A Judo Text Book Masterpiece

by Elie A. Morrell, Hachidan

INTRODUCTION

Books on the sport of judo probably number in the hundreds. Some of them present the subject reasonably well and others are not worth the time and effort to read. By and large, there are very few well written and cover the subject matter in enough required detail. This is a conclusion drawn by the author following the intense reading of dozens of books on judo over five and a half decades.

The majority of judo text books contain too little descriptive material. Also, many authors typically describe throwing techniques initiated from a static stance. For example, instead of describing the technique that begins with both players initially in motion, the written description usually has either the tori or the uke initiate some physical action from the static stance. These actions are usually a push or a pull combined with a stepping motion to initiate the attack sequence. In many cases the author of a judo text book does not supply enough photographic material to complement the written description of the technique. In addition, the photographs in some judo text books quite often do not match up with the descriptive material that relates to a particular photograph.

The author is still reading and absorbing the material in Reference 1 because it is so thoroughly comprehensive and detailed in its presentation. None of the faults or shortcomings delineated in the previous paragraph is evident in this Reference. The author of  Reference 1 (Toshiro Daigo) states that the purpose of his book  is to provide a comprehensive and correct classification of throwing technique terminology used in both competition and practice today. All the sixty-seven Kodokan throws including their variations are explained in detail. The text contains over 1800 photographs.

The material contained in this paper was extracted from Reference 1.If any reader of this paper disagrees with any of the content, then it is suggested that inquiries be made to the author of Reference 1. It is from people like Toshiro Daigo, a judo Judan that many of us are fortunate enough to get the opportunity to correct any poor instruction some of us might have received during our judo training.

Only a few throws selected from the Kodokan Judo Throwing Techniques repertoire will be discussed in this paper. They are throwing techniques that are prevalent in the practice of randori  and judo  competition. Moreover, many of the throws are now seen in many forms. As a result of the increase in the number of forms, this has led to confusion with regard to the correct interpretation of the names of some throws. 

THE TE WAZA GROUP

Ippon Seoi Nage

The correct translation of this title is: Back Carry Throw and not the Shoulder Throw. With this throw and all subsequent throws described in this book, Daigo ,where applicable  has the tori and the uke always commence the action while grappling in a right natural posture. Though not stated, grappling involves motion of the players. This is what allows the tori to initiate a proper attacking action. Some people believe that this throw requires no lift by straightening the legs. Daigo makes it clear that both knees must be straightened vigorously while leaning forward deeply and pulling with both hands in one combined movement. Five variations are discussed in the text. However, the fundamentals remain the same.

Tai Otoshi

This is the first throw in the book where the true meaning of the term ‘Tsukuri’ is defined. Like many individuals involved in judo, I was taught that tsukuri meant ‘fitting in’ as one of three variables that made up a throw. The text defines tsukuri as the positioning of the uke! As an additional note of interest, Kazuzo Kudo in his book entitled ‘Dynamic Judo’ defines tsukuri as forcing the uke into a posture from which it is easy to throw him. This definition, although worded differently from Daigo’s defines tsukuri in the same manner.

Yama Arashi

It may surprise many people, but this throw is classified by the Kodokan as a hand throw. It is NOT a throw in the Koshi Waza group! The sweeping technique is totally different from that employed in Harai Goshi. In Yama Arashi tori places the right calf over uke’s right shin and wraps the tip of his right foot around uke’s right ankle. Tori sweeps his right leg up while tightly placed against uke’s right leg.

THE KOSHI WAZA GROUP

Uki Goshi

When performing this throw the most common error made by the tori is a failure to lower the right shoulder and bend the body back while inserting the right arm deep through uke’s left armpit. Bending the body from the waist is very important in bringing uke’s body tight against you. Lowering of the shoulder and bending of the body is a common requirement during entry for several of the major forward throws. It is unfortunate that this significant point is left out in many judo books. Another error involves tori attempting to lift the uke instead of rotating (slinging) him  around and out, away from the thrower’s hip.

Harai Goshi

For this throw Daigo differs with most other authors regarding the placement of the left(supporting) leg. He states that the supporting leg should be placed back and slightly outside the front of the left foot of the uke. The result is a more effective sweep. Also, if the support leg is placed inside of uke’s left foot, uke could push tori over because tori’s balance tends to break toward the outside of his own left foot. In addition, when tori sweeps his leg up, it will usually cut through empty space. Tori’s sweeping leg should be nearly straight while maintaining firmness in the toes. The sweeping action should be large.

Hane Goshi

The significance of the tori lowering the right shoulder and bending back at the waist during the entry is discussed in detail for this throw. I feel that it should been first discussed in detail in the Uki Goshi throw. The basis for this statement is contained in the following paragraphs that are taken directly from Daigo’s text. To wit:

The importance of ‘bending back’ is explained in Hane Goshi Renshuho (Sakko, published by Kodokan Bunkakai; March 1926 issue):

“To practice this technique, prepare by throwing with Uki Goshi first. Uki Goshi is key to understanding the action of bending back. A lot of people think that Koshi Waza is ‘bending the upper body forwards to perform the technique,’ but this is not the case in Kodokan judo. Whether it be Hane Goshi, Harai Goshi, or Tsurikomi Goshi it is simply executing a technique by bending the upper body to the*side and back.It is easiest to understand the concept and form best with Uki Goshi. Because the concept and form is the basis for Koshi Waza, it’s best to get into your Hane Goshi practice as soon as possible.”

*The side mentioned here is referring to the lowering of the right shoulder.

Daki Age

This is a throw rarely executed in either randori or in competition.

It is worthy of mention since it is not well known that it is a Koshi Waza. Since this throw is initiated from a mat technique it is likely that a referee during competition would call ‘Matte’ when the uke is lifted. The throw falls into the Koshi Waza category since waist action is central to the technique.

THE ASHI WAZA GROUP

Hiza Guruma

In this throw it is essential that sole of the left leg of tori when placed on the right kneecap of uke only block and restrict any forward movement of uke’s leg. There should be absolutely NO pushing against uke’s kneecap.

Sasae Tsurikomi Ashi

The concept of this throw is similar to that of Hiza Guruma except that the sole of the foot of the tori is placed on uke’s ankle.

Harai Tsurikomi Ashi

When executing this throw the full power of tori’s body is very important. Tori must channel energy into his right foot from his waist while combining this with the action of both hands. Tori sticks out and lowers his waist, bends back and slightly bends his right knee. The sweep is accomplished by pulling straight up from below. Tori feels as if he was loading uke onto his body from the tip of his left foot to the front of his left hip and left side of his chest. This is the trick of the sweeping up action according to Daigo!

Note: What differentiates the throws of Harai Tsurikomi Ashi, De Ashi Harai and Okuri Ashi Harai is the placement of uke’s feet at the instant that tori performs the sweeping action.

O Soto Gari

This throw which involves a reaping action that is attempted extensively in judo competition by beginners and advanced players alike. Often most attacks with O Soto Gari that appear to be successful result in Osoto Otoshi or O Soto Gake (a non recognized Kodokan throw).

For this throw it is essential for tori to position (tsukuri) the uke in a posture where he cannot step to the rear with his right foot, so tori should position him to step forward with the right foot.Tori advances while pushing uke backwards and at the moment uke pushes back, then tori skillfully leads and positions uke. This is the MAIN point in this throw. A skillfully executed tsukuri results in uke’s inability to step his left foot onto the mat and thus remains lifted off the mat. Uke is placed in in a posture from which he is unable to adapt. All of uke’s body weight is now being supported on his right foot. The tsukuri will not be correct if the full sole of uke’s foot is in contact with the mat and his body is bent back only from the waist up. Full sole contact would prevent tori from executing reaping in one stroke. Tori MUST position uke on the heel of the right foot! The friction between the full foot sole and the mat is what prevents the execution of a proper reaping action.

Ashi Guruma

At the instant of Kake in this throw, uke will have the right leg drawn back and tori must restrict any forward movement by uke’s right leg. Tori’s task is to prevent uke’s right leg from moving forward by the application of pressure on uke’s right knee. It is important that NO physical contact exists between the two bodies other than that of the knee contact. A major error often made by some players is that of making waist contact thus inviting the tori to attempt to sweep the leg of the uke. It is not possible to sweep the leg if the waists remain separated. The back of tori’s right ankle should be in contact with the lower part of uke’s right knee. 

NOTE: Ashi Guruma will not be effective if tori attempts to rely solely on the power of his arms coupled with  body twist.Tori must lift uke from a straight and inflexible posture, break his balance, then use the right foot to press on the knee.

SUMMARY

The omission of a discussion of the Ma Sutemi and Yoko Sutemi group of throws was not by accident but by design. This is because the author views the application of these throws as extremely limited in both free play and contest. Also, in most cases sacrifice throws require greater expertise in their application. Perhaps additional throws from the first three groups could have been included in this paper but the approach was to keep the material from becoming too voluminous.

It is interesting to note that the USJA has instituted an advanced judo study program that relies entirely on the use of Reference 1 for source material. Students of judo who have the time and motivation should consider getting involved in this study program. After reviewing the program content I believe that this program would greatly enhance a student’s knowledge and appreciation of what judo is really all about.

Lastly, Reference 2 in this author’s opinion is the finest and most comprehensive book ever written on the subject of Randori No Kata and deserves mention here. Reference 3 contains the best photography ever seen in a judo book by this author.

References:

1. Kodokan  Judo Throwing Techniques by Toshiro Daigo, Copyright 2005.

2. Judo Formal Techniques by Tadao Otaki and Donn F. Draeger,  Copyright 1983.

3. Judo Unleashed by Neil Ohlenkamp, Copyright 2006.