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KODOKAN JUDO PDF

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Jigoro Kano Kodokan Judo (1) - Free ebook download as PDF File . pdf), Text File .txt) or read book online for free. Jigoro Kano. Introduction. Kodokan Goshin-jutsu is a set of Kata that indicates self-defense principles Several years after Kano Jigoro Shihan established Kodokan Judo. 講道館形教本. Kodokan KATA Textbook. 投の形 Nage-no-Kata, also called “ Randori-no-Kata”, was created to help Judo students understand.


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Kodansha USA, p. Judo, or the Way of Gentleness, an ideal form of physical exercise and a reliable system of self-defense, was specially created. Download full-text PDF. Revista de Artes Marciales Asiáticas ¹ Volumen 1 Número 2 - Kodokan Judo Throwing. Techniques. por Toshiro Daigo. The smaller (original) pdf is here, but there is some yellow background. If anyone can figure out how to remove the background, like I did in the.

Kneel with your heels raised. Let yourself lall forward. Just before your Your forearms should slant outward at a body hils the mat, slap down with both hands degree angle. Support yourself on your hands and and lorearms. Your hands should be turned inward at a From a standing position degree angle so that your elbows bend outward. From a natural standing position with your Your body is supported by your hands and toes.

Do pushups to strengthen your arms for the lorward leet close together and your arms at your sides, lean forward and let yoursell fall. Slap down with both hands and lorearms just From a squatting position before your body hits the mat. Squat with your hands on your thighs. With your elbows slanted outward, you are Fall forwzrd. Just before hitting the mat, slap again in position to do pushups. Practice rolling from a crouching position first, then from a standing position.

When you can roll smoothly without hurting your shoulder or flopping on your back, take a running start. Finally, practice jumping over obstacles. Alternate left and right rolls.

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From a crouching position From the basic natural posture, step forward tuck in your chin, and push offhard with your feet, with your right foot, bend over, and put your left rolling along your right arm, shoulder and back hand down fingers turned inward so that it forms like a wheel. Then put your right hand As your legs come down, slap the mat with down between your left hand and your right foot.

Be sure that the fingers of your right hand point Do not let your legs cross. This is how they back through your legs, never toward the front. Bend your right arm until it is rounded, Incorrect position of the legs after the roll. From the basic natural posture, step for- ward with your right foot and roll as you did from a kneeling position.

After slapping the mat, use your forward momentum to return to a standing position. Start in the basic natural posture. Run forward and kick offwith your right foot. Put your rounded right arm down 60 to 90 centimeters in front of your right loot and roll on it. There is no need to use your left arm.

Slap the mat as your legs come down. Continue the roll until you are on your feet again. You should frnish in a balanced pos- ture, ready lor anything. All judo techniques fall into one of thtee categories, and each category is further subdivided. The three categories are:. Nage-waza comprise tachi-waza standing techniques and sutemi-waza sacrifice techniques. The action of the hips is important in any tachi-waza, but they are fur- ther classified as eithef te-waza hand techniques , koshi-waza hip tech- niques or ashi-wza foot or leg techniques , depending on which part of the body plays the central role in executing the technique' S u t e m i -w az a ar e called m a- s u t e m i -w az a supine sacrific e techni ques or yoko-sutemi-waza side sacrifice techniques.

The former involve taking a back-on-the-mat position, the latter a side-on-the-mat position. K at ame -w az a compr rse o s ae - ko mi -w az a hold- down techni ques , s hi m e - waza strangling techniques and kansetsu-waza joint techniques. The term ne-waza mat work is sometimes used in place of katame-waza, but it is misleading in that not all katame-wazd are executed while lying on the mat.

Some strangleholds and joint locks, for example, can be applied from a standing position.

As can be seen from the terminology, in grappling the opponent is held, his joints are locked or his limbs bent or twisted, or he can be strangled. Atemi-waza are techniques for disabling an assailant by attacking with the fist, the knife edge of the hand, the fingertips, the elbow, the knee, the ball of the foot, the toes, the heel, the forehead or the back of the head. See p. The technique may take the form of striking, punching, chopping, thrusting, jabbing or kicking.

They are divided into ude-waza arm strikes , in which vital points are attacked with the hand or atm, and ashi-ate leg strikes , in which the leg or foot becomes a weapon. Both groups of tech- niques are further subdivided, as shown in the table below.

The result of making forceful contact with a vital point can be pain, loss of consciousness, coma, disablement or death. Ate-waza are practiced in kata, never in randori. Each group com- prises eight representative techniques.

Then come Shimmeisho no Waza, ih, t. Learning the throws in order is the key to mastery. Once the main point of a technique has been thoroughly grasped, the acquired capability can be applied to variations. They can, of course, and should be practiced from the left natural posture.

It is well to remember the traditional terms tori taket anduke receiver , indicating, respectively, the person who throws and the person who is thrown. Timing is crucial in this and other throwing techniques. Your opponent must be just on the verge of placing his foot and most of his weight on the mat. This timing is applicable to sweeping the back foot as we It is also important that you curve your left foot enough to catch his foot well below the ankle. Begin in the right natliral posture.

Step back a bit larther than usual with your right foot and pull your opponent for- ward with your whole body. He will take a large step with his left foot.

Loosen your right grip a bit and pull him toward you with your lelt hand so that he brings his right foot up close to his left. Just as he is putting his right foot down. As you sweep, pull down hard with your lelt hand. Your opponent will flall, slapping the mat with his lelt hand and arm.

Hiz'gurama Knee Wheel After breaking your opponent's balance to his right front corner, place your left foot on his right kneecap and throw him over it' Pay particular attention to the placement of your right foot. It should be neithei too close to nor too far from your opponent' Be sure to curl the toes of your left foot inward and to put it just on the side of his right kneecap' iils. Begin in the right natural posture. Step forward with your left foot to make your opponent step back wjth his right foot.

Lightly draw him to his right front corner by pulling and lifting with both hands. As your opponent loses his balance, place the sole ofyour left foot against the side of his right kneecap. At the same time, twist your body to the left and pu1l hard with both hands in a sharp downward curve.

Your opponent's body will pivot over your left foot. As he hits the mat, pull up on his right sleeve to break his fall. Your sole should be placed just above his anlle. Neither block- ing nor pulling will be effective if you bend forward at the waist. Step forward with your left foot and push your Before he can bring it forward, place the opponent with both hands so that he steps back sole ol your left foot against his right shin.

At the same time, twist back toward your Step back with your left foot while pulling and left, pulling hard with your left hand and pushing lifting to his right front corner. Your opponent will come forward with his.

Uki-soshi Floating Hip Throw After breaking your opponent's balance to his right front corner, you load him on your hip and throw him by twisting your hip to the left.

While turn- your right tbot parallel to his in front of his lnrt"p. Break his balance to his right front corner by pull- Twist your hips. Put your right arm Pull up on his lelt sleeve as he fa1ls.

You should step as far left of his right foot as you can so that you can put power into the reaping action. Make your opponent step forward with his Clip his thigh hard from behind with your right foot by pulling him gently to his right front thigh. Put your left foot outside his right foot to At the same time, pull down hard with break his balance to his right back corner by pull- your left hand and push toward his right back cor- ing him toward you with your left hand and push- ner with your right hand.

Your opponent's legs will fly up and he will fall Lightly raise your right leg and swing it past directly backward.

O-goshi Large Hip Throw To execute o-goshi,you break your opponent's balance directly forward or to his right front corner, load him onto your right hip, then raise your hip and twist to throw him. This throw differs from uki-goshi in that you insert your hip low and raise it as you throw. From the right natural posture it is diflicult to put your right arm around your opponeni, since he has hold of your right sleeve.

Let go of his left lapel inO paii your right hand under and up over his left arm at the elbow and therrunder his armpit. This causes his elbow to lock and he will release his grip, at which point you can put your right arm around his waist.

Begin in the right defensive posture. Pull your foot slightly in front of his left foot. Bend your knees and pull him tight against he steps forward with his left foot.

Lift him up by straightening your Quickly slip your right arm around his waist knees. At the same time, pull with your left arm and balance to the front. Pivot around, placing your right foot in front of Your opponent will turn over your hip and his right instep, parallel to his foot, and your left fall on his back in front ol You.

Begin in the right naturl posture. Take a small step forward with your lelt foot. He will advance his left floot. Just belore he sets his foot down, slip your right leg in behind his left leg, bringing the Uat ot your knee against the back of his left knee. Clip the leg in a wide arc toward your right back corner. Push your opponent directly clownward with both hands. As you p. Your opponent's right arm should cover your elbow. A variation of this technique is called ippon-seoi-nage one-arm shoulder throw.

Your left hand holds your opponent's right inner sleeve. As you pivot, slip your right arm through his right armpit and grab the top of his rt.. In other respects, execution of the technique is the same.

Pivot to the left and put your right foot in front Step forward with your left foot and push with Lower your body by bending your knees, and both hands to make your opponent step back with place your left foot in front ofhis left instep. Bend his right foot. Now step forward with your right foot and right armpit.

Puli him close to you and straighten your legs. The purpose of pushing is to make your oppo- to come Now bend your body forward and pull down- nent push back. When he does, and begins ward with both hands. Your bpponent will fly over balance to his front. GROUP 2 Kosoto-gri Small Outer Reap You first break your opponent's balance to his right back corner, then reap his right foot from behind with your left foot and throw him backward. Be sure to place your right foot at a right angle to your opponent's right foot.

While in the right natural posture, pull your Clip his right foot in the direction olhis toes, opponent lightly to his front with both hands. To catching itjust above the heel with your left foot. At the same time, pull down with your left Break his balance to his right back corner with hand and push up and back with your right. Your opponent should fall on his back at your Step to his right side with your lelt foot, then leet. Kouchi-gari Small Inner Reap After breaking your opponent's balance to his right back corner, you reap his right foot from the inside with your right foot and throw him backward.

Reap the foot just as he is placing his weight on it. As with kosoto-gari, ideally you skim the mat with the sole of your right foot, and reap with your big toe raised. In any case, push your opponent's foot forward, not upward, with the little-toe side of your foot brushing the mat. While standing in the right natural posture, weight to your left foot and clip his right heel from lightly push your opponent to his left back corner' the inside with your right foot.

When he pushes back, pull him with your left Keep his foot going in the direction his toes are arm while bringing your left foot behind your pointing. At the same time, push backward and down- Pull with your body to make him advance his ward with both hands.

When the throw is done well, your opponent's Just before he puts his foot down' shift your legs will fly up in the air on either side of you.

Koshi-guruma Hip Wheel While breaking your opponent's balance to his front or to his right front corner, you put your right hip solidly against his and throw him over it. Your left hand must pull strongly and continuously. At least half your right hip should project beyond your opponent's right side.

From the right natural posture, step back with Continue pivoting, bringing your left foot back your right foot to cause your opponent to bring his until your right hip is against the left of his abdo- left foot forward. Pull gently with both hands until his weight is Put your right foot near his right foot and slip Your opponent will fall over your hip and land your right arm around his neck or shoulder.

A variant of this throw is called sode-tsurikomi-goshi sleeve lift-pull hip throw. It differs from the standard throw in that your right hand holds your opponent's left outer sleeve or cuff instead of his lapel.

From the right natural posture, step back with ing in the same direction as his. As your opponent comes lorward Drop your hips and bring them against his with his left foot, pull him offbalance to his front.

Break his balance to his right front corner by As you load him onto your right hip, straighten lifting and pulling with both hands. At the same your legs and push your hips backward. Pull down hard with both hands. Slip your right elbow underneath his left arm- Your opponent will turn over your hips pit and turn to your left.

Your feet should be point- and lall on his back in frpnt of you.

JUDO KODOKAN TEORIA Y SISTEMA ByN - Sinchijudokan Institute

Okuri-ashi-hrai Foot Sweep You break your opponent's balance to his right side and sweep his right foot toward his left with your left foot. For the technique to work, you must stay loose and move smoothly. Put the sole of your foot as close as possible to his outer ankle and sweep just as he is shifting his weight to his left foot.

I I1 Be sure to sweep with your whole leg, not just your foot. Sweep in the direction his foot is traveling. Your opponent steps to his left back corner. At the same time,lift up with your right hand As he moves his right foot to the feft]iuisue and push down with your 1eft. Your opponent's legs will fly out from Ti-otoshi Body Drop Having broken your opponent's balance to his right front corner or to his right sidJ, you place youiright foot past his right foot and throw him over yJur foot'io your riht front corner with the action of both hands.

Be careful not to put your right foot too far past your opponent's foot. Take a small step back with your right ioot and pull your opponent forward, then break his balance to his right front corner by pulling and lifting. Quickly step back wide with your left foot and place your right foot slightly past his right foot. Pull forward and downward with your left hand while pushing with your right in the direc- tion he is moving.

Your opponent will fa11 over your foot in a big circle and land to your right front. L1t Harai-goshi Hip Sw6ep You break your opponent's balance to his right front corner, pivot and pull him to you, then swesp-his right thigh with your dght thigh.

Begin in the right natural posture Step back with your left foot and break your opponent's balance by pulling and lifting with both hands. Swing your left loot around and place it in lront ol his left foot. Al lhe same time, continue pulling with both hands until his chest and abdomen come into contact with your torso. Stick your right leg past his right leg and sweep upwhrd and outward against his thigh with the back ol your thigh.

Twist to the left and pull strongly forward and downward with both hands. Your opponent will land on his back in front of you. Execute the throw just as your opponent's weight is shifting to his left foot.

In the variation where you slide your left leg between your opponent's legs, your left foot should point in the same direction as his right foot. Pull him in a large circle toward your right back corner with your right hand. He will move his left foot toward his left front corner and bend over.

Just before he places his left loot on the mat, step in a little with your lelt foot. Sweep your right thigh up against his left inner thigh. Pu11 to your left with your left hand and push Begin in the right natural posture, with your in that direction with your right. The upward sweep ofyour thigh lifts your Pull with your right hand, and when your opponent up, while the action ofyour hands causes opponent begins to step lorward with his left foot, him to roll bver and land on his back.

The movement of your hands must be smooth, continuous and coordi- nated with your hip and foot movements. If you bend your left leg a little before placing your foot on your opponent's ankle, you.. IaO This technique developed as a variation of kosoto-gari, but it is now con- sidered an independent technique.

Step back with your right loot and pull your opponent with your hands. He should come forward with his left foot, then take a large step with his right. Break his balance to his right back corner bv pushing upward toward your lef, lront corner with your right hand, which is holding his left lapel.

Place the ball of your left foot on his right ouler ankle and heel. Hook or reap it as if to lift him up. Continue pushing down and back with your hands. Your opponent will fall toward his right back corner. There are two forms of tsuri-goshi, known as kotsuri-gosftl small hip throw afld otsuri-goshi latge hip throw. In the former, better suited to a small person, the ilght hand is passed through the opponent's left armpit, while in the latter, btter suited to a large petson, the right arm goes over the opponent's left arm.

While in the right natural posture, take a half-step back with your right foot so that your opponent comes forward with his left. While breaking his balance to the front, put your right hand through his left armpit and grab his belt at the back. Turn and put your right foot at the inside front ofhis right foot, parallel to it, and bring your left foot outside his. Bend your knees and pull him tightly against you by lifting with both hands.

Raise him on Your hiPs. While lilting his body with your right hand, straight- en your knees and twist Your hiPs. At the same time, pull down hard with your left hand. Your opponent falls at your feet. This is a technique that can be practiced without a partner. Place your left foot atthe outside of his right Step to your rightand tryto breakyour oppo- ankle and drop to your left. As you fall, pull to your lelt with both hands. He resists by shifting his weight to his right.

Your opponent will land almost parallel to Break his balance to his right. Ashi-garum Leg Wheel Having broken your opponent's balance to his right front corner, you pivot and extend your right leg across his right knee and throw him over your leg in a large circle. From the right natural posture, step back with your right loot and pull to bring your oppo- nent forward on his left foot, then his right.

Break his balance to his right front corner with your hands. Bring your left loot around behind you and pivot to the left. Stick your right leg across your opponent's legs and press it against his right knee- cap, your ankle extending slightly past it.

Draw him close to you with both hands and twist to the left. His body will rotate over your leg. GROUP 3 Hne-goshi Hip Spring You break your opponent's balance to his right front corner, pull him to your right hip, and throw him with an upward springing action ofyour right hip and leg combined with a downward pull by both hands.

For the technique to work properly, the movements of your hips, legs and hands must be well coordinated. Be sure your right knee projects past your opponent's right leg so that your leg, hip and chest make full contact with the front of his body.

While in the right natural posture, break your Straighten your left leg and lift him off the opponent's balance to his right front corner. Bring your lelt foot around behind you.

At the same time, bend your right knee and Twist to the left and pull out and down hard place the leg against the inside of his right leg. With both hands, pull him to you and load Your opponent should turn over your him onto your hip. Hrai-tsurikomi'ashi Lift-Pull Foot SweeP After breaking your opponent's balance to his left front corner, you sweep his left ankle with your right foot and throw him to his left.

To avoid sweep- ing too high, brush his left instep with the little-toe side of your right foot. Beginners may want to practice the simpler version fltrst. From the right natural posture, step forward from you. At the same time, twist your upper body to back with his right.

Break his balance to his left front corner by with your right hand, which is holding his left 1el' lifting and pulltng tsurikomi. Push upward and toward your right with your Move your left foot close to his right. Stretch your right leg out, and with the sole of Your opponent should fall in a large circle. Tomoe-nge Circular Throw Here you bring your opponent onto his toes, drop backward while placing your right foot on his lower abdomen, and throw him back over your head.

It is important that your left sole be firmly on the mat when you slide it between your opponent's legs. Your right knee should be bent and your toes pulled back when you place your foot on your opponent's abdomen. The throw is accomplished by the joint action of your hands and your right leg, so it is necessary to keep up a constant pull, first forward, then downward.

Step forward with your left foot and push At the same time, bend your right knee and your opponent hard directly backward. He pushes lightly put the sole ofyour right foot on his lower back and comes lorward with his right foot. Move abdomen. Push his body up by straightening your right While pulling him onto his toes with both 1eg, and pull with both hands.

Your opponent will fly over your head and your left knee and sit back, placing your hips as land on the mat some distance lrom you. Step in as deeply as pos- sible with your right foot. The back of your head should be at the right side of his be1t.

From the right natural posture, move your your right foot. As you do so, put your right arm around his both hands. As he comes further forward with his right Pull your left hand down toward your chest foot, take his right middle inner sleeve with your and straighten up.

Your opponent's weight is evenly distributed corner. Bend your knees and step in under him with Throw him down to vour lelt front. Power in this tectrnique. Begin in the right defensive posture, with ance to his rightlront corner. Drop onto your back your and your opponent's right arms passing directly beneath him. Your right hand At the same time, place the instep ol your should be as high up on the top left corner ofhis right loot in the crook ol his left knee or on his back as possible.

Hold his right arm tightly against inner thigh, and lift him up over you. Pul1 with your left hand and push with your Pull him to his left front corner so that he right. Your opponent should roll from his right Just as he is coming forward with his right shoulder onto his back. Tani-otoshi differs from yoko-otoshi in that you throw to your opponent's back corners rather than to one side.

From the right natural posture you try to armpit. Pull with your lelt hand and turn your break your opponent's balance to his right lront upper body to the 1eft.

Fall to your left front corner. He pulls his right leg back. With his right leg blocked, your opponent Advance your lelt foot and break his balance lalls to his right back corner. Slide your left foot outside his right foot. Lilt and push with your right hand under his. You break your opponent's balance to his right front corner, and while executing hane-goshi, wrap his body around yours and fall to the mat.

It is usual in going from hane-goshi to makikomi to release the hold of your right hand and pin your opponent's right arm in your right armpit. While in the right natural posture, break your opponent's balance to his right front corner by lifting and pulling with both hands. LeI go wilh your right hand but continue pulling with your left.

Twist to the left and fall on your right side. Your opponent, who is wrapped around you, falls with you. To prevent him from btoctlng the throw, it must be executed on youf own initiative' before your opponent has a chance to grab you.

You are in the right natural posture and your the front and take his left leg from behind with opponent steps forward with his right loot, then his your lelt hand. Lift him onto the front of your right hip. Break his balance to his left back corner' Without looking back, drop him to your Step behind him with your right foot.

It is used to counter an opponent's hip technique. After blocking his throw bybending your knees, you swing him onto your own hip and throw him by twisting your hips as in o-goshi.

To swing him up high, change your right-hand grip to his left middle inner sleeve. The throw can also be executed by simply stepping in front of your opponent with your left foot and loading him onto your left hip. Continue swinging him up to your left and Yotr opponent attempts a right hane-goshi.

Shift your righlhand grip to his lelt sleeve and waist. Swing him to your left and twist your hips to continue twisting your hips to the right. Beginin the right natural posture. Move your lelt foot lorward while breaking your opponent's balance to his right front corner. Turn to your left and stretch your right leg out straight across his upper legs.

Lllt him by swinging your right leg up and back. AI the same time, pull down with both hands' Your opponent's body should turn over your leg. In wrapping your opponent around you, grip his right outer sleeve at the elbow with your right hand and his right lower outer sleeve with your left hand. Keep his right arm firmly under your right arm. While in the right natural posture, break your opponent's balance to his right front corner. To retain his balance, he steps forward with his right floot.

When he is about to shift his weight to his right foot, turn to your lelt and bring your left loot back around you. Put your right foot to the outside ol his right loot and release your right grip. Pull him to your right side with your left hand. Continue twisting to the left, wrapping his body around yours, and throw yourselflorward and downward. Another way to do the technique is to step back and drop to your left knee, left toes raised. Pull hard using the combined powel of both arms.

From the right natural posture, step forward with your left foot so that your opponent steps back with his right foot. Take a large step back with your left foot. As he comes forward with his right foot, break his balance to his right front corner. Just as his weight is coming onto his right foot, twist your upper body to the left.

Pull down with your left hand while pushing up with your right, which is holding his left laPe1. Your opponent should fall in a circle to his right lront corner. Your right thigh acts as the fulcrum. Stretch your right leg across the back ofboth Pull your opponent up and push him tsuri- his legs from his right thigh to his left knee. Push hard with your right hand and pull close your lelt foot alongside his right.

Feint a leg reap with your right leg. Unable to step back to regain his balance. For the technique to be successful, excellent coordination is necessary when sacrificing your standing posture to make fulLme of the power avail- able. It is not absolutely necesiry to step back with your right foot before extending your left foot well out to the side'. From the right natural posture, step back side his right foot. Drop back to Your left.

While falling, puil your left hand in an arc left front corner.

To recover his balance, he will bring his right the 1eft. Bu g foot forward. Your opponent falls forward to his right Just at that moment, slide your left loot out- front corner. Throw him across your outstretched body.

This technique is used mainly to counter uki-goshi, o-goshi and seoi- nage. Stepping quickly around your opponent's hip, you take advantage of his forward motion to throw him. Pull down hard with both hands as you fall. Pull your opponent a bit to bring him lorward Your opponent laUs forward over your more on his left foot, then break his balance for- body and lands at a right angle to you. In the basic lorm of this technique, the foot.

Bring your right foot forward, too, slide your corner. Slipping your right leg in between his legs, you drop on your right side and throw him back over your head.

Insert your right leg deep between his legs. Your opponent has tried to throw you with Drop on your right side while pulling him to hange-goshi or o-goshi and you put your arms you with your left hand and pushing up with your around him to counter with ura-nage or utsuri- right. Your opponent flies over your head and He reacts by bending forward. GROttP 5 Ushiro-goshi Back Hip Throw Ushiro-goshi is used to counter a hip throw. Putting your arms around your opponent's waist from behind, you lean backward, swing him up in the air, and drop him on his back.

This must be done quickly or your opponent may wrap his legs around yours. The left knee as well as the arms may be used to swing him off the mat. Swing him up off the mat.

Kodokan Judo Throwing Techniques

Your opponent attempts a hip throw. As he begins to come down, move your legs Lower your hips and put both arms around back. Bend lorward and pull him down to the While holding him close to you, straighten mat so that he cannot land on his feet. Be careful not to throw your opponent on his head'. Straighten your legs and bend backward to with raise him' Your opponent attempts to throw you a right hip technique. Step close so him with your Throw him back as you lall directly to your left foot and lower your hips.

Your opponent goes flying over your left side. This is an especially difflcult technique, since it depends almost entirely on the hands. It will not work unless done very skillfully and with perfect timing. Note especially how your upper body is twisted somewhat to the right as you push your opponent. The only difference between sumi-otoshi and uki-otoshi is the direction in which you throw.

The principle involved is quite the same. Begin in the right natural pos- ture. Step back with your right loot and draw your opponent forward on his left. Lower your hips and step out- side his right foot with your left. At the same time, push him hard toward his right back corner with your right hand and pull with your left. His left leg should fly up in the air. Continuing to push with your right hand, pull with your left and he will flip over on his back. Swp his right leg out from under him, and throw him to his right by falling onto your left side.

Your handi, foot Sweep and sacrifice must work together' Your sweep should be smooth and strong, not merely a kick'. From the right natural posture, step back with your left. Drop toward your left. At the same time, sweep his right outer ankle Then step back a bit with your left and draw toward his left leg with the sole of your left foot. Break his balance to his Keep up a strong downward pull with right front corner.

Break his balance to his right by pushing him Your opponent wiil land almost parallel to lightly to his right with your right hand and pulling you. Since then, a number of new techniques have come into il-idespread use. After careful consideration, the Kodokan has decided to inclue rhe lbllon.

Step in between your opponent's legs ': QLrickly grab his right leg. Lilr theleg up and push him backward and down. Step in between your opponent's legs with your right foot.

Throw your shoulders into his chest, and put your arms around his legs, just above the knees. Reap his legs toward you and throw him directly to his rear. Step outside your opponent's right foot with your left. Drop your hiPs. Reap his right foot from behind with your right or left hand as in kouchi-gari or kosoto-gari. As your opponent moves in for a right uchi-mata, slip past his reaping leg and use his momentum to throw him forward.

When your opponent is on his back on the mat, move in between his legs. Raise your right knee, draw him to you and stand.

This technique is not permitted in randori or tournaments. Tsubme-geshi Swallow Counter.

Your opponent ttempts a right deashiharai. Shift your weight to your left leg and with- draw your right foot by bending your knee. Throw him with a left deashi-harai. Your opponent moves in for a right osoto- gari. Before he has a chance to get you offbal- ance to your right rear, apply your own right osoto- gari. Large Inner Reaping Throw Counter. Your opponent attacks with a right ouchi- gari. When he has hooked your left leg with his right, sweep the leg out and throw him to his right rear- Alternatively, raise your lelt leg before your opponent can hook it.

Another possibility after raising your left leg is to throw him to his left front corner. Your opponent attacks with a right kouchi twisting to your left. Alternatively, twist and throw him to Slip your right leg free and throw him by your right. You may also apply hiza-guruma.

Hne-goshi-gaeshi Hip Spring Counter. Your opponent attacks with a right hane- goshi. Hook your lelt leg around his lower left leg and reap it to your right. Alternatively, lift him up and reap his legs to your left with your right leg. Your opponent attacks with a right harai- goshi. When your opponent moves in for an uchi mata, hook your lelt leg around his lelt leg and reap it to your right.

From the right natural posture, break your opponent's balance to his rear. Jump in close to his right foot. Stretch your right leg across his stomach and your lelt across the back of his knees. Throw him backward. One-Leg Entanglement. Step in on your opponent and slip your right arm around his neck. Pivol and pull him tightly to you. Wrap your right leg around the lower part of his left leg from the inside, pressing your instep against the back of his ankle.

Hook the leg up and throwyourself back- ward. From an osoto-gari or a similar tech- nique, release your right grip and pivot to your left, bringing your right arm across your opponent's right arm so as to wrap his body around yours. Continue turning and lal1 together. Fromanuchi-mata, releaseyourrightgrip and twist to your lelt. From harai-goshi, release your right grip and rwist to your left. The katame-waza introduced here are the ones most frequently used in randori and competition.

In actual practice, a throw often precedes the grappling technique. As noted in chapter 5, katame-waza consist of osae-komi-waza hold- down techniques , shime-waza strangling techniques and kansetsu-waza joint techniques. Osae-komi-waza In the descriptions that follow, techniques are executed with the oppo- nent lying on his back on the mat.

The right-handed forms are given here, but of course there are left-handed forms too. In the hold-down techniques, the opponent is held in place from bove. He is usually on his back and facing you. The objective is to get an unbroken hold, one that he cannot get out of within a fixed time limit.

The meaning of unbroken is that the opponent is unable to nullify the technique by gripping or seizing your trunk or legs with his legs. Hon-kes-gtame Scarf Hold Approaching yow opponent from his right side and keeping your own body half turned to your left, you take his judogi at the right armpit in your left hand and put your right arm around his neck like a scarf, gripping his judogi at his left shoulder.

Be sure to keep your right hip and waist tight against your opponent's upper chest and armpit. Hold his right arm in your left armpit, close to your side. Grab your opponent's upper right outer. Put your right arm around his neck and place it either thumb up or palm down on the mat. Put your hip in his right armpit, bring your right thigh against the side of his body, and press the side ofyour body hard against his.

Bend your left leg and stretch it out to your rear, then touch your head to the mat. From your opponent's right side, trap his right arm in your left armpit and slip your right arm under his left armpit. Extend your right leg forward and your lelt leg backward.

Use the right side of your body to apply pressure and hold him down. With your left arm over your opponent's right shoulder and behind his neck, grip his left collar. Put your right thigh under the back of his head. Reach your right hand under his left armpit and grip the back of your right knee.

Your lelt leg is stretched backward and you apply pressure mainly with the right side of your body on his right shoulder. Hold your opponent's lelt arm with your left arm going over his left shoulder and under his left armpit. Take hold of the right side of his belt with your right hand. With your right leg extended for- ward and your left backward, press down on his left shoulder with the right side of your body. Kuzure-kesa-gatame Variation of Scarf Hold These hold-down techniques are performed in ways that make thein different from the basic hon-kesa-gatame, as shown in the illustrations.

Defense The following techniques are effective against the different forms of kesa- gatame. Grab your opponent's front belt with your right hand and his back belt with your left. Arch your body upwards and push him up. Twist your hips to your dght, slide your right knee under his body, and hold him be- tween your legs.

While twisting to your right and pushing with your left hand, pull your right arm free, then twist back to the left and roll on your side.

If your opponent reacts to the last technique by applying pressure to your left side, quickly twist to the left and roll him over to your left side. Grab the back of your opponent's belt with your left hand, arch your back, and push him up over your head, then give an additional push and slip out from under him.

Put your right arm around your opponent's neck, pull his right arm straight with your left hand, and press it against the right side ofhis neck. Put your left arm around his shoulder and clasp your hands.

Pull up with your arms and press down with your head and neck to lock his arm. Bring your right leg against the side ofhis body, keeping your knee and the ball ofyour loot on the mat.

Evolution of Judo Contest Rules

Put your left leg out to your left. Kta-gtme Shoulder Hold Approaching your opponent from his right side, your body half turned to your left, you put your right arm around both his neck and his right arm and clasp your hands together. You may position your legs as in kesa-gatame.

Instead of clasping your hands together, it is possible to hold your opponent's outer right middle sleeve with your left hand and your own left lapel with your right. Defense Most of the defenses against kesa-gatame will work with kata-gatame as well. Combine these with the following.

While the sport aspect of Judo makes the activity all the more interesting and enjoyable, Judo is, at its heart, one of the best forms of physical education ever devised. As part of the educational process, a Judoka should become a better person and be a benefit to society.

The SJA promotes a total, practical and functional approach to Jujitsu with the overarching philosophy of Shingitai. Shin the mental and emotional approach to the study of martial arts; being willing to face adversity and lead a balanced and moral life.

Gi the functional study, practice and application of technical skills so that they are efficient and effective. Tai the physical development of the student. These principles of Shingitai go hand in hand with the priniciples of Kodokan Judo. The JBBA exists to provide opportunities for development for all of its members.

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The JBBA provides fair, honest and technically sound standards for the issuing of belt rank in Judo and serves as another opportunity for Judoka to develop their total approach to the study, practice and application of Judo.

Kano for the advancement of Judo knowledge and for the issuing of Judo belt rank. A useful analogy is to think of earning a Shodan Initial or 1st Grade Black Belt in the same way of earning a college degree. Kano was an educator and the JBBA retains an educational perspective in the issuing of belt rank.

Earning a black belt is a serious undertaking that requires hard study, effort, time and patience. The JBBA takes a strict and conservative approach to the issuing of black belt rank and uses some of the most stringent standards available.

While we assign no blame to any specific group or individual, there have been abuses in the past in the issuing of Judo belt rank. It is the JBBA's position that rank should be earned on the mat through earnest and honest study and practice. It's the person who does the Judo, not the belt.While good teachers produce good judo practitioners, great teachers can help their pupils achieve greatness in life. Kodansha USA, Now step forward with your right foot and right armpit.

If he resists your attempt to raise him, utilize his pushing force and roll him over to your left. Both hands should hold with the thumb inside.

Put your hip in his right armpit, bring your right thigh against the side of his body, and press the side ofyour body hard against his. Bend lorward and pull him down to the Randori may be practiced either as training in the methods of attack and defense or as physical education.

ROSELLA from Montana
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