 143. Whenever you move in too close to your opponent, as for Ouchigari, he may encircle your waist and drag you down.

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Figure 144. If your throw failed to score a point, you must then be prepared to continue in mat fighting.

Since mat work is tiring, few players relish the idea of using sacrifice techniques because they know this may place them into a weaker position. They also avoid certain throws. OuchigariJ for example, may end up in N ewaza since the opponent needs merely to encircle your waist from the start of your Ouchigari (figure 143) and fall sideways so that the referee is reluctant to call it a point. In such cases, if your opponent is strong in NewazaJ he may have the advantage over you. If he is weak in mat fighting you may still have the advantage since you will be on top, as illustrated in figure 144.

In the following chapter we shall consider some of the important fundamentals of mat fighting in relation to a shiai. If you have been reluctant to practice holding, choking, and locking, and yet you are planning to enter tournaments, you should immediately begin developing a curiosity about every phase of Newaza.

121

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Chapter Five Mat Techniques

In Tournaments

NEWAZA or mat work is also termed Katamewaza. As in stand-up playing, so in mat work-the ways and means are as involved as there are players using them, and here, too, your best teacher will be experience. It is hoped, of course, that some of the pointers given in this chapter will be of help.

The first advice is: Don't resort to mat fighting in a contest, unless you know your own and opponent's abilities and are certain that yours are superior to his.

A very effective way of holding off your opponent who is trying to follow you into mat work is by closing your elbows and knees while lying on your back (figure 145).

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Your opponent will make every effort to break through your defensive position, and, if he indicates this, you will know that he is not afraid of N ewaza continuation. If he is unable to break through, the referee might order both of you into stand-up playing. Whatever defensive position you take in mat fighting remember that you are . safest while facing your opponent.

Though it is not considered sportsmanlike to cover up as in figure 146, there will be times when this action will be the only one that might save you from losing to a hold or choke. And certainly if you ever turn your back to your opponent who may be a stronger mat player than you, then you might find it advantageous to resort to Figure 147. This position, too, clearly indicates the player on the bottom is refusing to enter into mat fighting.

covering up as illustrated in figure 147. In both instances the idea is to grab your own lapels with your hands and pull your jacket half over your head to prevent opponent from securing .a choke hold.

Good players frown upon this practice, whether in shiai or randori.

Assume now that you have been caught in Kesagatame (see figure 37). If you are exceptionally powerful you might be able to unseat your opponent by merely turning him over your body. This move requires strength, and if you do not have the strength, you will be needlessly exhausting yourself in futile attempts.

It is a common sight in contests to see a player caught in one of the holding techniques and see that he does not know how to even begin escaping. The usual attempts are a violent kicking around, thrashing, and sttugglil1g to roll first to one side and then the other, all the while Figure 146. Covering up as ttere illustrated is effective, but not in keeping with the sport.

knowing

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The basic idea is to somehow create a separation be-' tween your hip and your opponent's hip. It is a simple matter to accomplish if he is inexperienced and permits you to move away from him. But if he follows you, or knows how to freeze you, then you must use your arm power to push him away, either upward as in the previous example, or away from you, as illustrated in figure 150.

In this case you can bring your bottom leg (here the right leg) into action, forcing him farther away, and possibly even breaking his hold completely.

As you know, to score with Osaekomi} your opponent must hold you for 30 seconds. If he has succeeded with a throw which the referee called Waza-ari (half-point) then

Figure 149. By holding his body tightly to yours, use your right leg to roll opponent toward your left side, escaping his Kesagatame.

Therefore, if you are caught in Kesagatame} for example, the first thing to do is at least grab opponent's belt as illustrated in figure 148 and try to lift his body in order to create a separation. If you manage to break his position in this manner you will find that you can roll him over (figure 149) with much less effort.

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Figure 152. Sometimes you can force off opponent's arm and escape his hold, or use your arm as here illustrated to prevent him from completing his hold.

he needs only 20 seconds in holding (assuming he has followed you into mat work and has secured a hold).

Figure 151 illustrates the hooking action of the leg by the player caught in Kesagatame. The player on top may well keep his hold for 30 seconds, and his opponent be unable to unseat him or free himself, even though he has managed to hook the leg as here illustrated. However, referees differ on this, some arguing that if the player on' the bottom can hook opponent's leg, the hold is broken and discontinued. This is a matter that must be left to,

the decision of the tournament directors and whatever revisions are made in the future regarding the rules of contest Judo.

Whenever you sense a side hold will be attempted, a simple method of protecting yourself is to cup your outside hand over your head (figure 152) and thus prevent opponent from completing his hold. It goes without saying that, if you are in the position shown in figure 152, you would immediately turn your own body and get behind your opponent.

129

128

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Figure

153. If caught in Kamishihogatame

of opponent and grab belt. in any form, bring your hands to one side

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Figure 156. Whenever you in a hold.

youe opponent

is behind you, realize he may get

Figure 154. By lifting and pulling belt with one hand, and controlling his leg with other hand, break his position.

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I Figure 155. If you manage to break his position you should be able to roll him over (perhaps even secure Kamishiho on him).

Kamishihogatame and Kuzurekamishihogatame ate often very difficult to break. If these holds are used against you, immediately grab opponent's belt (figure 153) and try to unseat him. Another method is to grab his belt with one hand and his leg with the other (figuie 154) and then roll him to the side where he shows greatest weakness (figure 155).

130

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Figure 157. By rolling over you will have a strong defensive position, from which you may continue to your own advantage.

The best advice, of course, is: Don't get caught. If you find yourself on the mat and think your opponent will follow you, let's say into Kamishiho (figure 156), the first move for you is to hold him off and try to roll over as illustrated in figure 157. In this way at least you will be free to fight, whereas if you remained on your back and his Kamishiho was strong you would lose a point.

131

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Figure 158. To unseat opponent holding you in Tateshihogatame,. force your free hand under his leg. . . .

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Figure 160. works. Here to center. If even off mat

Figure 159. By bridging, you can sometimes roll opponent off and escape. .

Tateshihogatame is a powerful hold and often used in contests. Depending on the opponent's skill, weight, and power, it is also often very difficult to unseat him. What you should try when so caught (figure 158) is to force your free arm between your body and his legs, and then with all your might roll toward the other side, as illustrated in figure 159. ./

132

Crawling off mat area when caught in a hold no longer referee is freezing competitors prior to dragging them back only a few seconds are left, referee will let hold continue area.

One way of escaping from a hold is to crawl off the mat, your guess being that the referee will order your opponent to break his hold and come to stand-up playing.

This no longer works. Figure 160 shows the referee freezing the players who have come too close to the edge of the mat area; he will now drag them back to the center, and then order them to continue fighting.

If you think you have a good hold or a strong choke, disregard whatever voice command you think you hear 133

---,.--

Figure 161. Referee here orders players to "break" tapping them at the same time.

ineffective choke by

and continue fighting your opponent. Many points have been lost because a competitor thought the shout he heard was meant for him, whereas it was being directed at someone on the next mat. In figure 160 you can clearly see three mat areas being worked at the same time during the Chicago National AAU Tournament. If two pairs are involved in mat work on two different mat areas, then orders of referees may become confusing. The proper manner in which a referee will order you to "break" an ineffective hold or choke is by tapping you and your opponent at the same time, as illustrated in figure 161.

This is also used when the referee wants to "freeze" players who have come too close to the edge of the mat prior to dragging them back to the center for continuation.

Figure 162. Referee must watch all attempts at choking, and if he feels competitor is stubbornly refusing to give up the point, he has the right to "break" the choke and award the point to other player.

I

134 I

I

There will be times when you secure a strong choke against your opponent and he stubbornly refuses to give up the point by tapping submission. In such cases you should not release your choke. If YQur opponent should lose consciousness he can easily be revived, and you will have scored without a doubt. If, on the other hand, the referee is keeping close watch on the action, he will realize that your opponent is holding off too long and he will then tap you, thus ordering you to release your choke, but will award the point to you. This is illustrated in figure 162 (and note that if you are employing a choke from the rear as in this instance, you must not scissor your opponent with your legs).

135

I

I

I

--Figure 161. Referee here orders players to "break" tapping them at the same time.

ineffective choke by Figure 162. Referee must watch all attempts at choking, and if he feels competitor is stubbornly refusing to give up the point, he has the right to "break" the choke and award the point to other player.

and continue fighting your opponent. Many points have been lost because a competitor thought the shout he heard was meant for him, whereas it was being directed at someone on the next mat. In figure 160 you can clearly see three mat areas being worked at the same time during the Chicago National AAU Tournament. If two pairs are involved in mat work on two different mat areas, then orders of referees may become confusing. The proper manner in which a referee will order you to "break" an ineffective hold or choke is by tapping you and your opponent at the same time, as illustrated in figure 161.

This is also used when the referee wants to "freeze" players who have come too close to the edge of the mat prior to dragging them back to the center for continuation.

134

I

There will be times when you secure a strong choke against your opponent and he stubbornly refuses to give up the point by tapping submission. In such cases you should not release your choke. If YQur opponent should lose consciousness he can easily be revived, and you will have scored without a doubt. If, on the other hand, the referee is keeping close watch on the action, he will realize that your opponent is holding off too long and he will then tap you, thus ordering you to release your choke, but will award the point to you. This is illustrated in figure 162 (and note that if you are employing a choke from the rear as in this instance, you must not scissor your opponent with your legs).

135

.

I

.........-

From your own point of view realize that your opponent is fighting you all the way in his supreme effort to score against you. Your intention is the same. And the referee is there, along with the judges, to decide which player is best. If either scores with a throw, full-time hold, or a submission, there can be no doubt. But if these half-points or full points do not come about, then the decision will be based on superiority as seen by referee and judges.

On this basis alone you must strive all the time. you are on the mat. Drive in hard for a throw, but make your attack in a cautious manner, keeping in mind opponent's possibilities of a counter; if you go down for mat work drive just as hard for a hold or choke or lock.

In the next chapter we shall consider the part judges and referees play during a shiai on the theory that if you know what the referee's job is like, what he looks for and how he makes his decisions, then you might have a solid guide on how to conduct yourself in a bout.

136

Chapter

Six

Judges and Referees THE TASK of judging or refereeing a shiai is a difficult one, yet it need not be. Consider this matter from your own point of view-if you were judging a contest in which one of the competitors was a player from your own club, and you were called upon to make a decision, it could conceivably be a difficult or embarrassing one, one way or the other. This condition has come up many times in both local and national tournaments; the usual arrangement in such cases is to place judges and referees on the mat where their own players are not competing. In this way everyone can be fair and impartial, and there are never any complaints or objections.

In order to act as referee or judge, one must hold the rank of Black Belt. Further, a lower rank Black Belt almost never acts in these capacities when the bout involves players who out-rank him (though there have been conditions when this was overlooked). In all national tournaments the officials have usually been those with the rank of 4th Dan and higher, even holding 7th and 8th degree or grade. This is as it should be, since there are numerous occasions when a call or decision must be made on a hair-line item; in such cases it is the vast experience of the referee and the judges that determines the fairness of the decision.

137

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I

This is not to say that any holder of the rank of Black Belt is qualified to act as an official at a contest. Here, as in all other aspects of Judo, experience counts, and unless a person has been exposed to all sorts of competitions and witnessed various problems and seen them solved by high-ranking judges and referees, the inexperienced Yudansha may even find it impossible to call a . play.

Place yourself in one of the two chairs at the corners of a mat, and imagine that you are acting as one of the' judges for a bout. Since you will often know the players on the mat, you would be able to indicate your decisions or calls by merely saying "John was the superior player."

However, a contest is always conducted in the system of Red and White, a ribbon marking one player who ties a red ribbon through his belt; he is known as Red and his opponent as White. Similarly, each judge holds two flags or disks, one red and one white, and with these the decision is indicated. If the match is so close that the referee feels he cannot decide, he will then ask the two judges to vote, and upon a signal from the referee each judge lifts a flag or disk. If both judges show red, it means they are giving the bout to the player wearing the red ribbon.

To White if the white flags are lifted. If a judge raises both flags, it means he is calling the match a draw.

There are times, of course, when the judges do not agree, one showing red and the other white. Since this is a tie, the referee may now show his own preference, deciding either for Red or White. Also, if the referee feels that neither player has shown a clear-cut edge in skill or spirit, he may then indica~e an "Over-time" continuation.

The manner in which the flags are to be raised is as follows: Each judge should watch the referee and await his signal for the show of decision; as this signal is given 138

each judge should look immediately down at the mat and instantly lift the flag of his choice.

The reason for this method is that too often one judge will not be certain what to do and will let the other judge influence his decision. As he sees the other judge lift the red flag, he will then react by lifting his red flag. There have been instances where the judges were required to face away from each other, and then render an impartial decision.

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Figure 163. Action in a Judo tournament is always unexpected. Note seated judge intently watching the competitors, keeping track of attempts so that he may later know which disk to lift for his decision.

139

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Figure 165. Referee must know when to call full point and when to award half-point, and for this reason he must keep his eyes on the competitors throughout the bout.

Figure 164. An Uchimata going for an Ippon! during a National Tournament. Note complete control.

AAU

Whatever method is used, the important aspect of it should be a fair and impartial decision on the part of the judges, as well as the referee.

For this reason it is obvious that every acting judge must keep his attention on the bout before him at all times, and he must keep track of what each player is doing. A good judge sometimes keeps a pad and pencil in his lap; when he thinks a player has accomplished something impressive in the way of an attack (even though it failed to score for him) or has displayed other skills or commendable attitudes, he makes a note of it.

At the end of the bout, if a decision is difficult, he at least will have a guide that tells him how each competitor fared in his recorded and impartial opinion. Decision is thus a simple matter and quite fair.

In view of what has been said, if you are ever called 140

upon to act as judge you must focus all of your attention on the contestants fighting on your mat (figure 163).

Never let your eyes wander to the sidelines or to the other mats. This will save embarrassment when the referee calls for a decision.

Whenever a clean and hard throw is scored by a player, as in figure 164, the referee's job is an easy one. He will merely call out" Ippon!" and that will be the end of the bout. He will not need to depend on the two judges to help him make a decision. If he watches carefully every action taking place before him, and if a contestant scores not too cleanly, then the referee will know whether or not he wants to call it a Waza-ari or half-point. Note the tension of the referee in figure 165 as he watches the action during one of the National Judo Tournaments.

No one can foretell a throw. They occur too swiftly and quite unexpectedly. The referee and the judges MUST pay close attention to the bout.

141

When it comes to calling a point, certain definite rules are used along with the referee's own evaluation of the throw in question. The rule is that the thrown player must fall as nearly flat on his back as possible, and fall cleanly and hard. Whether or not he breaks his fall is not the question. Some competitors will never bother to break the fall, perhaps in the hope that the referee will be looking elsewhere and will not hear the thud and thus not call a point. A good referee does not need to hear the breakfall to decide whether or not the throw was sufficiently hard to warrant a point. He can easily see how much control the thrower has over his opponent, how clean and effective the throw, and with how much power it is delivered.

If the throw is clean and hard, the referee it "Ippon!"

(Full point).

will call

If the throw is fairly well executed but does not end cleanly and with sufficient force, then the referee has the right either to ignore it or call it "Waza-ari!" (Half-point).

Once the call is made, it must stand. For this reason the referee should be cautious about calling out his decision too soon. There are instances when a player begins his throw and it appears that he will score cleanly against his opponent, and the referee becomes so certain of the throw's success that he in his own excitement calls out "Ippon!" before the opponent hits the mat, and in a split second the opponent manages to twist away or uses his arm to somehow kill the throw so that he does not fall on his back, maybe not even on his side. Such premature calling of points should be avoided; it is the experienced referee who always lets the thrower complete the action. If it is clean and hard there is ample time to call out. But once the call is made and the throw 142

tUrns out ineffective, complications set in. Avoid this.

But make your calls clearly and loudly.

Many bouts will end in a draw, neither contestant scoring but both players displaying aggressiveness, skill, and proper attitude. At the end of the allotted time, therefore, the referee may order a continuation of the bout, this over-time running as predetermined-one, two, three, five, and even ten minutes. During the over-time playing the referee and the judges will usually watch more critically how the contestants react, since in many tournaments only one or at most two over-times are allowed. Therefore, at the end of the prescribed over-time play, a decision must be rendered, either by the judges if the referee so elects, or by the referee himself.

The evaluation of superiority in contestants is also a matter of experience. The judges and referee who know their Judo can easily tell who the better player is on the mat. But from your own viewpoint as a contestant, realize that many a player has impressed the officials through sheer drive and perseverance throughout the bout, and thus, even without scoring even a half-point, was given the decision on the basis of superior playing.

Keep this in mind. If an over-time is called, you should drive hard to score, but don't drive so hard that your opponent catches you with a counter-throw. Attack cautiously, but keep on attacking, because it is usually in this last minute or two that the judges and referee may decide in favor of an aggressive contestant.

If you should go down for mat fighting, then keep on the offensive even if you and your opponent end up fighting off the mat area (figure 166). Let the referee be the one to stop you and order you back to the center of the mat.

In short, once the bout begins, you should be playing 143

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Figure 167. Prof. Tadao Otaki, 7th Degree Black Belt, watches closely while a player struggles to control his opponent and get a choke in one of the closing bouts during a National Tournament.

Figure 166. Prof. Sumiyuki Kotani, 8th Degree Black Belt, orders competitors to break during a National AAU Tournament.

to win, and you should be oblivious to everything that is going on around you and the voice commands that you hear (since these may be intended for players on another mat area) until the referee himself pats you in signal to freeze or stop. A good referee will fight every bout before him, living through its action in the double identity of both players, aware of every move that is made or can be made, and always on the alert for the unseen, as illustrated in figure 167-here the referee is Professor Tadao Otaki, 7th Dan, checking on a choking 144

attempt during a National AAU Judo Tournament.

Some contestants will fight a choke too long and eventually lose consciousness, rather than pat the mat in a sign of submission. In such cases they are fighting a losing cause, since the point will be lost anyway. The referee, of course, often keeps his eye on what is taking place in mat fighting, and he will often stop a choke if he thinks the player is stubbornly refusing to give up the point.

Similarly, if the referee thinks the mat fighting attempts are poor, each player simply hanging on to a weak choke or other entanglement, he may then order both players to their feet to continue in stand-up playing.

The referee also has the prerogative to disqualify any player who attempts any technique in an indiscriminate 145

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j Figure 168. There are times when techniques get

out

of hand

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Figure 169. And result in injuries. Be careful, and mind your breakfalls!

manner or who appears to be willfully trying to injure his opponent. Indifferent application of throwing or mat techniques too often leads to injuries (figures 168 and 169) and should not be tolerated by the officials of any tournament.

Every bout is conducted on a time element, and in this department the timekeepers play an important role closely related to that of the referee. The timekeeper must start and stop the clock on the referee's order; when the full time is up the timekeeper must unmistakably notify the referee and the players by any suitable means (shout, whistle, or horn).

Timekeepers must never become engrossed in the bout they are timing so that they wish for victory for one or the other contestant. This may result in losing track of time. Nor should a timekeeper sound his "time-up" signal a few seconds early to deny victory for one of the players he doesn't particularly care for.

146

If a bout is of ten-minute duration, this is the full time of that bout and a record of time must be kept by the timekeeper.

If the referee calls for "time-out," the timekeeper must immediately stop the clock; he will start the clock again when the referee signals "time-in."

If the contestants go into N ewaza and one of them secures an OsaekomiJ as the referee calls out "Holding" the timekeeper must immediately start up his second clock for the timing of the 30-second hold-down. If the attempt at holding is broken the second clock time is disregarded. If the hold continues, and even if the full time is up, the clock timing the hold-down is left to record the hold, which may win the point for the player so holding.

If a player already has a half-point to his credit, ,and then manages to secure a hold against his opponent, the time-keeper must then use a 20-second limit for the hold, and at the end of this time notify the referee.

All Judo contests are played for sport and the improvement of one's skill; therefore all contests should be conducted on the sincere level of impartial judging and fair playing.

147

Chapter Seven Staging the Tournament WHEN A CONTEST or tournament is planned, either by a club or a group of clubs, the preparatory tasks rest with whoever is elected or willing to act as Tournament Director. Needless to say, this is a demanding role. Full cooperation should be extended the Director by all involved committees, assistants, and participants.

What follows here is offered as a guide to those who may be called upon to plan or assist in the planning of a Judo contest or tournament. It outlines the major and minor considerations in the many matters that must be attended to.

The Director must meet with his assistants to determine the following: Time. Such questions will come up as when it would be best to stage the contest, considering the time of year on down to the time of day. If most of the contestants are students, then school days and hours will be a factor in setting the time. If the contestants are expected to travel, the day of the week must be considered so as not to impose hardships.

Locality. Wherever the tournament is staged, the important aspect is accessibility. Consider transportation problems. If players are arriving from another city, how 149

~

easily can they reach the place where the contest is to be held? Many Tournament Directors include a map with directions to aid visiting contestants when the Tournament Notices are sent out.

handling the Publicity in local newspapers or radio and television coverage wherever possible.

Registrations.

Suitable registration sheets or cards should be prepared for the day when the competitors begin arriving. Under this heading might also be included such matters as suitable sheets for arranging the Pairings for the different weight categories, and also suitable cards on which the officials will Score for the Record.

Facilities. The place where the contest is to be held should have dressing rooms and lockers, showers and rest rooms, and one or two scales for weighing-in purposes. A smaller mat area should be provided for warming-up, and the contest mats should be of regulation size.

Rule III-MATS, as published in the Official AAU Guide, reads as follows: I. The dimensions of the mat shall be 30x30 feet.

2. The mat shall be of uniform thickness, not less than 2 inches and not more than 4 inches in thickness.

3. It is recommended that whenever possible supplementary mats 5 feet in width shall be placed so as to extend entirely around the mat proper (for safety purposes).

4. 1ÂŁ possible, it is preferable to use tatami (Japanese mats of woven rush) in which case 50 pieces of tatami shall be arranged to form a square {one tatami measures 3x6 feet).

Certain matters pertaining to the tournament should be delegated by the Director to various assistants or committees. Preparations must be made in the following categories: Notices. This entails the printing of Notices which must be mailed to the participating associations or clubs, notifying them of the date, place, and conditions of the tournament.

With such notices the committee responsible may also send out the preliminary entry blanks"and may request information relative to individual players or team members intending to participate in the tournament. This same committee may also be responsible for 150

/

Rule I-ELIGIBILITY, as published in the Official AAU Guide, reads as follows: 1. Each contestant must be an amateur as defined by the rules of the Amateur Athletic Union and must be either (a) certified or (b) registered.

2. Any student certified to represent his university, college, or school in an AAU sanctioned Judo meet must be certified by his educational institution as being eligible to compete under the amateur rules of the AAU. 3. Officers and enlisted men of the Armed Forces may be accepted for competition upon the certification of the commanding officer or athletic officer of the unit of the arm or service the athlete is to represent.

4. No one shall compete as a representative of a club or organization unless such competitor is a bona fide m(.mber in good standing of the organization he seeks to represent.

Rule II-REPRESENTATION 1. In all tournaments an institution, dojo, or club may be represented by not more than three contestants in each weight class. They must be designated be. fore the drawing. Others from the same organization may compete if otherwise eligible but their points shall not count for team score but are the same as if scored by unattached competitors.

2. No contestant shall be allowed to compete in more than one weight class in any tournament.

151

There is seldom any problem regarding the training outfits (Judogi) worn by contestants, but to preclude misunderstandings we include hereRule IV-COSTUME 1. Judogi of soft cotton material shall be worn. The sleeves of the jacket must be loose and extend at least two inches below the elbow. The jacket must have a reinforced lapel and must be held closed at the waist by a soft, but strongly made, cotton belt approximately I ~ inches in width. The belt must be long enough to encircle the body twice and to be tied in front with a square knot. It must be long enough so that its two ends will be left free at least 4 inches from the knot when tied. No fasteners made of metal, wood, plastic or other material will be permitted.

Trousers must be of soft cotton material, loosely fitting and extend at least half-way between knee and ankle.

Ordinarily competitors will contest barefooted; however, short socks may be worn if the contestant so chooses. The wearing of any kind of shoes is prohibited.

Short socks are mandatory if so ordered by the medical examiner.

Costumes must be clean and in good repair.

No rings, bracelets or other potentially harmful jewelry may be worn.

All bandages must be approved by the referee.

Finger and toe nails must be cut short.

2. In order to distinguish the contestants, in all tournaments and dual meets, the home management shall provide a red ribbon or other similar marker which shall be tied to the belt of one of the contestants.

Rule V-CLASSIFICATIONS

is included

lustrate the different type tournaments, in the following classifications: 152

here to il-

which

may be

A. White Belt. Novices only are permitted to enter.

B. Brown Belt. Entries limited to holders of Brown and White Belt.

C. Black Belt. Entry open to all qualified amateurs.

Equivalent to a senior championship tournament.

D. Invitational. Either Individual or Team. Contestants limited to selection by tournament director or committee.

E. Promotional. Shiai conducted for purpose of advancing qualified Judoka in rank.

In A, B, and C of the above section, competition shall be divided into the following four weight classes.

140 pounds or under 160 pounds or under 180 pounds or under Unlimited or Heavyweight In all Black Belt championship tournaments (Section C of Rule V) a "To~rnament Champion" shall be selected. See Rule VII, Section 3.

It is the Tournament Management's task to anticipate the problems arising with the arrival of Officials and Contestants.

Usually lapel ribbons are printed in advance, with the date and city printed under a name-plate, while the name-plate carries the person's name and his home city. These ribbons also tell whether the individual is an Official or Contestant. This system eliminates confusion at the gate, permitting players and officials to come and go freely.

A table is usually set aside where a committee will be at hand to welcome those arriving, registering them, supplying them with necessary information, etc.

At the tournament site provisions must be made for weighing-in.

Rule VI-WEIGHING-IN 1. All contestants must weigh in a maximum of 5 hours

153

and a minimum of 2 hours before the meet is scheduled to begin. If competition in a tournament extends beyond one day, competitors shall be required to reweigh each day within the foregoing time limitations.

The weighing-in shall be held at a designated station, available and convenient to the contestants (preferably the tournament site), and shall be conducted by the referee, tournament director, or a designated arid qualified official.

2. Any contestant failing to make weight at the minimum time shall: (a) On the first day of the tournament be permitted to enter any higher weight class, provided that he can make the weight for this higher division. (b) On the second or subsequent days of the tournament be disqualified from further competition.

3. At the time of weighing in, on the opening day of the tournament, a Medical Examiner shall be present to examine all contestants for communicable diseases and shall disqualify any contestant who, in his judgment, will endanger other participants.

The Medical Examiner shall have the power to bar from competition any contestant who, in his opinion, he might find it inadvisable to compete.

The Tournament

Officials must be familiar

with Pair-

ings and other procedures associated with the conduct of a contest. What follows here are the official rules as used in all National AAU Judo Tournaments and may be applied to local and regional shiai.

Rule VII-PLACES SCORED, DRAWINGS, ELlMINATIONS, AND CONDUCT OF TOURNAMENT 1. Places Scored: A. Three places shall be scored in each weight class.

First place 5 points Second place 3 points Third place I point In Black Belt tournaments the winner of the 154

"Tourhament Championship" shall receive two addit~onal points and the runner-up shall receive one additional point.

B. The Team Championship shall be awarded to the institution scoring the greater number of points.

2. Drawings and Pairing: Two systems for elimination are recognized. Either may be used at the discretion of the tournament committee.

A. Penalty Point System.

B. Straight Elimination System (Modified Bagnall Wild System).

The Rules Committee recommends that the Penalty Point System be given preference in cases where the number of entries is small and especially in the White and Brown belt tournaments because it provides for more contests than does the Straight Elimination System.

A. Penalty Point System I. Contestants shall be paired in each round according to their numbers as drawn by lot.

The numbers shall be drawn by the contestants or their representatives. Teammates shall not meet in the first round. When two outstanding contestants are from the same area, they shall not meet in the first round.

In the first round pairings the following sequence shall be followed: I meets 2 3 meets 4 5 meets 6 7 meets 8, and so forth.

If the number of contestants is uneven, the one with the highest number shall receive a bye for the round, but his number shall be placed at the top of the list for the next round. For example, if number 9 receives a bye in the first round, he will be matched with number I for 155

the second round. He shall retain his place at the head of the list until the competitor having the next highest number has received a bye and as a result is moved to the head of the list for the succeeding round.

A bye is the right won by drawing by lot and it cannot be withdrawn except in the final bout if the two other competitors have already met each other in the preceding rounds.

The order of the bouts for all subsequent rounds shall be as follows: The first name on the list shall be paired with the competitor coming next after him who has not as yet contested with him. For example, the second round if there was no bye in the first round: 1 meets 3 2 meets 4 5 meets 7 6 meets 8 2. The results of the bouts shall be counted on penalty points as follows: When a competitor wins a bout by scoring a full point (Ippon) or two half-points (Waza. ari), he shall receive 0 (zero) penalty points.

His opponent shall be given 3 penalty points.

When a match is lost by decision (Yuseigachi), the defeated contestant shall receive 2 penalty points. The winner of the decision shall receive 1 penalty point. When a competitor has received a total of 5 penalty points he is eliminated.

3. Competitors who have been eliminated in the same round are to be regarded as eliminated at the same time.

4. The eliminations will progress until there remain three opponents in the class, although one or more may have lost 5 or more penalty points.

156

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These three survivors shall meet in the round robin under the following conditions: (a) All points lost by the three survivors to the eliminated contestants shall be cancelled.

Only the penalty points scored in bouts between the three contestants shall count in the final reckoning except as specified in (f) below. (b) If any two contestants have previously engaged, the result of that bout shall hold and the bout shall not be repeated. (c) After the round robin, the one with the fewer number of penalty points received in the round robin shall be declared the champion. (d) If two of the opponents finish with the same number of penalty points, he who has defeated the other shall be awarded the higher final place. (e) In case, after completion of the round robin, all three have the same number of penalty points, then the total number of penalty points received during the entire competition shall determine the class winner. (f) If the above rule is applied and all three contestants still have the same number of penalty points, the contestants shall be weighed immediately and the lightest shall be declared the champion, the next lightest given second place, and the heaviest be given third place.

B. Straight Elimination System: 1. The contestants shall be paired in the first round according to their numbers as drawn by lot. The numbers shall be drawn by the contestants or their representatives.

2. Seeding. Whenever there are two outstanding contestants in any class, the name of one of 157

I these contestants shall be placed in the upper half of the drawing bracket and the name of the other in the lower half.

In case another pair are distinctly superior to the remaining Judoka in the class, this pair shall be placed in different halves of the bracket.

If there is one outstanding Judoka in any class and also two others who are distinctly superior to the remainder in that class, these two Judoka should be seeded in different quarter brackets of the opposite half-bracket from the outstanding Judoka.

Whenever possible, contestants from the same geographical location, who have previously met in dual or other competition or who are cluQmates or teammates, shall be so seeded as to prevent them from meeting in the early rounds.

Notr!: Seeded contestants may be given any number in their own half of the bracket, but a number which represents a bye shall only be given when that appears to be the fairest plan for the majority in that bracket.

3. When the number of contestants is not a power of two (i.e., 4, 8, 16, 32, etc.) there shall be sufficient byes in the first round to complete the bracket. If even in number, the byes shall be equally divided between the top and bottom brackets. If uneven, the odd bye shall go to the bottom bracket. After the first round there are no byes. The winner of the final bout shall be awarded first place and the loser second place. Third place shall be awarded to the winner of a match between the two defeated semi-finalists.

Other tournament rules are as follows: 3. "Tournament Champion."

In Black Belt tournaments, after the winners have been decided in each weight class, the champions of the two lightest weight classes 158

shall meet and the winner shall meet the winner of a similar bout between the champions of the two heaviest classes. The winner of this third bout shall be declared the "Tournament Champion."

4. Draw Matches.

In all tournaments (excepting promotionals) there can be no draws (Hikiwake). When a match is declared a draw after the regular period of the bout, a second period shall be contested, after which time the referee and judges must render a decision in favor of one or other of the contestants. Time for the extra periods shall be as follows: 15-minute bout-5-minute over-time IO-minute bout-3-minute over-time ILLUSTRATION OF DRAWINGS BY BAGNALL WILD

SYSTEM

(Eleven contestants and five byes) I 2 Bye

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159

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VIII-LENGTHOF BOUTS

1. The length of the regular contests shall be fifteen minutes, but the time limit may be shortened. Notice of the length of bout must appear on the entry form.

The time limit shall not be less than 3 minutes.

Time limits for children's tournaments may be further shortened at the discretion of the tournament committee or management.

2. The time limit for contests in dual meets shall be by mutual agreement. If no agreement can be reached, five minutes shall be considered the standard length.

Rule IX-OFFICIALS 1. A referee, a head timekeeper and his assistant are the minimum number of officials that may be used to conduct a bout.

2. Two judges are required in National Championship tournaments.

3. In all other tournaments two judges may be used at the discretion of the tournament director.

4. In all tournaments there shall be a director who may appoint such administrative assistants as he might need to insure the efficient conduct of the tournament.

Rule X-DUTIES OF OFFICIALS 1. The Referee The referee shall have the sole responsibility for the conduct of the bout. His decisions shall be final and without appeal. He shall be impartial and shall meet promptly and in a spirit of good sportsmanship any situation which develops unexpettedly in the course of a match.

2. The Judges In Black Belt and Championship tournaments or other important contests two judges may be used.

Each judge shall render an independent decision in 160

contests where no full point has been scored. The majority vote of the referee and two judges shall determine the winner in such contests. The judges shall be stationed at opposite corners of the mat but shall not encroach upon the mat proper.

When judges are used, they shall each be provided with a red and a white flag or marker. In case a decision must be rendered after the time limit has elapsed, they shall upon the signal from the referee, simultaneously with the referee, raise the color of their choice. When an official declares a draw he shall raise both flags. No draw decisions are permitted at the end of the extra period of competition.

3. Timekeepers A. The head timekeeper shall keep the general time of the bout. He shall start and stop his watch during the course of the bout only upon command of the referee. He shall be supplied with a whistle or bell and shall thus signal the expiration of the contest.

B. The assistant timekeeper shall be responsible for keeping the time for holds (Osaekomi). He shall start his watch at the command of the referee and signal the expiration of the required time with a whistle or bell.

C. Any technique applied simultaneously with the signal notifying expiration of the time limit shall be judged as valid. In the case of a holding technique (Osaekomi) having been officially announced by the referee as started, the time limit shall be extended until the hold has been completed or broken.

4. Tournament Director The tournament director shall assume all administrative responsibility associated with the conduct of the tournament.

Rule XI-THE CONDUCT OF THE BOUT 1. Start of the Bout The contestants shall stand about 12 feet apart at 161

1 expiration of the time limit as signalled by the head timekeeper.

When a contest comes to an end, the contestants shall return to the position originally taken at the start of the contest, stand facing each other and, following the declaration by the referee, make the salutation simultaneously.

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Figure 170. Competitors Rei to each other at start of bout during First North-South Tournament held at New York Athletic Club under AAU sanction in 1960.

the center of the contest area, facing each other, and exchange a salute by bowing (Rei) to each other simultaneously. The contest shall then be started immediately upon the command of "Go" (Hajime) of the referee. The salutation shall be made standing, as a rule; the salutation in formal Japanese kneeling posture may be substituted. In the latter case the contestants shall finish the salutation, then stand up facing each other, and the contest started immediately upon the command of the referee.

The bout shall be started, stopped temporarily, or ended only upon command of the referee. (One contestant shall be provided with the distinguishing red ribbon, worn through the belt.)

2. Termination of Bout The contest comes to an end at a signal from the referee when a full point has been scored or at the 162

3. Judgment of the Contest One full point-Ippon One half-point-Waza-ari Decision-Y usei-gachi Draw-H iki-wake Two half-points-Waza-ari Awasete Ippon The contest shall be judged on the basis of throwing (Nagewaza) and grappling (Katamewaza or Newaza). The result of the contest shall be decided on the basis of not more than one point (Ippon) unless a half-point (Waza-ari) shall have previously been scored when it may be on the basis of either one or one and one-half points.

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North-South Tournament.

for a throw during

163

A. If either contestant is thrown from his stand-" ing position so that in general he strikes the mat on his back with appreciable force, such throw will count as one point (Ippon). The throw must be made in good form. If the contestant is thrown due to slipping or by accidcrlt, the throw shall not count.

B. If a throw is made, which in the opinion of the referee is not sufficient to win the contest, but does merit credit, he may award the contestant one-half point (Waza-ari). The bout will continue without interruption. Two half-points will win a contest (Waza-ari Awasete Ippon).

C. If a contestant is held on his back on the mat under complete control for thirty seconds by one of the holds (Osaekomi), a point shall be scored and the match ended. As long as a contestant holds his opponent under control, the Osaekomi shall be regarded as continuous even though the technique of holding is changed.

D. If an Osaekomi is held for "twenty-five seconds, but not as much as thirty seconds, it shall count as one-half point.

E. If an Osaekomi is held for twenty-five seconds and, before the expiration of thirty seconds, the aggressive contestant loses control, but not his hold, and if he again regains control by continuous action, the time required for the second half-point shall be twenty seconds.

F. If a contestant has scored a half-point with a throw and shifts without interruption into grappling technique and secures an. Osaekomi, the required time for holding shall be twenty seconds.

G. If a contestant is choked (Shimewaza) into unconsciousness or resigns the match to avoid the choke, it shall score for one point.

H. If a contestant acknowledges defeat when force is exerted by a lock (Gyaku) so as to endanger the 164

elbow joint, it shall score for a point. Locking is not permitted in White or Brown belt competitions.

(One or two quick slaps against the mat or opponent's body signals defeat or resignation of a contest. The referee may decide the effectiveness of a choke or lock and end the match even if the contestant on whom the choke or lock is applied does not signal defeat.)

I. If one contestant can grasp his opponent who is lying on the mat and lift him to the height of his shoulder, he scores one point and the match is ended. He may not throw him to the mat except at Jhe cost of the match.

J. Injury to a contestant so that he is unable to continue. (See II. Injuries) K. When a contestant has been awarded a Waza-ari or displayed a technique close to a Waza-ari he may be awarded the decision (Yuseigachi) provided that he has not stalled throughout the match.

L. When no half-point (Waza-ari) has been scored, the referee and judges shall take into consideration and compare the attitudes and skill in techniques of the two contestants and may award the decision (Yuseigachi) to the contestant who in their opinion is superior.

M. Judgment of draw (Hikiwake) shall be made when no result is reached in a contest within the regulation limit of time, or when the superiority of either of two contestants cannot be judged because their abilities are equal.

N. At the expiration of the time limit, in case a draw is declared in a tournament, the bout ends at the expiration of the extra period of time, except as prescribed above.

4. Time Out A bout may be stopped temporarily at the discretion of the referee. Time' shall be taken out for the recess.

165

The referee shall stop the time when contestants go off the mat, when he considers the costume of either contestant needs adjustment, to warn contestants, or to inspect and to ascertain the cause and. extent of any injury which occurs in the course of the contest.

Time will start when the referee signals the bout to be resumed.

5. Bringing Contestants to Center When They Go Off Mat Time shall be taken out by the head timekeeper upon signal of the referee when a recess is taken to bring contestants to the center of the mat.

A. If the two contestants are standing they shall be brought to the center and the bout resumed standing.

B. If the two contestants are grappling on the mat they shall be brought to the center and the bout resumed standing.

C. If the two contestants are grappling with one having an advantage and the referee has called time in for a hold (Osaekomi), he shall drag the two contestants to the center of the mat being careful that neither contestant gains an advantage by this action.

D. Any technique applied when one or both contestants are outside the contest area shall not count. When a throw is successful and, at ~he moment, the contestant applying the technique stays within the contest area and more than half of the body of his opponent strikes within the contest area, the throw shall count.

6. Continuing the Contest In Ground Judo A. A contestant who achieves partial success with a throw may shift without interruption into holds taken on the mat and take the offensive.

B. Ground Judo may be resorted to when a contestant inadvertently falls while applying a throw.

Either contestant may then continue the contest in ground Judo.

166

C. When a contestant, after obtaining partial success with a choke (Shimewaza) or by bending or twisting the joints (Kansetsuwaza), may shift without interruption into ground Judo and take the offensive.

7. Discontinuance of Ground Judo or Grappling If, in the opinion of the referee, efforts toward scoring a point in ground Judo are fruitless, and the contestants are hopelessly deadlocked, he shall order both contestants to their feet and resume the contest.

8. Illegal Holds Any irregular or unfair hold shall, if possible, be broken without discontinuing the bout. When a contestant has committed any infraction of the rules, the referee shall make him discontinue the fault or break the illegal hold and warn him that a second similar infraction will lead to loss of the contest.

If by contravention of any of the rules a contestant places himself at a disadvantage, the bout shall continue without interruption. Any advantage gained by contravention of the rules shall be cancelled after the referee has ordered the fault discontinued and warned the offender.

The following holds or maneuvers are illegal and, if repeated after a warning from the referee, shall result in the loss of the match. The referee may award the match to an offended contestant without the warning if he considers the situation sufficiently serious and justifiable.

A. Scissor holds on the head or. throat.

B. Scissor holds on the body for punishment.

C. Scissor holds on the armpit and neck.

D. To pick up an opponent who is lying on his back on the mat and dash him to the mat.

E. To take holds or place hands or feet on the face or to pull the jacket across the face of the opponent.

167

1 F. To grasp and twist opponent's fingers in. order to break a choke.

G. To hook a foot in neckband or belt of opponent's costume in order to prevent grappling.

H. To tackle: to grasp one or both legs of an opponent except in the case where it is used as a counter to opponent's effort to trip.

I. The Double or Full Nelson, Toe Holds, the Hammerlock, and an arm or foot up the back with a bar are forbidden.

J. Bending or twisting the joints (Kansetsuwaza) other than the elbow.

K. Dragging the opponent into a prone position for ground Judo without attempting a definite technique.

L. When a contestant clings fast to the back of his opponent, for the opponent so caught to fall backward purposefully.

M. To grasp the ends of opponent's sleeve or bottom of trousers by inserting finger or fingers in them.

N. To bind any part of an opponent's body with the end of the belt or the bottom of the jacket.

O. To apply any hold or lock which may injure the vertebrae of the opponent.

P. Any practice which in the opinion of the referee endangers the life or limb or a contestant except as specified under Rule XI, Section 3, paragraphs G and H. 9. Stalling Stalling is illegal under these rules: After two warnings, if the infraction is repeated, the referee shall award the match to the offended contestant. The match shall be scored as a point win. The following acts are considered stalling: A. Going off the mat intentionally to avoid attack by opponent or crouching and retreating to avoid activity.

B. Continually pushing opponent beyond the boundary of the mat.

168

C. Refusing to contest by backing away from opponent, working with both knees on the mat, or lying on the mat.

D. To continue holding the lapel and sleeve on the same side of the opponent's jacket or holding the belt of the opponent with a rigid outstretched arm.

10. Adjustment of Costume No contestant may break off the contest in order to adjust his costume except with the permission of, or at the command of, the referee. When arranging his costume, the contestant shall face his opponent, kneel on both knees and make the necessary adjustments.

His opponent shall also kneel.

II. Injuries If a contestant is injured and is unable to continue, the match shall be awarded as follows: A. If the injured contestant has been fouled, he shall be declared winner.

B. In case the cause of injury cannot be ascertained, the match shall be declared a draw except in tournaments, in which case the injured is the loser.

C. If the injury is accidental or acquired through the injured contestant's own carelessness, his opponent shall be declared the winner.

D. If a contestant is injured but able to compete, and refuses to do so, he shall be declared the loser.

E. In case of injury the referee shall declare a recess not to exceed three minutes in order to determine the nature and extent of an injury. After this period the bout shall be re-started unless ended as above.

12. Sideline Coaching Specific coaching from the sidelines by coach or teammate is illegal. After one warning, if the infraction is repeated, the referee may award the match to the offended contestant if he feels the situation warrants such action.

169

-, Rule XII-DUAL MEETS Dual meets between teams may be of one of two types or both. A team shall consist of five men who shall be arranged in order of rank. There are no weight divisions in Dual Meets. l. Man to Man The two teams shall be lined up in order of rank with the two men of lowest rank contesting first, followed by the next highest pair, and so on until the top ranking men from each team engage in the final bout.

Each match won shall count one point toward the team's score. When neither contestant .scores a point, or two half-points, the bout shall be declared a draw.

Decisions in bouts shall not be awarded except as provided below.

By mutual agreement a referee and two judges may be employed. In such a case decision may be awarded in bouts where a full point has not been scored. A bout won by decision shall count one-half point toward the team score.

If at the end of the five contests the team scores are equal, the team captain shall consult with his team and select a representative who shall engage in a second match with a similarily selected representative from the opposing team. All bouts must be won by scoring a full point, or two half-points, or be declared draws. This procedure shall be repeated until the deadlock is broken or the roster of each team is exhausted, in which case the meet is declared a draw.

2. Team vs Team The two teams shall be arranged in order and the contest started as before. Decisions will not be given.

All bouts must be won by scorinE a full point, or two half-points, or be declared draws. When a contestant wins a bout he remains on the mat and engages the next highest man from the opposing team.

170

In case of a draw both contestants shall retire, and the next two contestants engage.

The team which at the end has one or more surviving contestants shall be the winner. If the final contest is a draw and neither team has survivors, the meet shall be declared a draw.

Rule XIII-NOTIFICATION OF DUAL MEETS and SUBMISSION OF LINE-UP l. All modifications of rules of competition proposed by either of the two teams must be submitted to the opposing team a sufficient length of time before the date of the meet for agreement to be reached. No modification of rules is binding unless approved by both teams.

2. The home team shall notify the visiting team at least one week prior to the date of the meet the exact time and place.

3. Seven names, arranged in order of rank, shall be submitted by the opposing teams at least two days before the meet. Five men selected from the list at the time of the meet shall constitute the official team.

The remaining two shall be considered substitutes.

4. If in a contest held under Rule XII, Section 1, a contestant is injured, one of the substitutes can be named to compete in subsequent bouts. The substitute shall take his proper position in the team according to his rank.

News and results of tournaments are of prime interest to all Judoka. The Tournament Director should arrange for a photographic coverage of the events, particularly when the top ranking players are competing, in order to secure action pictures of techniques which may be used in various write-ups and promotional material for forthcoming contests.

Contest results are always printed in the several Bulletins which are distributed to affiliated Black Belt Or171

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ganizations (Yudanshakai) or mailed individually to subscribers. Such an official publication is the "OFFICIAL JUDO BULLETIN" which is issued by the Judo Black Belt Federation of the U.S.A. and published at San Jose State College.

A similar publication covering the Eastern U.S. is the "Philadelphia Judo Club Bulletin" available through its secretary at P.O. Box 165, Merion Station, Pa. "The Canadian Judo News" at 131 Queen Street East, Toronto, Ontario, Canada, issues news and results of shiai for Canada and much of the northern U.S. area.

Results of tournaments should always be posted or

printed for the record. "The Amateur Athlete" of the AAU publishes tournament results of its sanctioned contests, the magazine being available to the general public through subscription from the Amateur Athletic Union of the U.S.A., 233 Broadway, New York 7, N. Y. One final requirement for a successful tournament is that of providing suitable certificates, medals or trophies for the winners. The appropriate committee should determine whether such expenses will be paid from entry fees, or admissions (if admission is charged the public), and also determine whether it will present First Place Winner medals or trophies only, or include Second and Third Place winners.

After the final bouts are played and the winners determined, the awards should be presented and announcements made. All the record sheets should be filed to serve as permanent data for the future.

In every phase. of any shiai, two principles should always be observed: 1. Play fair, and 2. Display the spirit of true sportsmanship.

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Figure 172. Prof. T. Ishikawa presents Outstanding Player Trophy to winner R. Walters of Washington Judo Club, at close of Tournament.

172

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Chapter

Eight

Judo In The Strategic Air Command ONE OF THE MOST progressive Judo groups in the United' States is to be found right in our own Strategic Air Command. The following general outline of their program is printed here through special permission. It points up the values of all-around Judo training as a means of self-defense as well as a beneficial and enjoyable sport. We quote: Judo began in the Strategic Air Command in 1950. Recognizing that SAC combat crew members should be ready to face survival situations in combat, General Curtis E. LeMay, then Commander-in-Chief of SAC, determined to build a SAC Judo training program second to none. Direct supervision for building the program was assumed by General Thomas S. Power, SAC's present Commander-in-Chief, who was then General LeMay's deputy.

Mr. Emilio "Mel" Bruno, top U. S. wrestling and Judo competitor and teacher (5th degree black belt), was chosen to head the program. SAC's first effort was to send selected 175

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Foot sweep (ashi harai) is demonstrated by 8th Degree Professor Tadao Otaki and 5th Degree Mr. Isao Inokuma (both of Kodokan, Tokyo) for members of the 1960 SAC Combative Measures class. Each year SAC sends a small group of selected Judo and Combative Measures instructors to the Kodokan for advanced training. The 1960 class, including the 160-pound National AAU Champion, Airman Toshyuki Seino, studied Karate, Aikido, and Judo.

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General Thomas S. Power, Commander-In-Chief, Strategic Air Command. General Power has been active in SAC Judo since its beginning in 1950. He organized and directed the Judo program with General Curtis E. LeMay, who is now Vice Chief of Staff, USAF. General Power, who presently holds the Third Degree Black Belt in Judo, has directed that all SAC combat crew members receive Judo instruction. He has stated that Judo teaches alertness, courage, and determination to the flyers of the command, while at the same time conditioning their bodies and preparing them for escape and evasion situations.

176

classes of Judo men to the Kodokan Judo Institute in Tokyo for the best possible technical instruction in Judo, selfdefense, karate, and police methods. The SAC Judo classes at the Kodokan began in 1952 and have continued to the present day.

With a staff of qualified instructors, SAC was then ready to institute a combative measures training program for all combat crew members. Of course, combative measures are only a part of SAC's overall conditioning program which prepares crew members to endure the pressures and demands of long combat missions. The men who complete the 20177

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Foot sweep (ashi harai) is demonstrated by 8th Degree Professor Tadao Otaki and 5th Degree Mr. Isao Inokuma (both of Kodokan, Tokyo) for members of the 1960 SAC Combative Measures class. Each year SAC sends a small group of selected Judo and Combative Measures instructors to the Kodokan for advanced training. The 1960 class, including the 160-pound National AAU Champion, Airman Toshyuki Seino, studied Karate, Aikido, and Judo.

General Thomas S. Power, Commander-In-Chief, Strategic Air Command. General Power has been active in SAC Judo since its beginning in 1950. He organized and directed the Judo program with General Curtis E. LeMay, who is now Vice Chief of Staff, USAF. General Power, who presently holds the Third Degree Black Belt in Judo, has directed that all SAC combat crew members receive Judo instruction. He has stated that Judo teaches alertness, courage, and determination to the flyers of the command, while at the same time conditioning their bodies and preparing them for escape and evasion situations.

176

classes of Judo men to the Kodokan Judo Institute in Tokyo for the best possible technical instruction in Judo, selfdefense, karate, and police methods. The SAC Judo classes at the Kodokan began in 1952 and have continued to the present day.

With a staff of qualified instructors, SAC was then ready to institute a combative measures training program for all combat crew members. Of course, combative measures are only a part of SAC's overall conditioning program which prepares crew members to endure the pressures and demands of long combat missions. The men who complete the 20177

hour course in combative measures learn a variety of skills.

While they may lack the finesse of champions, they do know the off-balancing and throwing techniques of judo, the striking and kicking methods of karate, and the club-and-knife methods of police fighting. The SAC crewman is taught which of these techniques to use in each self-defense situation. This training prepares him physically and mentally to have the will to fight. As General Power has often said, the many advantages of judo training include the development of alertness, courage and determination, essential qualities for all members of a fighting organization.

Along with the development of the serious business of preparing SAC combat crews, there has been a phenomenal development in SAC sport judo. Each year since 1953 SAC has entered a team in the AAU National judo Tournament.

After successfully placing men in the 1955 and 1956 tournaments, SAC took the five-man team championship and the heavyweight and the over-all championships in 1957 and 1958. In 1959, for the third straight year, SAC won the' heavyweight and over-all championships.

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Airman First Class LaVern Raab, SAC, scoring with soto-makikomi during the 1959 Air Force Tournament. Referee is Professor Nakabayashi, 7th Degree.

178

Finals of the 1960 SAC championships in the 160-pound division. Seino is shown executing a beautiful Seoinage against Porter, to win the 160-pound SAC title. Both men later entered the 1960 AAU Nationals; Seino won the National 160-pound championship and Porter tied for fourth place.

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\ PROUD MOMENT. Al2C Morris A. Curtis, Castle Air Force Base, winner of the Overall Championship of SAC's first annual Judo tournament in 1954, receives congratulations from a past master of the art, Professor Tadao Otaki of the Kodokan Judo Institute in Tokyo following his winning bout. Curtis' victory enabled the Fifteenth Air Force team to cop tourney honors and walk off with the hand-embroidered Japanese Judo victory flag. Flanking the flag are General Curtis E. LeMay, former Commander-in-Chief of SAC, Walter Todd, coach of the 15th Air Force team, and Professor Sumivuki Kotani. also of the Kodokan Institute.

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During most of these years of the development of sport Judo in America, the Strategic Air Command invited outstanding' Judo experts from Japan to instruct SAC people in combative measures and Judo. As a very fortunate byproduct of these visits, many American Judo clubs throughout the country were visited by such top notch experts as Professors Kotani and Otaki, both 8th degree Black Belts in

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Judo. Over the years too, SAC has insured that these experts would be available to officiate at the National AAU Tournaments, thereby contributing to the high standard of American Judo competition. Thus, the development of sport Judo in SAC, while secondary to the combative measures program, has still been a vital force in the expansion of American Judo. Today, at almost all the 70 SAC bases spread across the country, SAC Judo instructors have begun or are giving instruction in nearby Judo clubs. This healthy cooperation and competition can only result in better Judo throughout the country.

On the international scene, Strategic Air Command Judo teams have represented the U. S. in several championships.

In 1957 the SAC team represented the U. S. in the :panAmerican Judo Tournament, winning first place in the fourth and third degree Black Belt divisions. In the second world championship held in Tokyo in 1958, SSgt George Harris, twice AAU Overall Champion, placed fifth, losing only to Japan's Sone, the tournament champion. As international Judo competition grows, SAC men will be working hard to again deserve the honor of representing the United States.

The U. S. Air Force Judo Team continued winning at the April 1961 9th AAU Tournament held at San Jose College in California. Harris won the Heavyweight Championship and Tosh Seino the 16o-lb. Championship.

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Conclusion There is only so much that can be presented in the way of techniques and strategies employed in a Judo. contest; it is only natural that a great deal has not been said, because Judo has always been and always will be a matter of individual applications and skiUs where technique and strategy are concerned.

To repeat: Experience is your best teacher.

Consider the suggestions given in these pages, study and try to apply the most often used techniques of throwing and mat fighting, accept the advice of the top-ranking players who have contributed from their experience to these pages, and never lapse into the attitude that you know it all.

Attend tournaments, play in them, observe every player on the mat, study their styles and ways of using their pet techniques.

Develop at least four throws which you know will work for you in a shiai, but don't show them immediately to your opponent at the start of the bout.

Practice ways of setting up your opponent for your pet throw. Practice Taisabaki as an evasive and countering technique.

Respect the decisions of the judges and the referee.

Know the rules under which Judo is played.

Apply every Judo technique in good form, but play to winl 185

Terminology General: Hansoku Joseki Kiai

Rules and Regulations. . . . . . . . . . . . . . . Seat of honor.

Shout used in Judo, as "Hai!" or "Sa!" Rei Greeting salutation.

Shiai, Shobu Contest or training match.

Shiaijo Mat area for practice or contest.

Calls in Contests: Hajime Sono-Mama Yoshi Sore-Made Ippon Waza-ari Waza-ari-awasete-ippon ...

Start, or Go. Stop, freeze, do not move.

Continue, go ahead.

Stop, that is all.

One full point.

Half-point.

Two half-points make one full point.

Osaekomi Holding.

Osaekomi-toketa Hold is broken.

Mate ... . . . . . . . . . . . . . . . . Wait.

Jikan Time.

Hantei Decision in a match.

Yusei-gachi Win by superiority.

Hiki-wake Draw.

Fusensho Win by default.

187

Index A AAU-USAF team, 49 Adjustment of costume, during contest, 169 Aggressiveness, 143 "Amateur Athlete," 172 Amateur AthletiC Union, 173 Amateur Judo Association, I Anticipating Ippon-seoinage (overshouldeI throw), 113 Anticipating Seoinage (overshoulder throw), 88 sensing opponent's Anticipation intention, 53 Applications, for tournament, 75 Arm lock (Udehishigijuji-gatame, or Udegatame), 43 Armpit holds, purpose of, 81 Assistants, for tournament preparations, 150 Attempt at holding (Osaekomi) broken, 147 B

-

Beginner's error, 79, 92 Big throws, 82 Black Belt tournament, 153 Blocking opponent's attempts, 87 Body power, 87 Breaking opponent's position, in Kesagatame, 126 Breaking up opponent's composure, 101 "Break"-Referee's order, 133 Break the fall, refusing to, 142 Broken hold, 128 Broken posture for choking, 39 Bruno, Emilio, 175 C Campbell, Ben, 71 "Canadian Judo News," 172 Caution in applying arm (Udegatame), 43 Cautious attacks, 136, 143 Circular motion, 64

lock

Classifications, 152 Combination, Ashibarai to Oguruma or Haraigoshi, 107 Combination, Ouchigari to Kouchigari"108 Combinations, or follow-ups, 85, 102 Committees, for tournament preparations, 150 Conduct of the bout, 161 Conserving energy, 85 Contest Judo, 4 Contest (Shiai), V Contest-wise players, 78 Continuation in mat work, 166 Continuation, in stand-up, 145 Control opponent's left shoulder in Taiotoshi, 18 Corkscrew action, 73 Countering footsweeps, 117 Countering Ouchigari, 108 Counter-throwing, III Counter to a waist technique, 35 Counter to Ippon-Seoinage, 53 Covering up, in mat work, 124 D Dangerous practice, 89 Deashi-barai (sweeping advancing foot), 26 Decision call (Hantei), 140 Decisions, by referee, 137 Decision, to win by, 140 Discontinuance of mat work, 167 Disqualification, 145 Distracting opponent, 101 Draw (Hiki-wake), 138 Drawings by Bagnall Wild System, 159 Draw matches, 159 Dual meets, 170 Duties of officials, 160 E Elbow dislocation, 43 Eligibility, 151

189

Eliminations, 75 Employing arm lock in Newaza, 55 Entry blanks, tournament, ISO Evaluation of throw, by referee, 142 Evasive action, 91 Evasive and countering techniques, 185 Experience, for judging and refereeing contests, 137 Experience in contests, 83, 100 F Facilities, for tournament, 150 Facing opponent, in mat work, 124 Faking attack, 62 Favorite method, 50 Favorite throws, 62 Feinting with Ashibarai, 107 Feinting with Taiotoshi, 104 Fighting spirit, 44 Filing of records, 173 1st National AAU Judo Tournament, I Follow-up, Haraigoshi to Uchimata, III Follow-up techniques, 27 Formal kneeling salutation, 162 "Freeze" (Sono-Mama)-Referee's order, 133 Fumikomiseoinage (a form of Seoinage), 17 G Gauging opponent's style, 80 "Co" command in contest, (Hajime), 162 Gokyo (Forty Basic Throwing Techniques, see Modern Judo, Vol. III), 2 Grabbing belt at back, 28 Grabbing opponent's belt, in Osaekomi (holding), 130 Greeting (Rei), 78 Gyaku-juji-jime (inverted cross choke), 41 Gyaku (locking), 164 190

H Hadaka-jime (rear forearm choke), 40, 113 Hane-goshi (spring hip throw), 30, 45, 56, 62 Hane-makikomi (winding, applied to spring hip throw), 31 Haraigoshi follow-up, 105 Haraigoshi (sweeping thigh throw), 29, 56, 61, 72, 99 Harris, George, 49, 182, 183 Hatashita, Frank M., 51 Hatas'hita Judo Club of Canada.

51 Hentaiotoshi, 67 Hidari-Tzurikomigoshi, 57 Hiki-wake (draw), 165 Hizaguruma (knee-wheel), 46 Holding-off opponent, in mat work, 123 "Holding" (Osaekomi), call in mat work (Newaza), 147 Holds. chokes, and locks, 36 Hooking opponent's leg, in Ke5agatame, 128 I Illegal holds, 167 Immediate attack, 79 Impartial decision, 139 Impartiality. 147 Important points in Taiotoshi, 67 Individual skill in techniques, lii5 Injuries, 146, 169 International Judo and Karate School, 67 "Ippon" (Full point), 141, 142, 163 Ippon-Seoinage (a form of Seoinage), 20 Ishikawa, Takahiko, 52 Invitational tournament. 153 Inviting attacks. 85

J Janssen, Henk, 56 Jiujitsu, 3 Jiu-Jitsu Institute of Chicago, 64 Judges. 160

Judgment of contest, 163 Judo Black Belt Federation (JBBF). 172 Judo contests, VI Judogi (training outfit), 152 K Kake (completion of throw), 64 Kano, Professor, Jigoro, 3 Kansetsuwaza (locking techniques), 37 Kata (form practice), VI Katagatame (shoulder lock hold), 37 Katate-Seoinage (a form of Seoinage), 20 Kesagatame, escaping, 125 Kesagatame (side arm hold). 37 Kiai (shout), 31 Killing a throw, 98 Kodokan and AAU Rules, 43 Kodokan Judo Institute, 177 Koiwai, Dr. Eichi K., 57 Kotani. Sumiyuki, 181, 183 Ko-tsuri-goshi, 28 Kouchi-gari (inside heel hook), 26 Kuzureand Kamishihogatame (Reverse body holds), 130 Kuzurekamishihogatame, or Yokoshihogatame, 55 Kuzure-Kamishihogatame (reverse body hold), 39 Kuzushi (off-balancing), 63 L Lapel and sleeve hold, purpose of, 82 LeMay, General Curtis E.. 175 Length of bouts, 159, 160 Line-up, 76 Locality, for tournament. 149 Loose belt, 86 M Maintaining pull, 71 Makikomi (winding), 73, 90 Man vs Man, 170 Mats (tatami), 150 Mat work (Newaza or Katamewaza), 123

Medical examiner, 154 Method, judging, 138 Methods of getting big motion, 46 Mor9te-Seoinage (a form of Sehin. age), 19 Most often used throws, 7 Movement, VI, 82 N Nage-no-Kata (15 formal throws), 9.56 Naruke, Dr. Tsuguo, 59 National Judo Tournaments, 141 Newaza (mat fighting. or mat techniques), 36, 120 Notices, of tournament. 75. 150 Notification of dual meets and submission of line-up. 171 Notifying referee of "time-up," 147

o Observing others during warm-ups, 76 Off-balancing, 50 Official AAU Guide. 150 "Official Judo Bulletin," 172 Officials, 160 Off-mat playing. 166 O-goshi (big hip throw), 28 Oguruma (big wheeling throw), 72 Okuri-ashi-barai (side foot sweep), 33 Okurieri-jime (sliding lapels choke), 39 Organized and sanctioned Judo, contests, 4 Osaekomi (holding), 55. 164, 166 Osaekomi-toketa (hold broken).

164 Osaekomiwaza (holding technique), 36 Osotogari, as a feint, 109 Osotogari (cross hook) opening, 98 O-soto-gari (cross-hook throw), 20.

51. 62 Otaki, Tadao, 144. 177, 181. 183 O-tsuri.goshi, 29 Ouchi-gari (inside leg hook), 25, 115 191

Ouchigari or Kouchigari, 50 Overtime continuation, 138 Overtime play, 143 P Pacing, 82 Pairings, 75, 151 Penalty Point System, 155 Pet throw, development of, 185 Pet throws (Tokui-waza), 49 Philadelphia Judo Club, 57 "Philadelphia Judo Club Bulletin," 172 Places scored, drawings, eliminations, and conduct of tournament, 154 Playing to win, 143 Porter, Capt. Philip S., 43, 60 Position of legs while holding, 39 Positions for Seoinage (over shoulder throw), 20 Posture, VI Power, General Thomas S., 175, 176 Power Judo, 4 Preliminary considerations, 75 Premature calls, by referee, 142 Preparation, 43 Preparatory action, 26 Preparatory tasks, for tournament staging, 149 Preparing for Osotogari (cross hook), 102 Principle of upper body contact, 30 Promotional material, In Pronwtional tournament, 153 Publicity, for tournaments, 151 Pushing, 35 Pushing off mat area, 85 Push-pull action, 51 R Randori (free-style playing), V Red ribbon worn by players, 138, 162 Referee, 120, 160 Referee and judges, 77

192

Registration, for tournament, 75, 151 Rei (exchange of salutations), 162 Relaxation, 46 Relaxed posture, 78, 85 Repeat attacks, combinations and counters, 100 Repeated attack, 85, 101 Repetitions, practice, 44 Representation, 151 Right Uchimata, 59 Risking injury, 17 Rules, 77 Rule for "holding," 20 or 30 seconds, 147 Rules, dragging opponent to mat work, 120 S SAC combat crews, 177 SAC Judo teams, 182, 183 SAC sport Judo, 179 Sacrifice player, 36 Sacrifice technique, 101 San Jose State College, 71 Sasaetsurikomiashi (lift pull, or front ankle block throw), 46 Scoring half-point (Waza-ari), 127 Scoring point in Osaekomi (holding), 127 Scoring, with throw, hold or submission, 135 Seeding contestants, 157 Seino, Toshiyuki, 62 Sense of anticipation, 85 Seoinage (over-shoulder throw).

19, 67 Seoiotoshi (a form of Seoinage), 17 Shiai (contest), VI Shiai (contest, task of judges and referees), 137 Shimewaza (choking technique), 37, 164 Shizentai (natural posture), 9, 63 Sideline coaching, 169 Signal of defeat, 165 Specialist, 77, 83 Sportsmanship, 2

Stalling, 168 State of anxiety, 78 State of confidence, 82 Stopping a choke, referee, 145 Straight Elimination System, 157 Strategic Air Command, 60, 62, 175 Strategy, 77, 82 Sukui-nage (scooping throw), 34, 64 Superiority, evaluation of, 143 Superiority, to win by (Yuseigachi), 138 Superior playing, 143 Sutemi (sacrifice), 36 T Tai-otoshi (body drop throw), 15, 50, 79, 93, 101 Taiotoshi (advancing), 67 Taiotoshi, retreating, 70 Taiotoshi (body drop throw) specialist, 101 Taiotoshi, out of Osotogari, 109 Taisabaki (body management), 53, 87,96 Taking advantage, 55 Tall players, 29 Tamura, Masato, 64 Tamura, Vince, 65 Taniotoshi (over-knee drop) s~e Modern Judo, Vol. III, II7 Tateshihogatame (full body hold), 38, 132 Team championship, 155 Team vs Team, 170 Termination of bout, 162 Te-waza (hand technique), 16 "Time in" (restarting the clock), 146 Time for tournament, 149 Timekeeper, 146, 161 "Time-out," 86, 146, 165 Timing, 63 Todd, Walter, 67 Tomoe-nage (overhead throw), 35, 92

]93

Tomoenage, Tournament 158

out of Osotogari, IIO champion, 153. 155,

Tournament director, 149, 161 Tournament officials, 137 Tournament results, In Traditional ceremonies befor~ tournament starts, 76 Trying to kill the throw, 17 Tsurikomi-goshi (low hip throw).

23 Twisting away, 41, 55 U Uchi-komi practice, 5, 44, 46 Uchi-makikomi (winding, applied to inside thigh throw), 10 Uchimata (inside thigh throw). 7.

8, 10, 50, 66, 95, 102 Unattached competitors, 151 Unseating opponent, in Osaekomi (holding), 130 Unwinding from Gyaku-juji-jime, 43 U. S. Judo Black Belt Federation, I V Vulnerable

position, 80 W

Waiting, 78 Warm-up practice throws, 76 "Waza-ari" (half point), 142, lfi3.

165 Waza-ari-awasete-ippon (two halfpoints score full point), 164 Weighing-in, 75, 153 Weight, 87 Weight categories, 75, 153 World championships, 50 y Yudansha (holder of black belt), 138 Yusei-gachi (decision based on superiority), 165