- -- --

JUDO FOR THE

WEST I

.1

Here is a book which breaks

entirely new ground in judo teach-
ing. It outlines contemporary
theories of learning, class teaching
technique, and shows how the
various theories and principles can
be built into a simple but effective
method of introducing novices to
judo. Another chapter is devoted to
how such introductory methods can
be moulded into an intermediate
judo skill. Lastly, Japanese termino-
logy is explained in a com-
pletely new way, which will be
of great interest to both old and
new judo players.
The author has evolved this
approach to the teaching of judo
over the last few years in his
capacity as National Coach to the
British Judo Association.
Compared with the traditional
methods of judo teaching, it is
quite revolutionary, even though its
intrinsic principles are accepted in
educational circles. The results of
the new method have been impres-
sive; skill has been acquired far
more quickly and on a far broader
base than ever before.
This method of teaching judo
has been used all over the British
Isles in clubs, colleges, schools,
youth clubs etc., and is also
gradually spreading abroad. As
yet the spread is thin on the ground,
but the object of this book is to
help those who have heard of the
method and who want to know
more. It is unique in explaining
fully the history and development
of Mr Gleeson's method of
teaching judo which fully utilizes
the knowledge of the West and the
capacities of the Westerner.

$6.00
 G. R. GLEESON

Born '927. First appearance in

British team '949. Finalist in Open
and 3rd Dan European Champion-
ships '951. First special research
student of the Kodokan (Tokyo)
'952-55. During this period also
studied kendo, aikido and
calligraphy. Chief instructor of the
Budokwai '955-60. Captain of
first team to win European
Championship for Britain '957; ....
captain of various teams '949-57.
Served on Executive Committee
of British Judo Association '955-60.
Read Japanese at London Uni-
versity '955-58. Honorary National
Coach '958-60. Full-time National
Coach '960 to the present.
Originally trained as an engineer,
holds higher National Certificate
of Engineering. Swam in County
and Southern Counties Champion-
ships, interest and participation
in several other sports. Presently
studying motive writing.

A. S. Barnes and Co., Inc.

South Brunswick and New York.

1
.1
J

Printed in Grrat BriJiJin

r
;a..
1

JUDD
fORTHElEST
by
G. R. GLEESON

'1 keep six honest serving men,

(They taught me all 1 knew).
Their names are What and Why and When,
And How and Where and Who.'
Rudyard Kipling.

South Brunswick and New York:

A. S. Barnes and Company
 1 -

CONTENTS

I Teaching Method and Coaching Technique I7

First American Edition 1967
Published by Learning by Imitation 20
A. S. Barnes and Co., Inc. The utilization of education 2I
Cranbury, N. J. 08512
Instructional Technique 24
By arrangement with Kaye & Ward Ltd
Planning for a Period 24
Planning for a Session 24
(t) 1967 Kaye & Ward Ltd Skill 25
Competition 28
Interest 29
Enjoyment 3I
A Coach's Characteristics 33
Class Control 34
Discipline 34
Hygiene 35
Class Technique 35
The Importance of Demonstration 35
The Use of Floor Area 37
Class Appreciation of Initial Demonstration 38
Progress Variation 39
Use of Habit 39
Explanations 40
Use of Voice 42
Observation 43
Imagination 45
Judo Leaders 47
The Position and Importance of the Instructor, Coach and
Teacher 48,49
Conclusion 50
BibliograPhy 5I

Printed in England by 2 General Factors 53

Adlard & Son Ltd
Bartholomew Press
Types of Throw 55
Dorking, Surrey
Speed and Movement 56 Group 3 I34
Posture 57 Dynamic Defence I37
Movement 60 Ne-waza I40
Power Point 6I Linked Systems I44
Power Curve 65 Coaching Hooks (Elementary) I48
Control Curve 68 Conclusion: Objects of Group Method I4B
Acceleration 69
Body Movement 72 4 Intermediate Judo ISO
Chest Contact 72 Example from Group I: Tai-otoshi I5I
Turning 74 Example from Group 2: O-soto-gari I54
Legs 75 Example from Group 3: Harai-Goshi I57
Feet 78 Hairi-Kata I58
Head 80 Coaching Points for Various Techniques I60
Tsukuri 82 Tai-otoshi I6I
Hands 83 Tsuikomi-goshi I6I
Arms 85 Seoi-nage (ippon) I62
Ne-waza 89 O-soto-gari I64
General Factors: Conclusion 9I O-uchi-gari I65
Supplementary Factors 9I Ko-uchi-gari. I65
Falling 92 Ko-soto-gari I66
U chikomi 96 Harai-goshi I68
Forms of Training IOO Uchi-mata I69
Randori I02 Hane-goshi I7 I
Shiai I04 Ashi-waza I72
Observation I05 Sutemi-waza I74
Kinaesthetic Appreciation I09 Kaeshi-waza I75
Aesthetic Appreciation I09 Ne-waza I75
Coaching Hooks III A Ne-waza Sequence for an Intermediate Student I76
Imagination III Conclusion I82
Conclusion I I2
Bibliograplry II3 5 British Judo Association Coaching Examinations I85
3 Elementary Judo II4 An outline of the requirements for:
The Club Instructors Award I86
The Introductory Group Method II7
The Coach Award I88
Group I II9
Dynamic Defence I25 Senior Coach Award I9I
Combined Attack and Defence u6 The Promotion Syllabus, with full explanation and definition
Ukemi I27 I94
Group 2 I27 The Gokyo 20I
Major Sub-group u8 Japanese pronunciation 202
Dynamic Defence I30 Glossary 204
Minor Sub-group I32
 I-
I

LIST OF ILLUSTRATIONS Drawings

Photographs between pages I28 and I29

Fig.
I- 6 GROUP ONE: ATTACKS I Skill progression graph page 27
7, 8 GROUP ONE : AVOIDANCES 2 Posture: good and bad page 59
9-I2 GROUP ONE: ATTACK VARIATIONS 3 Power peak in other sports--cricket, athletics, tennis
I3-I7 GROUP TWO: ATTACKS-MAJOR SUB-GROUP pages 63,64
I8-2I GROUP TWO: AVOIDANCES-MAJOR SUB-GROUP 4 Schematictraining tree pageIOI
22-26 GROUP TWO: ATTACKS-MINOR SUB-GROUP 5 Effect of convention page I06
27-32 GROUP TWO: AVOIDANCES-MINOR SUB-GROUP 6 Effect of extraneous items page I07
33-37 GROUP THREE: ATTACKS 7 Effect of bias page I07
38, 39 GROUP THREE: AVOIDANCES 8 Effect of viewpoint page I08
40,4I GROUP THREE: ATTACK VARIATIONS 9 The Group Method diagram page II7
42-50 A NE-WAZA SEQ.UENCE FOR THE INTERMEDIATE STUDENT IO Analysis of leg sweep actions page I33
5I Broken, ugly lines indicate a less than satisfactory throw II Preferred leg sweep action page I34
52 Notice how the lines are now smooth and unbroken I2 'Headend' holding page I42
53 Method to develop full throwing action I3 The 'bridge' page I43
54-56 Tai-otoshi I4 Weight into throw page IS3
57, 58 Tsurikomi-goshi IS A common fault in tai-otoshi page I53
59 I ppon seoi-nage I6 A bad static form of tai-otoshi page I54
60-63 Osoto-gari I7 Ouchi-gari. A very bad one! page I68
64, 65 Ouchi-gari I8 The 'family tree' of technique pageI93
66, 67 Harai-goshi
68,69 Uchimata
70 Hane-goshi
7I Sasai-tsurikomi-ashi
72 Oil painting depicting 'swirl' of a throw
 ,-
ACKNOWLEDGMENTS
Here I would like to record my deep gratitude to the following
people who have unselfishly helped me during various stages
in my judo career. First there is Mr T. P. Leggett, who not
only taught me most of the judo I know, but many other things
besides. Second, Mr M. Takasaki, who not only let me become
a member of his family for three years, but showed me what
generosity of spirit really means-to him I shall always be
indebted.
I must not forget the small group of anonymous donors who
contributed towards my fare to Japan and without which I
could not have gone. There are the many judo men, both here
and in Japan who helped me enormously during judo training,
men like Daigo, Osawa, Otaki, Koyasu and Tashiro.
Lastly, coming nearer to the present, I must thank Mr
Sweeney and Mr Welsh for posing for the drawings, Judo Ltd.
for supplying many of the action pictures and also the B.J.A.
and the Budokwai for allowing me to print the promotion syllabus
and the coaching qualifications. Finally, my grateful thanks to
my wife for her untiring typing, correcting and inspiring.
G. R. GLEESON
FOREWORD
A sport that resists change dies. Who now plays Pall Mall?
Fortunately, the resistance of most sports to change is not
insuperable. The historian surveying a sport's past can easily
see how a simple game or physical feat originates with an
enthusiastic individual or group and is gradually taken up by
thousands of like-minded men and women. The sport becomes
organized, it must be governed by rules, specific techniques are
devised, handed on and written down. After a time, a block
occurs. The sport may lose adherents or spectators or it may
become enshrined as in a temple or museum. It ceases to
develop. Perhaps some club or team modifies the traditions of
the game and wins a world championship as has happened
more than once in association football; perhaps the sport
becomes a new and independent variant as did American
football, and its development continues.
Mr Gleeson believes that some such crisis has occurred for
judo and I agree with him. Judo is very far from declining.
It has, on the contrary, attracted an enormous number of new
adherents in Europe during the last twenty years. The increase
of clubs and organizations in Britain, the growth of classes in
evening institutes and the formation of a Schools Judo Associa-
tion bears witness to the appeal of judo. Nevertheless, there are
many, very many, who have abandoned the sport in disap-
pointment and frustration, and judoka cannot be content to
rest on their traditions and dogmas.
The author of this book starts from an analysis not of what
ought to happen in the dojo, but of what does happen. Learning
must come from the throws themselves not from artificially
devised practices. Many of these latter come in for severe
criticism, not least the standard use of the arm-beat method of
falling. However, what is now needed is not an approach to
judo as a stylized form of Japanese wrestling nor as unarmed
combat nor as a twentieth century alternative to the 'noble art
of self defence' but an analysis ofjudo as a positive and dynamic
sport for the West as well as the East. We none of us know all
the answers in teaching or learning judo, but this book offers
all who read it the chance to think ahead.
INTRODUCTION

Peter C. McIntosh, B.A. (axon)

Dip. P.E. (Carnegie)
Once Lecturer in Physical Education, THE reader, having seen the title of the book may, by inference,
Birmingham University.
imagine that I advocate a style of judo different from that
Now Senior Inspector of Physical
Education, Greater London Council. practised inJapan. This is far from the truth. I have experienced
far too much and have far too great an admiration for 'Japanese
Judo' to want to change it-although naturally enough I should
like Britain to surpass the standards set by the Japanese! What
I do consider needs radical change to suit the temperament of
the Britisher are the methods of teaching and training. The
teaching and training of any skill is to a greater or lesser extent
a reflection of the national characteristics of the country
involved; when the skill is indigenous the extent is greater.
Therefore when a skill or sport is transferred to another country
that country should replace the foreign training methods with
methods reflecting and exploiting its own characteristics, needs
and virtues.
The main purpose of this book is to indicate how this could
be done with judo in Britain and the West. The general
educational background is shown, indicating what constitutes
learning and how these principles are incorporated into a judo
teaching method; then more specifically an introductory
method is shown with a follow-up at the intermediate stage of
learning. Other specialized aspects, like the advanced skills,
kata training etc. will, it is hoped, be covered in detail in later
books.
In addition to reassessing the value of training and relating it
to existent circumstances, another main object of the book is to
reveal the actual bones of the game. I have, in other words, tried
to clear away some of the cobwebs and dust accumulated over
the past half-century, which have obscured the true value of
judo training. Judo, because it had its origin in a period of
time which was virtually feudalistic, has become somewhat
contaminated with an obfuscatory aura of feudalistic mumbo-
jumbo, with the result that subsequent teachers, for various
reasons, have insisted on treating judo as a feudalistic, esoteric
 14 JUDO FOR THE WEST INTRODUCTION 15

'art' and have taught it as such, mistaking the original or early much for any person who plays it conscientiously and sincerely.
environmental manifestations of the training as the essence of The main purpose for the accumulation of knowledge is, in
the skill. In an attempt to substantiate such an approach these my opinion, to help the possessor live a fuller and richer life.
teachers have 'nudged' historical events somewhat out of Judo can be looked upon as a special type of knowledge which
context to support this interpretation. For example, Kano (the can be transferred to other fields of experience, and in so doing
founder of judo) was made out to be a little man inspired to help the trainee to live a fuller life than if he had not taken up
invent a series of clever tricks merely to overcome the bully, judo. For this to happen the teacher or coach must have a
which he then passed on to a few 'enlightened' followers. When clear picture of the aims and purposes of all aspects of his
the truth is known, Kano was in fact one of Japan's most trade-teaching judo. By his example, both on and off the mat,
brilliant educationalists, who not only saw the need for a he will stimulate his class to strive towards more knowledge and
national sport (with as many recreational as patriotic benefits), increased awareness of all things. If this is achieved to any
but was visionary enough to see how such a sport might develop degree then judo will have served a very real purpose in society.
and possibly even attract people other than the Japanese. ENFIELD1965 G. R. Gleeson
Judo was his own contribution to the overall fitness and
recreational enjoyment of his countrymen. It had no connection
with self-defence or ju-jitsu. A careful study of its underlying
principles will prove that. It was intended solely to fill a gap in
the physical, recreational and educational requirements of a
people needing to play purposefully and beneficially. He did
not attach any grandiose pseudo-philosophic trappings to the
sport; he intended it simply as a physical developer. If the
individual could acquire satisfaction and self-expression from
the training, then judo had more than achieved its original task.
Lastly there is a personal objective in writing the book; to
try to help other people find as much pleasure from the game
as I have done. Judo has been my chief sport for almost twenty
years now. With very few exceptions, in whatever conditions
and places I have found myself doing it, I have enjoyed every
minute. It has brought me satisfaction, much excitement,
travel, knowledge and many friends. By attempting to clarify
some of the many things which always puzzled me in my early
training days, others may be able to take shortcuts and avoid
bewilderment.
At one time or another I have met many of the famous con-
temporary judo personalities and have heard them talk about
their judo hobby-horses, expounding what in their opinion is
judo's object and purpose. Because of their personal example
and opinions (let me be frank and add-despite some others)
I started off and have remained a judo enthusiast. I thought
then, as now, that judo, given the right presentation, can do
 CHAPTER I

TEACHING METHODS AND COACHING

TECHNIQUES

THEjudo coach's first task is to learn how to present his know-

ledge to his students in the best possible way. There should
always be a definite teaching method, in which the coach has
confidence. It is often said that teachers are born and not made;
perhaps on the higher pedagogic planes this is true, but
generally speaking, providing the man wants to teach, he can
learnthe general 'rules' of teaching and apply them thoughtfully.
These will be of great use to him and will help him over
many difficulties that might arise the first time he stands in front
of a class. Gradually his experience, application of knowledge
and imagination will give him the basis to form his own 'rules',
but until that time the following may be of help.
Before attempting to layout these 'rules of teaching' we had
better first look at the learning process. For whatever is needed
for the process of learning must directly affect the method of
teaching. To give a full account of the arguments put forward
by the many and various protagonists of the different schools
of psychology, all claiming the know-how of what is learning,
would be too ambitious an objective for this book. Instead I will
give a brief description of the two main lines of development
which can, for the sake of convenience, be titled 'hindsight' and
'insight'. Hindsight (atomic) deals with the form of learning
based on trial and error progression, whereas insight (gestalt)
deals with learning through the application of knowledge and
experience to a specific problem.
Teaching and learning has, of course, taken place since man
has been man, but it is only over the last century or so that a
conscious effort has been made to find out exactly what is
involved. Before the latter part of the nineteeth century it was
generally considered that the term 'learning' covered the same
 18 JUDO FOR THE WEST
process, possibly on different levels, both in man and animals.
But towards the end of the century there arose the 'Behaviour
School' which attempted to explain the behaviour of animals
simply in terms of reflexes. The great example here of course is
Pavlov1 and his famous experiments on dogs. The results of
these experiments, designed to implant certain inhibitions, are
too well known to be repeated here. Another great exponent of
the 'automation' attitude towards learning by animals was
.
Thorndike* 2 His experiments with cats are almost as famous
as Pavlov's with dogs.
Thorndike's theories on learning had a great influence on
teaching methods for many years. The results of his cat experi-
ments lead him to postulate that animals learnt by trial and
error. Only experience enabled the errors to be minimized
until a specific object could be achieved with no, or negligible,
repetitions. Neither insight nor intelligent appreciation of the
whole problem were allowed for.
By the I920S opposition to Thorndike and his followers' ideas
had grown. Leaders of the opposition were Max Wertheimer,
Kurt Koffka and Wolfgang Kohler. These men founded the
'Gestalt School of Psychology' (from the German, meaning
pattern or configuration). Kohler8 said that Thorndike got the
results he did from his cats, because they were put in an un-
natural situation. (He maintained that men would have acted
in exactly the same way.) If problems were set them which
were within their mental capacities, they would show some
form of insight. Set a problem which the animal can see as a
whole and it will solve it comparatively quickly and easily.
Here is the essence of the gestalt theory; perception or insight
is all important: when the whole problem is fully perceived,
insight is experienced and the problem can be solved more
easily.
Education in general was split by these two schools, each
having its own enthusiastic followers. During the past few
* An example of the type of experiment used is as follows. Cats were put in cages
with food on the outside. By finding and pressing a lever the cat could open the door
and so get at the food. Records were kept of the number of repetitions necessary
before the cat could go directly to the lever.
t An example of Kohler's experiments: He would put a chimpanzee in a cage
with some bamboo poles and boxes. Food was hung on the ceiling out of reach.
The monkey quickly found how to stack the boxes to reach the fruit with the sticks.
TEACHING METHODS AND COACHING TECHNIQUES 19
decades or so the gestalt approach has gradually gained ascen-
dency over its old rival, the atomist. However, each has its own
advantages in specific teaching conditions and in sport, as in
academic circles, each of the two approaches to teaching has its
adherents. Perhaps today the whole-part-whole (the common
name for the gestalt approach) has, in the main, the greater
following. Knapp4 in her book somewhat compromises and
says that possibly the part-whole (atomic) approach is of better
use in teaching team games, whereas the whole-part-whole is
better for the individual type of activity.
In judo, in the past, certainly the part-whole method has
always been used. A throw was broken down into its various
parts and the beginner taught each part; where to put the right
foot, where to put the left foot, where each hand should be, etc.
etc. When he had 'mastered' all the parts he was allowed to try
the whole-the throw. The throw was seldom, if ever, shown
to him as such, (even the instructor demonstrated just one
part at a time) so the novice had no idea what the final product
was to look like. The outcome was an erratic, jerky progression
from movement to movement, which was as ineffective as it was
ugly. The gestalt theory would maintain that practising the
parts with the intention of adding them together finally, would
produce something other than the original whole. The general
product of the old teaching method in judo would certainly
appear to confirm this!
The whole-part-whole approach is to let the novice try
'the whole' first; the throw(trying to imitate the instructor who
t has demonstrated 'the whole'). It does not matter how poor
an effort it is, providing some feeling of the throw is obtained.
The instructor then isolates parts which he feels could be
improved upon, works on improving them, and replaces them
back into the whole before the final product is lost sight of.
The whole is kept in mind all the time; no single 'part' is
allowed to take a dominant role in the development. In addi-
tion, each person is encouraged to try and achieve the 'whole'
in their own particular way; such 'self expression' being deemed
better than any imposed characteristics arbitrarily set by an
instructor.
However, teaching is never a simple subject and although the
advantages of the whole-part-whole are, to me, very apparent,
20 JUDO FOR THE WEST
and therefore prominent in the Group Method, there are
undoubtedly times when part teaching has certain advantages
in certain conditions. For as Cross says, 'Probably the practice
of the parts proved most valuable as much because of the
simplifYing of the intellectual concepts, as because of the
simplifying of the motor-eo-ordination'. 6
LEARNING BY IMITATION
Finally, in this section devoted to learning processes, mention
had better be made of learning by imitation, which has always
had a strong hold on judo instructional methods. 'Imitation is
an indispensable expedient for the developing personality of
youth. It has a beneficial effect as long as it does not merely
serve as a means of accommodation, thus hindering the develop-
ment of a suitable individual method.'6 A rather apt remark by
Jung! For this reason (imitation) there has been a steady two-
way traffic between Britain and Japan. Men have gone to Japan
to round off their training and on return have done much to
improve the judo standards in Britain. Some highly skilled
Japanese performers have also been brought to England to act
as living examples for the 'lower' grades to imitate. This ex-
change has had excellent results, and some of the 'local' high-
grades have been able to learn much from the examples thus
provided. Because they had already acquired experience and
knowledge, the 'locals' were able to watch constructively, seeing
the movements and tactics used; and during personal practice
with the Japanese were able to 'feel' the 'build-ups' for various
attacks. The great pity was that this knowledge was not
'translated' for the lower, less-accomplished grades. It was
tacitly assumed that all could learn just as easily as the few
senior, experienced men.
If the instruction had been left on a purely imitation basis,
with the students simply copying as best they could, something
might have been achieved in the way of skill improvement.
The trouble was that the highly-skilled performer would insist
on telling his class how he performed the skill (throw). The
skilled man invariably has very little knowledge of how he
really performs his skill and what he told the class was usually
TEACHING METHODS AND COACHING TECHNIQUES 2I
quite different from what he did. The result: confusion and
bewilderment!
Here lies the reason why most skilled performers make
poor instructors. They seldom understand basic principles,
let alone the important ingredients of their own peculiar skill.
Their skill has been developed pragmatically rather than
intellectually, and therefore it is much better if a person who is
'outside' the skill attempts to analyse what happens during its
execution. Naturally the coach must have some personal
experience of skill development, but it need not be to a very
high level; hisjob is to 'interpret' the actions of the very skilled
man for his group's understanding. The two jobs-performance
and 'interpreting'-are quite different and very few can do
both. Certainly experience has shown both in judo and in
other sports that dissemination of skill is very much the res-
ponsibility of the coach-not the performer.
THE UTILIZATION OF EDUCATION
There is little practical value in clarifYingthe mental processes
of learning if there is not an accompanying indication of the
uses to which that learning can be put. A teacher must have
some idea of what, in his terms, are the objects of education.
Here is no place for a discourse on educational philosophy, yet
at the same time it would not go amiss, I feel, if a brief digression
were made to discuss some of these objectives-if only in a
judo context.
For simplicity's sake, I will use the Aristotelian headings for
the two main forms of education, vocational and liberal. As to
definitions of these two terms, we can do no better than quote
the main protagonists of these forms from the nineteenth
century. Spencer first on vocational education: 'Education of
whatever kind, has for its approximate end to prepare a child
for the business of life-to produce a citizen who, while he is
well conducted is also able to make his way in the world'. 7
Then Newman for the liberals: '. . . the cultivation of the force,
the steadiness, the comprehensiveness, the versatility of the
intellect' .8 In practice, it is difficult to decide which camp to
join (if indeed there is such a clear bifurcation as the headings

22 JUDO FOR THE WEST
indicate) for each has sound qualities, but in general I tend to
lean toward the liberal form of education, because I feel it is
more sympathetic towards the individual's achieving joyfulness.
However, even the most enthusiastic advocators of the two
methods will, under pressure of argument, both admit that the
right of the individual to full expression of his personality is
all important. For taken too far, both attitudes can produce
'inert ideas'9, the bane of any educational system.
Much of past judo instruction has had many similarities with
the worst of vocational training. The continual dogmatic
emphasis in tautological technicalities has tended to produce
unimaginative performers with a surfeit of knowledge, which
confuses rather than clarifies. If learning-in whatever form
it takes-is to develop and improve the individual, then the
instruction must be devised with that object in mind. The judo
instructor could take note of the comment made by the Spanish
philosopher, Ortega10: 'He (the insular specialist) reaches the
point where he proclaims it a virtue not to take any notice of
all that remains outside the narrow domain he himself cultivates,
and denounces as dilettantist the activity that aims at the
synthesis of all knowledge.' Originality, of course, starts with
the coach; it is he who must set the pace, he who must break
away from the restrictions of irrational traditions, he who must
stimulate his group or class into originality and spontaneity.
It is the coach's responsibility to see that the method he uses
does the most to help each person attain the fulfilment of their
desires. As Whitehead succintly put it: 'The process of exhibiting
the application of knowledge must, for its success, essentially
depend upon the character of the pupils, and the genius of the
.
teacher' 9
The first step toward such apperception, to use the ter-
minology of Herbart, would seem to be; instruct with the
'whole' well to the fore-whatever forms the 'whole' takes.
The 'whole' can, for example, in the context of a liberal
education, apply to life itself, for as Schroedingerll advises
any teacher, 'Never lose sight of the role your particular object
has within the great performance of the tragi-comedy of life;
keep in touch with life-not so much with practical life as with
the ideal background of life, which is ever so much more
important; and, keeplife in touchwithyou. If you cannot-in the
TEACHING METHODS AND COACHING TECHNIQUES 23
long run-tell everyone what you have been doing, your doing
has been worthless'. One of the fundamental reasons why the
gestalt approach to teaching has been advocated mainly in
this book, is because I believe it goes further in this direction of
stimulation than does the older 'part' teaching.
Yet is this enough? Does it still not depend too much upon
the coach's or teacher's personal fund of knowledge? If possible
the system adopted must go beyond the confines of the coach's
present knowledge; it must germinate in the students' minds
newer knowledge, and in turn stimulate the coach to greater
efforts. From the 'wholes' presented initially by the coach, the
class must try to achieve projects set also by the coach; it is
by the achieving of these projects that-it is hoped-the class
acquires new and exciting skills. Whitehead put it this way:
'Their expert knowledge (the teachers') will give them the
ground to start from, and then culture (the general judo
environment!) will lead them as deep as philosophy and as
high as art.' It is with this idealistic viewpoint in mind, that
the project method of teaching has been adapted for judo
instruction. The coach, by utilizing the knowledge he has
available, will set the class projects or problems, the achieving
or solving of which will widen the scope of each individual's
skill. Being nurtured in such a stimulating, if somewhat special-
ized form of training, the attitudes of exploration and investiga-
tion developed by the individual may beneficially influence
other aspects of his life. Some readers may consider this too
idealistic for judo instruction: 'Surely,' they will say, 'it is
sufficient to teach just the physical skills.' Looking at sport
participation merely as a physical recreation, this may be true,
but I feel it is not enough. Sport can be physical education, in
which case it is a part of the individual's general educational
programme, and thus it can, and should, be used for more than
developing just the body. Along with the improved awareness
of body should go an improved awareness of culture in general,
for the wider a man's range of knowledge is, the greater chance
he has of living a fuller life. To conclude with a quotation from
Dewey,12 whose writings deal largely with the question of
society and the individual: 'Viewed both psychologically and
socially, the arts represent not luxuries or superficialities, but
fundamental forces of development.'
24 JUDO FOR THE WEST
INSTRUCTIONAL TECHNIQUE
First there are the very important three 'Ps' of every good
coach: Planning; Preparation; Progression.
The first two take place before the lessQn or period (of time)
and the last mainly during the teaching period itself.
It is essential for an instructional period to be planned and
prepared so that students receive the maximum benefit from it.
It is not good enough for the instructor to turn up on the night
and as he steps on to the mat to start thinking, 'What shall I do?
-o-soto?' That is indefensible and cannot produce a coherent
or understandable progression. There must be purpose. In
the same way there should be a linking theme between two
successive sessions, so that again there is consistency and the
class are aware of an overall objective.
Planning for a Period
First plan out a long period-say six months or a year (if an
evening institute is involved two or three terms). Set out some
objectives, arrange for various higWights to be included in the
period (e.g. promotion examinations, inter-club competition
etc.). Some of the time could be planned to act as a 'build-up'
to these specific events. For example, work on the examination
syllabus before the promotion examination, and have contest
training sometime before the inter-club match. The plan, of
course, should not be too detailed; many things may happen
which will make the coach alter certain parts of it. But all this
does not affect the important fact that the coach will have some
definite idea where he is going and that the class will benefit
from his sense of purpose.
Such a plan can even be shown to the class members, so that
they will know not only what is arranged, but that the coach
really has their interests at heart. The class or group must have
confidence in their instructor and if they feel he knows what he
is doing, it will go a long way to develop this confidence.
Plann;ng for a Session
This will follow the same general outline of the 'plan for a
period' only more detail will be included. There should be an
object set (e.g. a technique, an experience of speed, endurance,
TEACHING METHODS AND COACHING TECHNIQ.UES 25
\raining aspect) and then the session built from this, giving the
times for each stage.
Here is where the third P, progression, comes in. When the
object is set, the class form is made so that it develops progres-
sively towards the object laid out. Each step is built rationally
and constructively upon the previous one, absorbing the content
of the previous step into the body of the following step.
Again, although the plan is well laid out, it must not be
treated as inflexible. The class is always the controlling factor
and if, for any reason, the plan is not suitable-too fast or too
slow-then it must be changed. With experience, of course, a
detailed plan need not always be written out; a good coach
may be able to do it in his head, but whenever or however it is
done, preparation there must be.
SESSION CONTENT
In the main there are four basic factors which should be
incorporated into any type of lesson, be it academic or physical:
(I) Skill (or special knowledge)
(2) Competition
(3) Interest
(4) Enjoyment
The importance and proportion of each will vary from
lesson to lesson, but providing they all are present, the students
should have spent their time in a satisfactory way. Becausejudo
is a physical activity two other secondary factors should be
present in any lesson. These are physical activity and physical
development. A judo class should not have to stand around for
long periods of time, for example, watching the instructor
'take on the class'. All should be actively involved in learning
the skill, and because of this participation and the nature of
judo training, there should be a general improvement in
physique.
Let us look at these four main factors more closely and
elaborate on their composition.
Skill
First, what is skill? Can we define it? Its meaning will vary
somewhat depending upon the context it is used in4 so, to
stimulate thought, here is my definition:
26 JUDO FOR THE WEST TEACHING METHODS AND COACHING TECHNIQUES 27

Skill is a set of movements made to achieve a predetermined

objective, with the least amount of effort and with the greatest 'OlrA(2ft)
degree of certainty and regularity. 9r ~BOft)
First, it must be understood that it is the SETof movements %
which comprise th~ skill. There is little benefit in repeating a 7
part of that set (see uchikomi, Chapter 3). If the skill is to be
improved, the whole, or complete set of movements, must be 1&1 6
VI
repeated, but not in an insensitive manner. 'Transfer (of a skill)
is not an automatic process and it is not enough that the simi- ~5
IIJ
larities should exist, but it is necessary that they should be ~+
Q
recognized and appreciated.' Munn.13 VJ
So many seem to have the impression that if a set of move- 3
ments is repeated often enough, they will somehow sort them- 2
selves out and into a skill. Automatic improvement simply as a
result of participation is a very dubious premise. 'Repetition of
a connection in the sense of two or the mere sequence of two
things in time has very, very little power, perhaps none, as a
\0 20 30 40 50 60 70 80 SO 100
cause of learning.' Thorndike. 2
Inadequate skills as well as efficient ones can be learnt (see TRIALS
uchikomi, Chapter 2). One has only to see a man who has over- Fig I Ski11 progression graph.
indulged in uchikomi to see this borne out-he cannot progress Rings were pitched on to a nail from varying distances as shown. An average of
past the point of kake. 20 students took part in each case (W. C. F. Krueger, 1947).
Therefore the students need to be controlled all the time and
never left completely to their own devices. They should always sufficient power. Similarly with skill-learning, the plateaus are
have objects or tasks to achieve. This does not mean the coach times when the skill is being absorbed. 'In order that any
should always be in front of the class talking, teaching, and complex series of bodily movements should be given a chance
demonstrating. Sometimes he is, of course, but sometimes he to be consolidated or organized, very persistent and prolonged
remains unostentatiously in the background, ensuring that the repetition should be avoided.' Bartlett.14 This 'absorption' time
class is attempting to achieve the set tasks-however loose those must be taken into account during training, in order to acquire
objects are. The class must knowit istrying to achievesomething the 'power' to drive the skill higher.
specific and then it will achieve it. Here of course is one of the dangers of 'fringe activities' i.e.
Skill learning is not a regular or constant process. It pro- strength improvement etc. It is so much easier to see an improve-
gresses in what are called 'skill learning plateaus' (see Fig. 1), ment in strength, that the motivation for doing weight training
or in the form of steps. When the pupil is on one of these plateaus can be higher than that to improve judo skill. For although
or steps, he can become very discouraged and a part of the it is easy enough to see the difference in skill between the 1St
coach's job is to help him overcome this depression. I always Kyu and 6th Kyu, it is not so easy to see that between a 1StKyu
think of these periods as battery charging. At this time nothing and a 1St Dan. The coach must see that the motivation for the
appears to be happening because the battery is not driving a improvement of skill is kept high, which in turn means that the
motor or lighting a light, but something is happening and it is coach must be continually racking his brains to devise newer
only when the battery is recharged that it creates and maintains and better ways of improving skill training.
 ,......-
28 JUDO FOR THE WEST
Competition
Competition, in a skill learning context, usually means motiva-
tion for further skill improvement. Because A beats B, B wants
to improve his skill in order to beat A. If this is so, most will
say there is no need to look very far in judo, for as judo is a
competitive sport, shiai and randori will provide all the
competition that is required. Is this strictly true? It would
appear to me that there are in fact two purposes of competition:
one to stimulate the acquisition of skill and the other to simply
maintain interest and eleviate boredom. I will treat these two
objectives separately, for each has important implications.
There is a commonly accepted dogma in judo circles that
if one wants to improve skill, practice should be with a higher
grade. This appears to me to be fallacious. If repetition is an
essential part of skill improvement and all authorities agree that
it is, then the throw must be repeated often. To quote Knapp, (
one among many, 'The skillsinvolved in physical education and
physical recreation are usually complex and require many
repetitions and considerable time.' (It should not be just a
slavish repetition, of course, see page 96; there must be conscious
purpose in the repetition.) J udowise, the skill is the throw and if
a 1StDan is practising with a 5th Dan, how often does he repeat
his skill? Generally never! He may be getting other benefits;
falling better, improving stamina, getting stimulation for
widening his range of skill, but improving his own actual skill-
no! To do this he must, in fact, practisewithpeopleof a lowerskill
standardthanhis own. Only in this way can he 'repeat his skill'
sufficiently for improvement. I noticed, for example, while in
Japan that the senior players would never train or practise
together, i.e. no 5th dan would practise with another 5th dan.
I could not understand it at the time, but now I realize why. It is
ironic that the Japanese, too, seldom appreciate why this
happens! It means that the coach must concentrate on the throw
of the higher grade man and the resultantfall ofthe lower grade.
Now the coach has two further complications which he has to
unravel as best he can. The high grade is often tempted to do
'lazy' or poor versions of his particular throwing skill on the
inferior player. Knowing, as he does, that he can throw the low
grade with almost anything, he will invariably try to do just
that. The coach has got to see that he uses the whole or the
TEACHING METHODS AND COACHING TECHNIQ.UES 29
real skill of the throw in 'all its glory' 1 Here is the second
complication; the coach whilst ensuring that the senior man
throws completely, must equally ensure that the low skilled
opponent does not have a heavy landing. It is a question of
pace variation in the attack.
Competition in sessions can take many other forms besides
contest. It can be used in the 'warm up' periods, in the form of
games,16or to see who has the most individual practices. A form
of competition can be used by the coach for electing the man
with the best style; who trains the hardest etc. etc. A table can
be made out for each individual in the class or group and a
'score' in all these parts kept so that at the end of every week or
month the best club member can be chosen. He could be given
some small token prize for his efforts. (Competition, it should
be remembered, is a sop to the masculine ego, it is not nearly so
much in evidence in the woman's make-up.) Competition can
help to keep the class interested and willing to learn, but too
much of it can discourage or satiate some; the coach must be
able to judge which in his class are which, and which group is
in the majority.
Interest
Interest, like competition, is dealt with in two parts: one is
closely linked with motivation in the actual skill learning
process, whilst the other is involved with general interest
concerned with the sport itself.
Let us look at the more direct part, skill learning itself. There
have been many tests16showing the importance of motivation.
Take the example given by Schwab17 when he had boys
hanging from a bar by their hands. They would hang for twice
as long when they were offered money (a tangible incentive)
than when simply asked to 'hang for as long as they could I'
The type of motivation will usually vary to suit the standard
of skill. For example, success provides vital motivation at an
early stage of learning to spur the beginner on to greater efforts.
This is the reason why in the Group Method the beginner is
throwing within fifteen minutes or so of first stepping on to the
mat.
At the other end of the scale, the class can be over-motivated,
so that their interest in progress declines. A demonstration of
30 JUDO FOR THE WEST
a good throw by the coach will usually have the effect of
inspiring his classto greater efforts, but ifhe turns his demonstra-
tion into a performance, a scintillating display of spectacular
combinations and throws, he leaves his class bewildered and
stunned.
'It is very natural for those who are unacquainted with the
cause of anything extraordinary to be astonished at the effect
and to consider it a kind of magic. They, who have never
observed the graduation by which art is acquired; who see
only what is the full result of a long labour and application of
an infinite number and infinite variety of acts, are apt to con-
clude from their entire inability to do the same at once, that it
is not only inaccessible to themselves, but can be done by those
who have some gift of the nature of inspiration bestowed upon
them.' Sir Joshua Reynolds.18
Then, of course, judo has its own very particular type of
motivation-that of grade. Most sports have to be content with
merely taking part as incentive (not a bad one in my opinion)
whereas judo has this imported one from Japan. No doubt it
does make people work harder for the next coloured belt, but
there again it is a double-edged weapon. If the next grade is
not achieved after what the individual considers the right
amount of effort (and who knows what that is?) then he can
easily lose all interest and drop out of the sport entirely. Some
of the judo splinter groups have started in this way. A man
fails to get his black belt, so he leaves, starts up his own associa-
tion, and gives himself-via the new association-a black belt.
There is no copyright in the name!
Motivation in terms of general interest, covers a wide range
of activity. It can include the actual presentation of a progressive
plan (shown to the class or club, proving that they are being
catered for in every technical respect) and talks by the coach on
subjects concerned with the background to the sport, such as the
structure of national, area, or club organization past and
present, champions and personalities, or the history of judo in
Britain and Japan; outside specialists can be invited to give
talks on coaching in their own particular sport or on a recent
development in the physical education world (e.g. Test and
Measure etc.). Any and all such effort will help to keep the
run-of-the-mill player interested and absorbed in his sport.
TEACHING METHODS AND COACHING TECHNIQUES 3I
With his interest goes his support and with his support goes
progress.
Enjoyment
Last, but not least, is the factor of enjoyment. For the best type
of learning to take place, there must be enjoyment of the
learning process.19 Sometimes when visiting a judo club it is
difficult to understand just why the people are playing judo.
The faces are so long and glum and the atmosphere so depres-
sive, it is a wonder any learning takes place at all. Naturally
there should be a quietness, entirely the product of concen.,.
tration and effort, but that does not mean there need be
depression. Enjoyment can mean many things in many condi-
tions, so first let us look at aspects of enjoyment we can call
play.
'Play' plays a large part in human learning. Karl Groos20
states how the higher animals are born helpless and during the
early period when they are protected by their parents, indulge
in 'play' to learn about their environment. The catharsis
doctrine, developed from these early researches, says: 'Play is
cathartic in its action, that is to say, it provides an outlet for
certain pent-up instincts and emotions which, whether in
childhood or in adult life, cannot find sufficient direct expres-
sion. In civilized life the instinct of pugnacity, for example,
finds insufficient scope for exercise. By nature we are fighters
and fight we must, so the civilized man fights in play. Every
game is a sham fight, in which no blood is shed, or even anger
displayed, but which nevertheless releases the energy of this
instinct, providing a vicarious channel for its expression.'
J. S. Ross.21Play, even in this context has its ingredient of enjoy-
ment, for without it the play will not be repeated. This does not
mean that the activities should be frivolous and pointless (the
planning of the session should have ensured that this does not
happen), but there should be a recognizable feeling of enjoy-
ment-with purpose.
For example, after a particularly hard period of training
(e.g. contest), when ofnecessity the attitude is severe, serious and
taciturn, why not interpolate a quick, fast ball-game? It will
add the required element of enjoyment: it changes the class

32 JUDO FOR THE WEST
pace (doing it this way there need be no actual period of rest,
continuous activity can be maintained) and yet some contribu-
tion can still be made to the general mobility-speed and quick-
ness of footwork.
This does not mean enjoyment is simply the introduction of
various games forms during a training period (although I think
this helps), but should also be inherent in the judo itself. The
coach must look hard at the various activities in the training
session and try to think of ways he can make them more
enjoyable and yet retain benefit and purpose. With too much
randori the members can become bored (revealed in the dis-
satisfaction at the little progress they make). With boredom
comes lack of enthusiasm and once this vicious circle has started
they may as well all go home! All kinds of randori forms can be
devised in order to make it interesting, e.g. one man with his
jacket off (the other keeping his on); one man's feet tied together
with about two-foot play in the rope (it is better if the tied man
is of a higher grade than the other, it helps to 'equate' the
skills); in ne-waza, jackets can be taken off, or one man versus
two. All these and many others can be used to help maintain
interest and enjoyment.
Lastly, enjoyment must be had in the actual movements. The
full rhythmic movements must in some way be made to appeal
to the students, so that they actually enjoy performing the
various attacks and avoidances. One has only to think of the
enormous amount of energy spent by teenagers over long periods
whilst they are 'twisting' or 'rocking' to see what the effect of
rhythm has on effort expenditure. Indeed it would seem to be
a profitable field of research to see how rhythms and music could
be made use ofin training schedules. With the right combination
of rhythm and fitness, I am sure quicker improvements of his
standards could be made by the individual. For the movement
to rhythm as well as rhythmic movement is somehow intrinsic-
ally satisfying and enjoyable to man and the coach should
try and cultivate this in his class. I am sure that skill improve-
ment could be helped enormously if this were exploited
correctly.
Every item listed above offers a challenge to the perspicacious
coach and he will need all his guile and experience to wring
the most out of every aspect.
TEACHINGMETHODS
ANDCOACHING
TECHNIQ.UES 33
A Coach's Characteristics
What are some of the ingredients of a coach? Or to put it
another way, what should the class see in him? Let me try to
make a list.
I. He must set a good example-in all things. Not only in the
things he teaches in the sport, but in matters outside judo as
well, for he is the personification of his sport. It can often be
difficult, for it can be like a curtailment of his liberty, but that
is a part of being a coach. If a man is not prepared to accept the
responsibility he should not be a coach.
2. His example is important not only in the more social
graces, but in the more mundane too. He should keep himself
clean and tidy, having a clean suit correctly worn.
3. His posture should be good, upright and active, looking
as if he is interested in what's going on. A slack or slovenly
posture usually indicates a slack attitude and hence a defective
teaching standard.
4. He must be obviously interested in his class. This can be
done in several ways: he should talk to everyone (learning
their names if he can), so they know they are a part of a whole.
He should create a good environment so that individuals can
easily ask questions. (He should not, of course, be too familiar,
but always remain somewhat aloof-sometimes a difficult
compromise to establish.)
5. He should be consistent. He should establish certain atti-
tudes and standards and then stick to them. If unpunctuality
is disapproved of, then he should be critical of everybody who
is not punctual-himself included if that is necessary!
6. He must be confident. The best way to be confident is to
know! The coach should never stop learning about his subject
or anything else remotely connected with it.
7. He must be original-or appear original! He should not
copy other people's teaching styles. He may by all means
'steal' ideas and methods, but he should modify them to suit
particular conditions, adding original ingredients of his own.
In this way improvements can be made.
Remember, the coach's attitude to his sport, and to
some extent to life, will be reflected in his class. It is his
moral responsibility to make that reflected image as good as
possible.
2
 r----
34 JUDO FOR THE WEST
Clas. Control
DISCIPLINE
When a group of people get together to achieve a common
purpose, there must be discipline. Without it chaos reigns and
nothing is achieved. In a judo class the man to impose that
discipline is, of course, the coach and his task is easier if he
already has a personal discipline.
There are several forms of orthodox discipline, each con-
tributing something to the development of the group or
individual. The least (although not unimportant) are the social
disciplines of punctuality, politeness etc., which help to make
the group a pleasant one to belong to, or be associated with.
Then there is the discipline needed to safeguard the members of
the group, seeing that the right kind of judo is played for the
particular conditions, that care is taken of the less experienced
players, and that obstruction of other players both on and off
the mat is avoided. Judo being an antagonistic sport can be
extremely rough-unintentionally-so these safeguards and
courtesies are essential. Some misguided men play it intention-
ally rough, the excuse for this bad behaviour coming usually in
the guise of 'It's to toughen you up', which means the bigger
or more skilful man throwing the smaller or less skilful one off
the mat, into the walls (if there are any). In other words, it is
plain old-fashioned bullying. Such attitudes are as despicable
as they are worthless. At every opportunity the good coach
will encourage the best type of sportsmanship; judo is hard
enough without such stupid, bullying attitudes and practices.
Lastly there is the discipline necessary for the group to
progress. The individual is a part of the group, so he must
discipline himself not only to help the group but, much more
important, to help himself. Only with strong self-discipline
can the rigorous training programme be completed and this is
necessary to reach the highest standards of skill. Read the
biography or autobiography of any champion and it is always
this factor which comes out the most strongly. One of Kano's
two basic maxims for judo is JI TA KYOEI, 'By helping each
other, all benefit'. Self-discipline should be one of the main
functions of any sport's training and a part of that self-discipline
is to help others just as much as it is to help oneself.
TEACHING METHODS AND COACHING TECHNIQUES 35
HYGIENE
In a close body contact sport like judo, hygiene is very impor-
tant. It is obvious why the mats and surrounds should be kept
immaculate, and it should go without saying that kits and the
body should be clean at all times. Shoes (of one kind or another)
can and should be worn between changing rooms and mats,
and left at the edge of the training area to secure maximum
cleanliness.
CLASS TECHNIQUE
Here are some general 'rules' that should be known by anybody
who steps out in front of a class; they can be found in various
disguised forms in most teaching textbooks,22 but I have tried
to bring them all together so that they can be read easily.
Most are commonsense. Many readers will know them already
(even if they could not actually quote them), but to see them
written down makes them even more clear.
I. The Importance of Demonstration
If the whole-part-whole approach is being used to teach a
particular throw, then much will depend upon the presentation
of the initial demonstration, in which case the following should
be remembered:
(a) Perform the demonstration as well as possible. The first
'picture' of the technique seen by the class is all-important, it
may stick with them for life! So make it good. Do not do it
slowly-'so they can see what happens'-remember a throw
done slowly is NOTthe same as a throw done fast! If the coach
wants the class to 'see' a slow one, he can do a slow demonstra-
tion AFTERthe first fast ones, but again there should be a
concluding FASTdemonstration. It is essential that the class
get the 'true picture' of the technique-speed and accuracy.
Make the start and finish of the demonstration clean and crisp,
so the class knows exactly when it started and when it finished-
it helps to emphasize the 'picture'.
(b) When the class are asked to try to copy the demonstration
of the coach they too must try it at full speed. Knapp, in
her excellent book,4 when discussing speed says: 'It would
seem from this (the various experiments carried out in America
and Britain on speed) that where speed is vital to performance,
speed is a part of form and should therefore be emphasized
 r-----
36 JUDO FOR THE WEST
from the beginning.' Speed is essential in judo (among other
things) so it should therefore be stressed as early as possible in
the general training.
(c) If ever a wrong demonstration is used to illustrate the
fault of the class it must be 'erased' by several successive right
demonstrations.23 Even so, the wrong ones must be kept to the
minimum. It is a peculiar psychological quirk that people tend
to remember the wrong ones more effortlessly than the right.
Every care must therefore be taken to see that the wrong
demonstrations have little chance of getting absorbed, so
certainlydo not finish with a wrong demonstration.Always finish
with several right ones!
(d) Do not finish a session or a period of instruction with a
demonstration. This leaves a very dissatisfied class, for not
having tried the technique they can justifiably feel frustrated
and cheated. The class must always try whatever the coach has
shown--or the coach should not show it. It is fairly common in
the judo world for a man to teach a particular technique to his
class (say tai-otoshi) then, just to finish the class off, he says
something like, 'Tai-otoshi is a good technique, for it can make
many combinations like. . . '. He then proceeds to show half-a-
dozen combinations which dazzle the class (good for the
instructor's ego) and then says, 'Now let's all go home!' The
class is now disappointed because they could not try the stuff,
puzzled because they do not know what it was, confused because
all the combination 'pictures' have been superimposed on the
earlier instructional 'pictures'. A bad if not catastrophic ending!
(e) When demonstrating a throw make sure the man has an
easy landing. It requires some control on the part of the coach,
but nothing out of his range. If the throws are heavy, apart
from putting the man himself off (so that he may not come
again) it can also affect the rest of the class. They may not
try very hard in case they too have a similar hard 'knock'.
A beginner is very susceptible and bad impressions are to be
avoided like the plague. In any case, do not pick the same
partner every time. 'Share the load' and let others have the
experience of being thrown. In this way the coach can avoid
sowing the seed of apprehension in anyone bosom.
(f) Sometimes it is a good 'psychological booster' ifmembers
of the class are chosen to demonstrate some particular point.
TEACHING METHODSAND COACHINGTECHNIQ.UES 37
It will boost the performer's confidence and let the class know
that if two of them can do it, then certainly the others can as
well. One point must be remembered by the coach, the chosen
students MUSTdo it correctly. If done incorrectly it can be
catastrophic. The class reaction is, 'If they cannot do it, and
they have been picked out, what chance have we!' It is a good
tip, if in doubt, to rehearse the two carefully on the side before
putting them in front of the class, to make sure they will repeat
it correctly. Such a demonstration also has the advantage of
giving the class a different movement picture from that of the
coach. If the coach does each and every demonstration there
is some danger that his personal method of movement may be
copied. This is not always good. It is the general movement
picture which ought to be transmitted, not necessarily the
private idiosyncratic movements of an individual.
2. Full Use of all the Floor Area
When teaching a large class the coach should feel no need to
limit himself to the mat area, providing the surrounding area is
suitable. Naturally, if the floor is very dirty or splinter-ridden
or both, activity must be kept to the mat area, and the coach
must cope with the numbers as best he can. But if the group is
held in a school gymna.sium (or a hall of a similar nature) the
surrounding floor can easily and beneficially be used. (One of
the features of the film I made for the B.] .A. illustrates how
this can be done with a group of about forty.) Certainly when
dealing with an elementary group and using the Group Method,
much of the movement can be done on the floor, savingjust the
actual throwing movements for the mat.
Cleanliness is of course a point to be eonsidered and the
coach has (as always) to decide whether he can afford to use
the floor. In order to do so, he may have to arrange for some
kind of 'foot wiper' to be installed between mat and floor space.
(This is another reason for using a coloured canvas rather than
a white one, which shows the dirt and also gives more glare and
reflection.) However, the floor space should never be automatic-
ally ignored, but every effort made to include it in the class
plan. It is rare indeed to find a vast and completely adequate
mat area on hand. One of the good side-issues of the Group
Method is that it does lend itself so easily to this kind of adapta-
, ~
38 JUDOFORTHE WEST
tion. It makes the teaching oflarge groups comparatively simple.
For example, the group can be split into several smaller groups,
each one doing a specific part of the Group Method (e.g.
one an attack from Group I, another a defence to Group 2,
another something from Group 3 and another group doing
ne-waza). The whole class is kept active, all doing something
positive toward a skill end. At regular intervals the groups can
be moved round, so that each has a go at every task. One pos-
sible snag with such 'activity pockets' is that there can be too
many. With more than about three or four the starting of the
session could become cumbersome and delayed while the
activities are eXplained or demonstrated. Again, the coach
must decide the optimum number of 'pockets' and could
possibly lead up to them over a period, e.g. doing one group
activity as a class activity one week; the following week doing
another group activity with the class; next week splitting the
class into two groups for these activities, or three groups intro-
ducing one 'new' one. The same scheme can even be worked at
the Intermediate stage, this time with the 'pockets' containing
particular skills appropriate to the standard being catered for.
The same too with the Advanced level. However, the higher
the standard, the greater the amount of careful thought
required from the coach in making the 'pockets' relevant and
containing the right material.
3. ClassAppreciation of Initial Demonstration
Before the coach does his demonstration he could explain to
the class what to look for and add that he will expect them to
copy as best they can. The demonstration follows (see Impor-
tanceof Demonstration);then, with no verbal help, the class is
immediately allowed to try and imitate the coach's efforts
whilst the picture is fresh in their minds. The class must try
for the general feeling of the technique rather than any specific
detail. It is this 'feeling' which is all-important at the early
stage; the way the body 'flows' into action; the long strong
continuous movement necessary to throw the other man on to
his back. The coach's job is to help them towards this. Mere-
dith 24said, 'The job of the instructor should not primarily be
to persuade his pupil to make certain movements, but first to
TEACHING METHODS AND COACHING TECHNIQ.UES 39
identify and then to communicate the information which
determines the control of these movements.'
Only after they have tried on their own will the coach 'step in'
and start correcting and helping. He will then be helping each
individual, eXploiting the peculiarities of each to achieve the
general movement pattern that has been set. Remember, the
individual is not to be force-fitted into some abstract mould of
what the coach thinks is 'right', but is to be helped to achieve the
objective within his, the student's, limits. Mter having tried the
suggestionsmade by the coach, the improvement is incorporated
back into the technique as a whole. It is important that the
feeling of the throw as a whole is retained and not that of its
parts. Each student should get a word of advice or help from
the coach (the coach must not stand in the middle of the mat
looking like some immovable statue). The right word of
encouragement and guidance at the right time, in the right ear,
can make all the difference in the world. The coach must
endeavour to make some contact with everyone, to make each
feel the possibility of receiving a word of encouragement is not
remote.
4. Progression Variation
Sometimes this simple step of going from a demonstration to
the class's attempt can be expanded. I have done this in the
Group Method. If, for some reason, it is considered unsatis-
factory to take this direct step (in the Group Method, the
consideration of safety can warrant a gradual build-up to the
throw, rather than allowing the 'straight-in-and-have-a-go'
approach) a 'breakdown' can be introduced, so that the class
can work up to the objective set. However, this does not alter
the general principle of first showing them and then letting
them try-the gestalt approach.
5. Use of Habit
Habit formation does not strictly come under the heading of
'teaching techniques'; it does, however, obviously affect when,
how and where a particular instructional point is introduced
into the class programme. The use of habit appertaining to
skill acquisition, is discussed in the section Uchikomi, so here
the discussion is confined to general terms.
40 JUDO FOR THE WEST
The class progression will normally start with the 'fringe'
movements of a skill, those easily converted to habit, as this
frees the concentration for learning specific skill factors in the
programme. The coach must keep in mind that skill is not habit.
'Habit demands conformity to a prescribed standard sequence
of motor acts, while in skilled behaviour the same act is,
strictly speaking NEVERrepeated.' Bartlett.14 The coach's job
then is to devise situations which produce a skill from a largely
habitual movement.
6. ExPlanations
The class's learning ability will be greatly influenced by the
form in which the coach presents the instruction. Therefore,
the coach must be aware of what and how he tells his class.
A few general pointers may help towards this end for clarity.
(a) Ifin doubt write it out. When the coach is inexperienced
it will pay him to write out what he intends saying before the
class starts. He may not even use it, but it will clarify it in his
own head.
(b) Keep the talking brief. Provided all the necessary points
are covered, the shorter the better. Remember the class wants
to do judo not listen to a speech.
(c) Be succinct. The coach must first know clearly the theories
involved with any technique he intends to teach. He must then
be able to select the important points in order of priority, and
finally he must be able to present those points clearly and con-
cisely to his class. Their confidence in him as a coach (and hence
their potential to learn) will increase greatly when they feel
he knows his subject.
(d) Vary the approach. If the class or individual does not
understand the form of the instruction, do not keep simply
repeating the order (the situation will steadily deteriorate).
Change the words, change the approach, bring in different
illustrations (both verbal and diagrammatic). Here is where a
wide knowledge of many subjects can be very useful!
The coach should assume that if the class or individual has
not understood his direction, it is the coach's fault (it may not
be, of course, but this is a safer and more realistic assumption).
He will then keep changing the form of direction till it is
understood.
TEACHING METHODS AND COACHING TECHNIQUES 4I
(e) Don't bring in irrelevancies. Keep to the point when
teaching a technique. Tangential information in certain cir-
cumstances can be interesting, but in the middle of a skill-
learning period when full concentration is necessary it can be
distracting and very confusing.
(f) Tie in with the demonstration. Extra care should be
taken when an explanation is to be illustrated by a demonstra-
tion. Be sure that the points in the demonstration DO coincide
with those in the explanation. It is bewildering if one thing is
said and something different done. If in doubt, have a little
rehearsal before the class starts in order to check the various
points to be made.
(g) Don't assume that knowledge exists in the class. The
whole lesson plan can be undermined when knowledge has been
taken for granted and from the class's blank response found
not to exist. Normally, of course, this is not much of a hazard,
assuming the coach has had the particular group right from
the start. However, when a coach visits an existing group it is
as well to avoid the danger.
(h) Whenever possible use the positive approach to instruc-
tion and minimize the negative. Prefer the use of 'do' to
'don't'. This was a fault with the old style of teaching judo
when there were far too many 'don'ts'. In fact, often the novice
was so busy doing 'don'ts', that he did not get on with doing
'dos'!
The whole atmosphere generated by the Group Method is
intended to be a positive one. Jump in to throw-commitment;
avoid it-commitment; eventually counter-attack-commit-
ment.
(i) Encourage each individual. It is important, from a
psychological point of view that the learner is encouraged in
his efforts. This does not mean that praise should be thrown out
indiscriminately. Corrections will naturally have to be made,
which means some will be told they are doing it wrongly,
but in this case the coach must stay with them till they are
doing it properly and so deserve a word of encouragement.
(I t is' useless to wander off as soon as the fault has been pointed
out.) The process is similar to the right and wrong demonstra-
tions, final praise or encouragement is used to 'erase' the earlier
criticism. In this way the class feel that they are improving.
\
42 JUDO FOR THE WEST
(j) Use visual aids. Supplementary aids to verbal explana-
tions are of value, for they help to highlight the various points
made by the coach. Films of one kind or another (e.g. instruc-
tional films, films of championships, loops, slides) are of great
benefit and so are photographs or illustrations from books and
journals. The coach does not have to stick to illustrations of his
own sport. He may also find his class stimulated by examples
from other subjects, history, art, music, literature. Not only may
a particular point in judo be seen more clearly in this way,
but some aspect of an underlying principle could suddenly
be illuminated. The coach's main task is to decide whereabouts
in the programme to introduce these illustrations and the best
way of using them once they have been introduced. There are
a great many kinds of visual aids in the educational world and
the coach could spend some time investigating this field. Who
knows what he could find!
7. Useof Voice
Just as the words chosen are important, so equally is the way
they are said.
(a) Make sure the class is listening before you start talking.
To ensure that this happens it is convenient to have some
audible signal, i.e. hand clap or whistle, which tells the class to
stop what they are doing and listen. Do not try talking over the
class when it is working (on occasions, short, sharp comments
are permissible, of course, but not continuous instruction against
their activity). Not only will they not listen, but it will spoil
their concentration.
(b) Get the class into a position where all can hear easily.
This usually means the class members should all be in front of
the coach, not ranged around him (in which case those behind
the coach will have difficulty in hearing what is being said).
(c) Speak up so that they can all hear. Do not mumble or
gabble. Experience will help with this eventually. Decide what
is going to be said, then say it slowly and clearly with the
minimum of 'ums' and 'ahs'.
(d) Put variety of pace and pitch into the voice. Some tips
from the acting profession can be of help here.25 Do not be
frightened to shout occasionally, particularly if the class is
'dying' on you. Equally, to drop the voice to a stage whisper
TEACHING METHODSAND COACHINGTECHNIQ.UES 43
can have good effects-ears prick up and attention improves.
Occasionally an important point can be half whispered for
special emphasis.
A voice of even pitch is usually a monotonous one, and a
monotonous voice is a tiring one. With tiredness comes lack of
attention and diminished effort. Use the voice pitch to keep the
class active and on their toes.
(e) Be careful of speech mannerisms! The two most popular
ones are 'o.k.' and 'all right'. Sometimes every other sentence
can end in one of these nervous verbal twitches. (I remember in
a coach examination a candidate repeated 'o.k.' forty-two
times in fifteen minutes!) Such repetitions can be very distract-
ing and the class will start waiting for them, becoming so
engrossed with anticipating, perhaps even counting them, that
they will forget what they are supposed to be doing!
The coach must check himself on this at fairly frequent inter-
vals, if only to ensure that he has not substituted one mannerism
for another.
(f) Always speak from an established place on the mat.
No matter how or where you move to (and you should move
around a lot, getting to all in turn) you should always return
to the same place before making the next general point. In
this way the class will always know, as soon as they hear the
signal, just where to turn and look. Such a place is usually
best chosen on the edge of the mat; then, by implication,
the class is already in front. However, if it is a very large mat,
another position may have to be selected.
8. Observation
The ability of the coach to see what goes on during an acted
or real attack is of fundamental importance. The knowledge
gathered from such observation will obviously dictate the type of
skill he teaches. (This aspect of observation is fully dealt with
in Chapter 2, so here it is strictly related to class control only.)
(a) Check at frequent intervals whether the pace of teaching
is too fast or too slow for the class. Notice whether the class is
keeping up with the flow of information; is it looking bewildered
and confused, or bored and dissatisfied? Again the coach must
train himself to notice (or even feel) this atmosphere in the
class. If he does see it or sense it, then he should change

44 JUDO FOR THE WEST
accordingly; his class plan must not be adhered to at all costs,
but should be capable of immediate adaptation to the class and
the occasion.
Such an ability will be even more important if the coach has
varied groups to work with, i.e. women, children, older men;
for each group will need a different pace and rhythm and the
coach must be able to provide it.
(b) Try to move around the outside of the mat area, so that
you can see all the class at once. You will, of course, also mingle
with the class from time to time, helping individuals as you see
their need. To some extent the proportion of general observa-
tion to pair correction will depend upon the standard of coach-
ing being used.
(c) Not only will the pace of the class as a whole be variable,
but the individual members too, as some will 'catch on' and
want to race ahead, whereas the slow ones will have quite
enough to do to keep abreast. This is a difficult problem. In
general the coach must gear his lesson to the slowest set (not
necessarily the slowest ONE,such a one could be taken aside
and given individual 'catching up' instruction) for no one must
be left out-nothing destroys a group feeling quicker than when
parts are separated from the others. But then comes the problem
of the fast ones. They could be given additional targets or
extensions of the group work entailing greater effort on their
part. For example, if harai-goshi is being taught and the stage
is reached when the partner is moving backward with the
attacker trying the throw, and assuming a few of the class are
finding this too simple, a circular movement could be substituted
as an opportunity-condition for trying the same attacking
movement.
(d) Whilst looking at a particular pair, a coach is usually
concentrating on movement errors in the one man, so that he
can suggest ways of eliminating the mistakes, but he must not
lose sight of the fact that the errors could be due to reasons other
than the man's own intrinsic inability to perform correctly.
For example, it could be his partner. If the partner is par-
ticularly clumsy, or too big, or too small, or has a disjointed
and erratic reaction, one or any of these could ruin the other
man's attacking movement. The coach may well decide that
this is the case and that a change of partner is called for. Then
TEACHINGMETHODS
ANDCOACHING
TECHNIQ.UES 45
the class as a whole should 'share the burden' of a clumsy
mover.
When coaching at a high level, international competitors
for example, inability to perform the skill training satisfactorily
may be due to emotional aspects (a sudden tax demand, a
child in hospital critically ill). The coach should take an
interest in the background of the people in his care, so that he
may be able to understand or help in some circumstances. In a
more general case, I have noticed how an instructional approach
needs to be varied to suit people in various parts of the country.
The East Anglian is quite different from the Welshman, who
in turn is different from the Geordie. To get the best out of
each an appreciative understanding is needed.
(e) Lastly, and although it appears the most obvious it is
often overlooked, there is the problem of the odd man out!
Judo is a pair activity and there is often an odd man; it can be a
nuisance, but there is no need for him to be left on his own
during the instructional period. There are two ways of absorbing
him; either put him in with one pair, so that they can take it in
turns to do and to watch; or put him into one pair then take
that resulting odd man and put him into another pair and so
on. Each way has its merits and demerits.
g. Imagination
Judo is a part of physical education, physical education is a
part of education in general and an important educational
objective is to stimulate the imagination of the individual.
The roots and objectives of the Project Method of teaching,
have already been discussed, so here let me tabulate the prin-
ciplesapplied to classteaching. .
(a) Because of the nature of this method, the coach will have
to spend a lot of time on preparation. Paradoxically, because
the broader lesson plan is so loose, he will have to have tighter
control than usual on his actual class plan.
(b) Naturally the project set will depend upon the standard
of the class. In the early stages it could take the form of a
'bridge' project; that is to teach two techniques, the task being
to get from one to the other-bridging the gap! Later on, it
could take the form of an 'open-ended' project, that is, an
initial situation is devised and the coach then seeswhat develops
46 JUDO FOR THE WEST
as the class progress out or away from that initial situation.
The first way is more controlled than the second.
(c) The coach must not have fixed ideas of right and wrong
technique. Provided he has clearly in his head the general basic
dynamic principles of throwing and holding (see Chapter 2)
he should then be concerned only with 'nudging' his class,
so they incorporate these principles into their solutions to the
projects set.
(d) The coach should remember that it is not always the
best approach to a learning situation to assume the best way is
to move from the easy to the difficult. Sir F. C. Bartlett26 says
in one of his books, 'There is more transfer of skill from the
difficult to the easy than vice versa.' It is useful to keep this in
mind when devising projects.
(e) If at any time the coach feels it necessary to give some
form of demonstration during a project session, he should keep
any repetitions down to an absolute minimum. If this is not
done, there is a risk that the class will start to copy the idosyn-
cratic movement of the coach. That would defeat the whole
object of the exercise, namely to develop individual and original
movement.
(f) Possibly one of the main subsidiary advantages of using
the Project Method in general class work, is the ability to
satisfYseveral standards simultaneously. It has always been a
bane, on judo courses for example, when the skill standard has
ranged from say 2nd Dan to 6th Kyu. How to teach such a
motley group? Aim the instruction at the high grades, the low
suffer; teach the white belts and the black belts have to twiddle
their thumbs. A well-constructed and imaginative project
satisfies all, as each solves the problem from its own store of
knowledge and experience. All the coach need do is to control
the ensuing development.
CONCLUDING GENERAL COMMENTS ON THE 'TEACHING RULES'
These 'rules' like all rules of conduct, after being thoroughly
learnt, should be forgotten! There is a Zen story which starts
by saying 'Fish is good for you'. It then goes on to say 'but it is
no good whilst it is lying on the plate, or in the mouth or even
laying in the stomach. Only when it has stopped being fish
(completely absorbed by the digestive system) is it good for you'.
TEACHINGMETHODS
ANDCOACHING
TECHNIQ.UES 47
So with rules of teaching-or anything else for that matter-
only when they are completely absorbed can they be of real
benefit.
The judo coach should try to see himself as a part of a general
educational system. His duty is not only making his pupils
better judo men, although that is an essential part of his job,
but also trying to improve them as citizens. By widening their
fields of interest, by increasing their knowledge of all kinds of
subjects, he will help them to be fuller and happier people,
which brings me suitably to the last topic of this chapter.
JUDO LEADERS
'Great truths do not take hold of the hearts of the masses. And
now, as all the world is in error, how shall I, though I know the
true path, guide? If I know I cannot succeed and yet try to
force success, this would be another source of error. Better then
to desist, and strive no more. But if I do not strive, who will?'
Chuang Tsu.
To conclude this chapter I would like to talk about the
leaders or, to keep within the context of this book, the instructor
or coach of judo. The reader already knows what I consider .
to be the overriding object ofjudo training-betterment of the
individual-so now I want to discuss the individual who has
to try to set these standards. Irrespective of walk of life,
leadership is all important: the leader sets the pace in every
respect-the rest follow. Montgomery27 says: 'The beginning
of leadership is a battle for the hearts and minds of men.' And
again 'True greatness cannot be achieved without moral
virtues; once they are mixed with talents of a lesser kind, the
latter becomes improved-perhaps inspired.' I feel he is a man
who should know something about leadership!
In my experience of the judo world (to say nothing of the
'outside' world) the onus of development, whether for good or
bad has rested with the local leader. It applies equally at club,
or area or national level. A personality permeates the whole
environment which becomes dominated by that man. One can
only hope that the influence is for good! In order to try to
give the individual something to aim for, I have laid out a
hierarchy of 'leaders', similar to grade progression.
48 JUDO FOR THE WEST
I have called the three 'steps', instructor,coach,and teacher;
they have nothing to do with a judo grade, but simply indicate
the man's capability of helping others. After all, grades only
indicate a personal performance standard and have very little
to do with the man's standing as a human being. The individual
must be judged first as a man, then as a judo player, if he fails
on the first count, it does not matter how skilful he is, he is still
no great asset.
Tbe Instructor
The instructor is the man who knows the superficialities ofjudo
technique. For many and sundry reasons he has not thought
deeply about the subject. He has an excellent idea and a correct
one of the difference, for example, between oguruma and
ashiguruma, and can instruct on both adequately. But he has
not tried to find out what makes kata, kata; he does not under-
stand the application of the essential principles of various
types of technique in all circumstances.
In general he is a man who has been content to 'soak up'
his knowledge of judo from other people. Therefore it is good
(provided of course he has listened to 'good' judo men!) but
very limited. He can help most over the small obstacle (how to
do this throw, how to do that hold) but he will not make any
new contribution to the sport, although in terms of people
taught his direct contribution could be considerable.
Such a man has a very important part in the organization.
Much of the development at low level will depend on men of
this calibre. In fact it is they who spread the word and encourage
the novice to make greater efforts and progress. Indeed I have
often seen an 'instructor' (in my sense of the word) teaching
high grades to advantage, but usually his activities are perforce
limited to low grades. Simply because of the built-in limitation,
the teaching is sterile, non-productive and produces little or
nothing on a long-term basis, i.e. his pupils are not capable of
passing on anything of value from his instruction, although
they themselves benefit.
At the low grade end of development then, the 'instructor' is a
great asset, his knowledge gets people started and pointing in
the right direction. However, for various reasons-lack of time,
other interests, conceit, indifference-he does not attempt to
TEACHINGMETHODS
ANDCOACHING
TECHNIQUES 49
broaden his range of knowledge to attain the next stage of
development and so his contribution to judo is limited.
The Coach
The coach has the same general technical knowledge of the
instructor, but also has studied (and is studying) every aspect
ofjudo he possibly can. The man who has ambitions to become
a good coach (as distinct from an 'ordinary' one) knows that
he cannot know too much-about anything. With such an
attitude as this his specialized knowledge is bound to increase.
But this is not enough. He must also acquire some working
knowledge of the immediately related subjects, anatomy,
physiology, psychology, mechanics; he must find out about
physical activities which impinge on judo-weight training,
circuit training, test and measurement, stamina schedules.
And to make a real job of it, art, history, music and science
(in all its ramifications) will all help him to understand his job
the better. The good coach has never the time to sit back and
say 'I know it'-no matter to what he is referring. Knowledge is
expanding every day, so should the coach's!
I have given the coach a hopeless task. He cannot possibly
know much about all these subjects. But, as discussed earlier
in the chapter, it is essential that he tries! He must not become
the blinkered specialist that Ortega was so disdainful of. One
can never tell when some piece of apparently irrelevant (un-
connected with judo) scrap of knowledge will suddenly leap
out of the subconscious and throw brilliant light upon some
present problem. Yet such an aim of widespread knowledge
must not be founded just on enthusiasm for the sport, but also
upon enthusiasm for knowledge. This desire for knowledge has
generally to be acquired. The coach must drive himself harder
than he ever drives his students!
The Teacher
The top of the leadership tree! Very few will reach this level; a
mere handful every generation-if that. Nevertheless it is a
position all coaches should be aspiring to; the status would be
something like that of the Indian guru. The teacher would have
all the qualifications of the coach, but whereas the coach's
influence would be mainly limited to the dojo (not entirely of
 ~
50 JUDO FOR THE WEST
course) the teacher's would extend well beyond those confines.
To define the qualities of a teacher at this level is very difficult
because they are so nebulous and yet so real. In addition to all
the knowledge outlined under the heading of coach (both of the
sport and its connected subjects) there are important extra
qualities difficult to define objectively. As Montgomery says, a
leader (teacher) must have moral virtues and through some
inner kind of peace be able to influence and lead men. He must
set an example others will rarely be able to equal, but will
always inspire them to try. In the trying they will become better
men. For now of course the 'teacher' is not limited strictly to
teaching judo-although he will be doing that, and doing it
extremely well-but will be helping his pupils to become better
men as well as better judo men. Judo will be simply a tool the
teacher will be using (unconsciously) to help others with.
Sport should not be an end in itself, only a means to an end-the
end is the better, fuller person.
Perhaps I have made the teacher an 'out of reach' ideal,
but as I have implied elsewhere I think sport ought to and must
have ideals. Without them sport becomes just another way. of
expending energy in a rather futile manner. By establishing
such ideals the sport can contribute something to life, for ideals
do have a transfer quality!
CONCLUSION
As I said at the beginning of this section, progress depends upon
the leaders. In this book I have confined myself to the leaders
in the instructional field, but it does not mean that I undervalue
the leadership of the 'organizers'-the club secretary, the area
secretary, or indeed men who prefer to have no 'official' job,
but exert an influence by simply being around. Each can make
as large a mark and contribution as anyone else. But as the
book deals with and is meant for judo teaching leaders, I talk
only of them.
Judo in the past has tended to encourage blind following, the
unquestioning acceptance of well-masticated phrases; in fact
it has discouraged individual thought altogether. The worship
of the 'black belt' has gone a long way in producing a mental
blank in most judo men. To ask searching questions of the black
TEACHING METHODS AND COACHING TECHNIQ.UES 51
belt has been considered as impertinence-almost sacrilege! The
tide 'black belt' has carried with it the implication that whoever
holds it has some mystical union with universal omniscience.
Thus, utterances of the black belt have been accepted without
question-even when they are directly contradicting some
other black belt's pearls of wisdom. The listener thinks it is
his own stupidity which cannot reconcile the two statements.
For the good of judo this attitude of unquestioning acceptance
must cease!
It should be realized that a black belt is invariably a mark of
personal efficiency in the skill of throwing people about, it has
no relationship to the man's ability as a teacher; it is certainly
no indication of his acadeInic or theoretical knowledge. Often
these days, with improved coaching, black belts can be produced
in two years or under, so what can these holders know about
judo in general?
Lastly it is no indication of him as a man (a black belt can
be just as big an oaf as a white belt). Each man's ability as an
instructor, as a coach, or as a man, must be judged on that
individual's merits alone. A title, depending on a very narrow
specialized skill (however good), is not a substitute for know-
ledge and integrity. Each man has to earn standing and respect
by his own untiring efforts, both in the dojo and out of it.
Judo offers a grand opportunity for self-expressionand if a man
achieves a high standard in that self-expression, he will earn
respect for that effort-provided he has been sincere, humble
and unselfish. Judo wants such men. Let's hope it finds them!
BmLIOGRAPHY
I. Pavlov, I. P., CONDmONED REFLEXES AND PSYCHIATRY, Trans. W. H. Gartt.
2. Thorndike, E. L., HUMAN LEARNING, The Century Co.
3. KoWer, W., THE MENTALITY OF APES, Penguin.
4. Knapp, B., SKILL IN SPORT, Routledge, & Kegan Paul.
5. Cross, T.J., A COMPARISONOF THE WHOLE METHOD. The minor game method
and the whole-part method of teaching basketball to ninth-grade boys,
Research QuarterlJ, vol. 8, NO.4, 1937.
6. Jung, C. G., PSYCHOLOGICALTypES, Routledge, & Kegan Paul.
7. Curtis, S. J., PHILOSOPHY OF EDUCATION, University Tutorial Press.
8. Curtis, S. J. and M. E. A. Boultwood, INTRODUCTORYHIsTORY OF ENGLISH
EDUCATION SINCE 1800, University Tutorial Press.
g. Whitehead, A. N., THE AIMS OF EDUCATION, Methuen.
 -
52 JUDO FOR THE WEST
10. Ortega, Jose y Gasset, THE REVOLT OF THE MAssES, Allen & Unwin.
II. SchrOdinger, E., SCIENCE AND HUMANISM,Cambridge University Press.
12. Dewey,J., DEMOCRACYAND EDUCATION, Macmillan.
13. Munn, M. L., PSYCHOLOGY,Harrap. CHAPTER 2
14. BARTLETT, F. C., PsYCHOLOGYANDTHE SOLDIER, Cambridge University Press.
15. Joynson, D. C., A GUIDE FOR GAMES, Kaye . Ward.
16. Lovell, K., EDUCATIONALPSYCHOLOGYAND CHILDREN, University of London GENERAL FACTORS
Press.
17. Schwab, R. 5., MOTIVATION IN MEASUREMENT OF FATIGUE, SYMPOSIUMOF
FATIGUE, Ed. Floyd & Welford.
18. Reynolds, Sir J., DISCOURSESON ART,
Ig. Woodworth & Marquis, PSYCHOLOGY, A STUDY OF MENTAL LIFE, Methuen. As Professor Adams1 said, 'The verb of teaching has two
20. Groos, K., THE PLAY OF ANIMALS; THE PLAY OF MAN, London, 18g8; 1901.
21. Ross,J. 5., GROUNDWORKOF EDUCATIONALPSYCHOLOGY,Harrap.
accusatives, one of the person, one of the teaching', which
22. Hughes & Hughes, LEARNING AND TEACHING, Longmans. means there are two subjects a teacher or coach must know
23. Gilbreth, F. B., APPLIED MOTION STUDY, Macmillan. about: the person or people he teaches and the subject he is
24. Meridith, G. P., INFORMATIONAND SKILL, Talk on B.B.C. 1958.
25. Thurburn, G. L., VOICE AND SPEECH, Nisbet. teaching. I have tried to indicate how to start learning about
26. Bartlett, F. C., THE MIND AT WORK AND PLAY, Allen & Unwin. teaching people in Chapter I, by studying psychology when
27. Montgomery, Fidd Marshal, THE PATH TO LEADERSHIP, Fontana Library. related to education. Now let us start examining the subject
we want to teach-judo.
Further Reading The first task is the attempt to discover what the underlying
Vernon, P. E., THE STRUCTURE OF HUMAN ABILITIES, Methuen. principles are concerning throwing and holding. Many judo
Randall, M. W., MODERN IDEAS ON PHYSICAL EDUCATION, Bell. theorists have attempted to define these basic principles in the
McDougal, W., OUTLINE OF PSYCHOLOGY,Methuen.
H.M.S.O., MOVEMENT AND GROWING, past, but all have approached the subject from the concept of
Russell, B., A HISTORY OF WESTERN PHILOSOPHY, Allen & Unwin. stability or balance; that is, technical analysis has been made
Moran, Lord, ANATOMYOF COURAGE, Constable. on a purely mechanical basis with the body and its limbs treated
as a manifestation of force diagrams, couples and turning
moments. The analogies of wheels, sticks and boxes have been
the regular equipment used to illustrate these principles. Such
an approach may have value (provided it is supported by a
truly sound mechanical knowledge-which it so seldom is) for
it may shed light upon certain dark corners of judo technique.
But care should be taken that the over-simplification of a
mechanical force diagram does not hypnotize and blind us to
what is really taking place. It should be remembered that sticks
and boxes are only analogies and are often unsuitable for many
circumstances that develop in physical situations. Man's great
claim to anthropological continuance is his ability to bend and
adapt, posturally as well as mentally. Indeed the interaction of
mind upon body2 cannot be ignored when discussing physical
effectiveness. 3
The famous case leaps to mind of the American mother who
lifted a wrecked car off the body of her son-a feat of strength
which cannot be explained simply by a force diagram!
 --
54 JUDO FOR THE WEST
Because of these many predecessors who have written on
'basic principles', this title already has certain connotations I
wish to avoid, so I have not called this chapter by such a name,
but by the vaguer one of 'general factors'. These factors I have
no intention ofjustifYingor supporting with mechanical theories;
my knowledge is not sufficient for such a complex task. Instead
I intend to write them down as a contribution based upon
empirical knowledge resulting from years of doing judo,
studying under various excellent teachers (both here and in
Japan) and competing against some of the best men in Japan,
Britain and Europe.
I think many readers will find a fresh, if not startling approach
to the question of basic factors. Much of what is written is
directly opposed to the normally-accepted theories on judo
technique. I believe the subject of throwing must be approached
from a purely dynamic basis. Any throw, as well as a hold, is
movement-a palpable, but often overlooked, truth; it is a
combination of skill and power, applied dynamically. I believe
the throws as done in top competition must be studied and
basic factors deduced from them. It is wrong, in my opinion,
to work out a theory based on sticks and boxes and then
attempt to make a man comply with the action of a box-to
state the obvious, a man is not a box! Working back therefore
initially from the real throws, I have tried to ascertain what
does happen as distinct from what ought to happen. Armed with
this knowledge, I then try to discover if what happens in one
particular throw happens in other throws. The results I have
found are fascinating and very useful when it comes to teaching
technique.
For a basic factor to be basic it must of course apply to all
techniques at all levels of skill, the only difference being in the
application of it. I have tried to keep this in mind at all times
and have attempted to ensure that the following factors do
apply both in nage- and katame-waza at all levels. There are
of course slight modifications made to suit the various standards
of efficiency, but essentially the factors are constant throughout.
In this chapter the factors are general and their actual
application to specific throws is postponed to later chapters,
so the reader should keep this generalization in mind as he
reads.
j
GENERAL FACTORS 55
Types of Throw
The reason I first started to examine throwing technique
closely was to discover whether the throws had a 'personality'
of their own, either because they were different from all others,
or because they were similar to all others. The answer to this
query seemed to me to affect the whole teaching approach to
judo. If they were all different,each having its own specific
technique of application and execution, then the teaching
method would have to be general to present lots of small
'packages' in as attractive a way as possible. It would be
difficult to apply, but if it had to be done, well it would have
to be done. However, if it was decided that all the throws were
essentiallythesame,the presentation would be entirely different.
The points common to all could be extracted, taught as such,
then specific techniques developed from them. I decided that
the latter solution was the better one, for it fitted the facts
more closely than the former, and from that concept I devised
the Group Method.
Further thinking round this subject of similarity rather than
diversity gradually brought me to the conclusion that in fact
there are only two types of throw: one the 'roll-over' type,
where the attacker rolls his opponent over a leg, hip, body etc.
and the other is the 'kick-the-Iegs-from-under-him' type (a
crude way of putting it, but nevertheless true). A possible third
type could be admitted as a combination of the two. Once this
rather startling conclusion was accepted, it clarified many
points of throwing technique which till then I had always had
difficulty in reconciling. Here too was the explanation of why
some men had (rather pointlessly I felt) tried to prove that
judo was derived from some other form of wrestling. Because of
the limitations of man's equipment, i.e. two arms, two legs, a
trunk and a head, he can only possibly throw a man two ways-
either roll him over or kick his legs from under him-he can
vary the application by wearing clothes or not wearing clothes,
but he cannot escapefrom the fact that whichever form he adopts
the throws must necessarily come out looking very similar.*
. I am reminded of the story by C. S. Lewis of the man on the planet Venus
who was very surprised to see how similar the boat was on a glutinous lake there
to the boats on earth, till he realized that for an object to float on a liquid and carry
people, it has got to have bottom and sides and some sort of streamlining, conditions
which limit all variations.
 --
56 JUDO FOR THE WEST
Looking at any throwing technique with the intention of
discovering its essentials in terms of~is it a 'roll down' or a 'kick
down', made analysing so much easier. The best method of
rolling down could easily be decided (i.e. bending the op-
ponent's head down) and then streamlined to a skilful move-
ment. Similarly with a 'kick down'; obviously the upper part
of the body has to be held virtually still whilst the legs are
knocked away. Again, once understood, this could then be
converted into a skilful movement.
Speed and Movement
At a high performance level ofjudo skill, speed and movement
play an essential part. The opponent is not unaware of the
attacker's intentions and is ready at all times to repel any
attack. Therefore, for success, the attack must be skilful and
fast, fast so that the opponent has not the opportunity to see or
feel it coming, in the sense that the attack arrives before it can
be registered in his brain and counter-moves taken. Knapp"
says, 'Where speed is vital to performance, speed as a part of
form should from the beginning, be emphasized'. So speed
and large movement should be taught to the beginner and this
is why both factors are incorporated into the Group Method
(see Chapter 3).
In the past both speed and (general) movement have usually
been omitted from the teaching programme. It was assumed,
tacitly, that speed would somehow be acquired with the passing
of time. Indeed, at times, it was even implied that it was not
necessary; if the throw was performed 'perfectly' it did not
matter whether it was done fast or slow, the effect was the same
-the opponent finished on his back. No one questioned what
the 'perfect' throw was, in spite of the fact that if considered
rationally it will be seen that no such throw can exist. Mter all,
this implies a judo technique existing independently of man, a
manifest absurdity. A judo technique only exists when a man is
doing it, therefore it is only as good as its executor and is
limited by his attributes. The 'doer's' task (and the coach's)
is to make that personal performance as good as possible. By
applying his knowledge of movement and the skill necessary for
success, the coach must modifYthe man's attack to make it more
GENERAL FACTORS 57
efficient. The problem is further complicated, of course, by
the fact that there are two men, each trying to stop the other
from making a successful attack. With all these permutations of
individual and pair movement, size and emotional make-up,
surely it is quite impossible to construct a 'perfect' throw? It is
the exploitation of these variations which make the skill of
judo such an exciting one!
To attempt to ascertain why speed has always been omitted
from the judo training programme, is an interesting digression.
Certainly when highly skilled judo men have visited this country
their speed of movement has always been greatly admired and
commented on. Yet, in spite of that, still nothing was done to
improve speed directly. Why? I feel it was somehow mixed up
with tsukuri and boxes. If tsukuri was performed well, and
great stress was placed on this aspect of technique, the man
would tilt out of position like a box. In this form of suspended
animation the other man could simply move into position and
throw. Because of the complete hopelessness of the opponent's
position and his inability to move, speed was quite unimportant.
It never seemed to occur to anyone that tsukuri is only what it
says; it is the destroyer of the state of equilibrium, it says
nothing about keeping the man immobile and rigid. The
opponent can-and does-move when tsukuri is applied to him.
So speed in the form of a large movement is essential to allow
the attacker to move into place before the opponent moves out
of position.
Posture
An important adjunct of speed and movement is posture.
N either speed nor freedom of movement can be acquired if the
posture is distorted.
In the past some terrible 'crimes' have been perpetrated in
the judo world under the heading of 'posture'. Even at the top
of the judo pyramid some strange ideas have been advanced,
but when these same ideas have percolated down through the
various stratas of ignorance and incuriousness, the result has
been alarming.
Let us look at the picture of the 'true-judo-man', as depicted
by these past hypotheses on 'correct posture'. First, the standing
 ---

GENERAL FACTORS 59
58 JUDo FOR THE WEST

position: weight on the heels, toes slightly raised from the

ground, knees bent, pelvis tilted as far forward as possible, so
producing bulging abdomen, the head tilted slightly up to
enable the eyes 'to look at trees on far horizons'! If this is not
bad enough, wait till 'it' has to move!
Second-movement: feet to maintain contact with the ground
at all times, weight kept on heels, feet not to get closer than
shoulder width. To progress to the right, the right foot moves
first then the left foot follows (but does not catch up with it)
and so on. The arms are raised to the height of the shoulders
with elbows pointing outward (these are to hold the opponent
with!). How ludicrous. This slithering 'gibbet'-shaped appari-
tion was supposed to be the personification of the judo fighting
spirit. It would be funny if it were not so tragic. For this
example of a ~udo posture' has blighted the development of
the sport for years.
What is good posture?3 A difficult question to answer; even
physiological authorities have trouble defining good posture
clearly.5 But let it sufficehere to say that it is the natural upright
position (in Japanese, shizenhontai). The feeling should be that
the person is being pulled up into the ceiling by a rope round a
hook in the top of the head-the rest of the body hangs from
this hook.
A good posture will always look full of potential energy and
movement, even during the quietest of movements. No real
athlete should ever, could ever, look completely non-active
as does the man who adopts the forward-tilting-pelvis stance.
(See Fig. 2b). Art and the artists can give a lead here, for the
Fig z Posture.
movement factor in its various forms has attracted many
artists. The Greek sculptors tried to capture potential movement (a) good, upright.
in the human form.8 I think particularly of the creations of (b) bad, slouched,pelvic tilted.
Polyclitus; the figure of Doryphonos is one of the best ones.
Or, again, there is the completely different genre of Niten (or to
use his full name Miyamoto Musashi) :who tried to capture posture will go a long way towards helping him achieve that
the same quality through the brush (see his painting of the objective.
shrike). Such an ability to look always ready for action (and In the same way that good static posture will look like move-
to BEalways ready for action) is not something merely inherited ment, so will good postural movement look like the original
from one's grandparents but must be worked for and trained for. static posture. For example, in an attacking movement, let us
To look alive, be alive. To be ready for instant action should be say of the harai-goshi type of throw (but any throw would
an intrinsic objective of any training judo man and good serve) at the point of impact between the attacker and his
 60 JUDO FOR THE WEST
opponent, the attacker's chest should be open! In the same
way that a normal standing posture would be bad if the
shoulders were rounded and trunk slouched forward, so in an
attack. If at the moment of impact, or kake to be technical,
the trunk is curved forward (in both planes laterally and
longitudinally) then there is very little (if any) power available
and movement is extremely restricted. The shoulders must be
expanded (again in BOTHplanes, longitudinal and lateral),
the attacker must feel he is expansive and powerful and in this
way he is (seeplates 67 and 71; also notes on physical shape and
its influence upon psychological attitudes, page 67, and the
Power Curve).
Movement
As can be seen by the above description, movement in the judo
world in the past has meant a very strange phenomenon. I
started my judo education in the days when this type of move-
ment was 'all the rage', but fortunately before I too was
crippled I found a true teacher. Nevertheless, the movement
pattern was so strong that upon my arrival in Japan I was still
surprised to see people moving freely about on their toes,
bouncing and jumping into the various positions and attacks
with spirited, gay abandonment.
So here is the 'secret' of a good skill foundation: movement
must be free, unrestricted, void of artificial posturizing.
Certainly the novice will make movement mistakes, but he will
make many other mistakes too-that is why he is a novice.
For example, a common reason given in the past for the novice
not to cross his feet was that he would be easily caught with
certain ashi-waza. Is it good for the novices to be worried about
defence in this negative way? Is it not more important to learn
the more positive skill of throwing? If postural defence against
specific attack is the criterion of movement instruction, why not
teach the novice to have his ankles pressed together at all times,
moving the feet only sufficiently to progress. By so doing he
will never be thrown by uchi-mata. But surely this is nonsense.
The coach's job is not helping the novice to avoid being thrown
by a particular technique, but to provide him with a sound
basis upon which to build his own technique in the future; such
GENERAL FACTORS 61
a basis must be true movement. It cannot happen if the novice
is 'hamstrung' by a list of false rules.
Movement must be free in order to be fast. If the novice
wants to cross his feet let him, all right he will get caught in the
early days, but gradually his training will point out to him when
not to cross them. One of the objects of randori is to experiment
and discover the limitations of movement. Of the many judo
men I have known, all have crossed their feet at some time, for
some reason, but during the passing of time they have learnt
when not to do it!
By moving easily and quickly the novice will be able to dis-
cover various attacking opportunities which he could never
find while plodding around. Gradually, as his skill improves,
he will want to modify his movement pattern. This he can easily
do if he has started right. He may want to use a defensive
crouch (jigotai) for some specific reason; ifso he should be able
to use it and return to his normal fast movement whenever he
wants to. Only with the cultivation of free movement can he
develop the awareness of specific movement. 7
The same free type of movement is also required in ne-waza,
although the pace here will be different. There is more time
available on the ground, and greater care can be taken at
the various stages of technique. But continuous movement must
still be apparent. If one technique fails-for any reason-the
attacker must be able to move on easily to another. A famous
Zen passage talks of the necessity of 'no-stopping' in skilled
movement. Ways of achieving this type of continuous movement
can be found in Chapter 3.
Power Point
It has become necessary when talking or writing about these
'new' factors, to coin some new words. The following two are
cases in point.
The power point is the moment in a technique when the
power of the attacker is at its greatest (the power point can be
considered synonomous with kake, but the word kake has
certain connotations which need to be avoided here and so it is
not used). Taking the advice of Spinoza who said: 'If you wish
to argue with me, define your terms', some definitions had better
be given. First, power: here is meant the product of the whole
 GENERAL FACTORS 63
62 JUDO FOR THE WEST

body movement, which is the addition of muscle-group strength

to dynamic movement. Strength here means the result of
muscle contraction.
An attack comprises a surge of power, starting when the
technique is launched, culminating at the power point, and
then tapering off back to zero after the opponent has hit the
ground. Because the opponent can get a form of strength (or
stability) from the ground, in order to resist attack, the quicker
the feet are off the ground, the better. (The tsukuri effect of the
attack will of course help a lot towards this end.) So to achieve
success, the attacker has to exert power to overcome this
'adhesion'. This peak of power is not limited to judo but can
be seen in any activity in which a surge of movement to
maximum power is required (Fig. 3a, b, c and d). For example,
in the tennis smash when the racquet hits the ball, or in field Fig 3 Power peak in other sports.
events-as when the discus leaves the hand.
One of the objects of training is to increase the supply of (.:I)Crickets the bowler winding into his release;
power available, and then to achieve full control over it. The
power must be available for use at a moment's notice, preferably
with little or no warning to the opponent. The possessor must
not only be able to produce power instantaneously, but also be
able to control its direction like the beam of a searchlight. He
must be able to 'focus' it on to a particular part of the opponent.
Only with such control can the attacker produce the surge of
power necessary to 'peak' at the moment of impact. And only
then is there any truth in the judo claim that the small man can
beat the big man-and he certainly can! Only by being able to
direct all his power at one area on the big man can the lighter
man win.
Although the above may seem to imply that only the lighter
man need learn the skill of 'direction of power', it is just as
important for the big man to acquire the ability. Usually
because his training in the past did not admit the existence of
power (and he was often embarrassed by his strength), the big
man spends much of his time trying to look 'theoretically
skilful'-which generally means he just looks clumsy. His
attack is then unco-ordinated and disjointed. (The Japanese
would say the power runs out of the ends of his fingers and
toes.) In order that he too can become efficient, he also must
learn how to gather all his power into a 'ball' so that he can (6) Athledc8: the momentous effort to break the tape by the sprinter;
 640 JUDO FOR THE WEST
(c) the discus thrower letting go, with power;
(d) Tezml81 working up to maximum power during the serve.
GENERAL FACTORS 65
hurl it solidly at his opponent. What is good for one man is
good for another. With such an ability, plus his weight, he is
formidable indeed.
Possibly the best two examples of these different types were
Osawa and Daigo. Osawa, small, about eleven-twelve stones,
once Tokyo Champion, with lots of 'fight' would leap at his
opponent immediately after bowing, attacking continuously
and violently. Here was his version of throwing the weight,
because of his small size, hard and often. The opponent would
need all his skill and perseverance to survive the first onslaught
(few did!). Each attack followed closely on the heels of the last,
but each as strong and dangerous as the last. If the opponent
relaxed for a moment (thinking that perhaps there was a lull in
the storm) then down he would go to the next attack. There
were only two ways of beating this tactic, at least I only saw
two ways succeed: either to get in quickly before the attacks
started, which meant almost super-speed off the mark, or to try
and tuck the head in and 'weather the storm' so that a counter-
blast could be attempted when there was a lull.
Daigo was the other extreme (sixteen-and-a-halfstones, twice
all-Japan Champion). His shiai was not greatly different from
his randori (apart from purpose) his movement was very smooth
and graceful, then with no warning-woosh I-he could hurl
his entire bulk straight at the other man. It was like being hit
by an express train. His throwing of weight was paced with
comparatively long periods between. His style, even in contest,
was so relaxed, that many criticized him for being too easy-
going. However, he could 'channel' his power into several
techniques with equal effectiveness and few could stop them
once started. It is interesting to speculate (with these as
examples) which comes first, 'the egg or the chicken'. Are
tactics a reflection of personal characteristics or are they a
product of a certain type of physical training?
Power Curve
Possibly because of the past general acceptance of the premise
that box-or stick-like qualities are intrinsic in man, and hence
he can be thrown like a box or a stick, little analytical observa-
tion has been given to the dynamic movement which produces
the power so necessary to achieve a throwing success.
3
66 JUDO FOR THE WEST
Many judo players, having absorbed the theory of the
'stick', do try to imitate a stick or a box, some with a remarkable
amount of success. During their puppet-like perambulations
they will from time to time rise stiffly on to their toes in order
to try and pin the opponent to the ground like some giant moth.
Such gyrations seldom, if ever, meet with success, but this does
not appear to deter the performer. One can only assume he is
satisfying some deep-seated abstract metaphysical yearning for
perfection which does not need mundane proof of effectiveness.
What then doeshappen when the body is producing power?
By looking at any form of powerful movement, which is
momentary and maximal (e.g. javelin throwing and shot
putting) it can be seen that the body arches into the action.
Certainly in ajudo throwing technique this happens (see Plates
63 and 71). Because maximum power is required at the power
point, just prior to that moment the body can be seen to arch
into the direction of the throw. It is quite a momentary thing,
for immediately its object is achieved (the throwing of the other
man) the body will start tucking forward in order to guide the
opponent onto his back. Because it is only there for a fleeting
moment, it is seldom caught by still photography, but can be
seen quite clearly in loop films of skilful competitive throws.
This body curve is not a simple fore and aft bend in the
sagittal plane for, if it were, strains and tears would be an
ever-present hazard, as this is not a strong body shape. In the
curve, I recommend a horizontal rotation in the pelvic region
as well as the overall body curve. It is the resultant combination
of these two movements-linear curve and lateral twist-which
gives the kind of power required. To generalize, the leg on the
inside of the throwing arc drives the body into the sagittal arc
and at the same time the straight leg (see 'Legs' page 75) offers
a fixed point about which the outside hip rotates forwards or
backwards to obtain the desired power effect. It is not always
easy to see this movement in all throws, but I do insist that it is
there and can be found, for it is a 'natural' movement (demon-
strated when anyone is asked to push or pull strongly for any
purpose) so that if initial care is taken and the right kind of
guidance given, the class should do this type of movement with
very little direct instruction (certainly it would only be men-
tioned specifically at an advanced level of skill). The greatest
GENERAL FACTORS 67
difficulty usually comes in projecting this type of movement
on to a class when they have been 'got at' already and have had
natural movement taught out of them. It should be appreciated
that it is just as easy to teach things 'in' as out. (One of the
relevant contemporary queries in coaching is, to what extent
can sport be over taught?) However, if the coach uses his
professional cunning, his class will unconsciously appreciate the
necessity of this type of movement during an attack, so that by
the time they have reached an advanced stage he will only have
to put a few finishing touches to make it a very powerful
'tsukure-ing' movement.
As a brief digression, it is interesting to note how body shapes
project emotion; and how the strong shapes are used for 'strong'
emotions (i.e. courage, happiness) and the weak shapes for the
'weak' emotions (i.e. caution, meanness, misery etc.). The
various forms of dancing, ballet,8 ethnic, 9 educational,10
epitomize emotions expressed through movement, where the
expanded, open chest, arched back, and arms wide stance,
expresses joy, honesty etc. and the forward, chest hollowed
crouch indicates the sad, desolate, lonely person.
Could it therefore be said that just as much as the 'better'
types of emotion are expressed by an 'open' posture, the 'open'
posture generates the better feeling? If this were true, one of the
ways that the enjoyment factor (see Chapter 1) in a class
could be improved, would be to see that the class moved in this
kind of 'open-chested' manner. Because such a movement
style was enjoyed, it would help them to retain this general
postural movement when an attack was made. For although
the actual form of power curve would vary somewhat according
to the flexibility of the man doing it and the type of throw being
attempted (a backward throw requires something slightly
different to a forward throw) the basic ingredients of back
curved, chest expanded and a twist at the hip level, would
always be there. It should be appreciated here that such a
shape is essentially dynamic and therefore to use posed pictures
as a guide to throwing requirements can be extremely mis-
leading. Dynamic power is not needed then because the oppo-
nent is passive and a set of throwing conditions can thus be
manufactured which are completely different to those existing
in a practical competitive environment. .
 68 JUDO FOR THE WEST
Although this discussion of a power curve has been in con-
nection with throwing, it does not mean it is inapplicable to
ne-waza, although dynamic power in ne-waza is not often
required in maximum amounts or instantaneously. Usually the
performer can use applications of power of less than maximum
at more frequent intervals as compared with his power expendi-
ture during throwing attacks. Be that as it may, the postural
shape is still the same; when the attack is made, be it osaekomi,
shime or kansetsu, the hips drive forward arching the back
with the head high or back (in relation to chest). It was often
confusing in the past because the basic ingredient of nage-waza
and katame-waza differed. In nage-waza it was advocated
that the body should be curved forward, whereas in katame-
waza the body was said to curve back. I for one always had
difficulty in reconciling these two opposing manifestations
presumably stemming from the same principle. If a principle or
a factor is to be basic, then it must apply in all circumstances.
Control Curve
When control of the body must be sure, a curve forward will be
naturally produced. In the power curve, for example, the body is
fully committed in a certain direction for a specific purpose-
maximum power-which means once launched the owner
has very little control of it. Even to stop will take a lot of effort
and will sometimes even cause injury; it is like an express train
at full speed for as Newton's First Law says: 'A body in motion
will move in a straight line, unless acted on by a force.'
However, when the body needs control, when some kind of
movement problem has to be solved, or care exercised, the body
will crouch forward. But in addition to it being a 'control
posture' it can also be a negative, defensive one.ll As we saw
in the 'expression through posture' in dance, it can show
cowardice, fear etc. and it is this aspect the coach must pay
special attention to. For whilst the trainee is crouched forward
in order to keep control over a situation, perhaps biding his
time, trying to assessthe type of tactic to be used by his oppo-
nent, all is well and no worry need be felt, but once it becomes
negative or defensive and is consistent (for naturally it will
occur from time to time in the best ofjudo men) the coach will
have to try to alter the frame of mind which has produced
GENERAL FACTORS fig
such a posture. For once a man is mentally geared to defence
or negative play, his ability to improve skill will decline rapidly.
It is difficult to get speed from a negativecrouch as distinct from
a cautiouscrouch, for instance, and as we have agreed (I hope)
speed is essential.
Acceleration
Pursuing the important subject of speed, let us consider how
it is obtained. Basically there must be a high rate of acceleration.
Acceleration in mechanical terms is the rate of change of speed
and the crux of the matter is in overcoming the body's moment
of inertia ('take off' ability). Physically, what does this mean?
Which is the best part of the body to move first in order to
move away quickly? Take a simple example: stand up straight
and still. The object is to move forward as quickly as possible
without moving the feet. How to achieve it? Try moving the
shoulders forward quickly. It will be noticed that in this in-
stance the body will move backwards!If the hips are thrown
forward first, then the body does indeed move forward. Notice
how the sprinter comes off his blocks. The hips are thrown
forward in order to get him up and away in the shortest possible
time.
So in the judo attack. The hips lead the attack (with the
help of the feet-see page 78). They are thrown forward first
in order to get a high rate of acceleration. If the shoulders are
moved first, as often advocated in past instruction, then as was
seen in the static demonstration, the body will tend to move
backwards, which is not quite what is wanted.
There are a couple of very useful side products of the hip
forward acceleration movement. (I) The reader will readily see
how it joins in extremely conveniently with the power curve;
the two merge together with no break between them. The surge
forward for speed links easily with the arch for power. (2) It
helps the attacker to get past the opponent's arms when they
are used defensively. With the 'movement of the shoulders first'
theory, the obvious way of stopping the attack is to use the
arms held stifflyin front to stop the movement of the shoulders.
Because of the general lack of understanding of movement on
the part of many instructors, this stiff arm defence became a
recurring problem in the judo world. Every way one turned
 70 JUDO FOR THE WEST
there was the great cry of 'What do I do about stiff arms?'
It never seemed to occur to anybody that the problem was a
product of bad movement training rather than a problem in
itself. With good movement teaching, the problem virtually
disappears. For when the attacks are continuous and threaten
all parts of the body equally, rigid arms are no longer the most
effective defence. Here is the advantage of the initiating hip
action. The hips by moving first have an excellent chance of
moving forward below the defender's effective arm range, and
before the defender is able to adjust his hand position the
attacker is in and the damage is done-a throw! Because of
the fast, strong, unpredictable movement of the hip, the
defender can never afford to be static in defence-keeping his
arms straight. He must be ever on the move so that he can be
ready to stop the attack by moving out of the way from which
ever direction it comes.*
The matter of acceleration links closely with power. A point
often overlooked in judo training is that power is a product of
mass multiplied by speed. Putting this into a basic mechanical
equation:
Force = Mass (weight) X velocity(distance x time).
. = Velocity
AcceleratlOn .......
Ime
_ (maximum velocity for duration of action)
- (duration of action)
An interesting fact comes out of this consideration. Distance
is an important ingredient in acceleration and speed, another
point seldom appreciated. For example, it was said that a
throwing attack should be started as close to the opponent as
possible so that he had little time (distance) to block it. But
because the attacker had travelled such a short distance he had
no time to build up momentum (power) and therefore any
benefit he had from a surprise (usually none) was more than
* It is interesting to note how the 'battle of two' can be so similar to the battle
of many. To read of the battle of Caen in the Normandy invasion, where the
invading army tried different directions of attack (on both flanks) with variation of
strength, is fascinatingly like a contest between two skilled men. However, war
is hardly a sport!
GENERAL FACTORS 71
offset by the lack of power-usually resulting in a successful
counter. It is usually found empirically that the opposite is the
best. The good judo man is usually prepared to sacrifice
surprise in order to get power. Mter all there is little chance of
catching a man unexpectedly in a contest anyway, for he is
'keyed up' to expect anything anytime-he is in competitionnot
out for a walk! Then again, when a man is very good he will be
widely known for the one or two throws he uses. Indeed when a
common name like Watanabe is met (the Japanese equivalent
of Brown) confusion is often avoided by using the man's
favourite techniques as the distinguishing 'Christian' name.
The chance of surprise in these circumstances is even further
reduced. The opponent will be quite aware of what ought to
come and will be waiting for the well-known attacks, in which
case speed, power and accuracy are far more necessary than
surprise.
Therefore the skilful man gets as far away from his opponent
as he can, so that he has the greater distance to travel; and the
greater the distance, the greater the rate of acceleration, the
greater the speed, the greater the power. In addition, he will
often wait till the opponent is moving backwards (when
throwing forward) in order to yet further increase the distance
travelled (one of the reasons why this type of movement is used
in the Group Method) and so again there is an increase of
power.
The coach and the performer must realize that the opponent
is not, as he is often depicted as being, an empty-headed stick,
walking quite blithely into any attack the other man cares to
try. It is not enough to expect that if a leg is stuck out, the other
man will vacuously trip over it and fall down. No! the opponent
is a quick-thinking, highly-trained, active man. If he is to be
beaten he can only be beaten by skill, supported strongly by
speed, power and tactics.
Again, it is an interesting diversion to speculate on how this
idea that the opponent was some kind of moron, happy to walk
into the crudest of attacks, came about. Perhaps it is something
left over from the teaching of jujitsu. In most of the 'schools'
the basic concept was the opponent (or enemy) did not know
the 'tricks' used by the fighter. Hence all jujitsu was practised
behind locked doors in secrecy. The element of surprise was an
 ~
72 JUDO FOR THE WEST
essential part of the technique; therefore they could assume that
the mere unexpectedness of the 'trick' supported often by a kiai
scream, (momentarily stunning the enemy into non-activity),
would be effective. If the 'tricks' or system became generally
known, defences against them could be formulated and death
could often be the price of an unsuccessful attack! In judo, of
course, none of this applies; all have a very good idea of what
can happen, and to base any technique on the element of
complete surprise would be rather futile. The only question
of surprise is when the attack is so fast that the opponent does
not see it start. Only when the theory of technique is approached
in such a realistic way, will real progress be made.
Body Movement
It can be seen from the previous two sections, 'Power Curve'
and 'Acceleration' that body movement is important. It is
the source of any and all the power needed to bring off a
successful attack. Therefore, as a simple dictum for the coach
it can be said that in any throwing situation body weight must
move in the direction required by the throw (see 'Legs' page 75).
Without this, there can be very little power available for over-
coming the opponent's instinctive defence.
Chest Contact
We must now consider the time-wearied slogan of 'chest
contact'. The theory was that with any technique of the type
like harai-goshi, uchi-mata etc. the close contact between the
attacker's and opponent's chests is essential. I do not consider
this is necessary or even true.
At best it is a piece of advice useable merely as a 'teaching
cheat' i.e. taught in order that something else is actually
achieved. At worst, 'chest contact' can be misleading and time-
wasting because it is fallacious. If it is treated as a 'teaching
cheat', it can only be assumed that the object is to make the
attacker try to pull the opponent in close. The resulting
forward movement of the opponent would perhaps facilitate
the throwing action. But this does not happen often. What
does, is that the man becomes over-conscious of the importance
of 'chest contact' and the continual striving for it actually
restricts the real attacking movement. His whole concentration
GENERAL FACTORS 73
and attention is centred upon his arms and shoulders, and no
good can come of that. When too much attention is centred on
one particular part of the body, the rest will suffer. In this case
it means the rest of the body has great difficulty in moving
smoothly and quickly for all the energy seems drained away
into the arms. The judo player has got to learn to move as a
whole, not as several isolated parts.
What is the supposedly good thing about 'chest contact'?
I assume that it is to lock the bodies together so that as the
attacker moves so does the opponent. In this case there are two
points to be considered:
I. Cannot the 'locking together' be achieved another way?
Particularly when the opponent's straight arms will always make
the achievement of it difficult anyway.
2. Is not this so-called necessity of chest contact based upon
the static pose of both men? When standing still in a pose
some very definite measure must be taken if there is to be any
control of the 'opponent'; otherwise he simply starts moving
and walks away. Chest contact might appearto be the answer, in
these circumstances, but in an action where there is speed and
movement, chest contact is made pointless, for speed of rotation
will supply the driving or locking force. Remember static
movement is not the same as dynamic movement.
When we consider the practical aspects of technique we
will see that the mere existence of the opponent's arms will
make quite sure there never is any chest contact for as soon as
the opponent feels any movement of the shoulders forward, his
instinctive reaction is to push off with the hands. Therefore if
some kind oflocking action of the bodies is required (and let's
agree it is, see section on 'legs' page 75), it is best done at the
hip level. Nothing can stop the hips moving forward and the
opponent's only chance is to move completely out of the line of
attack. Once they are in position the hands pull in tightly
trying to maintain contact. (If chest contact is insisted upon,
surely here it is, not literally, but through the stiff arms of the
competitors!) The right arm attempts to make this movement
easier, by going up or down, suiting the movement type of
those involved (see section on 'arms').
In competition, provided there is plenty of speed and
movement into the attack, there will be ample attacking tension
 ~
74 JUDO FOR THE WEST
to hold the opponent so he cannot move away. With that
object achieved, the taking of his legs from under him is easier
and can be achieved without locking the upper parts of the
bodies with superfluous 'chest contact'.
Turning
Another aspect of body movement needing some consideration
is the kind of turn required in frontal attacking types of throw.
As has been described earlier, when the body is moving forward
into an attack, at some point it must turn (through approxi-
mately 180 degrees) in order to throw the opponent forward.
For speed and power to be maintained and possibly increased,
the turn must happenas quicklY aspossibleandonlYwhencontactis
made with the opponent.
A common fault is that the attacker starts to turn immediately
he begins to move, so that his turning speed is spread out over
too great a time, which means it is too slow (comparatively)
and therefore power is lost. To revert to mechanical terms
again, the transition from linear velocity to angular velocity
must take place with the minimum time lag.
In practice what does this mean? The attacker throws the
hips forward (for acceleration) then the moment of change
from accelerating curve to power curve is used for the turn-
and this turn must be made just as the bodies are about to make
contact (like a friction clutch). The turn therefore takes place
with a 'snap', one moment the attacker is facing one way, the
next instant the opposite. The hips initially lead the shoulders,
then as the hips reach the limit of their rotation, the shoulders
take over and start to rotate faster. It is this 'snap', the almost
jerk-round at maximum speed, which boosts the power of the
attack. Typical examples are of course uchi-mata, hane-goshi,
harai-goshi, tsurikomi-goshi. In technique where there is no, or
very little, body contact, e.g. certain te-waza, ashi-guruma, the
turn or twist must still be short and sharp and just beforekake.
An excellent example of this was Osawa, famous for his spin
turn ashi-guruma. He would be facing almost square to his
opponent during the whole of the cross step at the start of
the turn. Only when the left leg (he was left-handed) was
moving across would the body flick or whip round to the new
position.
GENERAL FACTORS 75
The head (see page 80) can be of great help in achieving
such short transition periods, for the quick turn or twist of the
small mass (head) is easier than turning the larger (body)
initially, so that the head is used as a form of servo-mechanism;
the turning of the head turns the body.
Legs
Legs (and feet) have a very important contribution to make to
any throwing action, so let us consider them in some detail.
But before doing so, I would like to make some critical com-
ments upon past theory appertaining to leg action.
The use of the legs was always seen as a means of 'jacking up'
the opponent in order to throw him down. Because of the static
conditions in which the theory was evolved it could easily be
shown that this was an extremely effective way of throwing.
The demonstrator would get close to his partner with his knees
well bent and then by holding the partner tightly to him,
straighten his legs and easily lift him clear of the ground (it was
often accompanied by verbiage relating to the strong muscle
groups of the thighs being very capable of performing such a
feat). The only snag was that such circumstances were nothing
like those met in real competition (see 'transference of skill'
Chapter I) where the opponent is moving fast and trying to
stop any possible attack. Because of such facile demonstrations
and because the Japanese judo men insisted they did it this way,
Britons for several generations have been slavishly trying to
follow it. The time-tattered battle cry of 'get lower' has echoed
across the years of training.
Bitter experience has shown this 'jacking up' action to be very
difficult; most men trying it would collapse in a messy heap
under their opponents. But did this cast doubt on the principle?
Of course not! The answer was that the Westerner had inher-
ently weaker legs than the Japanese, * therefore in order to
achieve success he would have to make his legs stronger. He
must do umpteen thousand squats a day!
* ParnellU implies in his book that as only Caucasians (mainly) have so far
been used in the various experiments in anthropometry, it is possible that other
racial types could manifest different and peculiar characteristics. But till definite
experimental proof has shown that orientals in fact are stronger in the legs than
occidentals, I will asstlme that for all practical considerations they are the same.
 ~
76 JUDO FOR THE WEST
To me, this is a good example of the need for Britons to
devise their own methods of training. Ifit is true (which I doubt)
that the Japanese are strong in the legs and we are weak, why
try to copy them? Why try to use a national asset we do not
possess? Why not turn our (so-called) weakness into a strength?
If we cannot use the bent legs because of our weakness, why
not keep them straight? A straight leges) can support almost
any weight, certainly any normal body weight, and what is
more, in my opinion, a straight leg is more efficient anyway,
dynamically speaking.
If we consider this as a possibility, the theory of ~acking up'
must be re-examined. Is it the only way of throwing? Indeed,
is it the best way? Certainly the answer to the first question
is 'no'! As to the second; do we really want to lift the man up?
It is strictly and truly work done (in a mechanical sense-weight
through height) but it would appear to me to be unnecessary
work, for we want to throw the man down, not up.
If the 'two-types-of-throw-only' theory is accepted (see
page 55) all that is really required is for the opponent to be
rolled forward, or backward, over an obstacle put in his way-it
will usually take the form of a foot, leg or body. In this way the
opponent's body weight is not raised at all, making the effort
needed much less.* All that is required of this 'obstacle' is
that it does not collapse, or fall down when it takes the weight
of the combined bodies. The easiest way to achieve this is to
support it with a straight leg. Therefore I recommend that in
any throw, at the intermediate or advanced level, there should
be a straight 'inside' leg. By 'inside' I mean the leg which is
inside the throwing arc of the attack. For example in the
haraigoshi type of attack the left leg is kept straight; in the
deashiharai type of attack, the right leg; in the backward
throws the left leg.
The straight leg has one minor and two major functions to
fulfill. The minor point, as we have seen, is merely to supply a
non-collapsible pivot point; the two major points are concerned
with the need for a fixed radius for (vertical) rotation and a
fixed rotational point for the right hip (horizontal). Let us look
closely at these:
· This principle was shown very admirably by Mr Hopper, Senior Lecturer at St
Mary'. Collegc, Twickcnham, at the B.J .A.'. National Tcchnical Conference in 1961.
GENERAL FACTORS 77
(a) The straight leg is to act as a prop, or a vertical radius
of rotation about which the attacker will move. Because the
opponent's centre of gravity does not need to be raised the
attacker's body need not be completely under it, so the left
foot can be placed OUTSIDE the base area (trunk) of the oppo-
nent, in the OPPOSITE direction to that of his fall. The attacker's
hips are now sufficiently under the centre of gravity for rotation
to take place and it only requires the opponent to be moving
slightly forward initially, in the direction of the throw, for
success.
(b) Once the left foot is in position, the leg locks straight to
afford a fixed point at the left hip. (This is not strictly true
physiologically speaking, but for practical purposes it is
convenient to consider it so.) With this point fixed, the right hip
can start to rotate forward to develop angular momentum and
hence power.
In the past, when a straight leg was considered one of the
worst errors a beginner (or anybody else for that matter) could
commit, it was again looked at from a static viewpoint. Attack-
ing on balance or upright, as was then expected of the novice,
very clearly showed that a straight leg balance was most
unsuitable. Not only could the opponent easily pull him
backwards (counter) but failing that he would almost certainly
fall backwards. However, as soon as it is looked at dynamically,
the situation is quite different. The attacker is never, at any
moment, in a 'state of equilibrium'. Right from the outset the
attacker is 'driving' into the direction of the throw; therefore
he puts his left foot outside both his and the opponent's base
in order to make the fall-away even more effective.
To the 'traditional' reader this may come as something of a
shock (not to have the left foot in between the opponent's feet
for haraigoshi, probably sounds ridiculous) but if he thinks
about it clearly, I am sure he will see how sensible this is.
The next point is, can a man jump on to a straight leg?
Well he can, but it is very unnatural and therefore very
difficult. He will invariably land upon a bent leg so that the
shock oflanding is absorbed at the joints and is not carried up to
the head (to produce a good range of headaches) but this is a
reflex bend, not a conscious one. So in fact he will land on a
bent leg and it will then straighten, but to what purpose?
" -.-.--
78 JUDO FOR THE WEST
In this particular context the straightening of the leg helps to
drive the attacker into the direction of the throw, that is forward
if it is a throw to the front. The upward component of the
straightening force is ignored and only the forward component
used. If the throw is to the front, the opponent will 'fall' forward on
to the hip of the attacker and in this way he can be rolled over it.
When it comes to the point of actually teaching the idea of
the straight leg, the form it will take will largely depend upon
the standard or type of skill being considered. With beginners,
the type of throw used in Groups 2 and 3 can have the straight
leg incorporated right from the start. At this stage the left foot
could be insideor outsidethe partner's feet for Group 3. With the
Group I variety it is sometimes better to concentrate upon a
good tuck with the legs well bent, so the feeling of tucking and
rolling is emphasized. Once this point has been appreciated
then again the straight leg can be introduced.
Perhaps difficulty is visualized when applying the principle
at an advanced stage to sutemi-waza. In fact here, perhaps
more than in any other technique, is the power and effective-
ness of a straight leg illustrated. The issue is not clouded in any
way by the body contact and it is easily seen how the body falls
from the straight leg thrust close to the opponent. Much of the
power will come from the positioning and the action ofthe foot,
so let us look at that.
Feet
Feet are an essential part of acceleration and they help to drive
the hips forward into the power curve. So strong feet with good
ankle flexion are a very useful asset for a judo man. When the
attacker's body starts to fall forward the ankle and the foot will
help to support the weight. In fact, as the opponent's weight
starts to move forward, the ankle extends to its maximum to
reinforce the forward drive. This will apply particularly in
throws like haraigoshi and uchimata (see Plates 66 and 69).
I am often struck by the weakness and feebleness of the
average man's feet. Only too often are they lumps of bone and
skin stuck at the end of his legs, on to which he rams ill-fitting
shoes or boots. He probably never sees them from one year's
end to another, apart trom bath time and when he steps on to a
judo mat. An indication of the indifference shown them, is
GENERAL FACTORS 79
when the glorious sun-tan stops at the ankle, showing the rest of
the body benefits trom the sun, but not the poor old feet-they
are still incarcerated in leather. It is quite amusing as well as
disconcerting to see the novice on his first evening in the judo
club appearing in his bare feet in much the same way as he
appeared naked for the first time in front of his doctor. Shy,
slightly embarrassed, with an unspoken apology which says,
'Well they are !nine, and you will have to make the best of it.'
There he stands on two pale unhealthy looking slabs with bones
and sinews protruding like tree roots after a flood. The toes are
long and fragile, often bent over each other-evidence of
wearing smart 'winkle-pickers'. It is on these he hopes to spin
and gyrate in order to develop a judo skill!
The picture I have painted above is a bizarre one and
perhaps over-stated, but nevertheless it does occasionally exist,
so if the novice has got such feet-and I sincerely hope he has
not-he had better do something about them. The first thing
is to go bare-foot as often as possible. Naturally the office is
'out', but what about the evenings and week-ends? Wriggle
them about, try and pick things up with the toes, anything to
help the feet develop a sensitivity of their own.
It is much harder to do this than would at first appear, for
there is a great social barrier against the 'wearing of bare feet'.
Snobbery is one-'Can't you afford a pair of shoes?'; conven-
tion another-'Everyone wears socks and shoes so why not
you?' Then of course there are the old wives' tales- 'You'll get
flat feet!' Even people who should know better spread some
weird tales about naked feet, generally because the high arched
foot is taken as the norm, whereas in fact it is simply a weak foot.
The budding judo man should try to ignore these prejudices
and get his feet strong. In addition to benefiting his judo,
pleasure can be found in using feet in their natural state-one
of the real minor pleasures of life!
However, to get back to judo. Not only do the feet support
and drive the body forward into the direction of the throw,
they also drive the body forward into its accelerating curve.
The foot is stamped into the ground and the reaction from the
ground plus the ankle flexion snaps the body forward into the
attack. So the feet have two occasions on which to drive by
extension; once to get the body moving and then again to
 ~
80 JUDO FOR THE WEST
change the direction of movement and drive the body forward
into the throwing direction. They do not stop driving until
tifter the opponent has hit the ground. If a 'kicking type' of
throw is used then the toes of the leg in the air must be curled
or bent backwards, this produces the right type of tension in
the leg (see Plate 67).
Similarly in ne-waza, the body should move on the toes.
That is the toes are bent forward (see Plate 43) so that the
movement made is fast and strong. If the toes are out flat (with
the instep on the floor) any movement made is from the knees
and therefore bound to be slow. The coach should see that his
students are always moving on the toes with light, fast, but
strong movement-all the time-in both tachi and ne-waza.
Head
Under this heading, the task of the head is to be discussed out-
side its normal function, which is, I hope, thinking! In a physical
movement, particularly a complex one, the head has a specific
role to fill, for it is almost a fifth limb.*
Anthropometrically the head is approximately ten per cent
of the full body weight-which makes it quite heavy. Such a
weight thrown about at the end of a (body-length) lever can
have some pretty formidable effects. In a complex movement,
the task of the head is to guide and control the body direction
and for this to happen the head must be able to move indepen-
dently of the body. To discover how important such a use of the
head is, one has only to ask the diver, gymnast or tumbler and
he will say quickly enough (if he is aware of it at all!). Yet in
judo instruction the contribution of head movement to any
technique is invariably overlooked. Indeed if the head is
mentioned at all it is usually to insist on its being kept still.
The head serves several purposes during a throwing action.
First it helps the hips to move forward, by moving quickly back,
it then turns the body by itself turning and finally it plunges
forward in order to help the body bend forward so that the
· Dr D. McDonald has discussed in an article18 some extremely interesting
ramifications of head movement and its relation to changes of the Moment of
Inertia during free fall. His first experiments were made upon cats, concerning the
famous example of how they land upon their feet when dropped from an upside
down position. Later he tried similar experiments on divers (particularly Brian
Phelps) to aee how they reacted to the same falling situation. The results were
extremely interesting.
GENERAL FACTORS 81
opponent can be decisively deposited on his back. To mention
head-usage specifically is an advanced instructional point, and
should not be given to an elementary student, when it would only
be confusing.However, if the right education is employed it is sur-
prising how often use of the head is exploited, quite instinctively,
by even the rawest of beginners. It is, after all, a natural action.
In defence too, the head movement is just as important as in
attack. Moving the head in a direction contrary to that of the
attack is often sufficient in itself to stop the whole attacking
movement. When supported by full body participation it is
sufficient to stop all but the very strongest attack.
In renraku-waza too, at any standard of performance, the
head plays an important part, but the higher the skill attained
the greater part it plays. The essence of any renraku is the
change of direction-to attack with one throw, as a feint, then
as the opponent resists to changedirectionand try something else.
Normally once the body has started moving in one particular
way, it is extremely difficult to change it. Such a change of
direction must be the consequence of the head movement.
With the awareness of its importance, and the subsequent
ability to use the head as a 'guiding limb', judo technique should
become more effective sooner. In some circumstances, depen-
dent upon the skill and enthusiasm of the judo group concerned,
it may be very beneficial if a short course of tumbling were
introduced in a judo club. It would help the judo players to
appreciate more quickly the range of body movement, un-
hampered by the 'struggles' of an opponent.
Again, the same general principle applies in ne-waza too.
The head will guide the attacker into the various holding and
locking positions, and will move the body in the correct direction
to frustrate the escaping efforts of the other man. It will 'guide'
the attacker from one position to another.
Conversely for the 'other man', the head movement will
help him to find and use an escape direction. For this reason it is
always preferable to 'fix' the opponent's head when applying
an osaewaza-and also why the kami-:;hiho variety is better
than the kesa variety. In attack or defence, 'standing' or 'on the
ground', the body will go where the head leads. The head must
therefore lead well. It should know what it is doing and where
it is going. The coach's job is to see that it does.
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82 JUDO FOR THE WEST
Tsukuri
Tsukuri is the attacker's body action, necessary to make the
opponent move initially in the direction of the throw. Provided
the opponent is moving, however slightly and regardless of how
(i.e. feet first, shoulders first or turning) it is adequate to
ensure rotation about the attacker's fulcrum (see 'Legs').
Undoubtedly it is one of the most important parts of any judo
technique, but by its nature, it is very subtle and hence difficult
to appreciate. Indeed I consider it is only the more experienced
player who is in a position to understand its full implications
and practical applications; because of this I do not teach it to
the elementary judo player at all, for I consider it only bewilders
and confuses him, detracting from the main objective (at that
stage) of throwing the opponent. I am reminded of the second
of Comenius'14 three simple teaching rules:
I. Do not hurry, for learning comes easily when the proper
stage is reached.
2. Avoid a difficulty which can be safely ignored, or at least
postponed.
3. When the difficulty must be handled, make the boy's
approach to it as gradual and as interesting as you can.
Because of its importance in technique many instructors
have, in their enthusiasm, taught the principle to the beginner
(often on their first night). Admirable though the sentiment is
it had many undesirable results. The novice would spend far
too much of his time trying to do tsukuri and not getting on
with the throw as such. In consequence this had the effect of
lowering the success rate (of throwing) causing interest in the
new sport to fade-lo and behold an absentee from the next
lesson-another possible club member lost. If he did survive
this despondent period (as many did) he invariably acquired
the impression that tsukuri is something separate from the
throw; first you perform tsukuri then, like an afterthought,
you can tack on any throw you care to. It must be understood
that in essence the throw is tsukuri; or to be more precise
tsukuri is an intrinsic part of a technique. *
· To cite an instance from another branch of sport, the 'long jump' has II 'run
up', a 'take off', and a 'landing', The 'run up' must be considered as an essential
part of the jump; it cannot be ignored because it occurs before the jump proper.
GENERAL FACTORS 83
Tsukuri should be done by a whole body movement and
notby some local movement of the hands or arms. It is all right
to demonstrate happyo-kuzushi in the time-honoured way of
standing a man up straight and tipping him over in a rigid
box-like manner by use of the hands only-as long as it is
understood that it is only a demonstration of the theory and not
a practical way of doing it! The reader is again reminded that a
man is not a box. It is worth considering, for practical purposes,
that the average man has had many years' experience of the
situation where his shoulders are unintentionally moved outside
his base area (feet) and so he also has much experience in
regaining his stable position (by moving his feet). This 'trick'
he learnt when he was about a year old! Therefore, when he
joins the judo club he is much better at 'regaining his balance'
(from years of practice) than his partner, of a few weeks'
practice, will be at tipping him in some arbitrary direction.
Incidently there are of course not just eight directions to
'break the balance', the number is limitless-360 multiplied
many times!
Hands
The illustrating of tsukuri by tipping boxes on to their sides,
has had another detrimental effect upon the practical aspects of
throwing. If one wants to tip a box forward on to its edge,
then almost certainly the best direction to pull it is slightly
above the horizontal. But if the reader now agrees that we
cannot think of boxes when discussing throwing a flexible man,
perhaps such a direction is now not the best. And invariably it
is not the best when related to an active man.
Treating the opponent for what he is, a fast mover, capable
of anticipation and avoidance of any attack, the hand action is
better thought of as 'fixing' him in position to the floor-pulling
forward and downwards. Such a pull is only momentary and
is usually in the form of a jerk. The hope is that the quick
unexpected jerk will have the effect of 'freezing' him momen-
tarily as he is, so that the body can be moved into a
particular direction. Immediately the hands have achieved this
'freezing' function, they can then start to pull, although there
is no break in the actions. But now the intentionis to pull tlz4
attackerto the opponentNOTthe opponent to the attacker.
 ..............-
84 JUDO FOR THE WEST
In other words, the hands act something like grappling hooks,
simply holding the opponent where he is, then pulling the
attacker into the opponent in the next flash.
There will, of course, be slight variations in hand movement,
depending upon the type of throw attempted, but certainly
in the early stages of training I would recommend this simple
version of the hand action. Because of its simplicity there is less
risk of the novice putting too much effort into his arms and
shoulders and so giving 'warning' of the attack to come, which
would have the reciprocal effect of making the other man's
arms stiff as well, in preparation for defence! It is preferable
for him to keep as much of his 'feeling' in the lower part of his
body as possible, thus facilitating the foot movement essential
to any good attack.
Also, pulling down, in the early elementary stage, will be
quite adequate for the beginner's purpose, for he has enough
to think about without having to worry about his hands. To
move the hands in different directions and at different speeds
(both different again from that of the feet) is obviously a very
skilful job and therefore the teaching of such a skill could best
wait till the men concerned have much more experience ofjudo.
Later on, during the later stages of the intermediate period
and the advanced, the coach will have to give more attention
to the use of the hands. As a necessary part of any good skill
they must be able to work separately and independently, up,
down, sideways and inwards. No direction is then the 'right'
one; every attack will be different and require a slightly different
use of the hands. The training will have to show how to use the
hands as feelers: is the opponent right- or left-handed, has he
fast or slow reactions, what kind of throw will he probably use?
All the answers to these questions should be supplied by the
hands. Depending upon his interpretations of the exploring
hands the man will decide his tactics. All this will take place
in the opening seconds of any competition. With tactics decided
the hands will start 'playing the catch'; they will set up 'diver-
sionary' raids, pushing this way, pulling that, trying to find a
weak spot in the opponent's postural defence. The other man
must equally, by the use of his hands, be attempting to decide
which are the feints, which are the 'feelers' and which are the
preparatory movements for the main attack. For once the
GENERAL FACTORS 85
weakness is found, the hands tell the body to attack, and then
skill and power take over. It is this subtle feeling for an oppor-
tunity that spectators can find so boring, but it is an essential
part of any real top-class competitive judo skill.
Arms
NAGE-WAZA
After considering hands in such detail we must not forget the
function of the arms. Here again a close inspection of past
dictums can be beneficial. The usual line of instruction has been
that the left arm pulls upward, and to help achieve this the
elbow must be kept high-even above the shoulder line-and
the pull made along this 'high line'. I consider this extremely
dubious advice from the aspects of both physiology and
technique. Physiologically speaking the arm is not made to
pull this way5 and if persisted in will invariably result in strains
or tears. The best position is elbows in close to the body, where
the arm is both safe and strong. To extend the situation beyond
the limits of judo, can the reader visualize any other strong
pulling activity, i.e. tug-of-war,15 where pulling is done with
arms away from the side of the body? Technically too, does
one really want this upward direction? It invariably helps the
opponent to jump over or around the attacker. As discussed
earlier it is much better to make the pull downwards, trying to
fix the opponent's feet to a spot, so that he cannot move (or is at
least restricted) once the attack has started. Some may say that
he would simply collapse, but this is not so; his nervous tension
alone, as a result of the attack, would be quite sufficient to
make him instinctively brace against the attack and therefore
adopt a momentary 'frozen' posture which is so conducive to
defeat.
The keeping of the left arm close to the body is, of course, a
general comment, for a general condition. In the more advanced
stages of the judo skill, the left arm may be called upon to do
several kinds of special movement. These movements will
depend upon specific throws. For example, if an opponent is
crouched defensively, perhaps the left hand will snap upwards
in order to try to get the man up a little so that the attacker can
'wedge' a part of his body in somewhere; or again it may even
have to do circular actions to disturb the man's equilibrium.
l ..............-
86 JUDO FOR THE WEST
Whatever use is made of the left hand, it should, if at all possible,
always return to a position close to the body after its initial
task has been achieved. For that is the only strongposition of
the hands-close to the body.
In much the same way, the use of the right arm can be
studied. The right hand is usually the stronger of the two (in
every respect) and therefore has quite a wide range of uses,
depending on relative sizes, throws to be attempted, direction
to be considered, tactics adopted; all will affect the use of the
right hand and arm. So let us have a look at some of them.
(a) As a Major Part of the TsukuriAction
Here is the most 'technical' use of the right arm. It helps the
attacker very obviously to achieve tsukuri, and is best seen in
techniques like tai-otoshi and tsurikomi-goshi.
More specifically it goes forward and up, trying to bring the
opponent slightly forward, but mainly attempting to 'freeze'
him whilst the attacker gets into the throwing position (inserting
the fulcrum). Once the body is in position the right hand usually
changes to pulling or pushing downwards as well as forwards
(depending upon the comparative height of the attacker).
(b) For Maintainingthe 'Status Quo'
Sometimes the attacker simply wants to hold the opponent
where he is so that he can better manoeuvre into position to
knock his legs from under him (see page 55). Examples are
uchi-mata, harai-goshi, hane-goshi and some variations of
o-soto-gari.
The right hand here prevents the man pulling away from the
line of attack whilst his legs are knocked from under him so
that he falls DOWN(not up and then down) and in such a case
I see no reason why the right elbow cannot go up as does that
of many highly skilled players (see Plate 67). If the elbow is
arbitrarily kept down it can (and often does) restrict the hip
movement of the attacker, particularly if the attacker's shoulder
girdle is stiff or if there is poor flexibility at the waist region.
In these circumstances the elbow should certainly go up.
To illustrate this point, I noticed in a European Championship
(1963) that several Russians hold 'upside-down' with the right
hand; that is the thumb is downwards with the fingers on the
GENERAL FACTORS 87
inside of the collar. Such a grip affords maximum hip range and
movement, particularly in such techniques as uchi-mata and
harai-goshi, because the arm can swing well out of the way.
It also had a very disconcerting effect upon the opposition.
Very few had any 'answers' to it.
Most important of all in the 'elbow up' controversy, one
must face the problem squarely. If the elbow wants to go up,
and the student feels more 'comfortable' that way, then let it.
Do not give the student a guilt complex about it by continually
telling him to keep it down. Once up, recognize it as being best
(for that man) but make sure it is strong. For instance, a
common weakness, particularly when the elbow is up un-
intentionally, is that the wrist is allowed to bend, which
makes the finger-grip weak. The opponent's collar is easily
torn out of such a grip, so the wrist should be held straight,
thus making the grip strong. Another point to watch for-the
forearm must not be allowed to go past the centre line of the
body, for again a weakness will appear. It is, as always, mainly
a question of studying each person's particular body-type,
temperament and flexibility, and advocating accordingly
elbow up or down, for the technique chosen. It must be made
strong and effective in each case.
(c) Non-use!
Here the arm is not used. Its ability to get in the way is recog-
nized and so it is 'eliminated'. Examples are uchi and soto
makikomi, ippon-seoi-nage, and ko-uchi and o-uchi makikomi.
The limiting element of the right elbow when kept down is
fully understood (although not often consciously) and that is
why the hand is freed from the collar and the arm thrown out
of the way. (One could almost say that the elbow up is halfway
between (a) and (c).) Such a throwing movement of the arm
can also be used to accumulate momentum and so help turn
the body into an attacking position.
(d) As a 'BodyPusher'
This occurs when the attacker wants to obtain maximum
transference of 'body push' from his own body to that of his
opponent. By placing the right forearm alongside the opponent's
rib cage he can use this as a 'buffer' and drive straight through it.
 ...............
88 JUDO FOR THE WEST
Examples are orthodox o-soto-gari, forms of tai-otoshi and
tsurikomi-goshi.
This action joins up easily with (a). Again the main point to
remember is that the body is pushing through the right arm.
For example, if teaching tai-otoshi, it is no good allowing the
weight to remain on the attacker's left foot, because then there
is no drive with body. In ouchigari the hips must be forward of
the left foot so that, again, the whole weight is driving, pushing,
through the right arm. As mentioned elsewhere, the body of
the attacker must be committed.
(e) As a Spine Bender
When an opponent is being particularly defensive or negative,
normal tsukuri action is invariably inadequate, due to the
extremely strong postural position. In this case more positive
methods need to be adopted. Usually results are achieved by
moving the right hand from the collar and wrapping the right
arm round the opponent's neck. With this hold the spine-which
is, as it were, a symbol of the man's strength-must be bent
towards the direction of the throw. Examples are osotogake and
koshiguruma.
It is very difficult to 'trick' a strong and experienced opponent
into an 'unbalanced position' (I include tsukuri in with this)
and so such extreme measures have to be employed occasion-
ally. It should be kept in mind that 'Ju' is not the only principle
accepted in judo circles, occasionally 'go' is also acceptable, i.e.
strength, hardness.
In order to have any effect upon such a defensive person
it is more important than ever to bend his back in the direction
ofthe throw. By bending the head of the opponent (using it as a
lever) the spine will automatically follow the head movement.
A right arm wrapped round the head will serve this purpose
adequately.
(f) For Control of Direction
Occasionally the right hand is only wanted as a guide to get the
opponent on to his back during his journey into the ground.
Much of the real throwing work has been done (by other parts
of the body) and the hands are only adding the finishing touches.
Examples are orthodox ko and o-uchi-gari.
GENERAL FACTORS 89
This control by the hands is of course a very skilful matter.
The epitome of such hand action is pure te-waza (e.g. uki-
otoshi). In normal technique the use of hands is usually only
required to guide the opponent on to his back.
In practice of course, such use of the right hand is not always
so obviously categorized (life is never that simple). Sometimes
the functions will overlap; the arm possibly doing several of
these jobs at the same time. The point I wish to make is that
there is certainly not just one kind of action for the right arm,
as is so often inferred. For instance the past general dictum
invariably insisted on was 'the right elbow is kept down at all
times' (so that it functions only as (a), or (d) above). To insist
upon such an arbitrary 'rule of thumb' is wrong. The coach
must decide first what the 'duty' of the right arm is to be and
then upon that decision must he guide and help each individual
pupil.
So, to conclude, each case must be taken on its merits.
The coach must, as always, look closely at the particular
technique and decide what has to be done to improve it. The
coach should not attempt to apply all-embracing dictums to
specific techniques, and certainly should not accept them as an
ultimate truth without a lot of thought. He must apply his
knowledge and experience to discover the good and the bad
points and then attempt to eliminate the latter.
NE-WAZA
As is said elsewhere, if a basic factor is to be basic then it must
apply in all conditions. So with arms; they serve the same kind
of purpose in katame-waza as they do in nage-waza. They are
kept close to the body, in a strong position, pulling the attacker
on to his opponent. The hands will feel for any weaknesses and
will make minor local feints in order to allow the body to move
powerfully in another direction. In addition to the positive
side of their function, the hands and arms will act as temporary
supports and pivot points on which the body can move
advantageously, something less constructive than the oppor-
tunity-making purpose, but none the less important.
Keeping the arms tucked in in this way, also has the secon-
dary effect of safeguarding against the application of arm-locks
 ...............
go JUDO FOR THE WEST
by the opponent. If, for example, the hands make a big pushing
action away from the body, the opponent can utilize this
movement to apply locks. Therefore if big pushing actions are
required (such as to escape from osae-waza) then the whole
body should be used, much in the same way as a throw is
applied, only at a different pace. In this way there is no
danger oflocks, the maximum power is made available and the
hands are doing their correct job.
SUMMARY
The hands are very important, but as they are the most delicate
part of the instrument (the whole body) the correct manipula-
tion of them needs to be very precise and exact. They must be
able to move either together or apart, at the same speed or at
different speeds or at different times. To have this control
whilst the body is doing other bigger and more powerful
actions, much concentration and skill is required. Therefore in
the early stages of judo training, the use of hands and arms
should not playa dominant part in skill instruction. It is much
more important at that time for the novice to learn how to
move his body around easily and quickly with a certain amount
of control. Only with the increase of body control should any
training in the specific use of hands begin.
The arms, in general, must be used in a natural way with
their function clearly understood. Their range and use will
depend largely on the individual's flexibility (particularly at
the shoulder girdle), rather than on the man's size (as is often
advocated). In the early days of training, they can best be used
by keeping them close to the body (unless the man insists on
moving them in a different but consistent manner, which
will generally indicate that this is the better way for him).
Later on the man can be taught specific arm actions for specific
conditions. The coach must decide which is the best use of the
arms and hands for each man. He cannot afford to have any
narrow, preconceived ideas of the use of the hands and arms.
He will have to watch each individual, studying his movement
patterns. If needs be he can actually test him for flexibilityISso
that he has a clear idea of what he is dealing with. It goes
without saying that the man's technique too will have to
undergo a close examination and, in addition to this, his attitude
GENERAL FACTORS 91
to the throw-does he really want to do it, or is he doing it
because it is spectacular? Depending upon these various factors
will rest the coach's decision and what to tell the student-and
what a fateful decision it is!
GENERAL FACTORS-CONCLUSION
Although the various 'general factors' have been discussed at
some length separately, I hope that it is realized that in practice
they can never be so isolated. Each is interrelated with the
other; all link so closely that it is extremely difficult to tell
where one finishes and another starts. What is important is to
understand that all are facets of dynamic movement. Artificial
posturing resulting from hypotheses based on the 'oh-so-
different' judo technique is not a part of dynamic movement.
Dynamic movement is what the body does in any motor
skill, and is common to all such skills. The individual's job,
or more usually the coach's, is to mould the basic natural
dynamic movements to judo as a particular sport. The coach
must look at the various techniques, not as creations which
have an existence of their own, but as they are-nothing, until
fitted and moulded to and for an individual; an expression of
that person's characteristics-physical and psychological.
SUPPLEMENTARY FACTORS
What follows are not in fact basic factors to specific techniques,
although they do very much affect the general form of skill
being developed, and I have considered that, as such, they
deserve a place in this chapter.
Although as parts of a training scheme they are already
well-known, I have tried to discuss certain aspects not normally
considered.
The reader, whilst going through these sections, should try
to keep in mind the various theoretical points discussed in
Chapter I, for there is an interrelevancy which ties the theoreti-
cal in with the practical as manifested in the application of
uchikomi to skill improvement.
I have found that many tend to divorce judo theory from
other spheres of knowledge, under the impression that in some
 ...............
92 JUDO FOR THE WEST
peculiar way it is different from all other theories. I have
merely tried to put it back into perspective.
Falling
To start this 'second stage' of basic factors in the judo training,
it seems important to me to include some fresh thoughts on
falling. There is much talk in judo circles about falling, or to use
the correct term, ukemi. So much so that many outside judo
circles are aware of it and, as usual with a sport only marginally
understood, they seem to think it has almost superhuman
qualities. People have been known (by whom?) to fall off
skyscrapers and land quite easily because they used a 'judo
fall'! So, if only because of these misconceptions, let us have a
closer look at this 'falling business'.
It is often said in judo circles that man is afraid offalling-in
some inherent way-and that this means the fear must be
overcome by a confidence-giving falling system. I do not
agree with this hypothesis. I have searched for some psycho-
logical reference to this point, but could only find Freud 16
discussing falling in dreams, but there he does not relate it in
any way to fear, indeed, if anything, he links it with pleasure
and enjoyment.
Falling, surely, is an intrinsic part oflearning to walk; it is a
part of man's make-up and is not, in general, something to be
frightened of. A friend of mine, who is a gymnastic coach, said
he would never get people on to the apparatus if they were
frightened of falling (off). To my mind the big fault with the
past approach to 'judo falling' was that the novice was TOLD
he was frightened offalling. Before anything else had happened,
when he was still standing nervously waiting for the first session
to start, the beginner heard something like this: 'In order to
avoid injury when you are thrown ' 'Ah,' thought the
beginner, 'I can get hurt, can I?' He may not have thought of it
before (probably would never have done, if he had been left to
himself), but now the idea has been planted. The whole
atmosphere then went on to encourage nervous apprehension.
The instructor kept saying 'Be careful', 'Move into position
slowly', 'Are you ready for your first fall?' By now the beginner
was frightened of falling. He was rigid with fear. His partner
lifted him off the ground (usually with some kind of o-goshi)
GENERAL FACTORS 93
there was a long pause just to make sure he was good and stiff-
the beginner could not see the floor, for he was looking up to
the ceiling-and then suddenly he was dropped, and it did
hurt. The instructor said it would and by golly it did!
The above scene may be a little exaggerated, but it is some-
thing like the way a beginner was invariably introduced to
faIling and to judo. The only main omission in the above scene
is a reference to all the many individual arm-beating exercises
the beginner had to do (straight back, to the side, to the front,
kneeling, sitting, standing etc. etc.). It was considered absolutely
essential that everyone went through this ritual before the
teaching of a throw was ever considered possible. The arm-
bashing technique (I call it carpet-beating) went on for hours,
sometimes weeks. Elbows were bleeding, heads were thumping,
backs were sore, throats were caked with dust. It is interesting
to note, that in spite of all this, many instructors still could
not understand why they lost more than half their beginners'
class in the first couple of weeks!
Is all the banging necessary? In my opinion no! Falling can
and should be treated as a part of throwing. There are, however,
two principles to be kept in mind:
I. Non-transference of skill. As said before, a skill can only
be learnt in the conditions it has to be performed in. Therefore,
any method of falling must be taught during the throwing
action. In my opinion, arm banging whilst lying on the floor
has very little, if any, transfer quality.
2. Psychological approach. The possible hazards and dangers
of falling must not be told the class, or in any way stressed.
All attention is concentrated upon the skill of throwing-that
is the immediate object of the judo skill.
I want to deal with the second point first. As I say, the attitude
of the class must be geared up to attack and throw from the
very start-a positive attitude. And certainly any falling
instruction should be kept till after a throwing experience has
been had, but exactly where in the class programme will
depend upon the coach. In turn, such timing will depend (in
addition to his experience, of course) upon the type of group
he has under him, boys, girls, old men, young men, women etc.
etc. Some will need falling training earlier than others. What
the coach has to decide is, what form of falling will he use and
 ...............
94 JUDO FOR THE WEST
at what stage. For it should be understood that there is not
just one way of falling, as was so often implied by past judo
instructors. It should be fairly apparent that the falling method
adopted will depend upon the type of fall under consideration.
For example, the parachutist differs from the tumbler; the
tumbler differs from the gymnast (who falls off his apparatus
accidentally) and the gymnast differs &om the judo man
(who is sometimes forcibly thrown down). It is possible to vary
the judo man's falling method to suit the stage in his develop-
ment and the conditions in which he falls (i.e. kata, shiai or
randori).
In the first stages of a beginner's 'life', what is the object of a
falling method? Surely, at this level, it is to avoid a heavy
landing, ensure that he is moving at the moment of throw (to
see that the change of kinetic energy is minimal) to keep him
active and dynamic. A type of falling I often use initially is
briefly as follows.
The class start by rolling in all kinds of ways, as individuals
(this can be a 'project'). The rolling is then interrupted by
each jumping to his feet and then rolling in different directions,
from the landing. The object of this exercise is not only to make
sure everyone can roll easily but also to take the shock oflanding
through his legs and feet. As the feet strike the ground the knees
buckle and he rolls (with no bumps or jars) very much like a
parachutist landing.
The class are then paired off and one man makes an attacking
movement from Group I (see Chapter 3). Whilst he is still
'airborne', the other man jumps forward over the attacker's
extended right leg, landing on his right foot and so rolls into the
ground. Again there should be no bumps or jars.
Remember the object is to get the man moving before the
throw happens. One of the faults in the teaching of ukemi
technique (as distinct from ukemi itself) was that it implied the
man was stationary when thrown. This was bound to mean a
heavy landing, because of the 'deadness' of the fall (any
experienced judo man will testify how much easier it is to fall
from a moving throw, than from a static demonstration throw).
This 'freezing' became so much a conditioned response that
even in competition it was noticeable that this happened
momentarily as the attack came, to ensure a gl.'tod'breakfall'.
GENERAL FACTORS 95
The opposite effect is really what is required in training-the
man should never be static.
So by training the novice to move into the throw right from
the start, the heaviness of impact is avoided and the ground
well-laid for subsequent counter-attacking movements at a
later stage. Gradually more specific ways of falling can be
introduced. Use of the feet, use of the arms; all will have their
place in the development of a good falling method.
The orthodox judo fall, ukemi, is of course for a very specific
falling condition. It is when one man is driven remorselessly
into the ground, with no freedom of movement to absorb the
throw. In these conditions, he must have a way to absorb the
kinetic energy generated in the falling body. He no longer has
the opportunity of dispelling the force by rolling, as his opponent
is preventing this, so the arm-beat is introduced as a substitute
for the roll-to absorb the shock. This is a comparatively
advanced stage and need only be taught when the novice
has already acquired a good degree of control. It is not essential
(see randori) and should normally only arise in competition.
Such variations in falling method to suit varying circum-
stances require a large degree of body control* and awareness,
skillswhich often were not encouraged or developed by the past
methods. I know how I was being continually surprised to see
players of black belt standard use the arm-beat method of
falling irrespective of throwing conditions, e.g. in demonstra-
tions on hard floors,seeminglywithout the ability to modify at all.
With the increase in control demanded by a wide 'falling' educa-
tion, the standard of competition would benefit-and improve!
In conclusion, let me repeat that although I am not advocat-
ing that orthodox ukeIni should be abandoned, I am asking
that it be treated as one way only of falling and not the best in
all circumstances. (In spite of all the books, if I fell down in the
street I would not wack my arm on the cement as I landed!)
It is a specialist way of falling, for specific conditions, and there
are other equally good ways which can be found for other
·I remember seeing how much control ballet dancers had over very fine
differences in movement patterns dictated by the ballet master. It made me realize
how poor was the average judo man's control. Although I would not expect the
same standard of control in the two activities (ballet's demands, of course, are so
much more exacting) I would expect something of this quality in a skilled judo
performer.
 --
96 JUDO FOR THE WEST
conditions. I have used the rolling type of fall now for a couple
of years-as an initial falling method-and have not found it in
any way ineffective or dangerous. Indeed the contrary has been
true, the class has progressed quicker with far less pain, bruises
and sores than in the past.
Uchikomi
Uchikomi, or as it used to be called, butsukari, is the static
repetition of a throwing technique to the point of kake only.
I wish to criticize the form of skill training on these main counts:
I. 'Grooving', or the establishment of habitual movement
patterns.
2. Motivation. The effect that successful completion of skill
plays in skill improvement.
3. The type of rhythmic patterns necessary in static and
dynamic movement.
Let us consider the first point. In the past it has been recom-
mended that hundreds, nay thousands, of repetitions were
needed to 'groove' a technique. Baldly stated like that it has
some semblance of truth. Unfortunately what is implied in this
statement, but what is not accommodated in uchikomi, is that
it is the COMPLETE skill which must be repeated, notparts of it as
in uchikomi! For a skill to be improved upon, it must be
repeated in its entirety and must be done in the environment in
which it is to be performed. Thorndike put it this way, that a
change in one motor function alters any other, only in so far
as the two functions have common elements.
Because of the misunderstanding of this aspect of skill
improvement, many Britishers have wasted and are wasting
hours in static repetition. For skill transference to take place
the two tasks must have common stimulus and response patterns.
I maintain there are no common patterns between the static
repetition of a throw and the dynamic performance of a throw.
A good example of this non-transference of skill is in the
teaching of swimming. In the days of yore, when being taught
the breaststroke, the beginner laid on a bench and learned the
necessary type of co-ordination between legs and arms for the
frog-like movements. Once having achieved this co-ordination,
he was deemed capable of swimming and so transferred to the
water-where he promptly drowned! An extreme case of non-
GENERAL FACTORS 97
transference, but one which I consider is repeated in the example
of uchikomi.
One of the objects of the repeated movements of uchikomi is
to produce an habitual type movement, but as mentioned
earlier, habit and skill are not synonymous. Knapp4 says, 'A
habit is a habit irrespective of its results, but skill can only be
defined in terms of the achievement of a previously specified
or understood goal.' A skilled movement must be able to 'absorb'
the various movements of the opponent. For this to happen,
no two skilled movements which are to achieve the same result
are ever exactly the same. Welford1? says, 'Perhaps the most
conclusive point that we can make about skill or skills is that
they do not depend upon a fixed pattern of movement or fixed
methods of thinking, but are concerned with the flexible fitting
of means to ends.' Therefore, it would appear to be pointless
attempting to establish an habitual movement as a major
part of skilled movement.
That does not mean that habit does not play a part in skill
learning. It does. But habit is reserved for movements peripheral
to a skill, so that it enables entire concentration to be reserved
for the essential movements necessary for the performance and
improvement of that skill. It is for this reason that a jumping
attack is advocated in the Group Method (see Chapter 3).
By producing a habit of an aggressive attacking movement in
the early states of learning, when the skill as such needs to be
improved upon, aggressive movement can be ignored (for that
is known to exist) and the necessary movements can be con-
centrated upon. The establishment of habit also helps to unblock
the complicated 'signal channels' of the effector-receptor system
of the body. 'Delays from this cause (the blocking of "signal
channels" by the deflection of the subject's attention to irrele-
vant data from the effectors) tend however, to drop out as the
subject's performance becomes more precise and requires less
monitoring. When this happens performance becomes sub-
stantially faster because central processes leading to the next
action can overlap with the preceding movement.' Welford
again. 17
All the coach has to do is to learn to distinguish habit from
skill! But the complications of skill learning do not end there,
which brings me to the second point relating to my criticism of
4
 ...,...........
98 JUDO FOR THE WEST
uchikomi. In uchikomi, the throw is never (or very seldom)
completed; there is no 'stamping in' by success. The performer
never truly knows whether he is doing it right, because he does
not complete it to test its effectiveness. He tries to talk himself
into believing what he is doing is right by discussing with his
partner whether the technique complies with this or that cham-
pion's version and there follows a long discussion on the merits
of the precise angle of pull-is it ten degrees or fifteen degrees to
the horizontal? Such chat merely emphasizes the overall
futility of the exercise.
When considering skill completion, the question of negative
or positive feedback must also be taken into account. Although
a skill must be learnt in the conditions it is to be performed in,
whenever feasible, sometimes it is not possible for this to happen
and other environments must be established, in which case,
transference of skill will take place in proportion to the similarity
of conditions, i.e. tennis can help badminton. But such a
transfer can be of a negative or positive type; that is, it can help
the desired skill or it can hinder it. Welford gives the example
of the changing of the side of the gear lever in a continental and
British car, which has the effect of a negative feedback (hinder-
ing the skill) when a man changes driving styles. The pianist
practising scales (often used in the past as a justification for
doing uchikomi) is in the exact conditions where he will be
playing Chopin, so it will presumably be a positive feedback.
In my opinion, because of the complete difference of uchikomi
and competitive movement (randori and shiai) i.e. non-move-
ment, non-completion of throw, passive partner etc. etc. there
will be negative feedback from the practices of uchikomi.
That is, not only will uchikomi not help to improve the skill of
throwing, but will actually hinder any improvement.
Is there any need at all to practise parts of a skill? Perhaps in
certain specific, limited circumstances there is, but the hazards
of such breaking down should be fully appreciated. Take for
example a common method used when teaching a judo throw,
the slowing down of a technique 'in order to see what happens'.
Sperry18 says, 'Changes in speed cause extreme variations in
physiological patterns underlying what, from an analytical
observation might appear to be a fairly constant simple res-
ponse.' In judo terms a throw done slowlyjust is not the same as
GENERAL FACTORS 99
a throw done fast. A very senior coach of the Amateur Swim-
ming Association says that breaking a crawl stroke down
can be detrimental to the whole stroke performance. For
example, when the swimmer is made to swim 'legs only'; the
leg beat cannot develop the balancing effect it usually has on a
stroke in addition to propulsion, in fact the propulsive factor is
now out of perspective, and the stroke as a whole will suffer
from lack of the correct amount of stabilizing.
In my opinion, therefore, if a part needs to be specifically
practised independently to maintain correct relation to other
parts of that skill, a minimal number only (a dozen or so) of
isolated repetitions should be performed, so as not to unbalance
the skill as a whole. Performance of the whole should follow
as soon as possible after, to establish the improvement of the
part as an integral feature of the whole.
Finally there is, of course, the question of rhythmic pattern
involved. Because of the static nature of the partner and the
oscilatory movement of the 'attacker' a regular beat rhythm is
invariably cultivated by the participants of uchikomi. Indeed
often they are actually told to do so! Here again is the question
of transference. What in fact is the rhythm of competitive judo?
To me it is an extremely involved one of double-beat and off-
beat patterns with endless variations being produced first by
the individual alone and then increased by countless permuta-
tions in combination with a partner and his individual move-
ment. In the early days of a novice's life the movement pattern
is usually a very simple one, but as the skill standard improves
so does the standard of rhythm awareness.
Indeed, I would go so far as to say, in high level competition,
the winner is the man who can impose his rhythm pattern on
his partner, for rhythm is an essential ingredient of skill and is
why it is so aesthetically pleasing. (See section on Aesthetics,
page log.) Here is the reason for the fact, which all competitors
are aware of, but very few understand, that during the first
few seconds of a contest, both men will often have a good idea
who will win. For in that few seconds the 'feel' of the one man's
strength of rhythm will emerge as stronger or weaker than the
other, proclaiming him eventual winner or loser accordingly.
Sometimes it is not as clear as this, in which case it is a question
of which can impose his rhythmic pattern on the other. In that
 ...............

100 JUDO FOR THE WEST GENERAL FACTORS 101

rhythmic pattern the throwing skill will be woven. If the pattern X ~

4> o
""6
can be sensed or felt) the movement pattern can be changed just ~u::
C 4>
at the moment of attack) destroying any chance of its success. o a:::. -fi
>-
1/1
Because of the importance of rhythm in skill) I consider it .~
>< '5
~
would be advantageous for rhythm appreciation as such to have <IJ >- .c{)
c.. u.
a place in the training programme (the simplest form of course
oE ._t
would be dance of an ethnic type) as here the rhythms are very U U
varied). But certainly because of the rhythm complications ofad- .. IE
... '<t loW
vanced skills)I consider the regular beat of uchikomi a distinct
disadvantage and a definite hindrance to the appreciating and
developing of rhythms necessary for an advanced dynamic skill.
-
...
~
To conclude this section) I would say that there are certain U\ 4)
::J

8=
tT
advantages to be gained from the practice of uchikomi: as a C
form of warm up) or as an improvement upon stamina and -5
strength (it is a form of weight resistance exercise); but as a Q)
method of improving skill as such it has virtually no value at all! ... ~ I-
i
Forms or Training
The three forms of training-shiai) randori) kata-are like the
~ f
~.
roots a of tree (Fig. 4)) each supplying certain ingredients to a.
the trunk which the other two do not. Gradually) as training
progresses) the differences between the contributions become ~ J
less; as the roots get closer to the trunk) so the skills learnt in
each become one with the whole. In the early stages of a 8 ....

l
judo man's 'life' the contributions could be quite specific
and to all intents and purposes quite different; shiai would be
the place for competition (not experimentation); randori the e
+-J
place for experiment (not hard competition); kata, the place 0
s::
for widening the movement experience, control and balance U
(not for experimentation). Providing the coach can put the ::>-
contributions of these 'roots' in their true place in the training 0
CX)
programme, there should be no need to devise artificial ways of
(1)
achieving a throwing situation. Two such ways are 'French "r"
randori' in which participants throw each other in turn, one
jumping for the other, and 'uchikomi on the move'-almost a C\I
'-0
contradiction in terms-where both move around, but one man CI)
CI) 4"
keeps repeating an attacking action for a particular throw. I a..
If) co
sympathize with the 'inventors' -at least it is an effort to C\1
correct faults in past training-but I feel they have gone com-
pletely off the tracks.
 .............-
102 JUDO FOR THE WEST
The various factors contained in the three main forms of
training should be quite sufficient to produce the necessary
overall skill. In the past any new particular training method
merely tried to correct faults in an already faulty system, which
in turn meant replacing one bad mistake by another (i.e.
'throw-for-throw' practice may eliminate the evil of negative
defence, but it simply replaces it with the falsenessof an opponent
who is willing to be thrown-a circumstance never encountered
in normal randori or shiai). Judo is essentially competitive,
therefore only a form of competitive training will improve the
competitive skill. It is a part of the coach's job to see that the
training method used will produce the right type of skill. First
let us look at the training form called randori.
RANDORI
Randori is usually considered the backbone of judo training,
and this is quite true if it is used correctly. But is it used cor-
rectly? In the past the novice has been pitchforked into randori
willy-nilly with little if any explanation of its purpose. The
hurly-burly of men heaving and pushing with might and main
produced an immediate and strong reaction-the basic instinct
of self-preservation. If there were any ideas of skill improvement
at the outset they quickly evaporated in a battle to remain in
the vertical! Fear invariably turned the novice into what looked
like a perambulating puppet operated by a paralyzed pup-
peteer. An attitude not exactly conducive to skill acquisition.
What then should be happening? The novice should have the
object of randori clearly eXplained to him before he starts, so
that when he does join in he knows what he is doing and that
the rest of the group (whether they are more advanced or not)
have the same objects in mind.
Randori is the time for experiment, the time to explore the
limits and range of movement. The novice will already know
that skill can only be improved by repeating the skill-com-
pletely, so his aim is not to stop his partner from throwing him
(although he will if he can actively avoid-see Chapter 3),
but to find~waysand means to throw his opponent. There must
be fast movement ranging over as large an area as possible.
Naturally mistakes will be made (and he will get thrown)
but that is a part of the experimentation intrinsic in randori.
GENERAL FACTORS 103
Knapp says, 'When a person is learning a skill he frequently
tends to try to correct his mistakes by going too far in the
opposite direction. This method of reaching an ideal is probably
a goodone, but in someactivitiesthe learner hasto beencouraged
to makethis variation. A person who is afraidof makingmistakes
is unlikelYto get veryfar.' (The italics are mine, a.R.a.) The
novice cannot be hampered by any rule-of-thumb restriction
which in any way limits freedom of movement, * he must
feel at liberty to try anything (within the rules and human
decency) which will achieve the immediate object of training-
throwing his opponent.
However, mere participation is not enough. Too often it is
assumed that providing the activity is done, then by some
strange phenomenon, improvement will occur. This is not true.
Bad as well as good movements can be repeated and take on a
habit form, to quote Knapp4 again, 'an individual who has
practised hard at a poor technique believing it to be satisfactory
will have made the bond between stimulus and response a very
strong one. He will have worn a nervous "pathway" between
stimulus and response which will be very difficult to change.
When he tries to alter his technique he will find his problem
greater even than if he were learning for the first time. He
usually has to remove the pleasurable feeling-tone and break
down his own technique before he can build up anew and this
makes him feel dissatisfied and unhappy'.
In order to minimize the possibility of acquiring bad
movements, I consider that no randori session should be left
completely uncontrolled. The coach should always set some
kind of object or some specific skill factor for the class to aim at.
Naturally the coach will then try to see that these objectives are
achieved in some way. It could probably (one could say
certainly) mean that the coach does not become a part of the
class, i.e. joining in the practice, but stays outside the training
group helping all those he can.
Later on in the trainee's programme when he has some skill,
say about the intermediate stage, the points raised by the coach
· There are still many teachers who hamper the novice with '~es' like, 'You
must not cross your feet', 'Keep feet shoulder width at all times'. (The reader will
be able to provide others I am sure.) Negative reasons only are given for such
advice. The noyice must be taught a positive attitude; he must be made to think
only of attack and winning.
 ~
104 JUDO FOR THE WEST
will incorporate a wider range of experience, so that he can
increase his repertoire of techniques.* Can the man consciously
vary his pace? A part of the training programme will be fast,
another slow perhaps. There should be understanding via
movement experience of how differences of speed affect the
application of technique. A range of strength should be experi-
enced; how much strength can be used before it hinders
technique; how little before technique is useless. If there is a
favourite technique used by a particular man he should attempt
to find as many ways and opportunities as possible to attempt it.
No opportunity should be lost. I do not agree that a skilled
man should not use his best throw on a novice (providing that it
is not a 'lazy' version see page 28). He can increase the range of
application in such circumstances. Perhaps in so doing the
3rd Dan will be thrown by the 3rd Kyu, but that does not
matter, for now is the time to find the limit of the movement,
outside which the 3rd Dan will be beaten-a useful piece of
knowledge for his contest work.
To sum up, randori should be fast, aggressive and wide
moving, both men trying as many attacks as possible. There
should be experimentation in all aspects of attack and avoid-
ance. Finally, and most important, every randori sessionshould
be closely controlled by a coach who will always set specified
objectives to be tried for by the class or group.
SHIAI
Now, during contest, is the time to put all the results of experi-
mentation (acquired in randori) into practice. The time of
trial and error is finished. The man knows (or should know) the
limits of his skill, stamina, strength, and tenacity. Now he
knows his 'boundaries' and moves only inside them, where he
knows he has full control (or almost) of his ability. His attack
is as good as it can be, irrespective of the standard considered.
He should have confidence in that ability; he knows the range
· Although technique is important, it must be remembered that high standards
of skill surpass mere technicality. Therefore the coach must provide a wide base of
movement experience upon which the promising judo player can build.
It is encouraging to read of the example of Pavlova who was not so much an
accurate technician as a unique artist. The Dying Swan, one of her most famous
~les, underlined her brilliant, exquisite artistry, which transformed the very
simple techniques to sheer expressiV'ebeauty.
GENERAL FACTORS 105
of his skill well, for he has tried it often enough. The only real
way he can lose is if the other man is better than he and even
then, granted an essential piece of luck, he may well win.
Here the whole attitude is and should be completely different
from randori (in the past it was often extremely difficult to tell
one from the other!). The man is no longer 'expansive' and
learning, he is cautious and willing only to move within his
own known limits (one of the tasks of his opponent is to make
him move outside of those limits). He is determined to win at all
costs provided it is within the rules of contest and human
decency, and before the contest he must have geared himself up
to winning; it is only after the match that the result does not
matter-before it is all important.
KATA: I have decided not to discuss Kata in this present volume as the establish-
ment of its aims and its position in the training programme makes for a long and
somewhat involved discourse, much of it relevant only to advanced work.
Observation
The ability to observe movement accurately is possibly the
most important quality the coach can have and certainly it
should be developed. It comes next to the ability to think, which
can after all be considered as the interpretation of what the
eyes see, translating the conclusions drawn from those interpre-
tations into suitable practices.
In general people take for granted the ability to see (unless
they are suddenly robbed of sight) and consider it to be so
simple that it is not necessary to analyse or think about it at all.
Upon closer investigation, it is not all 'plain sailing'. Take for
example, what is called the consistency of size phenomena 19 in
landscape; distant buildings (as an example) appear to be much
bigger than they should be in true perspective. What happens
is that the observer, knowing them to be big, unwittingly
translates them as being big. Try 'measuring' them with a
pencil held close to the eye, comparing them with another
building close at hand. Past experience and prejudices have
given us known 'scales' by which to judge things and we use
those 'scales' even if the conditions are not really suitable.
Gombricht19 in his tremendous book Art and Illusion discusses
how the artist does not 'paint what he sees, but sees what he
can paint'. In other words he takes to the scene his preferences
 ,......

106 JUDO POR THE WEST GENERAL FACTORS 107

Fig 6 Efl'eet of estraneoas iteJDS.

The radiating lines make the parallel lines look bent.

Fig 5 Efl'eet of convention.

Because lines of perspective are accepted as showing distance and therefore decrease
in size, no attempt is made to check. Because of convention, it is presumed that the
furthest away is the biggest; this is not true.

towards certain colours, his bias towards water-colours or oils

technique and he sees the subject he wishes to paint in terms of
these prejudices. Or to quote Vernon 20 for a more general
statement: 'There are (other) cases in which the direction of
attention towards the perception of some particular shape or
object causes an observer to perceive what he expected to see
rather than what is actually presented. Such a direction may be
given by special instructions; or by what the observer has been
accustomed to perceive in such circumstances and therefore
Fig 7 Efl'eet of bias.
he thinks will most probably appear in the present case.' Is it a picture of one vase or two faces? It can be changed at will.
 ..............-
108 JUDO FOR THE WEST
Another aspect of perception, is the influence that extraneous
environment has on the centrally observed subject. Simple
illustrations of this are shown in Figs. 5, 6, 7 and 8. Possibly the
best is of the men climbing the stairs (Fig. 5), all in fact the
same size but the radiating lines distort the 'feeling' of size so
that the man at the top looks bigger than the man at the bottom.
The last point I want to mention is that of the effect of atten-
tion. The brain has the ability to alter what it sees by modifying
its attention. It is a very strange phenomenon as shown simply
by the box in Fig. 8. Look at it one way and you are on top of it,
look again and you are underneath it. Nothing has actually
changed, merely some way oflooking has been slightly modified
to give a completely new appearance to the whole thing.
Fig 8 Efl'eet of viewpoint.
Does the right-hand end project forward or drop back? Again, it can be changed
at will. But what changes?
GENERAL FAOTORS log
The coach must be aware of these 'tricks' of perception and
train himself assiduously to avoid such pitfalls as much as
possible. He must try to see things as they are, and not what he
thinks they should be. When watching a judo technique he
should have no preconceived ideas of what should be happening,
but he should be able to see only what has actually happened.
I think a good example of seeing what is not there is 'chest
contact'. Because it was so often spoken of as essential to certain
throws, and that the throw would not succeed without it,
everyone always saw it when the throws were performed.
In spite of the fact it was seldom there!
The coach must learn not to be misled by extraneous or
superfluous matters. He must be able to see straight to the
essence of a technique and not be disturbed about such items
as whether the attacker's hand-hold is high or low (relevant in
one respect, but not important to the actual execution of the
technique). The coach must be able to focus his attention on the
right place at the right time so that he is able to see the salient
points. Does the man straighten his left leg before or after the
other man has left the ground ?-that is important.
Kinaesthetic Appreciation
A coach looks at a good technique and knows it is a good tech-
nique. How does he know it is good?; how does he know it is
bad? There are two main contributory factors; one is experi-
ence, the frequent seeing ofjudo technique and the other, which
I consider much more important, is his kinaesthetic apprecia-
tion, or almost the same thing, his artistic sense. Certainly a
good coach has a feeling for movement, he 'feels' a good move-
ment in his bones. He will watch and study any and all kinds
of movement-skilled movement-in order to heighten this
kinaesthetic sense.
Aesthetic Appreciation
Look at Plate 5 I. The first impression is of an ugly shape. The
broken lines running through the figures jar on the artistic
senses. Everything has obviously stopped. Only on a 'second
look' will technical criticism be made, e.g. that the hips of the
 ~
110
JUDO FOR THE WEST
attacker are broken backwards, or that the body, which is
held up, or restricted by the left leg, is quite uncommitted.
(Compare with Plate 52, the same throw.)
To be able to feel these 'action lines' (imaginative lines
showing the force and direction of a body's movement) in a
technique is, I feel, very important. Sometimes a throw may
even work, yet still something is wrong. These 'action lines'
can give a hint what this something is: for example, a bad
technique will usually show very broken and ugly lines,
whereas the good throw will show a swirling powerful action
which is very exciting-so much so that the movement involved
has inspired Gerry Hicks (Western Area Coach) to try to cap-
ture it on canvas (for he is also an artist). One of the results is
shown in Plate 72, a taiotoshi from start to finish. The overall
effect of movement and design is very stirring. It is this feeling
which can be so beneficial to the coach.
Immediately the aesthetical impression has been created the
technical points can be assessed. If the 'action lines' flow
smoothly throughout the technique it is probably sound, but if
they do not, then something is u.ndoubtedly wrong. For example
in Plate 52 the lines are good, they do run smoothly with no
breaks-a good technique. But in Plate 51 the lines are very
broken and so the technique is bad. If this technique had to be
improved (with the 'artistic' factor in mind) the lines could
simply be straightened, e.g. the attacker's left foot taken back
much closer to the opponent, and the left leg straightened.
This should have the effect of getting the right leg higher in the
air, so increasing its effectiveness. The line could be taken
round and down in a smoother curve which would mean the
head being dropped further. By working this way, practical
improvements of a technique can be made from what at first
sight may appear as an abstract approach.
In developing this kinaesthetic/aesthetic sense by studying
all kinds of skilful movement, the coach can be directly im-
proving his coaching ability. By enhancing his practical
experience with this highly developed sense of movement,
he will have an excellent idea of what makes a good tech-
nique. He will no longer have to depend on 'inherited
dictums', but will be able to supply his own governing
principles.
GENERAL FACTORS III
Coaching Hooks
Once armed with this type of movement appreciation, the
coach need only devise ways of systematically changing these
general observations into direct technical corrections and he
will have achieved something useful. The method I use is that
of 'coaching hooks'; to formulate a list of points which can be
checked off against a technique. For example at the elementary
stage, the list could look like this:
I. Feet: Has the attacker moved them into the attack?
2. Weight: Is the weight moving into the throw?
3. Hands: Are they being kept close to the body?
4. Tuck: Is the attacker's body finally curled in order to get
the opponent on to his back?
5. Attitude: Is he really trying to throw or just pretending?
If the answers to any of the questions were 'no', then positive
steps would have to be taken to correct them. Various types of
lists could be made out to suit various stages. For example here
is an 'advanced list':
I. Position of feet.
2. Body contact (deep or shallow)
3. Head control
4. Action ofleft and right hand
5. Type of throwing action used
6. Finishing position
The point being that this would give the coach something
definite to work with, instead of having a haphazard approach
to the subject of analysing for faults.
The essential factor in any analytical criticism for good or
bad, is perception or observation based on extensive experience.
Without it the coach might as well be ignorant as well as blind!
Imagination
Another aspect of aesthetics has been discussed in Chapter I
in relation to judo as an education, and a general method of
developing imagination has been discussedunder the heading of
'project' teaching. Therefore in this section little need be said
apart from further emphasizing the need for this factor in
training.
Because of the continual narrowing of skill teaching by
instructors who have been blinkered by their predecessors'
 ,.......-
1 12 JUDO FOR THE WEST
ignorance, the range of techniques available to the budding
national competitor is steadily decreasing. At the moment of
writing (1964) the throws used generally at national standard
could almost be counted on one hand. It is essential for the
development of the sport, ifit is to remain virile and progressive,
for the range to be increased. Such a development will depend
upon the attitude of the coach. In the past he seldom ventured
outside the boundaries of accepted orthodoxy (e.g. he always
called uki-goshi floating hip, even though the English was
meaningless-on what does the hip float?!). Probably he felt
that if he asked questions, it would show people there were
things he didn't know about judo, and that must never happen!
Either directly or by implication, he would communicate to his
pupils that they too must not ask searching questions that would
undermine the 'establishment'-the black belt status. Such an
attitude must of course stop! No one knows nearly enough about
judo to stop asking questions, or investigating any channel of
knowledge in order to throw more light on judo appreciation.
The aspiring coach must be always asking questions, of himself
as well as other people. He must question every established
dogma; does it contain truth, or has it 'died' in the continual
regurgitation of non-understanding speakers?
The stimulation of group or individual imagination is largely
a question of teaching method. The project method is one
of the better ways of achieving this, but it will depend on the
coach. He must have an open mind, with a liberal and pro-
gressive attitude toward judo teaching; he must be prepared
to change his method of teaching and experiment with other
ways to find whether he can improve on the results already
obtained. The search is a never-ending one!
CONCLUSION
As I said at the start of this chapter, much of the above-
mentioned has been gathered during the years I have trained at
and taught judo. Many of the suggestions are purposely vague,
for I do not want people copying exactly what I say (even if they
so have a mind) for that would be contrary to the very principle
I advocate-individuality at all times. For this 'new' type of
judo to grow every coach must contribute something of his
GENERAL FACTORS 113
own; he can no longer afford to just copy. Steal and adapt,
yes; imitate directly, never!
Some of the nebulosity is because I myself have not yet found
a definite answer to some of the problems. I find myself con-
tinually experimenting, trying new ideas and methods;
modifying where I find the objectives not attained or the
objectives altered. Here is the fascination of teaching judo.
The continual striving for a skill ideal makes the subject of
judo a truly intriguing one. Judo need not be tied down with
stale outworn theories, but can be very alive and lusty, if only
it is treated with enthusiasm and sincerity. There must be a
desire on the coach's part to continually improve the skill
standard of the performer and, lastly, but by no means least,
every attempt should be made to enlarge the participant's
'ration' of life.
BmLIOGRAPHY
I. Adams, H., MODERN DEVELOPMENT IN EDUCATIONALPRACTICE, University of
London Press.
2. Vesey, G. M. A., BoDY AND MIND, Allen & Unwin.
3. Hornibrook, F. A., CuLTURE OF THE ABDOMEN, Penguin.
4. Knapp, B., SKILL IN SPORT, Routledge & Kegan Paul.
5. Wdls, K. F., KINESIOLOGY, Saunders.
6. Clark, K., THE NUDE, Murray.
7. Laban and Lawrence, EFFORT, MacDonald & Evans.
8. Kinney, THE DANCE, Tudor Publishing Co.
9. Sachs, C., WORLD HISTORY OF DANCE, Norton.
10. Laban, R., MODERN EDUCATIONALDANCE, MacDonald & Evans.
II. Foss, B. M., DETERMINANTSOF INFANT BEHAVIOUR, Methuen.
12. Parnell, R. W., BEHAVIOURAND PHYSIQUE, Arnold.
13. McDonald, D., How DOES A MAN TwIST IN THE AiR?, New Scientist, vol. 10,
No. 237, 1961.
14. Curtis and Boultwood, A SHORT HISTORY OF EDUCATIONAL IDEAS, University
Tutorial Press.
15. Munrow, A. D., GYMNASTICS,PuRE AND APPLIED, Arnold.
16. Freud, S., THE INTERPRETATION OF DREAMS, Allen & Unwin.
17. Welford. A. T., AGEING AND HUMAN SKILL, Oxford University Press.
18. Sperry, R. W., ACTION CURRENT STUDYIN MOVEMENT CO-ORDINATION, J. Gen.
P., vol. 20, 1939.
19. Gombricht, E. H., ART AND ILLUSION, Phaidon Press.
20. Vernon, M. D., PsYCHOLOGYOF PERCEPTION. Penguin.
Further Reading
Johnson, Abercrombie, M. L., THE ANATOMYOF JUDGEMENT, Hutchinson.
Feldenkrais, M., BODY AND MATURE BEHAVIOUR, Routledge & Kegan Paul.
Grey, Walter, THE LIVING BRAIN, Penguin.
Dyson, G., THE MECHANICS OF ATHLETICS, University of London Press.
 r-
CHAPTER 3 of certain technicalities, which till then had been taken for
ELEMENT AR Y JUDO
THE discussion of theory behind both the teaching and the
technique of judo has now mainly been covered and here
starts the practical part of the book. How are these many
principles to be put into effect?
When I first took on the responsibilities of national coach
I really started thinking of easier and better ways of introducing
people to judo. I had had many indications both in England
and Japan that the way I had been taught-and thousands of
others too-was possibly not the best way or the easiest. I had
seen the many who were disappointed and bored by the instruc-
tion; I had seen the frustration when people could not grasp
some involved complicated aspect of technique; I had seen, in
spite of the lip-service paid to 'mental training' in judo circles,
how individuality and originality was continually being
squashed. I was well aware there were faults, I clearly saw my
goal, but the means to achieve it were vague and somewhat
elusive.
The immediate need, as I saw it then, was to reorientate the
approach to the teaching, to look again and determine afresh
what the object of an introductory system should be. After
much cogitation the four following points emerged as prime
factors in any such system:
I. Simplicity
The system would have to be simple, free from technical
complications. Not only simple so that people could understand
easily and do just as easily, but simple so that it could be taught
by virtually anyone, not only a 'judo expert'!
2. Motivation
There would have to be success in the skill as early as possible
(on the first night) for immediate enjoyment and satisfaction-
ELEMENTARY JUDO 115
the satisfaction of having done what they joined the judo class
to do-throwing. This would have to mean the postponement
granted as basic essentials, and in the past had been taught
first, e.g. tsukuri, ukemi etc.
3. Activity
Judo is a physical recreation, therefore class members must be
physically involved with the skill learning process. It cannot be
'talked into' the class, they must do it, and do it often.
4. Technicalities
Although technicalities are to be kept to a minimum, there must
be sufficient-if the right kind-to provide the class with the
necessary basis on which to build subsequent skill.
Having established the principles, how to produce a system
around them? I had been brought up strictly in the traditional
manner, and therefore had great difficulty breaking the
fetters of orthodoxy; so much so that there was almost a
guilty feeling equivalent to the heretic refusing to accept some
religious dogma. However, once started, iconoclasm became
easier! The next step on having formed an introductory system
was to set out stages or classes of progress, so that a man could
develop gradually and progressively as he went through his
judo-life. My past experience again supported such a step.
Many times I had seen courses in which there were 4th Dans
and 4th Kyus all being taught the same thing. Each time it had
occurred to me this was not the best arrangement, but until
now I had never pursued it. For convenience I laid out the
three following stages or classes of progression:
I. Elementary
o-4th Kyu
2. Intermediate
3rd-2nd Kyu
3. Advanced
1St K yu-above
Naturally the grade demarcation is only an arbitrary guide
and would not be strictly adhered to in practice. The coach
 f
1 16 JUDO FOR THE WEST ELEMENTARYJUDO 117

would decide each particular case. The technical objectives of
these stages seemed fairly clear to me:
I. ELEMENTARY
The novice must be taught to attack with a great deal of
movement. Only when the movement experience is wide as
possible can or should a skilled movement be built on top of it.
Kinaesthetic awareness is a priority, plus a sound technical
basis, which will still stand him in good stead when he is of
4th Dan standard. (This is the standard to aim for rather than
only 1st Dan as in the past.)
2. INTERMEDIATE
The large movement patterns learnt in the elementary stage
continual modification and alteration. (The reason why writing
about it has been so difficult.) The form now bears a clear
similarity to what was used in 1962, but many points have
been modified since.
THE INTRODUCTORY GROUP THROWING
METHOD
For simplicity's sake all throws (with the exception of certain
ashi-waza and suteIni-waza) are divided into three groups,
hence the name (it is usually abbreviated to Group Method)
(Fig. 9). Group 1 comprises all attacking movements (throws)
GROUPII
all i:hrol'{s to

.
are moulded into a specific skilled technique. At this level the opf>Ort~ntsback.
teaching will still be concerned only with the more superficial ~
aspects of technique, but certainly the individual's traits and
characteristics should be catered for.

3. ADVANCED
Here the 'finishing touches' are added to the skill. These are
the subtle points, which although essential to a really skilled _~~_L___ ___ _ __ ___2BJ~/!_e!]~'_
wnrard $ /.. . Cf'nrfe; line
performance, can only be appreciated by the man who has had i .,
the necessary grounding in sound movement and technical
expenence.
Having established the general objective of the elementary
stage and keeping all the points in mind, let us go back to the
idea of an introductory system. After a lot of experimentation
and thought the following system emerged. It incorporates
most of the general teaching principles outlined in Chapter 1 ~ t
and contains the necessary amount of basic factors as described GI\OUP 1 GROUP 3
throws frOM throwS fyom
in Chapter 2. Since it started being spread in about 1962it has "twofeet: One foot
been most successful,producing many more judo players with a
higher standard of skill, in a shorter interval of time. Although Fig 9 The Group Method cUagram..
it may appear at first sight to be a pretty rigid structure this is
not true. Once the general principles are understood, the various in which the attacker has both feet in contact with the ground;
steps in progression can be changed to suit the particular group. Group 2, all throws in which the partner or opponent is thrown
Certain steps can be enlarged upon, others omitted, it will to his rear; finally, in Group 3, those throws for which the
always depend upon the type of class being considered. From attacker has one foot on the ground, with the other leg in the air.
the very beginning of the Group Method it has been undergoing Before going into detail with each group, there are certain
 y-
1 18 JUDO FOR THE WEST
'shorthand' phrases which can be used to facilitate explanations,
so these I have defined first.
SimpleMovement
This refers to movement done by an individual on his own,
without a partner. In the very early stages the contact with a
partner can be very confusing. Therefore sometimes I get the
man to do certain movements on his own, free of this distraction.
As soon as he has some idea of the movement in question he will
of course join with a partner and repeat this with him.
Static Movement
An apparent contradiction in terms. However, it relates to one
person in a pair who is trying to get the 'feel' of a particular
movement.The coupledo not move (somethinglike uchikomi,
but nothing like as punctilious and it has only minimal repeti-
tions) .
Linear Movement
This is fairly self-explanatory. It means the couple moving
along a line, with one man jumping in and out with the
attacking action. Sometimes he will conclude with a throw.
In Groups 1 and 3 the attacker will be moving forward, in
Group 2 he will be movingbackwards.
AttackingMovement
The jumping movement into the throwing position is the
attacking movement. It can also apply in ne-waza as the move-
ment into the technique.
Throwing Movement
The movement necessary to put the partner on to his back.
IndividualMovement
The next step to 'Linear Movement'. The pair move freely
round the mat, going anywhere they choose, but only one man
attacks, the other man has to avoid.
Free Movement
Here is the final stage. The couple moving around freely and
unrestrictedly. Both attacking and avoiding, as quickly and as
ELEMENTARYJUDo 119
often as possible. It may be restricted to one particular group,
or to all-in which case it is the beginning of randori!
GROUP I
The instructor demonstrates the throw to be taught (see Plates
3-6). It should be a 'lively' jump, feet landing wide and on the
toes. The partner is driven forward, falling over and round the
outstretched right leg of the attacker at or below the knee.
The instructor will finish with his knees 'locked' back and his
weight forward on his hands (see Plate 6). This throw can be
done several times statically or at different speeds and in
different directions (see page 35). The class should be given as
good a 'picture' from as many points of view as possible, being
warned beforehand that they should watch carefully and try to
take a mental photograph of the general outline of the throw, so
that they have something to compare and base their own effort
on when it is their turn to try.
From here two routes can be taken. There is the direct
method as such (where the class are immediately asked to
duplicate the demonstration) ; and the 'build up' direct method,
where stages are introduced to 'build up' to the first attempt
at the whole.
The method chosen, I feel, will depend upon the group being
taught. As there is a slight risk of a heavy fall, I usually apply
the first way for youths, and the latter for older men, or women.
DIRECT METHOD
The class try to duplicate the coach's demonstration. Only
after they have tried, does the coach attempt to help. But he
might help for other reasons too, perhaps because he is asked,
or because he sees a potentially dangerous move, or simply
because he can offer help to a particular person having difficulty.
'BUILD-UP' METHOD
If for any reason the coach feels the class is apprehensive about
participation this, I think, is the safer way. The throw is ap-
proached gradually through several easy stages (similar to a
gymnastic teacher giving introductory weight-bearing activities
before asking his charges to attempt a handstand type of
movement on apparatus). Stiffness, frequently the result of
 ...,....-
120 JUDO FOR THE WEST
apprehension, can often cause injury if ignored in the introduc-
tion especially in a sport like judo, when very few beginners will
have seen the real thing, * (unlike football or tennis, for example,
which all will have some knowledge of).
1St Step: Simple Movem.ent
First the class is taught individually. Standing on their own
they are asked to open their legs as wide as possible (see Plate I).
As they stand there the instructor can tell them to try to
remember the 'feeling' of this position and the various points-
both feet pointing to the front (for maximum base area) weight
well forward on toes, heels touching the ground but carrying
no weight: feet as wide as possible, knees loosely held straight;
body upright and p1aced in the centre of the feet, hands roughly
by the sides. This posture (apart from the hands) is what is to
be duplicated as the instruction progresses.
The class is then told to bring their feet together then to
jump high in the air landing with the feet wide-as in the above
static position. Bringing the feet together again on the ground,
the jump is repeated. This jumping is done several times till
the class is naturally landing with the feet astride. The instructor
should see that all are landing on the balls of thefeet and not
flat-footed.
2nd Step
The next step is, from the feet-together standing-position, to
jump forward (covering a distance of three or four feet) at the
same time turning to the left (taking the left shoulder back),
landing facing the opposite direction (through 180 degrees)
legs wide apart as in the initial posture. The feet are then
brought together and the samejump made again. Feet together,
jump forward and round (to the left), landing with feet astride
body up straight. Mter several repeats it may be noticed that
some (perhaps all) tend to stagger backwards on landing. This
is to be avoided, for it indicates that the body is too upright
and that no allowance is being made for the forward motion.
To correct this the class are told to drop, fall forward on
· Some clubs minimize this effect by showing beginners the B.j.A. instructional
film at the beginning of the course.
ELEMENTARY JUDO 121
landing so that their hands are on the floor (or mat). The legs
should be kept straight and the 'seat' high in the air (see Plate 2).
The jumping exercise can be done from that position; that is
the feet are brought together and then from a four-point take-off
(two hands and two feet) the student jumps up and round
landing on all fours as in Plate 2. Some find a little difficulty
with this, but it is good exercise and worth practising.
3rd Step: Static Movem.ent
Now all can pair off. The sizes should be kept roughly the same
whenever possible. Too much discrepancy at this early stage
can cause unnecessary confusion and difficulty. The hand hold
is shown by the coach. Right hand on partner's left collar,
left hand at partner's right elbow holding the sleeve (see Plate
3)' The coach shows them the practice. One man in each pair
then jumps forward and round landing in front of his partner
as in Plate 4. In other words he does exactly what he has done
before, only this time he is holding on to a partner. The in-
structor should watch for the following points, but where they
occur remember only one point at a time should be brought to
their attention (see page 40).
POINTS TO WATCH FOR
I. The attacker must not deviate too far from the initial
position: the attacker's body must be centrally placed between
his feet.
2. The feet should be in line (often the attacker will drive
his right foot past his partner's right foot, which is bad).
3. The weight should be well forward on the toes.
4. Both elbows close into the body. (However gradually it
is done, do not allow the attacker's right elbow to persist in
rising high in the air, although finally this is of no great import.)
5. The body should, at this stage, remain up straight (only
when throwing should it bend forward).
6. Seethat the attacker gets right round (through 180 degrees)
and isfacing the same way as his partner.
7. Yet in spite of all these particular points the most impor-
tant is that the jump is fluid and free from inhibitions. If this
last point is achieved the rest really do not matter!
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122 JUDO FOR THE WEST
4th Step: Speed
Speed is the next factor introduced. As I have said before speed
is one of the most important factors throughout the training
programme (at any level). Every attempt should be made to
cultivate it at the earliest stage possible. Therefore when the
student has got used to the idea of jumping into the partner
with his feet apart, he should be asked to jump-with equal
agility-out to where he came from then back in and quickly
out again. This jumping in and out should be speeded up and
up, until he is going as fast as he can go (which, of course, is
not fast enough-however fast he moves); a blur of white is
the objective! It is an early stage for him to appreciate to the
full what speed really means, but the importance of this factor
cannot be impressed upon him too much.
NOTE:The next stage of instruction also has two alternatives, and either the 5th
(the introduction movement) or the 6th (the throw) can be used first, depending
upon circumstances. I find each has its advantages in its own situation, so I will
deal with both and the reader can select for himself.
5th Step: Linear Movement
Judo of course is essentially movement: that is, the various
techniques have to be attempted whilst both participants
are moving around at speed, the rate dependent upon the
circumstance and standard of the players. (The correct environ-
ment is essential for the acquisition of skill, see page 98.)
Therefore to derive most benefit from the instruction it must be
given in circumstances as siInilar as possible to those existing in
randori, that is when both are moving. As it is still early in the
novice's ~udo life' (all the previous steps can be covered in about
fifteen minutes or less) entirely free movement would' be
inappropriate to introduce because it would almost certainly
confuse him with many impossible 'choices', so a restricted
form of movement is used as an introductory step-a straight
line.
The partner is told to walk straight backwards in quite a
natural way (he can be shown this and allowed to try it simply
on his own). Now, when it is done as a pair, the attacker has to
jump in and out, as his partner walks backwards. The action is
similar to that when standing still (see Plates 3 and 4).
ELEMENTARY JUDO 123
POINTS TO WATCH FOR
I. The jumps should be straight in and out, there should be
no 'hesitant-feet-fumbling' between the forward attacking jump
and the retreating jump (although the 'retreating jump' will
not be as big as the 'attacking jump' due to the direction of the
movement).
2. The feet must be kept wide apart on completion of the
attacking jump.
3. The turn must be a full 180 degrees (a common tendency
is for the attacker to turn only halfway).
4. The body should be kept upright as much as possible.
5. Arms should be kept as close to the body as possible with
the right elbow down.
As a class, one half can try it going one way, whilst the others
try coming back. The reason for the direction of movement is
explained later.
6th Step: Attacking and Throwing Movement
The coach can repeat the throw to remind the class of the
complete picture. (His partner need not be, and preferably is
not the same as before.)
The coach should ensure that the man thrown falls roundto
the side and over his right leg, NOT over the top of the leg.
It is important to establish a picture of a 'skip' round (rather
than a big 'up and over' fall (see Plate 5) if the roll-down type
of fall is to be used.
For the first stage the attacker jumps into his partner just as
he has done before in the static position. He throws by bending
forward at the hips and leaning forward (very similar to the
individual movement where he jumped, turned and 'fell'
forward on to his hands (Plate 2) placing his hands on the
ground about three feet in front of him (see Plate 6). This can
be repeated two or three times.
POINTS TO WATCH FOR
I. The knees must not collapse: they should straighten as
the partner falls over, and lock back as he hits the ground.
2. The bend at the hips should be strong and purposeful.
3. The student should not reach too far ahead as this could
 T
124 JUDO FOR THE WEST
throw the whole posture out of true, but just enough to ensure
that weight is forward on toes.
4. The throw is done in the form of a turn.
7th Step
Immediately some facility has been acquired by the thrower
the static repetitions should be stopped and movement intro-
duced. (One or two static repetitions are usually enough; the
student must not have many-it will produce skill limiting
habits.) This can take the same form as previously with the
partner walking backwards and the attacker jumping in and
out as he does so. The difference this time is that after several
repeats of the 'jump in' it is completed with a throw, in the same
way as has briefly been done on the spot. Doing it this way the
novice absorbs the idea that the throw is only a part of movement
and not something divorced from it. As facility increases, the
pace should be speeded up so that the attacker starts learning
how to do the throw with greater explosiveness. As a change,
the repeats can be omitted and the partner simply runs back-
wards, the attacker following; then with one big swirling
movement the attacker leaps in and throws fast. When this has
been achieved to a reasonable standard the general direction of
the opponent can be altered (i.e. move sideways, to the back
corner etc.) and the attack repeated-again at maximum speed.
POINTS TO WATCH FOR
I. Make sure the partner does not 'help', that is he must not
half turn as he feels the attack coming, nor must he 'prop' or
tilt himself up on to his right toes. His solejob is to walk (or run)
backwards, quite in control of his posture. If the attacker
cannot throw he must try again. It is bad training if the attacker
gets used to any artificial circumstances, however they have
arisen. It is imperative that the man is accustomed to the feel of
a 'non-helpful' partner from the beginning, even though at
this stage it is simply 'negative co-operation'. The attacker must
learn to appreciate how to compensate for his forward moving
speed, when he actually attacks. If he keeps up straight his
forward momentum will carry him backwards when he has
turned to throw and so he will be unable to complete the action.
2. During the jumps in and out, the coach should watch that
ELEMENTARY JUDO 125
the pattern is kept the same. Often the novice will do a very
small, inadequate jump and turn for the repetitions, and then on
the 'throwing-jump' will have to use an entirely different move-
ment in order to make the throw work. Each repetition must
be the same as the throwing movement.
3. The lean forward must be quite oblique to the ground in
order to cancel out the force of momentum-the faster the
forward movement the further th-e lean forward must be.
8th Step: Individual Movement
To complete this part of the instruction, the class are allowed
to try the jumping-in attack in general movement-that is
freely moving in any direction. One man in each couple is
initially designated to be the attacker, and he then tries to
throw as often and as hard as he can. Both men should move
as fast and as easily as possible. Mter a short while, the other
man is told to try instead. Such a practice should not be
maintained for too long because again there is a slightly
artificial quality about it (one man is not doing anything).
Because of this limitation of activity this step can be omitted
and the next step of dynamic defence be tackled. For then both
men will have a 'job' to do; a much better state of affairs.
Also learning an avoidance movement will be beneficial to
skill acquisition and maintaining class interest.
I t should be appreciated that this point in the instruction will
be reached after about fifteen-twenty minutes of the very first
session.
DYNAMIC DEFENCE
Just as the attacking movement is to establish a dynamic basis
for throwing, so it is essential for progress to establish a dynamic
avoidance for the purposes of defence. On no account should
the student be allowed to stop an attack from his partner by
sinking at the knees or in anyway standing still. Such negative
movements are of a 'dead-end' variety, and do not allow any
further attacking situation to develop-very bad for a novice's
training. The student must learn to avoidan attack so that
eventually a counter-attack can be developed.
I. As usual the coach shows the class what is wanted for this
positive defence. The class imitate as best they can. The prin-
ciple is to avoid the attack-not block it. Therefore, the pair
 T
126 JUDO FOR THE WEST
are set up in a static position and one man jumps in as before
to attack. As he jumps in (whilst he is still airborne) the partner
tries to leap forward off his left foot over the attacker's right leg.
He should land lightly on his right foot almost facing his
partner (see Plate 7), and remain standing.
2. When this jump forward has been achieved the partner
can then try jumping round behind the attacker over his left
leg, off his right foot (see Plate 8).
POINTS TO WATCH FOR
I. When the student jumps forward in front of the attacker,
the jump need not be too high, for only the height of the right
knee (and lower) need be cleared.
2. When jumping behindthe attacker, the jump must be
higher for now the 'defender' must clear the hips.
3. Ensure that in take-off the defender does not cross his legs.
For example, if the defender goes round the front of the attacker
see that he does not take off from the rightfoot so crossing his left
leg in front of his body, or when jumping behind the attacker
take off from the left foot and cross the right foot in front of it.
Both these ways can lead to 'helping' the attacker in the sense
that it will improve the chances of a successfulattack and there-
fore are not to be encouraged.
4. During the whole process of avoiding the attack, the
defender should be facing the attacker with this whole body;
at no time should he turn away from him.
COMBINED ATTACK AND DEFENCE
When both forms have been done, the defender can mix them
up; that is as the attacker jumps in to throw, the defender can
leap round either side just as the feeling takes him. He must
start learning to move by 'instinct' or by 'feel' with freedom
and lack of restriction, in fact should start to enjoy the jumping.
9th Step: Free Movement
Finally, all the movements, both attack and avoidance, can be
tried in free movement. Both men move about quickly trying
as often as possible to throw the other man, each attempting to
avoid the attacks when made.
Such training is, of course, the first taste of randori. The
ELEMENTARY JUDO 127
coach must realize that the atmosphere and attitude created
during this free practice will affect the beginner's approach to
judo for a long time to come-probably for the rest of his judo
life! Therefore the coach must take every possible opportunity
to stress both directly and indirectly the right attitude to
randori (seepage 102). At no time during randori should either
man be allowed to stop-either for attack or defence-there
must be attack, in spirit as well as fact, all the time. It is better
to have three minutes of this type of training than a quarter of an
hour of slow ponderous introspective lumbering.
General Comments
This same progression can be used for any techniques in which
both feet are in contact with the floor. For example, instead of
spreading the feet wide, the heels can be kept close (Plate 9)
so that when the attack-jump is made, the attacker's feet land
insidethe partner's feet. (Such a movement would be the basis
for tsurikomi-goshi.) With the appropriate modification of the
hands and arms this movement can be used for seoi-nage or
other similar techniques (Plates 10, I 1,12). The reason why the
'feet apart' movement is taught first is that it affords the widest
base for stability.
Ukemi (FaI1ing) .
In a normal class programme specific falling of one kind or
another can be introduced somewhere here-AFTER practical
participation in Group I, the exact timing depends upon the
nature of the class (see Chapter 2) and the planning by the
coach. Remember, any instruction linked specifically to falling
must ensure that the fall is of the gentlest, so that no possible
discouragement mars the novice's enthusiasm.
GROUP 2
As with Group I there is a progression through the group. For
ease of instruction, as this is a rather large group, it is divided
into two parts, one called the major sub-group and the other the
minor sub-group. Major and minor refers respectively to the
hooking or sweeping action of the right leg. When it is wide and
unrestricted by the pelvis, it is major; when the sweep is across
the body, limited by the pelvis, it is the minor.
 ,...--
Group I Attacks (r-5)
128 JUDO FOR THE WEST

There are certain differences between the progression in this

Group and the others because of the differences between the
throwing direction. However, the pattern is the same.
Major Sub-group-First Technique
The coach demonstrates the throw wanted. He jumps on the
spot, hooks his right leg in behind his partner's left leg and !-I
pushes firmly backwards (see Plates 13, 14, IS) finishing in a ,.,~
lunge position.
I ..
1St Step
Because this is a simple fall, it is better if the class start right in l; ~
.F!

and try to duplicate the demonstration of the coach. The only

precaution needed is to tell the man who is thrown to sit ,r- ~ 1 ~2
down quickly and roll back when the other hooks and pushes.
POINTS TO WATCH FOR
I. The attacker's body should be roughly at right-angles to
the opponent-this minimizes the risk of the right knee striking
the opponent in the crotch-and up straight, not bentforward at
the hips.
2. The attacker'sjump should be from the toes of the left foot, Or
truly a bounce.
3. The hopping should be done on the spot and not moving
forward close to the partner.
tf1
_ ,.;c
~ ',oJ ~

4. The elbows should be kept close to the body. oiII-'

l...
S. When the right foot hooks in, the toes should be curled ~
back, not hooked forward (not a very important point at this 14 I I~
...-----,
~r:
stage, but if possible it should be encouraged). -- 1 J -- ...... 4
2nd Step: Linear Movement
As soon as some facility has been achieved in this jumping-
hooking-pushing action, movement can be introduced. The
partner is asked to walk forward, keeping his legs reasonably
wide, facilitating his partner's hook. The attacker hops back-
wards on his left foot, hooking his right leg in and behind. The
attacker discovers the best time to try this. Immediately the
leg is 'in' the attacker takes it 'out', so that the hopping and
hooking action can be maintained continuously as the partner
proceeds forwards. Partners change 'jobs' for the return journey. '
As soon as possible the movement is speeded up. The coach } '"
"....-
.. - ..
6
 T
Group I Avoidances (7 and 8) GroUP 2 Major sub-group2!Attacks (13-17)

t:--
I

I a
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A
7' }t-- .J --\ Ja
13 14
Group I Attack Variations (9-12)

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9 / ..:.1 lis 16

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 1
Group 2 Major sub-group Avoidances (18-21) Group 2 Minor sub-group Attacks (22-26)

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 1
Group 2 Miner sub-group Avoidances (27-32) Group 3 Attacks (33-37)

27 L. 28 133 ~
34

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29 -- -- ----- I ,'. .1\ ~--- 30 35

r J. ""I 36

31 - - 32 37
 Group 3 Avoidances (38 and 39) T /ANe.waza sequence for the intermediate student (continued)

f'

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I
38
I
Ii 1 . 39

Group 3 Attack Variations (40,41)

45
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oi.:~ 41 k
. 146I 47
A Ne-waza sequence for the intermediate student- (42-5°)

1:1I

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42 43 48 49
 A Ne-waza sequence for the intermediate student (continued) Tai-otoshi
(54-56)
Notice the straight left leg, the body rolling
and tucking and the opponent going round,
not up and over.

I
50 I
~4
Notice how the lines C & D and
B & E are broken and roughly
parallel, making a very ugly line.
Note how the line A props or holds
up the throwing line BE.

Right leg straight, weight .~~

going well forward into
the throw. Arms close in "
to body.

~,.
,
,. ~
51 ,')5
."
-

(By the author.) Right leg straight, hips

rotating well (indicated by the left foot).
Weak point-no control of opponent's outer
side.

52 53
56
Notice how the lines are now sn:ooth and Method to develop full throwing action.
unbroken.
 Tsurikomi-goshi (57, 58)

11000. ''''_go (59)

The right leg well straight, 59
hips right across, rolling
opponent forward. Arms
close into body. Weak
point, no control of oppo- The left leg straight
site left arm. and the attacker's
(By courtesy of BudokwaiBulletin body well tucked.
(By courtesy of
, Budokwai Bulletin)

57

Osoto-gari (60-63)
61
60

,
58
.&
The right leg well straight, weight falling into The attacker's left leg straight, weight going The left leg well straight, body weight falling
well into throw. Chest well open. Right leg well forward. The right leg sweep high. The
direction of throw. Opponent being rolled
not lifted. Again a weak hand hold. very high. opponent has managed to duck under the
attacker's right arm, so breaking contact.
Osoto-gari (continued)

T ouchi-gart (6.. 65)

]
..~

11II I
I
62 6.')
~4
The opponent has tried to turn out of the M. Watanabe winning the Tokyo champion- An excellent illustration of ho,"" body power
throw. Certainly there is full participation! is exerted after the opponent has hit the
ship. Weight well forward, arms in close to
the body. ground.

Harai-goshi
(66, 67)

63 6'
66
(By courtesy of Judo Magazine) Left leg straight. Arms close to body, with
A very good attack. Weight well forward. Left leg straight. Good body position back
with arms close to body. right elbow up. Attacker 'rolling' hard to the
Right elbow up and pushing downwards. front.
 Uchimata (68,69)

ELEMENTARY JUDO 129

should see that the partner walks consistently forward, without

any stopping (or being stopped) at the moment of attack.

3rd Step: Throwing

At the end of the hopping movement the attacker can try
to make the throw, the same as when standing still. Again the
lunge forward is important.
I POINTS TO WATCH FOR
I. Falling. The man should tuck and roll backwards easily

68
~:r
Notice how the attacker's left leg is placed
well to the side.
Hane-goshi (70)
°
Notice the absence of any form of chest
contact.
Much has been lost due to the
printing in black and white (ori-
ginal is in oils) but on inspection
the 'swirl' of the throw can be
seen moving from left to right.
(By kind permission of
G. A. W. Hicks, RWA. ATD)
~
and quickly as his partner hooks and pushes.
2. For the attacker there must be no 'pull off' during the
.- 69 attack, that is the hips must not bend and so pull the attacker
Body weight well into the throw. The bodies
are fairly loose, but sufficient contact has been
made.
backwards out of the attack. The hips lead, or remain forward
throughout the throw.
Sasai-tsurikomi-ashi (7 I) 3. The reap or sweep must be big and wide. At this stage
the point of contact is immaterial as long as it has the desired
effect. (This point of contact generally varies according to the
height, suppleness and relative sizes of the participants.)
On this occasion the attackers have to be shown the effect of
movement: that is, when done on the spot the jump-attack
moves very little. However, when done on the move the attacker
may have to jump backwards.With the speed of the forward
motion (by the partner) any movement forward on the part of
the attacker would be useless. Such a backward jump fits in
very well however with the rest of the practical application
Q
of 'basic factors' (e.g. power curve page 65). This change of
direction occurs quite naturally as the result of correctly
applied basic elements practised earlier in the lesson.
__ 71 4th Step: Individual Movement
Notice the body arch and hands well in close
The pairs are then told to move around in unrestricted move-
to the body.
ment with good posture. One man in each pair is given the
job of the attacker. Whenever he can-whenever the opponent
moves somewhat forward-he tries an attack-a jump, a hook,
a lunge forward, or a push with both hands. After a few
attempts the roles are reversed. Again this stage is not allowed
to extend for too long, as only one man is 'working' at a time.
Generally this stage can be saved and joined with the next
technique at the same stage of development.
5
 130 JUDO FOR THE WEST ELEMENTARY JUDO 131

Major Sub-group-Second Technique
Again the coach shows what is wanted, and the class copy as
best they can. Taking up the static position, the attacker jumps,
hopping on the spot with plenty of bounce, similar to the
previous occasion, but now instead of the right foot going on
the inside of his partner's left leg, it goes on the outsideof the
partner's right leg. (Plates 16, 17.)
1St Step: Linear Movement
The pattern as before, the partner walking forward, but with
his legs normally spaced this time. The attacking movement is
done when the partner's left leg is advancing, the attacker
hooking round the right leg.
2nd Step: Throwing
After several hooking repeats on the move it is completed by a
throw.
POINTS TO WATCH FOR
I. Feet:
Left foot remains in front of the opponent during the whole
attack. It is preferable for the toes of the right foot to be curled
back.
2. Posture:
Attacker's 'bottom' must not stick out backwards during the
throwing action.
3. Weight:
Attacker's weight at the completionof the throw must he well
forward (seePlate 17).
to that in the other two groups. Because of the nature of the
backward throw, the easiest way to avoid them is simply to
pick up the leg which is attacked and lift it over the hooking leg
of the attacker. If this can be done it is perfectly acceptable.
But one of the objects of the Group Method is to produce the
type of movement which will stand the player in good stead
when he is 3rd or 4th Dan. With this in mind the novice must be
taught how not to land on his back. Although in the early
stages of training such methods may appear to the novice to be
somewhat far-fetched, they are quite practical means of avoiding
such attacks (see Plate 62).
As usual the instructor demonstrates (Plate 18). The class
take up their static positions in pairs. The attacker jumps
slowly in, hooking his right leg on the inside of his partner's
left leg (as in the first major technique of Group 2) and then
STOPS. This will give the partner time to think! The man releases
both hands from holding the attacker's jacket and then turning
to his right, taking the right shoulder back, pivots on his right
foot, till he faces-more or less-the same way as the attacker.
He falls forward on to his hands (see Plate 19).
Similarly when the attacker hooks his right leg round the
man's right leg the partner turns to his left (taking his left
shoulder back (Plates 20 and 21). In both cases the partner
turns awqy from the leg which is attacked.
When all are familiar with this type of movement it can be
gradually speeded up. The body of the 'defender' can be twisted
quickly in the appropriate direction, so 'tearing' the hands free,
diving away and landing on the balls of the feet and the hands
(Plate 19).
It must be emphasized that the turn is done during the actual
fall, not before (i.e. before the attacker actually sweeps).

4. Arms:
Both arms of attacker are kept in close to his body. 3rd Step: Individual and Free Movement .

NOTE:In both techniques the steps can be varied, i.e. the throw can be put before
the 'linear movement'.
DYNAMIC DEFENCE
~ with Group I, the avoidances are taught along with the
attacks. However, in this group the object is slightly different
Movement can then take place, first one attacking, the other
defending (both really trying) then turn about. Finally both
can attack and both defend. If so required by the coach this
stage can be postponed until both sub-groups are covered to
produce more activity. As always the timing of these various
stages would depend upon particular circulDStances.
 -,--I
132 JUDO FOR THE WEST ELEMENTARY JUDO 133
Minor Sub-group for the beginner, a reason which need not be considered a
For brevity, I will simply say that this sub-group is treated dominating one, but nevertheless if it can be utilized, so much
just like the major sub-group; the only difference is the position- the better, for it is then the same for both attacking movements
ing of the attacking right foot. In the first attacking movement in each sub-group. Secondly there is a technical reason. When
the attacker's right foot goes in behind his partner's right heel throwing the opponent over the outside edge of his feet (o-soto
(Plates 22 and 23). In the second attack the attacker's right and ko-soto-gari)the movementof the other legwillfacilitatethe
foot goes behind the partner's left foot (Plates 24-26).
The other points can all be taken as the same, i.e. lunge
forward after the push, and avoidances which turn away from
the foot being attacked (Plates 27-32). By making the attacks y
almost the same, it offers less confusion for the beginner.
Having done one, he can then do them all, and this ought to
please him considerably! x
General Points
There are several points implicit in this group that I feel should
be isolated and looked at more closely. They are not points
which should be made to the novice in as many words, but the
coach knowing them should just see to it they are achieved.
I. The general direction of the sweep or reap of the attacking
foot should tend to move across in front of his body as well as
forward when the sweep is from outside the partner's foot.
Similarly when sweeping from the inside, the attacked foot
should move outwardsas well as forwards. This should facilitate
the movement of the opponent's foot. If the opponent's foot is /'
swept only along the line of the foot it has a tendency to
stick, particularly if the attacking foot strikes high, for the FigIO
opponent's knee bends and the angle at knee and ankle then If point A is carried along parallel with the ground by horizontal sweep X, point B
make the foot a prop which effectively holds the attacked foot cannot move forward because length (radius) AB is longer than AD. Therefore,
in place (Fig. 10). However, if the foot is swept to the side, arc BC stops and prevents movement. So it is better to sweep in direction Y.
the width of the foot is not sufficient to act as a prop in this
sense (Fig. II). The importance of this direction will increase push required to drive the man's body (trunk) past or over his
as the student progresses through the grades. outside foot. When throwing from the inside, the leg is moved
2. The coach should have noticed that the general timing of out from under the man's body (weight) so that he falls down.
these four techniques is essentially very different from the more Attacking a moving leg will make this result much easier to
orthodox style. I have suggested that the outside sweeps (the obtain. The coach should remember that the falls to these
eventualo-sotoand ko-soto-gari)are doneagainsta stationaryleg attacks can be heavy, so every care should be taken to see that
and the inside sweeps (eventual ko-uchi and o-uchi-gari) are such risks are minimized.
done against a moving leg. There are two main reasons for 3. The similarity between these four general types is more
this change. Firsdy, it keeps the 'build-up' simple and similar pronounced here than was the tendency in the past. This, of

134 JUDO FOR THE WEST
It..
" ,
A B
D As in Group I the class first spread out individually and start
c off on their own, without a partner. Standing on their left foot
FigH
Directions C and D are best for maximum effectiveness when considering the garis.
course, is primarily to keep it simple yet consistent with practice
and secondly, in my opinion, to conform to the type of move-
ment required to produce power for this type of attack at a
subsequent advanced level.
GROUP 3
The final group is the one in which the throws are done from
one leg; that is, whilst one leg acts as the driving force for the
body, the other leg, by various ways, takes the partner's legs
out from underneath him. As usual to clarify the position and
present a clear picture, the coach shows the class what is
expected of them. Facing his partner the coach stands with all
his weight on the left foot, allowing the right to lightly rest on the
ground. He then jumps forwards from the left foot to land on it,
swinging the right leg round forward and back to sweep the
partner's legs from under him (Plates 33, 34, 35). The throw is
repeated several times, the class being told what is happening
and what to look for. Of course the coach must see to it that the
landings of the partner are gentle ones. The coach will need
-,
ELEMENTARYJUDO 135
control to ensure that the fall is light. On no account must the
novice-partner fall heavily to the ground.
Again depending upon the coach's discretion, he can let the
class attempt an immediate copy or he can take it in 'steps' as
follows. The choice is his.
1St Step: Simple Movement
with the right slightly raised off the ground, they first jump
forward, over a distance of about three or four feet, turning to
the left (left shoulder taken backwards). The landing should
be on the left foot (ball of the foot and toes, not the flat foot)
with the whole body, and head, facing exactly the opposite
way to which they started-a 18o-degree turn. The balance
should be maintained on the left foot throughout. The jump-
turn can then be taken as a continuous movement exercise.
2nd Step:
To indicate how the weight is to be kept forward at the comple-
tion of the jump-turn, the hands can be placed on the ground
(see Plate 36). The leg should be swung through as big an arc as
possible GOING FORWARD BEFORE SWEEPING BACK, finishing in
the high position shown in Plate 36. The big sweep of the right
leg is important and should be encouraged in every way by the
coach. Most novices have great difficulty in achieving a loose
. swing of this leg and for some this remains a trouble for a long
time. Therefore, it is worth extra effort on the part of the coach
to get it as good as possible from the start, and encourage its
practice, perhaps as a warming-up activity, as often as feasible.
3rd Step: Static Movement
When this jump-turn with leg swing has been achieved with
some degree of success, the class can pair off and one jumps into
his partner swinging the right leg up on the outside (Plates
33 and 34). The coach should see that the attacker's left foot
lands somewhere close to his partner's feet (the partner should
be warned to keep them fairly wide at the start-to prevent
them being jumped on!). The body should remain fairly
upright, with the right leg swinging quite freely-preferably
 -..
136 JUDO FOR THE WEST
with toes pointed. Gradually the speed ofjumping forward and
back is increased, but care should now be taken to ensure that
the weight is kept on the balls of the feet all the time!
4th Step I Linear Movement
The partner is asked to walk backwards quite normally. The
attacker then jumps in and out swinging the right leg forwards
and backwards as he does so. This right leg should at no time
touch the ground. The right leg is kept swinging and the body-
weight forward on the left toes. The backwards swing of the
right leg should coincide with the left foot hitting the ground.
5th Step: Throwing
The throw is done by simply jumping in as before, but now as
the right leg swings back, the whole body 'leans' or sways
forward pulling the partner forward on to the sweeping right
leg. The final position is much like that done when the novice
was doing the jump-turns on his own, resting his hands on the
ground (see Plate 36).
NOTE: If the coach considers it worthwhile he can break this stage down even further
so that the attacker really gets the feel of the swinging right leg. The attacker
jumps forward into position (left foot inside partner's feet, trunk upright).
Then he swings the right leg forward with toes pointed, as high as he can get it
without breaking his posture (see Plate 34). He then swings back, striking it
against the partner's thigh. Forward again, back again. As the swings gradually
quicken the body is allowed to move with it, until the swing naturally brings the
partner forward and over the leg. Such a swinging exercise can be repeated several
times, till eventually, when some success has been achieved, the swing and throw
can be attempted directly without any repeats.
To reiterate, it is important to get a certain degree of success with this swinging
leg as early as possible; otherwise, for one reason or another, it will always end
similarly to Group I, with both feet on the ground.
POINTS TO WATCH FOR
I. During the moving repetitions the attacker's body must
be held as upright as possible. If the body is 'broken' too much
at the waist the body control will be minimal.
2. Weight to be kept well forward on toes and balls of the
left foot (particularly during the throw).
3. The opponent should be rolled round and forward, rather
than lifted up during the actual throw.
ELEMENTARY
JUDO 137
4. The right leg should make a big forward (first) and
backward swing in order to take the opponent's legs out £rom
under him.
5. Hands to be kept close to the body, the right elbow can
go high.
6. During the throw the left leg must not collapse or bend
at any time. If it does the big, smooth, continuous throwing
movement will be completely ruined and the other man may
get a nasty landing!
6th Step: Linear Movement with Throw
As usual the static throw is converted as quickly as possible to a
moving one, with the minimum number of static repetitions.
The full throw is then 'tacked on' to the simple linear move-
ment. The opponent is told to walk backwards with feet apart.
The attacker jumps in and out and after several repeats attempts
the throw.
POINTS TO WATCH FOR
I. The coach should see that the partner does not 'help' by
half turning when he thinks the attacker is actually going to
throw. This can ruin the whole 'feeling' of the throw for the
attacker and hence is to be avoided.
2. Each successive jump by the attacker should be the same
as the previous one, with only the minimum difference finally
to complete the throw. There should not be one kind of repeat
going along the mat (a poor one) and a different one (more
explosive) for the actual throw. This destroys the whole object
of the exercise.
3. After completion of the throw the attacker should be well
forward on his toes, as in Plate 37, with the right leg high in the
air and the left leg straight.
DYNAMIC DEFENCE
The defence for this group follows the same pattern as for
Group I. First the coach shows the kind of avoidance required.
The attacker jumps in as before with the right leg swinging to
throw. As he jumps forward the partner jumps forward and
round behind his back (Plate 38). Initially, time can be taken
so that the man has time to think, but quite quickly he should
 ,
138 JUDO FOR THE WEST
speed it up. The coach should watch that the defending jump
is made whilst the attacker is still comingin, not waiting till after
the attacker has arrived-too late! The only other point to
watch for is that the defender does not jump off his left foot,
meaning that the legs will cross in mid-jump-very hazardous
for him and helpful for the attacker. If the jump is done well,
it should carry the defender right over and round in front of
the attacker, so twisting the attacker completely off his feet.
The next step is for the partner to jump forward and over the
sweeping right leg of the attacker. This is slightly more involved
than the first one. For example, if the partner attempts to jump
over the right leg by raising his knees in front, it is usually
disastrous, for his feet catch the sweeping leg and the defender
really gets thrown with a bang! (He jumps on to the swinging
leg.) Therefore he must learn to take the legs straight back,
following the sweeping right leg back and so over it (Plate 39).
Even doing it this way, correctly, the man may still get caught,
but he should persevere, for being thrown does not matter as
long as the novice gets the 'feeling' for avoiding such an attack.
7th Step: Free Movement
Finally both attack and defence can be tried in free movement,
first one man attacking, the other avoiding, then each changing
'jobs'. Lastly both men try hard to do both things, attack and
avoid, whilst moving fast and freely round the whole of the
mat area.
General Comments .
Using this same type of progression, variations on the attacking
movement could be applied. For example, the sweeping right
leg of the attacker could be directed to go between the legs of
the partner (an elementary form of uchi-mata) (Plate 40).
Another would be that the same swinging right leg could be
made to knock the partner's right leg from underneath him
(a simple method of introducing the novice to hane-goshi)
(Plate 4 I). If the right leg was simply raised high to the side,
with no sweep, then the opponent could be rolled over it by
the twist of the attacker's body (a leadin to o-guruma). It is
important for the novice to appreciate at this stage in his life
that the general movement for all techniques is essentially the
same, so that he can absorb the movement quickly.
ELEMENTARYJUDO 139
MIXING ALL GROUPS
Somewhere at this stage could be introduced the session (or
sessions)where the students would be asked to try any attacking
movements from any of the groups, along with the suitable avoid-
ances. This of course should resemble a normal randori, the
difference remaining only in the limited range of applied
technique. Such sessions act both as revision and practice
periods.
Throwing is of the essence! Attacks should flow free and fast,
provided the rapidity of the attacks does not limit the range of
movement. The students should start to realize the subtleties
of pace and rhythm in free movement. Any kind of stopping,
for either attack or defence, should be discouraged. The coach,
watching from the side, will do his best to help and advise all
in the best ways of achieving success.
SUMMARY
The reader will notice that I have made no effort to present the
various steps of progression in a teaching context. I have merely
laid them out clearly (I hope) and at some length. It is up to
the reader to derive his own way of presenting the 'cold items'
to his class.
Possibly the discerning reader will also be wondering why
I have flown in the teeth of judo convention, when describing
the direction of movement for the various throws, e.g. when
throwing forward, attack when the opponent is going back-
wards; when throwing backwards, attack when he is moving
forward. A detailed explanation will be found in Chapter 2,
so I will only briefly mention them here. Remember two of the
basic ingredients for a simple introductory throwing system:
I. Speed and its companion, movement.
2. Sound basis for future development.
Therefore the reasons are simple enough-
(a) For power there must be distance and turning through
the increasing distance as the opponent moves away gives
momentum and hence power.
(b) If there is no 'turning power' when throwing backward-
something must be substituted, so waiting for the opponent to
come forward givesjust such an opportunity for 'impact power' .
 -,
140 JUDO FOR THE WEST
NE-WAZA
To make a similar kind of system concerned with ne-waza, as I
did with nage-waza, was very difficult. The basic obstacle to
the establishment of such a system was coping with the multi-
tudinous directions of possible attack. In tachi-waza the attack-
ing direction is restricted to the horizontal (parallel with the
ground)-due one could say to the limitations imposed by
gravity. In ne-waza, however, there is no such limitation; the
attack can come from any direction relative to the man
attacked-down, up, sideways, to the rear and so on. Initially
I tried to group the various techniques into three, as I had done
with the throws, but it was impossible due to the wide range of
movement suggested above. After giving the matter a lvt of
thought, certain general points began to emerge which would
have to be incorporated into any similar system devised. These
points were:
I. Some kind of directional grouping for ease of reference
and teaching.
2. Technique would have to be taught as a part of movement.
It was quite clear to me that the past way of teaching ne-waza
techniques in isolation (e.g. first kesa-gatame then kata-gatame)
was not the best way of achieving the best results. It stultifies
movement and limits skill; people who had learnt this way just
had no conception of movement on the ground.
3. In addition to the obvious advantages (to me) of using
the Direct Method approach to ne-waza instruction, I can see a
great future for the Project Method in this sphere of teaching.
4. Certain psychological factors implicit in ne-waza could
easily be taken advantage of. For example, look first at the way
holds were taught in the past. A specific hold was taught (e.g.
kesa-gatame). Because of the introduction used it was supposed
to work! If it did not (and this was often the case) the student
would mentally cast doubts on the efficiency of the hold, first
because it had been proved to him that it did not actually work
(in spite of what he had been told) and then-far more insidious
-he would cast. doubts on the ability of the instructor-for
teaching him such a rotten hold anyway.
By allowing the class to establish its own standards, by letting
them discover, or experiment with, their own type of holding
(possibly having seen a rough picture shown by the coach as
ELEMENTARYJUDO 141
some initial guide) the coach can only improve upon their
efforts and in this way not only does the class acquire confidence
in the coach, but really does improve, once they understand
what they are trying to do.
Introduction to a System.
By keeping all the various points in mind and after some
experimentation, a system of sorts began to emerge; not nearly
as clear-cut as the throwing system, but one which has proved
just as effective. For convenience of reference, holdings (osae-
komi) were divided into three positional types:
I. 'Head-end' type: this refers to the kami-shiho form, where
the holding is positional at the head end of the partner.
2. 'Side' type: obvious enough referring to the yoko-shiho form
where the holder is positioned at the side of his partner.
3. 'On top' type: the tate-shiho form, where the holder is
positioned on top of his partner to hold him down.
Such a grouping does not cover all types of holding, but for
all practical uses at the elementary stage it is quite adequate.
Introduction to Osaekomi
The principle of task-setting can be used from the very
beginning. The class has explained to it the object of osaekomi,
i.e. holding a man (approximately) on his back for a set period
of time. The rules could also be given to show clearly the range
and limitations of what can be done. The class members in
pairs could then be asked how a man could be held very effec-
tively on his back from a 'top end' position by holding only one
part of his body. After some thought a few may hazard the right
answer, holding the head under one arm. The coach could let
the others try it and then ask if they could not foresee a hazard
involved. It should be fairly obvious that the neck could be
broken if the struggles of the partner were too violent. Could
the essential quality of the hold be retained, but the holding
of a limb introduced? The limb would obviate the dangerous
aspect of the original hold. The class will try and achieve
the task set; the coach will give appropriate advice as the
occasion arises.
 -,
142 JUDO :FOR THE WEST
Here is the pattern, the ensuing development is up to the
coach. He could proceed from this (e.g. how would the partner
try to break the hold established ?), or he could gradually merge
it into a more orthodox gestalt approach. He could show the
class what he wanted-a hold from the head-end, perhaps using
the same kind of hold as they did at the outset! The pupil is
asked to thrash about trying to escape and the coach moves
even more and much faster in order to retain his controlling
position. THIS DEMONSTRATION OF MOVEMENT IS VERY IMPORTANT.
Fig I:2
The class must be firmly impressed that lots of movement is an
intrinsic part of any effective hold. The class will then attempt
to duplicate the activity in its own way.
When they have all tried upon each other, the coach stops
them and shows them what he actually wants-perhaps an
orthodox kuzure-kami-shiho-gatame, although he does not
necessarily give the name (Fig. 12). Most of the class ought to
have arrived at something like this on their own anyway, after
the verbal description and demonstration. Having tried the
correct form the coach will then give one or two specific points
for the class to learn and which are essential to the technique.
The next step, as with the tachi-waza, will be to help the
other man, in this case the man underneath, to give him some
idea how to try and escape from the hold. The basic movement
to all escaping methods is the 'bridge' (Fig. 13). This can be
tried in individual movement first. Each tries to get himself up
into a bridge (most ought to manage it well enough). For
a variation on a theme they can do a headstand first (it will
help them towards a greater body awareness too) and then
fall over into the bridge. They can try to twist over on to their
ELEMENTARY JUDO 143
front, still keeping 'bridged up', but facing the ground this time.
Once the general idea has been driven home, the twist over
from the 'bridge' position can be made more important. The
turn over must be strong; one foot kept still whilst the other
foot really drives the body over on to its front. This is to be the
escaping action. When the action is strong, they can go back
to their pairs, one holding whilst the other one tries to bridge
and turn over. Probably, initially, the twist-over and the bridge
will be done very slowly and therefore it will be ineffective,
for the other man can easily adjust and stop its completion.
However, the man underneath must be encouraged to try and
Fig I3 The 'bridge'.
find ways of doing it unexpectedly; lots of general wriggling
first and then quite suddenly a big arch and twist: or he can
even try to turn one way and then, when the other man is really
pushing him back, suddenly change and twist the other way.
This is real judo 'cunning' and many of them should be capable
of doing it with a little practice.
Any hold can be taught in this way, showing the class what is
wanted and then letting them try. The coach then selects for
emphasis one or two points essential to the technique. These are
included in a free movement attempt to see if they can be
retained in a 'heaving and pushing' session-a typical whole-
part-whole approach. The avoidance is then taught with as
much range of movement as possible, but invariably the 'bridge'
will be the essence of the move.
 146 JUDO FOR THE WEST
made would then have to be on the basis of what the individuals
produced spontaneously.
As mentioned at the start of this section, the whole link could
be tackled on the basis of setting the class a problem in linkage,
with no help (demonstrations) from the coach at all. The project
could take the form of, 'Link two attacking movements, (one
from Group 2 and one from Group 3) with avoidance moves in
between attacks'. A more involved example could be, 'Starting
ITom Group I, link any four attacking movements from the
other two groups, with appropriate avoidances'. Initially,
the individuals in each pair would have to co-operate and
help each other (not a bad thing in my mind! It is not good
to stress competition always). Then, as they discover how to
solve the problem, they can start putting it into a competitive
situation. It goes without saying of course that eventually the
link must be attempted in free movement-randon.
Linked Technique
NE-WAZA
In some ways it is even more important to teach ne-waza
techniques in movement, than it is for nage-waza. It is so easy
to be seduced and see ne-waza as a static performance, because
the pace is so much slower than nage-waza.
Certainly this has been true in the past, techniques taught in
isolation with no reference to ways of getting from one position
to another. Indeed the whole immobility aspect was underlined
because the first holding technique always taught was kesa-
gatame, a particularly 'dead-end' hold with virtually no
possibility of development into other holding types. (For this
reason I am completely against kesa-gatame as a first technique
and I only teach it at an intermediate stage at the earliest.) The
novice must be made to realize the importance of movement in
ne-waza from the earliest possible moment. For this reason I
feel the project approach on the ground has even greater potential
benefit than in tachi-waza, because movement can be made so
easily an intrinsic part of the project. (This type of approach
to ne-waza is illustrated in the film I made for the B.J.A.)
The actual teaching can conform to the general outline as
given for nage-waza. For convenience' sake I will quickly
outline the methods under the particular headings.
ELEMENTARY JUDO 147
WHOLE-PART-WHOLE
The coach will first show the link, with the aid of a class member.
How to get from one hold to another will be shown clearly in
the demonstration. The class are asked to duplicate it if possible,
the coach helping when necessary. Make one or two specific
points in each technique.
'BRIDGE' PROJECT
The coach shows two forms of holding, the class trying both
independently. They are then asked how to get from one to
the other, beforethe first one is actually applied if possible.
Again the coach will help each individual effort.
'OPEN' PROJECT
The coach will specify a starting hold, and then ask the class
to get from that one to another, holding (from the side to the
top for example). The class work it out for themselves as best
they can.
HOLDING-LOCKS (NECK AND ARM)
I have not talked specifically about this aspect of katame-waza,
but naturally they can be tackled in the same way as the
holdings. For example, with kansetsu, the coach explains what
the general principles of arm locks are, linear bending and
radial twisting ofthe elbow. In pairs they can gently experiment
with the range of the elbow joint, to find out how far the elbow
can bend before it begins to hurt, and what sort of locks can be
devised. Once this range is appreciated, they can begin to invent
arm-locks of their own-with verbal guiding and nudging from
the coach.
Similarly with shime, the class experience the general
principle, and then make up their own forms-with the help of
the coach. Such projects as making up their own kansetsu and
shime-waia can of course be a part of a normal project starting
from an osae-komi position. There is an enormous range and
variety possible in the use of project method on the ground.
Transitionary Systems
Finally, but by no means less important, the novice must learn
to move easily and quickly ITom tachi-waza into ne-waza.
This ability has always been very clearly appreciated in
judo teaching circles, but it has never been really a strong suit
148 JUDO FOR THE WEST
of British judo players. The fault in my opinion was simple
enough, it was always considered adequate to talk about it-it
was never taught or practised. I say simple because just as the
novice has to be taught to move from one throw to another, and
from one hold to another, so he has to be taughthow to get from
the vertical position to the horizontal-in the most expedient
way for him!
Keeping in mind the major objective of the elementary
training-movement, transference methods are again best
taught in a project manner. For example, throwing with a
Group 2 attack, how can the thrower complete the movement in
a holding at the head-end of his partner? The problem can only
be solved by a large movement (some kind of cartwheel),
otherwise the thrower will not get to the required position. So
the type of movement produced is dependent upon the projects
set by the coach. To ring the changes the coach can of course
use the same methods as before-whole-part-whole, 'bridge'
project and 'open' project-the application is for him to decide,
as by now he will fully understand what is wanted.
Coaching Hooks-Elementary
This is just a simple list of points as a guide to what to look for
in a novice:
Posture: Should be up straight, with his chest open-in
ne-waza too!
Movement: Easy and fast, moving from the toes-in ne-waza
too! The toes should be tucked forward, not out
flat.
Arms: Close to the body. They should not 'flap' in the
air-in ne-waza too!
Head: Kept up high during general movement. It will
only lower (on to the chest) for a specific purpose.
This applies in ne-waza too!
CONCLUSION
In this chapter I have tried to give a little background as well
as the contents of the Group Method, to give some indication
of how it was developed. For in my opinion it helps when a
method is applied, if the background reasons for its existence
are understood. For if the Group Method is applied by a man
ELEMENTARYJUDO 149
who does not understand what it is trying to achieve, it could
merely become another judo dogma, where one arbitrary
movement is substituted for another and original thought is
destroyed as in the past.
If treated with thought the Group Method is very flexible,
easily adaptable to any situation provided the principles and
objectives are really understood. Everything in it has a purpose,
nothing is included for its own sake, and when it is applied
this must be understood. Because of the importance I attach
to those objectives let me reiterate:
Objects of the Group Method
I. To produce a wide range of movement with speed.
2. To achieve practical success as quickly as possible-
simplification.
3. To produce a sound movement basis upon which to build
future skill.
4. To give enjoyment through activity and purposeful
participation.
The success of the Group Method has shown to what extent
the objects have been achieved. How long the Group Method
will retain the position of a good way of introducing people to
judo, remains to be seen. Certainly it has served a very useful
purpose and clearly shown its value. New thoughts and new
approaches can always be found so that original ideas are
improved upon. So with the Group Method. I hope it has not
only helped the spreading of judo at a low level, but has also
stimulated new thoughts on different ways of achieving success
in skill training. It certainly has had this effect on me! From the
Group Method, further thought and experiments led me to a
method of which the project setting principle is the core. Who
knows what will happen in the future! It is not the method used
which is the object, but a higher and higher standard of judo
skill and, better, more streamlined ways of achieving that skill.
 1
CHAPTER 4-
INTERMEDIATE JUDO
HERE,at the intermediate stage of skill learning the fascinating
branches of coaching really start. Can the coach turn this
fast-moving, crude technician into a polished performer?
All the coach's wiles and guiles will be needed to do this. He
has to push without pushing, he will have to cajole, coax and
bully his pupils into improvement. In order to do this he will
have to draw upon his whole store of experience and technical
knowledge to find suitable 'pieces' for the individual. He will be
faced continually with problems and disappointments (his best
pupil will suddenly leave and take up ten-pin bowling). He
must. overcome all these 'trials', keep his own stability and
patience as well as improve his pupils.
Progression is the key to any teaching programme, as I have
tried to show in the preceding chapters. Each 'floor' must be
well and soundly laid, so that the next 'floor' can be confidently
laid on top of it. Full knowledge of the general basic points
(e.g. speed, simplicity) made at the elementary stage will be
taken for granted and the qualities and experience intrinsically
incorporated in any further technical developments.
In the elementary stage very little attention was paid to
specific techniques or to the development of individual style.
Within certain broad limits all were taught the same, no special
effort was made to allow the individual to produce a style of his
own (although the coach would naturally do this surreptitiously
as he corrected any movement). But now the individual comes
into his own; the coach starts to 'tailor-make' the throw to suit a
particular individual and no one else. The coach has got to try
and find 'short cuts' for the individual to achieve a higher
standard of skill. Yet at the same time the coach must not fool
himself, the student judo player will reach as high a standard
as his 'ration' of enthusiasm will take him-without help from
INTERMEDIATE JUDO 151
the coach ifneed be. If, however, the coach can supply him with
'short cuts' the 'ration of enthusiasm' may take the man higher
than if he had been left on his own.
As the moulding of technique takes place, with all the intri-
cacies it entails, the two basic principles of the approach must
not be forgotten-simplicity and progression. Simplicity now
means that one point at a time must be taught to the trainee; he
must not be bombarded with a series of technical factors only
to confuse and muddle him. The coach must be able to decide
what are the important points in a technique and mentally
list them in order of priority so that the first point is the most
important from the aspect of technique essence. The order and
the ways these points are presented to the budding champion is
of course the manifestation of progression.
To illustrate how the loose jumping attacks of the Group
Method can be modified to an intermediate standard, I have
taken a movement from each group and started turning it into a
technique. I have selected just two points for each transforma-
tion, not necessarily the first points chosen in every circum-
stance, but ones which will illustrate the type of change I mean
at this level of instruction.
EXAMPLE FROM GROUP I-TAI-OTOSm
Points Selected for Instruction
I. Modification:ModifYthe jump attack' to the 'step attack'.
2. Technicalpoint: The necessity of moving the weight from the
left foot to the right foot during the throwing action.
DEMONSTRATION
The instructor informs his group of the two points he is going
to stress throughout the instruction on this throw-tai-otoshi.
They are then told to watch for them as he performs the whole
throw. He will repeat as often as he thinks necessary.
CLASS WORK
1St Point
The class are allowed to try the throw themselves, incorporating
as best they can the two points. After assessing the results the
coach will take the points in sequence. First, whilst standing in
 1
I

152 JUDO FOR THE WEST INTERMEDIATE JUDO 153

pairs, the man designated as the attacker moves his right foot
twelve to eighteen inches in front of his left foot. Then pivoting
on the ball of his foot (right) he swings his left foot back outside
his partner's left foot and rougWy in line with it. The right foot
then moves outside the partner's right foot (care should be taken
that the right foot does not go back PASTthe partner's right foot).
The final position should look something like that in Plate 4.
(Group Method).
The class is told to repeat this 'three step' action several times
till it is fairly consistent. Then, if the judo education has been
sound, the class should start naturally to put some feeling of
'jumping' into the 'three step', but if not, the coach will tell
them to do so. Here is where the jump of the introductory
method is turned into the 'step attack' of the intermediate.
Fig I4
This means that the step instead of being the rather ponderous
'plonk, plonk' of a physical illiterate (as was the usual product
of the past system) it becomes a fast skip-in with the benefits of The dass are spread out and then allowed to try the move-
both methods. ment. The coach moves among them, helping each man to
The class can then be told to try the 'step jump' in free move- achieve the movement in his own particular way. Initially of
ment. The general opportunity will still be when the opponent course the action can be tried without the finishing throwing
is going backwards. As he does so the attacker skips in, with his action, but quite soon the throw must be completed. A habit of
right foot initiating the movement. When all have tried, taking it non-completion of a throw must not be allowed to gain a hold.
in turns, restrictions can be taken off and they all try in their
own time.

2nd Point
Mter such a 'tree-for-all' the second point can be broached.
The coach will see that all the class are in a position to see
what he is about to do. The coach will demonstrate it clearly:
he steps in as before and as the left foot slides back into position,
the body weight swings across on to the right foot. This action
means that the whole of the body weight of the attacker is
thrown against the left side of the opponent, so driving him to
his right front corner. The action is then done at normal speed,
the point being made again that it is the attacking action (the
dynamic moving of the weight forward and out on to the right
foot) which breaks the controlled posture of the opponent.
The final position of the attacker is emphasized, because Fig Ij
he will end up with the weight forward on the right knee
A. oommcm faalt In taI-ot081d, when the weight disposition is allow~ to go too
(Fig. 14). far to the left.

154 JUDO FOR THE WEST
Fig z6 A bad stade form of tai-otosld.
Non~:
Many readers will note that this second 'technical point' is in direct contradiction
to that advocated in most textbooks (which specify that the body weight is kept
on the left foot during the whole of the attack, including completion (Figs. 15 and
16). The weakness of such a method in practice is usually that it either allows
the opponent easily to step over the outstretched right leg or drags the attacker
backwards, whereas the method advocated in the above complies with the basic
factors as laid out in Chapter 2. Doing tai-otoshi this way will tend to take it out
of the 'official' te-waza classification, into a koshi-waza one. However, what does
it matter as long as it is effective? Most top-class Japanese do it this way (see
Plates 54 and 56), so experience also seems to confirm this.
To complete the lesson, the instructor would get the class to
practise the throw in randori, keeping their minds particularly
on the two points covered. Only when a certain degree of ability
to incorporate these two points had been acquired would the
instructor move on. The next points will in turn build on to the
two already covered.
EXAMPLE FROM GROUP 2-0-S0TO-GARI
Points Selected Cor Instruction
I. Modification:Accurate positioning of left leg.
2. TechnicalPoint: Sweeping action of the right leg.
1
I
I
INTERMEDIATE JUDO 155
NOTE:
Sometimes more than two pointl can be considered at one time (if the additional
, point is very simple and comparatively uncomplieated). However, in general it it
inadvisable, as the student is incapable of remembering more than two, and if he
tries to will often end by forgetting all.
~
DEMONSTRATION
The instructor informs the class of the two points he intends to
stress during the instruction; he then proceeds to illustrate them
in a demonstration, asking the class to watch for the points he
has mentioned.
CLASS WORK
The class are allowed to try themselves with these two points in
mind. After assessing the results the coach isolates the first point.
1StPoint
He selects a partner and stands facing him (feet opposite each
other). The instructor shows how the left foot is raised and then
placed somewhere in front of partner's left foot, but it is not just
a question of putting the foot down, but rather stamping it
down. This stamp throws the whole body forward with the
right leg leading the whole movement. The action is stopped
there. The class is told to spread out and practise the stamp plus
the surge forward of the body.
After the initial tentative trials the coach would point out
that the jump action learnt in the elementary stage can now be
put into this stamp. So the student jumps the left foot in place,
which facilitates the stamp and also helps to throw the body
forward.
A small 'timing exercise' can be interpolated here for a
change. The pairs are holding in the normal basic manner.
Then in unison the attacker takes his right foot back, the
opponent his left foot forward, the attacker moves his right
foot forward, the opponent his left foot backwards. This is
repeated quickly and easily-something like a 'half walk' (that
is one foot is kept fixed to the ground, whilst the other moves
backwards and forwards). The attacker, in his own time, waits
till his opponent's left foot is about to move forward, then he
jumps his left foot and throws his weight forward as he has
practised before.

156 JUDO FOR THE WEST
2nd Point
The second point is that the sweep of the right leg is big, back
and up. The coach demonstrates how and when the body is
thrown forward, by the stamp of the left foot, the right leg is
thrown forward and upward. The body is arched forward in a
'power curve'. The sweeping action of the right leg is now
emphasized. It is not simply back, but back and UP. A good
tip is that the attacker should try to tickle the opponent under
the chin with his right toes. With this strong swing back and up
of the right leg, the attacker's body is thrown violently forward
(see Plate 60).
A useful tip at this stage oflearning is to use an 'anchor-man'
(see Plate 53). In this way the attacker can try the throw 'full-
blooded' with no worry as to the fate of his partner. Such a
feeling of the real thing is essential in skill training (seeuchikomi,
page 96) and this way it can be done with feeling. If the partner
is left on his own, he can so easily be thrown very hard-not an
incentive for good class work!
The class is spread out and allowed to try on their own in
their own time. The instructor moves around helping each man
to achieve the required effect in his own way.
When the class has acquired some facility in this sweeping
action, the instructor will 'join' the two points together. The
left foot will be jumped into place, the body thrown forward
and the right leg swung well forward then swept back and up.
To conclude, they can practise it in free movement, with the
instructor seeing that the two points are included in the attack-
ing movement. He should also watch for the too violent a throw
and if necessary tone it down. (The 'anchor man' can be used
during movement too.)
Again it will be noticed that the two points selected are at
odds with orthodox teaching. If the left foot is stepped forward
alongside the opponent's right foot (as advocated in the past)
the relative positions of the two men are the same and each
has equal throwing opportunity (i.e. a kaeshi-waza on the part
of the opponent) whereas by keeping the foot back as advocated
here the relative position of the bodies are not the same; the
straight left leg drive, with the resultant body weight movement
into the direction of throws, conforms with the general factors
laid out in Chapter 2, making a positive contribution to the
throwing action.
T
INTERMEDIATEJUDO 157
,
Similarly with the second point-in the past it was advocated
I
that the sweep should be simply backward, parallel with the
ground. This is reasonable if the opponent's right leg is
assumed to be stiff and unyielding, whereas if it is the leg of an
I experienced judo player it will be soft and mobile. For a positive
effect to be made on the leg, irrespective of whether it be rigid or
mobile, it is better if the sweep trys to lift the leg off the ground.
EXAMPLE FROM GROUP 3-HARAI-GOSHI
Points Selected for Instruction
I. Modification: Positioning of the left foot after the jump-attack.
2. Technical Point: Variations of the left leg sweep.
Both these points appear very minor and only necessitate a
slight variation on the normal Group Method instruction.
However, I have selected these to show the wide range of
choice available when modifying the crude jump-attack of the
complete novice to a special performance by a more experienced
player.
DEMONSTRATION
The first point is that the left foot must land outside the oppo-
nent's left foot after the jump-attack has been made. This is
to ensure that the weight is indeed thrown into the direction of
the throw. The second point is the variation of leg sweep to
cope with size, speed and reaction of opponent.
The coach shows what is wanted, giving several examples of
different kinds ofleg sweeps. The class are told to watch closely.
CLASS WORK
1St Point
The class, in pairs, jump forward simply trying to ensure that
the left foot is outside the opponent's left foot, but with the
hips still in deep-no throw. This can be far more difficult than
it looks on paper, for it is essentially a dynamic movement.
By definition the attacker is off-balance as he lands (that after
all is the whole purpose of the off-centre landing!) so he will
have difficulty in achieving anything of a posed position.
However, if his partner braces up and stands very firm, he
may be able to hold him up long enough to experience this
 T
158 JUDO FOR THE WEST
off-balance position. As previously, immediately there is some
facility performing it this way, then it must be done during
movement. Again a throw is not necessary on this occasion,
although it will probably happen in spite of their efforts if the
movement happens to be achieved very well.
2nd Point
The coach tells the class how this will depend upon the size and
flexibility of the individual, sometimes it will make contact high
(on the opponent's leg), sometimes low, sometimes the man will
wrap the leg round the opponent (as he sweeps), sometimes the
leg is kept very straight, almost stiff, and so used to really knock
the legs out from under the man. The coach then asks the class
to experiment with all these types of sweep and see if they
exhibit any particular preference. The coach then circulates
trying to help the individual with his particular problem. Even
though this is so individual, once there is any form of decision
on the type of sweep preferred, then into movement it must go.
Finally, of course, the two points are taken together, each man
incorporating them into his attack, which he tries in randori.
The coach will be standing by trying to help.
HAIRI-KATA
References have been made, mainly during this chapter, to the
different possibilities of making an attack. The coach's job, of
helping the individual to find his own way of doing this, requires
a sound knowledge of all forms of hairi-kata. There are, of
course, many ways of performing an attacking move, almost as
many as there are people doing judo, but in general there can
be considered four main types. No one is any better than any
other; as always, the effectivenessof the movement is dependent
on the man doing it.
I. The Jwnp
This is similar to that used in the elementary Group Method,
only of course the whole thing is much more 'polished'. The
left foot skims across the floor, with little variation in shoulder
level during the movement (thus giving no 'warning' to the
opponent through the hands). Only the thrust forward from
INTERMEDIATEJUDO 159
the left foot once in position, will tell the opponent that it has
happened. Usually it is restricted to the harai-goshi/uchimata
type of throw.
2. The Three-Step
The right foot moves across in front of the left foot, the left foot
then moves back behind the right foot. The right foot then
moves again into some kind of action-depending on the
throw involved. This is probably the most 'popular' type of
attacking movement, because it can be adapted to suit any
throwing technique, irrespective of the direction required for
the throw. It is so 'simple' that care must be taken that it does
not get slow or slapdash. The necessity of speed in the other
forms of hairi-kata is quite apparent, but in this form it can
be overlooked.
3. The Direct Step
The left foot shoots directly forward (in front of the right foot)
slightly lowering the body automatically as it does so. The right
leg is swung forwards in the (ever decreasing) gap between
attacker's left leg and opponent's body. The right leg then does
its 'specificjob'.
This is a very fast attack (it has to be for it to work at all)
and is usually restricted to the 'big' throws-harai-goshi/uchi-
mata etc. It should be appreciated that it has certain limitations
(in relation to change of direction), for the movement of the
left leg forcibly throws the body weight away from the opponent,
making any change of (throwing) direction impossible (on a
large scale). For this reason the chances of backward throws
are completely ruled out. However, for a few forward throws it
is an extremely powerful movement.
4. Spin Turn or CrossStep
The left foot moves first, crossing in front of the right foot.
The right foot (and leg) is swung outwards and the body pivots
on the ball of the left foot. The right leg is used initially to
rotate the body round before it registers its effect on the oppo-
nent, and finally then it goes on to do its 'work' on the opponent.
This is an extemely fast and spectacular movement and is
usually preferred by the man with the naturally 'quicksilver-
 1
I
160
JUDO FOR THE WEST
like' movement ('twinkle toes' is an apt name often used for
him). It has quite a range of attacking direction capable of
throwing forward or backward. When done by a very good man,
almost any throwing technique can be 'welded' on to such a
spin turn. All it requires is a man with lots of body control,
and plenty of 'dash'.
NOTE:
The preference shown by the individual for a particular type of attack is usually
madeoutto be the result of size (e.g. the big man choosing the 'three step' and the
small man the 'spin turn' as well as the type of throw involved). Although this is
somewhat true, I feel what is far more relevant is the man's movement type (see
Chapter 2) and his degree of flexibility. Ifa man is a very quick mover and flexible
he will usually choose the spin turn (also if he has a touch of the flamboyant in his
character!). If he tends to be slow and methodical, he will prefer the 'safer' 'three
step' because it is so strong and dependable (like himself?). Often the movement
type does go with size (the fast man is usually the small one) but not always;
therefore I feel it is much more important that the coach thinks in terms of move-
ment and flexibility rather than simple size when encouraging individuals to
specialize in particular hairi-kata and throws.
COACHING POINTS FOR VARIOUS TECHNIQ.UES
It would take far too long to analyse the many techniques in the
form described earlier, so instead of this, I have chosen the
most used techniques and have listed their best points as well as
their weak ones, so that the coach can refer to them easily
and choose the relevant ones for consideration. Remember,
the intermediate class is still being considered, so advanced
details are omitted. The following points are ones that the
average green or blue belt should have 'built in' to his technique
by the time he is ready for his 1StKyu.
However, because a coach should always be looking ahead,
there are three general points he should also be keeping in mind.
The coach will not be teaching them as such, but rather
surreptitiously encouraging them to happen by telling the
students the three following 'tips'. They are quite general,
apply to any technique and will lay the foundation for the
advanced instruction later on.
I. Head: Look where you are throwing (direction).
2. Hips: Keep them where you can see them (forward).
3. Hands: Keep hands and arms close to and in front of
the body.
INTERMEDIATE JUDO 161
Note I: All techniques described are performed on the normal
right side. If the left side is required then the instruction need
only be reversed.
Note 2: The following is no attempt to describe or instruct as
to what the various throws are. It is assumed that the reader
(the coach) already knows what they are. It is for reference only.
TAI-OTOSHI
Points to Encourage (See Plates 54-56)
Attacking movement: The best opportunity in general is still
when the opponent is moving backwards. However, others can
now be tried. The one in which the opponent moves forward
should be the least important. Whatever form of hairi-kata is
chosen the left foot must always move forward to the opponent.
Weight on toes all the time.
Throwing movement:Weight to swing forward and out on to
right foot. Right forearm to be kept alongside the opponent's
left side. Tendency to finish on the right knee.
Points to Discourage
Attacking movement: Left foot not moving, the attacker simply
pivoting on the left foot when the right foot is thrust forward.
Elbows 'floating' away from the body or going in front of the
opponent's chest. This generally means the hands are out of
control. Weight on the heels, toes turned up in the air.
Throwing movement: The right foot thrust back, past the oppo-
nent's right foot. The left leg collapsing so that the weight ends
on the left knee. Attacker looking at his opponent.
(and referback toFigs. 15 and 16)
TSURIKOMI-GOSHI
Points to Encourage (See Plates 57 and 58)
Attackingmovement:Opportunity same as in tai-otoshi.
Throwingmovement:Right forearm kept against the left side of
the opponent's body. Weight thrown forward over the right
toes by driving off a straight left leg, which must be well past
right foot. Hips well round (past the opponent if possible),
whole back area of buttocks and part of the back to be in
contact with the opponent. A 'last minute' tuck of the body will
be needed to get the opponent on to his back.
6

162 JUDO FOR THE WEST
Points to Discourage
Attacking Movement: Right arm kept straight, body too low
(attacker keeping the knees bent). Left leg not far enough back
(which would also mean that the hip turn would be restricted).
ThrowingMovement:The left leg bending. Having the right foot
in front of the left foot. No, or little, body turn. Right arm kept
straight.
COMMENT
Generally the 'tsurikomi' is taken to absurd lengths. Not only
is it done at the start of the attack (as it should be) but it is
maintained-or rather tried to be retained-throughout the
whole movement. Once 'tsurikomi' has been performed, which
is in the first moment of the attack in order to stiffen the oppo-
nent and allow the attacker to get into position, the hands get
back to a position close to the body. One of the sources of such
misleading instruction was undoubtedly the teaching of tsuri-
komi-goshi in nage-no-kata many years ago. Before the present
form of nage-no-kata it was considered that the essential
principle of the technique could best be shown ifuke resisted an
initial attack, tori would then lower his body and wheel him
(uke) over the hips. The relative position and the dropping
action of tori silhouetting as it were, the hand action, clearly
showed 'tsurikomi'. Because of the poor understanding of kata,
this illustrative circumstance was mistaken for the technique
itself and tsurikomi came to mean 'resisting hip' -a completely
wrong interpretation. 'Tsurikomi' is to lift-pull, the action of
the angler when he plays his catch-a 'fishing' action. It has no
reference to the opponent in terms of body relationships.
SEOI-NAGE (IPPON)
Points to Encourage (See Plate 59)
Attacking movement: Opportunity is as usual when the opponent
is moving backwards, but it can be extended to either side (the
least effective is when the opponent is coming forward). The
left hand pulls forward and downwards. The body is thrown
forward (towards the opponent) then downwards. The whole
body is turned completely round and is 'balled' up in front of
T
INTERMEDIATE JUDO 163
r the opponent's legs. Weight kept forward on the toes-during
the whole throw.
Throwing movement:Much the same as with tsurikomi-goshi.
The weight is thrown forward over the right foot by the drive
from the straight left leg. The right arm is kept close to the
body and the left hand keeps pulling down hard. Once the
opponent is off the ground the attacker tucks strongly.
Points to Discourage
Attacking Movement:The pull of the left hand going upwards.
The left foot failing to move back into the attack. The body
not far enough round so that only the right shoulder is in
contact with the opponent with the right arm loosely hanging
down. Body bent forward at the hips, leaving the opponent
behind and so losing contact.
ThrowingMovement:Legs straightening, trying to lift the man off
the ground (this also has the side effect of losing contact with
the opponent). Weight back on the heels.
COMMENT
There are several versions or modifications of this technique,
morote-seoi-nage, where the attacker holds with both hands
(in the normal way). It is very seldom used because of the
I'I
difficulty of getting the right elbow in position (in the opponent's
I
I
right armpit), and also the frequent injury caused once having
I
got it there. Hence the reason ippon-seoi is usually preferred.
For the other variations see the glossary.
Many misconceptions have grown up around this throw in
spite of the many action pictures available. The main one, of
course, is the business of the attacker trying to pick the opponent
up, which (in actual fact) always helped the opponent to step
round it. Pulling down is easier and more efficient-both
physically and technically (see page 83).
Another 'chestnut' is that such a throw is restricted to small
men only. This of coursejust does not follow. Many big men in
Japan use it (Daigo being a good example). The choice is
dependent upon two things, the man's flexibility: whether
he can get into position quickly and easily, and the tactical
 --...--
164 JUDO FOR THE WEST
surprise of the big man doing what he is not supposed to be
capable of. The latter consideration can have a great effect
upon the choice of technique.
O-SOTO-GARI
Points to Encourage (See Plates 60-63)
Attacking movement:As the opponent comes forward or as he
changes direction (first going back then as he starts to come
forward). Left foot keeps well away from the opponent, stamps
the ground and drives the body forward. The left hand pulls
low across the chest. The attacker's body can be anywhere
within the range of facing the opponent (square on) to almost
a right angle turn to the opponent's right side.
Throwingmovement:The right leg is thrown forward, with toes
pointed. The leg sweeps backwards, and as contact is made
with the opponent's right leg the direction is changed to UP.
Toes pointed well throughout. With the sweep the trunk of
the body is thrown forward and downward from the straight
left leg so that the weight finishes well forward on the toes.
Points to Discourage
Attacking movement:Left foot moving too close to opponent
(facilitating kaeshi-waza). Shoulders leading the attack (i.e.
bottom poking backwards). Body held too stiff. Left arm raised
high away from the body.
Throwingmovement:The right leg held too stiff with toes hooked
up forward, making the sweep very stiff and restricted. Body
weight back on the left heel, shown by the left toes off the
ground.
COMMENT
Although this technique is possibly one of the strongest in the
judo repertoire, it is very seldom attempted (in Britain).
This is almost certainly due to the general lack of appreciation
of the qualities of the throw, and because of the application of
misunderstood principles. O-soto-gari has always been con-
sidered to be a near-impossible throw to execute, because of
the past poor methods of teaching it. Correct understanding
would bring a great increase in effectiveness.
INTERMEDIATE JUDO 165
O-UCID-GARI
Points to Encourage
(See Plates 64 and 65)
Attacking movement: The left foot must move (with stamp)
preferably somewhere in front of the opponent's left foot.
Hips and right foot thrown forward into the attack. Arms kept
close to the body. Sweep to be big, back and up, with toes
pointed.
Throwingmovement:The arch of the back, the power curve, to be
maintained throughout the whole throwing action. Arms to be
pressing down close to the body. Direction of thrust, preferably,
but not necessarily, to opponent's left back corner.
Points to Discourage
(See Fig 17)
Attackingmovement:The left foot moving in close to the body and
with no 'power stamp'. Body bent forward. Elbows high in the
air.
Throwingmovement:Body bent forward, so directing the attack in
the wrong direction. No movement in the right foot.
COMMENT
The sweeping action of the right leg is the crux of this technique,
its direction is complicated, for it is wide (tending to 'split the
opponent in two') back (to the opponent's front) and finally up,
lifting the opponent's left foot off the ground. Yet the back of
the attacker must be kept hollow throughout this sweeping
movement.
NOTE: A point of interest is if, when the exact same movement is used and the
opponent is thrown over his right foot-instead of his left-it can be called o-uchi.
harai. The name well illustrates how close the sweeping action of the right leg in
o-uchi-gari is to the sweep in harai-goshi. So although I have said it is generally
a bad point to throw to the opponent's right back corner, provided such an
action can be made a strong one (by maintaining the power curve) it can be turned
to advantage, but it does mean full participation (see Plate 65).
KO-UCHI-GARI
Points to Encourage
Attackingmovement:The left foot must move and move with a
stamp, somewhere in front of the opponent's right foot.
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166 JUDO FOR THE WEST
The head is kept high at this stage.
Throwingmovement:As the body weight 'hits' the opponent with
the hips well forward the right foot sweepshis right foot forward
and up.
Points to Discourage
Attacking movement: The left foot not moving, the attacker
simply lurching forward and hooking at the opponent's right
foot. The shoulders leading the attack (body arched forward).
Arms 'flapping' away from the body. Body allowed to turn
(roll) too far to the left during the initial stages of the attack
(which should be controlled by the head) which would mean
that when the reap is made with the right foot the body weight
is out of control and the attacker falls 'away' from the opponent
(to the attacker's back) so losing all the power needed for the
completion of the throw.
NOTE:The actual action of the sweep has several variations, the main two being
tbat it is done eitber with the sole oftbe (right) foot, or tbe heel (Achilles tendon).
There is no intrinsic advantage in either metbod, as it always happens as a product
of tbe type of movement used by the individual. As a general guide, the sole-of-tbe-
foot method is preferred by the big man, because the sole of the foot does not entail
such a deep insertion, a point to be considered by the man witb long or big legs;
whereas if the sole method is used by tbe small man it can mean he has a greater
chance of missing the foot (due to his short legs). Hence he will usually prefer to
play safe and use virtually the whole of his leg. However, this is only a guide; there
are many exceptions.
KO.SOTO.GARI
Points to Encourage
Attacking movement:The left foot must move with a stamp,
somewhere in front of the opponent's left foot. The body weight
and right foot (leg) is thrown forward. Arms kept in close to
the body. Body kept facing the opponent.
Throwingmovement:The sweep of the right foot should be as
close to the ground as possible and the whole body weight
bearing down on the opponent's left foot. Again the sweep is
forward and up.
Points to Discourage
Attackingmovement:The left foot not moving. Shoulders leading
the attack. Arms 'flapping'. Body turning (rolling) too much
INTERMEDIATEJUDO 167
and falling away from the opponent, out of control.
Throwingmovement:Contact point of sweep too high (approxi-
mately knee level). This will have the effect of simply bending
the opponent's leg, making the man crumple to the floor.
COMMENT
The detailed action of the sweep is the same as ko-uchi, that is,
it can be done with either the sole of the foot, or the heel. The
choice is entirely the performer's. Again, the preference will
generally depend upon size-the big man usually using the
sole and the small man the heel.
GENERAL NOTES
The following is related to the last four techniques-the back-
ward throws:
1. Again let me stress that the coach should show the class
how similar these techniques are, especially the initial attacking
movements (indeed the opponent should have little opportunity
of guessing, by the movement, which throw will finally develop).
The left foot should alwaysmove in such a way that it stamps or
drives the body forward into the attack. This raises the next
point.
2. The body should always be arched forward (power curve)
into the sweeping action of the right leg or foot. The body
weight is made to 'hang' directly on the front of the opponent,
so that the body arch is 'dragging' him down into the ground,
the sweep of the right leg then simply knocks one of the
supporting legs out from under him. It should be stressed too
that the attacker's body does not 'pull back' by bending at the
hips (Fig. 17) but always has the back arched showing full
commitment.
3. The 'garis' and the 'gakes' should be distinguished, as
often there is much confusion around them, e.g. o-soto-gari and
o-soto-gake, ko-uchi-gari and ko-uchi-gake. The differentiation
is quite simple. In the garis the opponent's body is held still
whilst the legs are swept from under him, whereas in the gakes
the legs are held still and the opponent's body driven past them.
For example, in ko-uchi-gari-the opponent's right foot is
swept forward out from under him, whereas in ko-uchi-gake
the same right foot is trapped by the attacker's right foot, and
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168 JUDO FOR THE WEST
then the attacker's weight is thrown against the opponent
driving him backwards over the 'fixed' foot.
As a general guide-and it is only general-the gake's are
used against a 'heavy' (not necessarily bulky) defensive person,
and the garis against a 'light' quick-moving opponent. For
further definitions see glossary.
Fig I7 Ouchi-gari. A very bad onel
Weight pulling back out of the throw, arms away from the body
HARAI-Gosm
Points to Encourage (See Plates 66 and 67)
Attackingmovement:Opportunity is still best when the opponent
is moving somewhat backwards, although if a spin turn is used
it is usually done on the change of direction-moving backwards
initially and then as the opponent starts to move forward, the
turn begins. The left foot (whichever hairi-kata is used) must
move in close to the opponent.
Throwing movement:The sweep of the right leg must be big,
going forward first before going back to take the opponent's
legs. The toes must be pointed. The hands and arms must be
kept close to the body, so that the opponent is not allowed to
'drift' away. When the attacker bends forward (in order to
throw) the opponent too must go forward, the whole body
INTERMEDIATE JUDO 16g
weight falling forward and sideways over the straight left leg.
The left leg is kept straight throughout, especially at completion
of the throw-so that the attacker is supported on his toes.
The thrower shouldfinishleaning overhis opponent, but not on
hi m.,
Points to Discourage
Attacking movement: The left foot not moving forward into
attack. The turn consisting simply of a pivot on the left foot.
The body 'broken' at the hips, bottom jutting to the rear.
Throwing movement: The left leg bent too much (generally
meaning it collapses at the end of the throwing attempt). The
body weight too far back, so that the weight is on the heels
(usually a result ofa combination of the hips poking backwards
and the left leg bent). Watch for the left toes being off the
ground, as a general indication of the fault. Hands allowed to
fall behind the attacker's body, so losing contact with him
(another result of backward jutting hips). Curling forward of the
right toes during the sweep, indicating that the leg is in the
wrong kind of tension.
COMMENT
Many who try harai-goshi (particularly in Britain) do in fact
simply raise the right leg to the side in which case-if it is
similar to anything-it would be more like o-guruma than
harai-goshi. It is weak, because it is unintentional. The leg is
supposed to be sweeping! Yet the same thing sometimes happens
with skilled exponents of harai-goshi, but for a different reason
-now, because it is intentional, it is strong. If the attacker has
chosen (for one reason or another) to use the jacking-up method
of attack (see page 75) instinctively he wants to put all his effort
into the lifting left leg and therefore there is little effort left
for the right leg to sweep, it moves up from the ground giving
minimal sweep. It then serves the very useful purpose of acting
like a 'bar' over which the opponent is rolled.
UCIU.MATA
Points to Encourage (See Plates 68 and 69)
Attacking movement:In general the points are the same as for
harai-goshi, the two main points of difference being the body
 .,..
170 JUDO FOR THE WEST
contact and the position of the right leg (which must still
swing forward before going back).
Throwingmovement:The actual contact point can be left to the
advanced stage; the sweep of the right goes in between the
opponent's legs and can contact either on the top of the oppo-
nent's right or left thigh. This in turn will depend on whether
the contact of the attacker is deep (hips right across), or shallow
(hips only contacting opponent's left hip).
Points to Discourage
The same as with harai-goshi. In addition, it must be ap-
preciated that there is a potential injury factor with the
sweeping action of the right leg. In unfortunate circumstances
a blow can be given to the testicles, and much complaining is
done! It is usually the result of a poor sweep by the right leg-in
the sense that the sweep is isolated to the leg with no body
movement. The sweep must be done with the whole body. As
the leg goes up, the body must swing forward and down. In
this way the hip of the attacker makes contact first and begins
to move the opponent before the leg actually gets high enough to
do any damage. The right leg really only helps the hip to do its
job of pushing the opponent forward and then tips him over
on to his back. With such a full-blooded and fully participating
swing the risk of injury is minimal (see Plate 68).
COMMENT
The contact point of the sweeping right leg varies much with
the individual. It can be anywhere from the left ankle (of the
opponent) round to his right knee. Each is a personal prefer-
ence based, as usual, on individual movement characteristics.
Here are some general reasons for the various positions.
Low on the opponent's left leg at, or below, the left knee:
This generally results from a spin-turn by smaller men, or
against a man in crouching posture. The action of the sweep is
(to try) to split the opponent apart. By sweeping out and up,
it will pull the opponent's right foot under his body, so making
him fall.
High on the opponent's left or right leg (above either knee):
Generally preferred by the big man or the non-flexible type,
from a 'direct' or 'three step' attack. The sweep is straight up,
INTERMEDIATE JUDO 171
attempting to make the opponent roll off the leg, as he would
from a log (see Plate 69). Men who attack the inside of the right
leg usually also like harai-goshi as with a very slight modification
of the sweeping right leg, it can be made to go outside-so
having two opportunities for the price of one.
Remember the above are only generalizations and should
not be taken as dogmatic. To reiterate, it is essentially a question
of personal preference. The coach must help the student to
select the best way for him.
HANE-GOSHI
Points to Encourage (See Plate 70)
Attacking movement: The same as with the previous two tech-
niques. The right leg makes contact down the whole inside
length of the opponent's right leg.
Throwing movement: There is no lift, the opponent's legs are
simply knocked from under him (with the right leg) and he
falls down.
Points to Discourage
Attacking movement: The same as with the previous two tech-
niques.
Throwing movement: The right leg bent too much and so striking
the opponent too high-above the knees.
COMMENT
Usually preferred by big men. Often used from a direct step-in
attack. In practice it is often difficult to distinguish it from
uchi-mata (on the right thigh). (Not important anyway, as
long as the opponent is thrown!) A general guide is that if the
sweeping right leg 'misses' the opponent's right shin and just
catches the thigh as it goes past, then it is uchi-mata. If it takes
the opponent's right leg with it as it sweeps back, then it is
hane-goshi.
GENERAL NOTES
Related only to the last three techniques.
In practice these techniques usually merge in together, with
a very hazy demarcation between them. The big man who does
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172 JUDo FOR THE WEST
one will often, quite unconsciously, do the others. He merely
sets a type of attacking movement in motion and then leaves it
to the opponent's reactions to decide which one materializes.
The adjustment or modification to the movement would be
completely automatic.
Often in this type of attack the coach will be asked what the
attacker can do when the opponent keeps his arms stiff, straight
out in front of him. There is very little that can be done at such
a late stage in the student's progress. It is a symptom of a poor
basic education on both men's parts (the attacker's and the
opponent's-see page 69). However, to give some help, the
hips must move first so that they move forward and below the
stiff arms. The chest must be open (see Chapter 2).
Other Techniques Not Listed
If the coach's education has been sound (see Chapter 2) he
should be capable of working out the essential ingredients of all
the throws listed in a comprehensive textbook (e.g. the gokyo,
a list of the forty standard throwing techniques (seepage 201).
With understanding of the general basic factors of movement
the coach should be able to apply them to any technique, create
a true picture of it 'in his head' and pass the information on to
his students in an understandable form-be it tawara-gaeshi,
or deashi-harai, or kani-hasami. To help with the task I have
put down, more as hints than particular definitions, notes on
the various groups not covered in the above lists. The reader
may find them of some use.
Asm-wAZA
The reader will note that no mention has been made of this
group of throws, particularly of the ashikubi variety. It has
been purposeful of course, not accidental. In the past, ankle
throws (to give them their generally accepted title) have been
the first taught among the throwing techniques. It was probably
thought easier to learn because of the simplicity of the move-
ment. In addition to this being untrue, it bred a very 'lazy'
kind of movement. The novice had only to stand still and lash
out with one foot (trying literally to kick the opponent's feet
from under him!) hardly conducive to good constructive
INTERMEDIATEJUDO 173
movement. In addition, as a subsidiary effect (but not so
subsidiary for the receiver) it raised enormous bruises on
the opponent's shins, which generally had the effect of taking
his mind off skill learning !
Because of these two main defects, it is better if these ashi-waza
are left till much later in a judo player's training (around 1st
Kyu standard). It is much more important that the student
concentrates on and fully appreciates the larger types of
movement involved in the 'bigger' techniques. Mter all, it
should be appreciated that these ankle techniques are among
the most difficult in the judo repertoire. Consider the importance
of timing; the throws can only take place in a particular instant
of time (e.g. deashi-harai, just as the opponent's advancing foot
is about to touch the floor, a moment too soon his weight is on
the other foot and he lifts the attacked one, a moment too late
and the foot is on the floor and immovable). If there is even a
slight miscalculation with the timing the throw cannot work.
It is far too much to ask of the novice (of under 1st Kyu).
Only really skilled men can ever seriously attempt these throws
(and even then they invariably 'cheat' by making it a form of
sasai tsurikomi-ashi, when the attacked foot is resting on the
floor.) No, it is much better, from all points of view, if this range
of throws are left till later in the student's development.
Now having completely withdrawn ankle-throws from the
early teaching programme, let me list some points which can be
considered, if the coach for one reason or another has got to
correct these techniques.
Points to Encourage
The feet must still move close to the opponent, which means the
right foot steps in close, generally on the outside of the oppo-
nent's left foot, but sometimes on the inside depending on the
flexibility of the attacker. The right leg is immediately driven
straight and the weight falls off it in the direction of the throw.
The hips go well forward (in actual fact taking the foot into
position, as with any other technique). The hands pull forward
and downward, strongly (the actual direction depending on
the technique being used). The sole of the left foot should be
used for whatever purpose it is intended for (blocking, sweeping,
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I 74 JUDO FOR THE WEST
pulling) (see Plate 7I). The general body movement is, In
other words, the same as for all other techniques.
Points to Discourage
The right foot staying a long way from the opponent. The
body-weight kept over the right foot. The body broken forward
at the hips. The arms working away from the body.
There are many techniques grouped under the heading of
ashi-waza which have nothing to do with 'ankle kicking'
techniques. The 'postponement rule' naturally does not apply
to these. Throws like ashi-guruma, for example, usually done
from a spin turn, when the opponent is spun over a leg which
is thrust across in front of him (with no body contact) is an
excellent throw for the intermediate student to learn.
SUTEMI-WAZA
Here is a large group of throws in which the attacker throws
himself down in order to throw his opponent. A group more
for the advanced student, but certain of them can be attempted
by the less experienced player. Such techniques have two
major disadvantages; one is that if the attack fails the attacker
is invariably in a very poor position (on his back) and so of
great benefit to the opponent. Second, the risk of injury to
the attacker (as well as the opponent) is great. Ifthe attacker
is rather unskilled at controlling the falling direction of the
opponent, he usually manages to pull him straight on top of
himself, with disastrous results-knees and feet smite him in
ribs and face!
The general rules are exactly the same when considering the
correction of these techniques. The hips initiate the attack,
taking the feet in close to the opponent. The hips being forward
ensures that the whole weight is 'hanging' on the opponent,
pulling him forward, coming off a straight driving leg. The
throwing action does not attempt to lift the opponent up, but
simply attempts to drive him forward over the attacker's
body. Hands pull him closer and in close to the body. On
completion of the throw the hips should be off the ground.
INTERMEDIATE JUDO 175
KAESID-WAZA
The throwing techniques known as kaeshi have not been covered
in detail either, but again it is the appreciation of the general
principle rather than the rote learning of specific details.
Counter-attacks are as much a way of thinking as a way
of doing. It is the job of the coach to teach his students this
attitude of mind rather than the particular technique. If a man
is trained in such a way that he is able to keep his mind active,
aggressive and positive during the whole time of competition
(be it randori or shiai) as is the object of the Elementary Stage,
it will be comparatively easy for him to use the same methods
(as in general attacks) in order to 'turn the tables' on his
opponent. The various 'avoidance movements' already learnt
will need only a minimal modification to convert them into
dynamic counter-attacks. Take, for example, utsuri-goshi,
which can be looked on as just a special kind of harai-goshi.
The opponent attacks and with that same effort the defender
whips him into the air and then steps in front of him for a
(left-sided) harai-goshi. Or again o-soto-gaeshi, one man attacks
with o-soto, the defender, 'knowing' he has to get his left foot
round in front of the attacker, 'rides' the throw (as he did in
Group 2 avoidance movement) and swingshis left foot away
round and back so that he ends in a position relative to the
opponent, siInilar to that of a straight attack. Or take a more
involved counter, to an uchimata. The man attacks, the
defender, having a 'nimble' mind, jumps forward over the
sweeping leg, 'feels' the opportunity and quickly sticks his left
leg out into a (left handed) tai-otoshi.
Such movements can only be a product of the right kind of
education and it is the coach's job to supply it.
NE-WAZA
Let us now consider the application of the same ideas to ne-waza
technique. The same general approach is used as when con-
verting elementary nage-waza into the more specific inter-
mediate type. That is, the loose, big movements are now
'smoothed-down' into specific techniques, and the range of
technique is extended.
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176 JUDO FOR THE WEST
In the elementary stage of learning the onus of movement
was usually carried by one man, the other doing only sufficient
to stimulate him into the required action. In the intermediate
stage, both have equal shares to do as well as learning and
executing improvements upon the general form of technique.
The larger numbers of techniques are still taught in general
movement patterns, because this, I consider, is an essential
ingredient to any part of ne-waza technique. Not that the
students would be expected to be able to apply these specific
sequences in competition, but the method of applying the tech-
niques would, it is hoped, titivate his individual imagination.
What follows is a typical example of such a sequence. The
initial object is still to get technique as a product of movement
rather than movement as a product of technique. The principle
of the whole-part-whole is still followed and therefore the
movement pattern is shown first and the technical points added
after. Finally the movement plus the technique is practised.
A Ne-waza Sequence
for an Intermediate Student
The two participants, for ease of reference, shall be called
A and B. The first stage is to simply establish the movement
pattern-devoid of any technique.
THE START
A is kneeling between B's legs. A holds B's belt with both hands
-any way.
A steps over B's right leg (with his left leg first) maintaining
kneeling position. A stops when he is at right-angles to B. A then
rolls forward over B.
A follows this by rolling to his left side and gets himself in a
position kneeling above B's head (the two bodies should be
roughly in line).
B raises his legs and swings them over his right shoulder.
B finishes kneeling at A's right side, both now kneeling alongside
each other (facing the same way). B reaches across A's back
with his left arm.
A holds the arm and rolls to his left, rolling B as well. A
stops when he gets on his back (only a half roll). The hold is
released and BOTHroll back (to their right) so resuming the
next-to-each-other kneeling position, again facing the same way.
INTERMEDIATE JUDO 177
A then changes his position till he is facing B, at right-angles
to him (still kneeling). A then reaches forward (with both hands)
under B's body and pulls B's left arm under him. A turns B over.
As B rolls over, A moves quickly over him (head-end) arriving
at a position on B's right side, laying on his back at right-angles
to B's head, with his head furthest away. By that time B is on
his back. A's legs will be across B's body with B's right arm in
between his legs.
B then turns or twists to his left, so that he comes up on to his
knees between the legs of A. The positions are now, as they were
at the start, but reversed and the whole movement pattern can
be repeated, so that each man can experience both 'sides' of the
movement.
When the movement is easy and smooth the coach can take it
apart and separate it into its various individual techniques.
Here are the techniques in the order listed but, initially,
they should be treated separately and only when all are done
on their own should they be put back into the 'whole' of the
movement pattern.
FIRST TECHNIQ.UE
Breaking out from between the opponent's legs. (Plate 42)
The opponent A is between B's legs, B holding tightly with
arms with legs wrapped around A (pulling A down towards his
chest). The first objective of A is to get himself back on balance,
on his heels (as B'sjob is to try to keep him forward offbalance).
A reaches under his own body and holds B's belt with both
hands, palms downwards, next to each other. By driving down-
wards and upwards A pushes himself up straight (on to his
heels). As this happens, he raises his right knee by standing on
the right foot. Both elbows are placed inside B's thigh and
pushed downwards, so opening B's legs. When the legs are as
far apart as A can get them, B's right thigh is pushed on to the
ground. A then, using his left knee, pushes his own left elbows
off B's right thigh, so that he is now kneelingacross B's thigh
(pinning it underneath his instep (Plate 43). The right hand of
A is now freed from the belt and placed on the ground (as a fist)
at the spot where B's thigh joins his trunk (its purpose is to stop
B swinging round). A's right leg is then swung over B's right leg,
which is still held by A's left leg. Immediately it is free, A's
178 JUDO FOR THE WEST
I INTERMEDIATEJUDO
left leg is also swung away. The other hand of A (his left) is
released and by pivoting on B, A should be free ofB's legs and in
some kind of kami-shiho position.
NOTEI: The opening ofB's thigh can be very painful and therefore care should be
taken in the early stages of learning.
NOTE2: When swinging out from between the legs, A's right leg must be freed or
moved before the left, otherwise B will be able to catch A's right leg as he tries to
take it over B's right leg.
SECOND TECHNIQUE
A TypicalNe-waza Trap
B, who is on his back with A in between his legs, by maintaining
a hard pull on A's jacket, keeps A's head down on his chest.
Whilst in this position, B puts the fingers of his right hand
(palm upwards) in the back of A's collar (at the back of A's
neck). B then puts the thumb of his left hand inside A's collar
right next to his own right hand (Plate 43). Both ofB's elbows
are kept well up and away from A's neck, so that he gives no
indication that a neck-lock is being planned for. B allows the
struggle to continue; he must not let the next step appear too
easy or too obvious, because it is the trap! During the struggle he
lets A force his (B's) right leg out straight so that A can 'climb
over' it, and escape from between B's legs. It is up to B to see
that the escape looks (and feels) hard-earned. A, because of his
hard effort to escape, moves very quickly up towards B's head
(possibly for some kind of kami-shiho). As A moves up, B
quickly throws his right forearm across A's throat (the hands
remain exactly as they are). By pushing up with the right
elbow and pulling down with the left hand, B applies a very
strong neck-lock (Plate 44).
NOTE:It is a form of Kataju-ji-jime, and is very strong because A applies it in fact.
The faster he comes out from between B's legs the harder it is applied. So again, in
the early stages of learning, a little care is a good thing!
The whole trick depends upon how well B can make the escape look like A's
work. The more it seems to be A's effort the better chance there is of it coming off.
THIRD TECHNIQUE
Escape from Shime-waza
As with any lock, the escape has got to be done before it is
actually applied. Once applied, anything is too late apart from
tapping. So, taking the above as a typical example, if A is to
~
179
have any chance at all he must move before B's right elbow
drives up across his throat. Therefore, as soon as he realizes
what is about to happen (and he must have his wits about him,
or he will not recognize the danger) he must quickly duck his
head between the forearms of B and dive forward into a
somersault. The duck and dive should have the effect of
'unwinding' the scissor-likeaction of B's forearms, and stopping
the application of the lock.
Speed and anticipation are the key. Always think in terms of
attack. Therefore as soon as A finds himself out of danger he
immediately counter-attacks; he rolls to his left and then dives
back on top of B, trying to get some form of kami-shiho.
FOURTH TECHNIQUE
Escape from Osae-waza
This method is somewhat different from the basic 'bridge'
pattern as shown in the elementary stage. The principle of this
method is to try and establish an 'anchor point' on the op-
ponent's body as far from the centre of holding as possible, and
then by pulling on this 'anchor point' to pull oneself out from
under. There are many ways of doing this (a good example of
'project'-ask the class to find the different ways of doing it)
and here is a typical example.
We will assume that A is holding in some kind of kami-shiho,
with his knees tucked forward under him. (In practice, of
course, B may have to force him, by various methods, to adapt
this kind of position). B will struggle, attempting not just this
one way, but several (hoping that one will actually work).
But in this instance, during the various struggles, he throws his
legs up and over his right shoulder, hooking his left foot into
A's right leg (Plate 45). Using this 'anchor point' B pulls his
head and shoulder out from under A.
NOTE: B will have to have quite a degree of flexibility!
FIFTH TECHNIQUE
Shime-wazaftom a KneelingPosition
A is kneeling on his elbows and knees in a defensive crouch.
B attacks from the (A's) right-hand side. B works his right
hand in under A's head at the neck region and holds deep on

180 JUDO FOR THE WEST
B's left collar, with the thumb inside. The left hand of B then
goes across A's back, round underA's left arm and holds A's
right collar. Immediately the hand-hold is completed, B throws
his left leg forward (going underneath the right leg) so that the
whole of B's weight is thrown forward on to A's shoulders and
pulls him forward on to his face. As this happens, B arches his
back and pulls apart with his hands for a very strong neck-lock
(Plate 46).
NOTE: It is of course okuri-eri-jime. The right hand of B must get into position
before the left. The footwork too is important, for it hdps to break the posture
the opponent.
SIXTH TECHNIQ.UE
Escapefrom Shime-waza
As before, the escape must be made before it is applied. There-
fore, as B reaches across A's back in order to get a hold with his
left hand A, anticipating quickly, pins B's left arm to his chest
by pressing with his left arm (it should be above B's left elbow)
(Plate 47). Holding tight with his left arm, A rolls fast and hard
towards his left. If done with speed and confidence it becomes
almost a makikomi and B can have a rather heavy landing.
If so A can often take advantage of the situation and apply an
ude-gatame to B's left arm.
NOTE: A can experiment with ways of doing the roll so that a throw is virtually
achieved. (For this reason the right hand of B should go into position first when
applying the okuri-eri.)
SEVENTH TECHNIQ.UE
Breaking a Defensive Position and Applying an Arm Lock
A and B are kneeling on their elbows and knees right next to
each other, facing the same way. A is on B's right. A moves away
so that he is at right-angles to B at the shoulder level. A reaches
forward with both hands, the right hand being above B's left
arm, the left below B's left arm (Plate 48). He then clasps hands
round B's left elbow, and starts pulling it along the ground
towards himsel£ As he does so he drives forward off his feet,
pushing B over with his chest. The pulling action of the hands
and the pushing action of the chest should be enough to turn
B over on to his back.
As A rolls B over, he changes the hand position, so that he is
now holding B's right wrist. As B rolls out on to his back, A
1
INTERMEDIATEJUDo 181
swings right over the top of him (at the head-end) and finishes
with a straight arm-lock on B's right arm (Plate 49).
NOTE: It is of courseju-ji-gatame. The trickiestpart of this waza is the change of
hand-grip from the dbow of the left arm to the wrist of the right. But as always,
practice will quickly sort the matter out.
The position of the finalju-ji-gatame is the man's own choice,
depending on whether he wants one or two legs across the
other man's body, but for the purpose of the exercise, one leg
of over the left is better.
EIGHTH TECHNIQ.UE
Escape from anArmLock
The general principle is the same as with shime. It must be
avoided before it is actually applied. Once the lock is completed
it is always advisable to simply tap! So taking the above as an
example:
As A drops back on to the lock (not afterhe has dropped back),
B quickly turns to his left, taking his head back and under his
right arm. He should then find himself lying on his face. In this
case he pulls himself up on to his knees between A's legs (Plate
50).
NOTE:The turn has got to be a very 'tight' one, that is, he must turn in on himself
as it were. The tighter the turn the better the chance of success.
When the eight techniques have been learnt well separately,
they can be put into the movement pattern taught at the outset.
At first, it may be quite a slow ponderous movement from one to
another, but with familiarity it should speed up until, even-
tually, both aspects of the sequence fit in nicely together.
The time the sequence takes in teaching is up to the coach.
He can either use the whole-part-whole approach, by covering
the whole pattern first, and only then bringing in essential
technical parts; or he can treat each technique separately and
only at the completion of the set would they all be added to-
gether. Not the best way this, but a way. In the end the means
may not be so important providing the principle of 'technique
out of movement' is firmly understood.
The coach can make up his own sequences, once he has the
general idea, using whatever material he has. Or, possibly
 182 JUDO FOR THE WEST
better still, he asks the class to make up their own. In this case
he must make sure they have some 'bricks' with which to build.
Perhaps this would be one of the more apparent reasons for
teaching katame-no-kata. Such sequences can be longer or
shorter than the example I have given above, depending on the
standard of the class and the time available and the object
set by the coach.
Again let me emphasize it is not any particular sequence that
the student is expected to learn, it is only the 'feeling' of being
able to move easily from one technique to another. Watch any
good ne-waza man, and in a very short time you can notice the
pattern he prefers; he may like to start from on top, underneath,
from the opponent's head, or from his side. Once the pattern is
started it generally movesinextricably to the concluding holding
or lock. The only time it does not, is when the other man gets his
pattern to work quicker and more efficiently!
It can be seen that ne-waza is the same as nage-waza, the
better man is the one who is able to impose his particular move-
ment pattern on the other. The technique as such may not be as
good, but once one man starts following the pattern of the other,
then it is only a question of time before he loses.
Here too is why the two types of movement pattern (standing
and lying) should not be completely separated. Training
methods should always make sure that the two run into each
other (by the coach teachinghow it must be done) so the men
can learn to appreciate the variation in pace of the patterns,
and how one can change from one into the other. For an
exercise the coach can sometimesjoin up a tachi-waza sequence
of say five movements with a ne-waza sequence of another five,
and see how fast the class can complete the whole ten. Such an
exercise will have several advantages; plenty of movement,
quick thinking and anticipation (the latter extremely important)
and continuation of attack. All are ingredients that should be
seen in the standard of skill shown by a 3rd or 2nd Kyu.
CONCLUSION
To summarize, the object of this stage of development of
progression in the 'life' of a judo player, is to convert his rather
haphazard, 'all-over-the-place' attack into specific techniques
~RMED~TEJUDO 183
and to incorporate into these specific techniques the various
characteristics (mental as well as physical) of the individual.
To do this the coach must be able to analyse techniques and
select the most important points of each technique, not simply
for the improvement of the technique itself, but also for the
application of a technique to an individual. For example there
are two men, one of whom is short and the other tall; both are
trying ippon-seoi with some degree of success. They go to the
coach for advice. What can he say? He cannot say to one 'stop
doing it'. That could be too demoralizing and after all the man
is getting some successwith it. No! The coach has got to look at
each man, decide what the essential ingredients are for each
man and then teach the throw to them, with those ingredients
in mind.
Here is where I feel the value of 'coaching hooks' can come
in. They can help the coach to decide what are the most
important factors for each man. He can either have just
one set of hooks to suit all purposes (at this stage) or he can
have several sets, which he applies for different people or
different throws.
A. A general set could be:
I. Feet: Are the feet moving into the correct position for the
attack?
2. Weight: Is the weight moving into the direction of the throw?
3. Hands: Are they being kept close to the body?
B. Or, if using special sets for special people, 'a tall man's' hooks
could be:
I. Flexibiliry:Is he the strong, stiff, big man, or is he the loose,
gangling man?
2. Movement:Does he work on the 'inside' or the 'outside' of a
throw (e.g. does he spin, or step in?).
3. Hands: Does he need to pull up or down with them? (It
will depend mainly on No. B2 above.)
C. Or, lastly, 'hooks' for a special type of throw, say a forward
throw with both feet on the ground. (This is not referring, in
this instance, to the Group Method.)
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184 JUDO FOR THE WEST
I. Action: Is it a 'roller' or a 'kick-down'? (orthodox
seoi could be a 'roller' and uchi-mata a
'kick-down') .
2. Body contact: Are the hips in deep or shallow? (Do they
'flick' the opponent over or 'knock' him
over?)
3. Oppositionshape:How does one adapt a man's attacking
movement to a general postural shape of an
opponent?
Of course, the coach must be careful that he does not get too
ambitious and start introducing points which are really for the
more advanced. He must keep in mind the student's potential,
realize how much he is capable of doing, and then keep within
those limits. The danger of over-teaching is always there, to
swamp the student and give him indigestion, rather than fixing
his diet within the limits of his digestive system.
Finally, at this stage, there is the teaching of tactics. To some
extent this will be helped by the various sets of sequences taught,
for they will give the student an idea of pace variation and the
need for anticipation, both essential to the business of tactics.
But in addition to this, the coach has to show ways of tackling
stiff men, loose men, aggressive ones, cowardly ones (yes, there
are those too!) what to do against men who are much better or
against those who are much worse! All need special methods,
and it is the coach's job to see that the students not only
experience these various oppositional styles, but also have
some methods to combat them. Again it is the coach's ingenuity
which is so important.
In short, the student is changing from an ugly duckling into a
swan. Not that he is a swan, but the transition is now apparent.
The technique is smooth and fairly strong with a brain at the
back of it that has some idea of what it is doing, or trying to do!
CHAPTER 5
BRITISH JUDO ASSOCIATION'S
COACHING EXAMINATIONS
IN this book I have tried to describe various basic teaching and
technical principles which can be used when coaching judo.
I have tried to give some idea how these principles can be put
into practice, and some indication of the methods I have
evolved while applying them. Much of the work has been done
during the time I have been National Coach, although certain
seeds were sown during my stay in Japan, and some even before
that! Nevertheless undoubtedly the responsibility of being
National Coach has greatly stimulated my cogitations on the
matter of judo teaching, particularly when I was made res-
ponsible for formulating a coaching scheme. I started on this
job slowly and hesitantly, feeling my way until, gradually, I
became confident (with the accumulation of experience and
knowledge) and able to build a scheme which, I hope, has
worthwhile qualities.
The coaching scheme which now covers the country, under
the aegis of the B.J.A., is a synthesis of the principles as laid out
in the previous chapters. For those who may be interested in
this scheme, I have outlined below the various standards of
awards and what approximately they comprise. If more precise
information is wanted regarding specific facets of the award I
would suggest the reader attends the various courses, both
National and Area, or failing that, to read B.J.A. booklet No.3.
The latter would be a poor substitute, but it would give some
idea of what was wanted. The content of such courses is fairly
standard and whoever is in charge, be it the National or Area
Coach, is fully conversant with the material to present.
The Association has taken great pains to ensure there is some
standardization of approach to judo instruction without neces-
sarily making it uniform. The National Coach, Area Coach and

186 JUDO FOR THE WEST
other coaches responsible for the running of such courses have
at least four meetings or conferences a year, at which coaching
policy is amended and organized. Each individual coach then
spreads this information in his respective Area or 'spheres of
influence'. In the past, such conferences as these have done
much to help the development ofjudo coaching in this country.
New ideas, methods of training and experiments in teaching are
raised and discussed and then, if considered beneficial, they are
incorporated into the general scheme. It is by these conferences
that standard coaching policy is formulated and disseminated
without imposing a restrictive method of teaching. Naturally
every man wants to teach in his own way and the Association is
only too willing that he should do so.
It is due to the Association's wisdom in seeing the importance
of a coaching scheme, and encouraging it as often as possible,
that so much has been done in the production of a new attitude
to coaching over the past recent years. Naturally the Association
cannot force individuals to participate in the scheme (many do
still prefer their own ways of doing things) but the Association
does try as much as possible to get its members-particularly
those who do instruct-to attend coaching courses to increase
their knowledge and then to sit for the various coaching
examinations. We can only hope that those who do not sit the
examinations have better methods to offer.
CLUB INSTRUCTOR'S AWARD
This award was devised after the other two (as late as 1963 to
be precise). Its object is roughly twofold: one to help the lower
grade (about 3rd kyu) instructor, who has what in many ways
is a very influential job-that of starting beginners off on their
judo careers-to instruct better: secondly to act as a kind of
'bridge' to the coach award.
The examination is in two parts. One, which is the most
important, is the teaching of a class. The period lasts for
fifteen minutes, and the candidate gets ten-fifteen minutes to
prepare (this of course is to test his ability to make out a simple
lesson plan). The class will consist of approximately twelve
adults and the standard of judo skill has to be an elementary
one (approximately 5th or 4th Kyu and under). He is examined
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BRITISH JUDO ASSOCIATION'S COACHING EXAMINATIONS 187
mainly as to whether he has appreciated the more fundamental
teaching techniques (shown him on the pre-exam courses) and
ifhe can put them into practice effectively. The technical (judo)
aspects of the teaching are judged according to suitability for
the examination class and whether his presentation of the points
he has selected are logical and clearly understandable. The
'bridge' project method of teaching (see Chapter 3) is used here.
The second part of the examination is a comparatively easy
one; the candidate is merely asked a few questions on the
promotion examination syllabus (see page 194) of the B.J.A.
The questions take the form of asking the candidate to demon-
strate various tachi- and ne-waza, listed in the syllabus, and
then to explain certain facets of them and the theory.
In the first part-teaching-the candidate has four types of
teaching which he can be asked to show, the examiners selecting
the actual one. These 'types' of teaching are intended to cover
particularly elementary facets of judo training. For example, he
I, may be asked to teach three linked attacking movements,
each movement (an attack or an avoidance) to be taken from
any of the groups of the Group Method. Here the object is to
ensure that not only can the candidate teach linked techniques,
but that he appreciates the position of this principle of linked
movement in general training. To further emphasize this point,
the examiners can question the candidate on his class pro-
gramme and his justification for any part of his instruction.
Similarly the candidate can be asked to teach a link sequence
which starts in tachi-waza and concludes in ne-waza. Again
the object is to ensure the candidate not only fully appreciates
the theory of 'transference techniques' (from standing into
lying down) but is able to put it into practice. This is an attempt
to make transference techniques a definite part of an early
training scheme and so eliminate this weakness so common in
the past.
By incorporating these general principles into the coaching
scheme it is hoped that benefit will percolate through to the
general judo player and so raise the personal performance
standard. By giving the low-grade instructor sound 'teaching
tools' and technical advice on how to make the best use of
these tools he will be able to make an even greater contribution
to the progress of judo.
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188 JUDO FOR THE WEST
COACH AWARD
This award is limited to candidates of 1st Kyu and above, and
covers a far greater range of knowledge than does the club
instructors'. There are six parts to the examination, two deal
with teaching, one with rules, one with the promotion syllabus,
one is an essay and lastly there is a personal interview.
Part one deals with teaching a class of (approximately)
twelve male adults. There are five alternatives for the examiners
to select one from for the candidate. The first four deal with the
intermediate stage of teaching (a higher standard than the Club
Instructor Award) and the fifth with the teaching of a specific
technique in fifteen minutes at an intermediate level (about
2nd Kyu).
The approach required for this intermediate lesson is quite
different from that in the elementary one. The 'open' project
method (see Chapter 3) is now required. Naturally as it is still
a class, class technique is still important, but it is no longer the
major criterion. Can the candidate now build a constructive
lesson upon (what he considers) the most important points of
the selected technique? The candidate can assume that the
class is familiar with the general factors involved in the Group
Method (i.e. they are able to use the 'jump around' attack
roughly at the right time, when the partner is going back) and
have a general picture of what most throws consist of. The
candidate's job is to decide which technical points can be most
easily superimposed upon the knowledge already existing in the
class, and then to transform the general movement of the class
into the specific technique required by the examiners.
The ability to select two, or possibly three, points (which are
all that is required in the examination) can be quite difficult.
It may be simple enough for the man nurtured in the atmos-
phere of 'one point at a time teaching, but if by any chance he
has been brought up in a 'multi-point' system (put one foot
here, left hand there, etc. etc.) he will have difficulty. However,
once the candidate has selected the points, he must then align
them in order of importance and logicality. For example, in a
general case, to put the 'hands' point before the 'feet' point
could mean re-correcting use of the hands, as foot action
directly dOlninates hand action. In the circumstances of the
examination, the general progression required may sometimes
I
II
BRITISH JUDO ASSOCIATION'S COACHING EXAMINATIONS 189
look rather artificial and forced, but it is by insisting upon this
general principle that a sound base for real progress will follow.
Part two of the examination concerns the syllabus of the
promotion examination. The candidate is asked to demonstrate
the techniques in the syllabus. The examiners will also ask him
questions for elaboration on the various aspects of the tech-
niques. Such questions can take the form of how does one
technique (named) differ from another (named) the candidate
being judged upon his clarity and conciseness of answer. It is
quite surprising how difficult some find it to give a clear verbal
description covering the essentials of a technique. Many require
a lot of practice to enable them to do it easily and to order. Mter
all, a coach should certainly be expected to have the ability to
select the essential points of any technique and, what is more,
to be able to describe them coherently whenever necessary.
Part three of the examination concerns the rules of competi-
tion. The candidate is asked questions upon the contents of
various rules (contained in the Association's official booklet
No.2). There are no trick questions, the examiners simply
require evidence of an accurate knowledge (of the contents of
the rule book). The severity of the questions cannot be com-
pared to those for the Referee's Certificate and for that reason,
if the candidate already possessesa Referee's Certificate, he is
exempt from this section of the examination.
The teaching of kata is the subject of part four. The candidate
is asked to teach for a quarter of an hour, anyone of the sets
from the randori-no-kata (in the Women's Coach Award,
ju-no-kata is an extra choice) to a group of not less than six
people.
The examiners select the set, and all major aspects of the set
must be covered by the candidate's instruction. If for example
the set is from the nage-no-kata, then both sides must be done.
Again, there must be an obvious class plan, with a definite
progression (visible) from start to finish. Technical points have
to be selected by the candidate, in order of importance, and
introduced into the lesson in a natural manner. There must be
good introduction, giving a brief picture of the set, complete
with demonstration. The sequence is established first, then the
overall picture with tsugi-ashi, and finally with some degree of
'polish', the candidate choosing his own points of emphasis
 ,
190 JUDO FOR THE WEST
(the ones he considers best or easiest to establish in the circum-
stances). Finally the set is performed as a complete whole. If
the roll-down fall has been used till now, the final repetition of
the set must be with the real throw and fall.
Once more, the object of this part of the examination is to
see if the candidate has understood the need of applying the
general teaching principles to kata. Can he make a plan and
progress gradually and logically through the period allotted to
him? Is he capable of selecting the relevant technical points
and introducing them at the best possible spot in his pro-
gramme? These various points should all be apparent in the
conducting of his class.
The essay, which is part five of the examination, is feared by
many. Possibly because few have had the opportunity, need, or
inclination to write seriously since leaving school. But the object
of this part of the examination is not to test the candidate's
knowledge of grammar, or his literary style, but to assess his,
or a part of his, attitude towards judo. The candidate has
four general headings available to him, under which he can
write: Judo history, objectives, training or theory. It is inten-
tional that the range of the titles is as wide as possible to offer
maximum scope. The important thing is that the essay should be
original whenever possible, the man has approximately 1,500
words to layout his views on one of the topics mentioned above,
which should be within anyone's capabilities. To assess the
degree of originality, questions can be asked on his essay during
the interview at the completion of the examination. Whenever
possible the candidate should give sources of information (e.g.
books, conferences, articles etc.) but from those sources to
deduce an interpretation of his own. Mter all, one of the main
objectives of the various coaching awards is to cultivate the
ability to think, and an essay is an excellent way of discovering
whether the candidate can!
Finally part six of the examination is the personal interview.
The candidate is asked questions on his essay, and then on
certain teaching problems. How would he react if he found
himself in a certain teaching circumstance with various inherent
difficulties. Lastly he would be asked to discuss matters con-
cerned with ~udo-background', subjects like weight-training,
stamina development etc.
BRITISH JUDO ASSOCIATION'SCOACHINGEXAMINATIONS J91
It can be seen that the examination is quite comprehensive,
and is designed to assessthe candidate's knowledge over a wide
range in the judo field. His class technique and handling is
judged in the first part, specialized teaching is contained in
part four, standard knowledge (rules and syllabus) is covered
in parts two and three, the ability to express himself coherently
and naturally is contained in part five and his general knowledge
in part six.
SENIOR COACH AWARD
The object of this award is, in general, to assess the ability to
coach individually. Both the Club Instructor and the Coach
Award deals mainly with class work, but now the emphasis
swings on to high-level individual coaching.
The examination is in four parts, teaching, kata, essay and
interview. However, the first part is again subdivided in two.
First the candidate observes two people in randori, to give him
the opportunity of analysing each man's movement and
deciding how each could be helped. A ten-minute period is
then allowed in which the candidate can work out a coaching
progression and plan for improving the performance of either
one of the pair. He is allowed a fifteen-minute coaching period
to implement this plan. Later in the examination the candidate
is given a further ten-minute preparation period to devise a
lesson for improving the other man's performance and fifteen
minutes for this lesson. The coaching in each case must be
realistically linked to the actual performance seen-not a
showpiece in a vacuum for the examiner's benefit.
The object of the various sections is, I think, fairly obvious.
It tests the man on most facets of his coaching ability, in relation
to one man. He must understand much about technique to
coach the 1st Kyu satisfactorily; his knowledge of competitive
standards can be judged when he tackles the job of improving
an attack.
The section on kata is just as comprehensive, although at
first it may look much easier. The candidate has to teach a pair
of advanced students a set of the randori-no-kata (superficially
similar to the Coach Award syllabus) but now the student has
to clarify and relate available power and where it is to be used.
192 JUDO FOR THE WEST
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The variation of pace regarding uke and tori must be taught. ~M
Is the pace of the first technique as fast or slower than the last OJ I

one in the set? Technically where and how should emphasis be

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stressed on any particular technique? All these various factors a:.o I

will test his knowledge of kata to the full. ~ ':E

The essay again will comply superficially with requirements ~ ~
in the Coach Award, but the standard expected is much higher. ,- !-)
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The subjects open to the candidate are: the application of
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mechanical theory to judo technique; future developments in ;;E
judo; ways and means of nurturing class interest-at
advanced level; and lastly, any original contribution to the
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Lastly in the examination, another personal interview, again
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As can be seen, the standard set, particularly for the last two ~ .,j
awards-the senior coach and coach-are high. But the B.J.A.
consider this essential if the general standards of judo are to
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being overcome) for it is realized more and more that the N N
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coaching scheme is to help, not frustrate. Many who have passed
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194 JUDOFORTHE WEST
Since when I have been rather careful to deal with this item on
courses.
For ease of reference I have made out a 'family-tree' of
techniques (Fig. 18).
PROMOTION SYLLABUS
The name of each technique usually gives the actual technical
essence of it, so some understanding of its true meaning is
essential. The only exceptions to this are the hangovers, trom
ju-jitsu which tend to have 'poetical' rather than explanatory
names-e.g. yama-arashi-mountain storm, and tani-otoshi-
valley drop. As alljudo terminology is inJapanese, some rational
interpretation is needed.
Let us take a new look at the syllabus.
Beginner
Tsukuri is, literally, to make or manufacture, the action made
by the attacker to move the opponent in the direction of the
throw (not necessarily limited to a part of the attacker's body,
i.e. hands).
Kake has a very wide range of meaning; in this instance it can
mean start or attack, the real 'bite' of a technique. It is the
point of application of the technique, the moment when the
opponent comes 'unstuck' off the floor, the point of maximum
power during the attacking movement.
T surikomi-ashi. The first part; tsurikomi refers to the action of
the hands. These move in an upwards direction until the attack
actually starts, when the pull becomes downwards. The second
part ashi refers to the limb which is instrumental in the attack-
the leg. The type of attack is further differentiated by the occa-
sional use of a prefix, sasai or harai. Sasai means that the leg
attacked is merely blocked ('propped' as the literal translation
has it) and the man pulled forward over it; harai means the
leg is swept or knocked (backwards) out from under the
opponent.
BRITISH JUDO ASSOCIATION'S COACHING EXAMINATIONS 195
De-ashi-harai. De means to come out, advance; ashi is foot;
harai to sweep. So this technique is simply (by definition) to
sweep the foot as it comes forward.
O-soto-gari. A small digression here may be of help, to try and
ascertain the actual meaning of 0 (and ko, see later), particularly
in reference to throws. Literally '0' means big or large, but it also
refers, by extension, to the action involved and the part of the
body used. The word refers to the big sweeping action of the leg
(both in o-soto and o-uchi-gari) which is unrestricted by the
position of the body, that is, the sweep is away from the body.
The '0' can also imply use of the hips, the 'big' part of the body,
which again is fairly obvious in throws like ogoshi and oguruma.
Therefore the name means the large outside (soto) reap or
sweep (gari). The name only covers the actual attacking action,
not the relative position of bodies!
O-goshi. Here the '0' refers to the 'big' action of the hips, (goshi)
which means they lift the opponent up off the ground (the only
technique in which the lifting action is an intrinsic and essential
part of the technique). To further facilitate this movement of
the hips the attacker's hand or arm is placed round the op-
ponent's waist to hold him firmly to the attacker's hips so there
is no slipping between bodies (this is an essential ingredient of
the technique). The legs are bent during the move into position
and with the straightening the required lift is achieved. This
could be considered as meaning 'lifting hip'.
Kesa-gatame. Kesa is a Buddhist monk's 'hold all' slung across
his body. Katame (see glossary) is to hold. Therefore the name
refers to the holding achieved by the position of the attacker
diagonally across the opponent's body.
Kata-gatame. Kata is shoulder (see glossary) and katame as above,
to hold. So the name means to hold by the shoulder-shoulder-
hold.
6th Kyu
Uki-goshi. Koshi is the hip (see glossary). Uki literally means 'to
float', but it has little if any of this meaning in this context.
It has the implication of keeping at the same level (as floating
things do) so it means there is no lifting action of the hips at all
(which would mean the opponent would rise and fall). The
196 JUDO FOR THE WEST
hips are merely pivoted or twisted so that, in turn, the opponent
is twisted offhis feet to fall down. So it could be translated simply
as 'turning hip' (with no lifting action from the legs).
As with o-goshi, the attacker's right hand or arm is put
around the opponent's waist to ensure that contact between the
two bodies is firm and positive (no 'slip'). It does not matter
where the attacker's feet are, providing the throwing movement
complies with the above.
Harai-goshi. Harai is to sweep, and refers to the attacker's hip
(goshi). It is the sweep of the hip which causes the throw-to
distinguish from o-guruma (see later). Of course the leg must
move with the hip. This means that the foot arc must be as
big as possible in order to get maximum movement at the hip
(which is nearer the centre of the arc).
Hi::;a-guruma.This inti ally appears to be an exception to the rule
of the name describing the throw. To some extent this is true,
but when the historical development of the technique is looked
into it does in fact work out as it should. First, hi::;ais the knee,
kuruma is a wheel, or to wheel over. In the past the attacker
would (for example) stamp his left foot right next to the
opponent's right foot so that the inside of his left knee would be
against the outside of the opponent's right knee (the attacker
now being in a kind of strong jigotai position). He would then
spin or wheel the opponent over the knee which now acts as a
block. A very powerful throw, but it had the disadvantage of
smashing lots of knees! So gradually it was modified to some-
thing less dangerous, the foot of the attacker replacing the knee,
but the name stuck with it.
Kami-shiho-gatame. Kami means top or upper (see glossary),
shiho is four directions, referring to the four quarters or corners
of the trunk-which is, of course, another way of saying body
and gatame as above to hold. So it means the holding of the
upper or top part of the body.
Toko-shiho-gatame, Toko is side, shiho-gatame as immediately
above; therefore it is the holding of the side part of the body.
Ju-ji-gatame. Juji means figure 10, which in Japanese is written
as a cross, and gatame, as always, to hold. So the name means
'a figure 10 holding'. As can be seen, that could be ambiguous
to say the least. Does it mean a holding (osaekomi) or a lock?
For this reason, when one wants to be punctilious a prefix can
BRITISH JUDO ASSOCIATION'S COACHING EXAMINATIONS 197
be added, ude-hishigewhich tells the reader it is an arm (ude)
lock (hishige).
Gyaku-ju-ji-jime. Juji is the cross, as was shown above; jime (to
tighten) (see glossary) is the neck lock. Gyaku is upside down
and refers to the position of the attacker's hands-palms
upwards (upside down, for 'natural' palms are face downwards).
Nami-ju-ji-jime. Nami (see glossary) refers to the 'line up' of the
fingers, when the thumbs are inside the collar of the jacket,
and the fingers are outside, andju-ji-jime as immediately above.
Ude-garami. Ude means arm, garami (see glossary) to twist or
twine around. Can be treated simply as a bent arm-lock of
any description. The forearm being turned around (radially)
the elbow joint-either way.
5th Kyu
Seoi-nage. Nage is ot course to throw (see glossary), seoi is to
'carry on the back'. The meaning is therefore to throw by
carrying on the back. Sometimes it is required to further
differentiate how this is achieved, so again prefixes are added
to clarify the position. Moro te (not moroUe) refers to the attacker
using both hands to hold the opponent's jacket with. Ippon
refers to only one hand being used to hold the other man's
jacket (see glossary). Kata (see glossary) refers to where the
attacker holds-both hands on one side of the opponent's
jacket. Eri meaning collar or lapel, again refers to holding
position. As can be seen, these names can somewhat overlap in
application, but if used carefully can specify fairly accurately
what actually happens in a particular type of throw. So some
of the prefixes refer to where the hold is, others to how the hold
is done, both aspects useful to differentiate in certain cir-
cumstances.
Tsurikomi-goshi. Again tsurikomi refers to the action of the hands
(see tsurikomi-ashi) which is an upward-forward-downward
movement. Koshi refers to that part of the attacker's body which
is instrumental in achieving the technique. For short it could
be called a 'blocking hip'.
Okuri-eri-jime. Okuri means transmit, escort, go along with,
in conjunction with. So in this case it refers to the two collars
(eri) of the opponents being used-in conjunction with each
other to complete the shime.
198 JUDO FOR THE WEST
Kata-ha-jime.Kata is 'one side' (see glossary) ha is wing or in
this particular instance the opponent's one arm (wing) neces-
sary for the execution of the technique and shime as above.
The arm (used against the raised arm) acting as a wedge to
drive the head forward on to the other 'working' hand.
Ude-gatame.Can be taken to mean any straight arm-lock.
Hiza-gatame.A lock applied on a straight arm by the attacker's
knee (hiza). Again if felt necessary it can carry the prefix
ude-hishige to positively indicate it is a lock and not a hold;
such a prefix is seldom used however.
Kuzure-kesa-gatameand Kuzure-kami-shiho-gatame. Kuzure means
loosened or broken (see glossary) and simpJy indicates that the
holdings have been 'loosened' or a deviation has been mad,e
from the 'hon' or standard form. (See 'Beginner' and '6th Kyu'.)
4th Kyu
Ko-uchi-gari.Under the heading of o-soto-gari, I discussed the
extension of meaning involved with the prefix 0; ko can be
treated in the same way. Although literally it means small or
little (see glossary) it also refers to the type of movement
involved. If the leg is moved across the body, then the body
restricts that movement. So with this technique, the ko refers
to the sweeping action of the attacking foot, which goes across
or in front of the attacker's body, so making it a small or
limited movement. U chi is of course 'inside', garireap or sweep,
therefore the meaning is the small inner sweep or reap.
O-uchi-gari.Here of course the meaning is the big (range) inner
sweep.
Ashi-guruma.Ashi means foot or, as in this case, leg. Kurumais a
wheel or to wheel over. Provided the opponent wheels over
the attacker's leg and not his hip (see o-guruma) then it is
ashi-guruma. It does not matter where the point of contact is.
The attacker's leg can be under the opponent's chin (a rather
extreme case!) but as long as he wheels over the leg-the
definition of the technique being fulfilled-then ashi-guruma
it is!
Hadaka-jime.Hadaka is naked, or bereft of clothes. Therefore
any shime which does not use the jacket as a means of obtaining
that end!
BRITISH JUDO ASSOCIATION'S COACHING EXAMINATIONS 199
Ashi-gatame. A lock (straight arm) which is applied by the
attacker's leg (ashi). Again if further clarification is wanted
ude-hishigecan be added at the front.
:p"dKyu
Tomoe-nage.A tomoeis one of those large 'commas' seen in a
Paisley pattern, or depicted in the ying and yang symbol
(referred to in the I Ching). It obviously attempts to describe
the 'shape' of the throw (nage).
Tai-otoshi.Tai is body, otoshiis to drop. As the throw is made the
attacker's body drops into position.
Kata-ju-ji-jime.Kata is one side, so the meaning is the crossed
(arms) (ju-ji) neck-lock (jime) with one hand (side) one way
and the other, the other way.
2nd Kyu
Uchimata. Uchi is the inside, mata is the thigh. Originally it
referred to the attacker's inner thigh being the point of contact
in order to achieve the throw. However, because the throw
has developed away from the original concept, the inner thigh
has been 'projected' and has come to mean the opponent'sinner
thigh.
Hane-goshi.The hanemeans to spring and it refers to the right
leg of the attacker, in the sense of it springing away from the
left leg so driving the opponent's right leg backwards.
Okuri-ashi-harai.As was discussed earlier okurimeans to go along
with, in conjunction with; so in this case it means the attacker
sends the opponent's legs 'along together, with each other', the
result is achieved by the harai (sweep) of the attacker's ashi
(foot).
Tate-shiho-gatame.Tateis vertical to, or in line with (seeglossary)
shiho-gatame,body-hold as eXplained above. The attacker lies
along the same axis as the man he is holding, thus fixing or
holding him along the 'vertical' quarters of the man.
Looking at this technique in isolation, it could refer to a kami
position as well. However as that position is already covered,
this technique must refer to the astraddle position.
 200 JUDO FOR THE WEST BRITISH JUDO ASSOCIATION'S COACHING EXAMINATIONS 201

1St Kyu O-soto-gake.All that need concern us here, is the definition of

gake. Kake (see glossary) means to hang on to, lean against,
Makikomi. This means to roll or wrap up (as when rolling up a
to suspend from. In practical terms it simply means that the
piece of paper). It can therefore refer to any (or almost any)
technique in which the attacker, to achieve success, 'rolls' himself leg attacked is simply blocked, leant against, held still, whilst
the opponent is driven (or pushed) past it, so making him fall.
on to his opponent. The wrapping up starts to happen just
Quite different from the garis in which the leg is swept out from
before kake is reached and carries on from there. It is a very
under the opponent to make him fall.
spectacular 'extra' because it invariably means that all four
feet come off the ground. These two words, gari and gake can be added to any of the
backward throws to indicate the different type of throwing
What it certainly does not mean, is that the attacker simply action used.
locks himself on to his opponent and then falls on his face!
I will not go any further with the syllabus, for not only does
An interpretation often seen, due to poor teaching. Makikomi
it become rather nebulous, but the reader ought to be able to
is a dynamic 'explosion' of movement and power, not the
work out any of the other difficulties on his own by now, or at
desperate forlorn effort to revive an already 'dead' attack.
least know where to direct his enquiries.
To particularize the movement, two alternative prefixes can
be added to the word makikomi-soto and uchi. Soto-makikomi It should be noted that, with the exception of some shime-waza
and a few others, the technical points implied by the names
is when the attacker's right arm is thrown above the opponent's
right arm, in order to facilitate the forward roll of the throw and always refer to the attacker himself. This is how it should be,
he is the man concerned, the one who determines what action
uchi-makikomi refers to the attacker's right arm going below the
opponent's right arm, to facilitate the forward roll of the throw. is used, so naturally it is his action which is titled. With this in
mind, it should help the coach to deal with other techniques
Toko-guruma. A rather vague title for a throw. The yoko refers
which are possibly out of his normal range.
to the side of the attacker, and guruma (wheel) the general
For example, I thought it would be of interest as well as
action of the throw. It is, of course, a throw in the yoko-sutemi-
being beneficial if I included the Gokyo.
waza group (although there is no indication of sutemi by the
These forty techniques are those 'officially' acceptable.
technique's name). The attacker makes the throw by throwing Any and all other throws can be related to these forty in some
himself on to his side and wheeling the opponent over the top.
way or other, so if a coach has trouble in naIning some strange
(For greater detail of execution, the version in nage-no-kata
technique he can use one of the Gokyo for convenience, and for
should be studied.) In normal competitive conditions it is
this reason it is useful to know what comprises the forty.
usually used as a Kaeshi-waza, although it may occasionally
be seen as a straight attack.
THE GOKYO
1St Dan Dai Ikkyo
de-ashi-harai; hiza-guruma; sasai-tsurikomi-ashi; uki-goshi;
O-guruma. As mentioned earlier '0' not only means 'big' but also o-soto-gari; o-goshi; o-uchi-gari; seoi-nage.
refers partially to an action of the part of the body involved.
Dai Nikyo
In this case it is referring to the top of the leg or one of the hips:
ko-soto-gari; ko-uchi-gari; koshi-guruma; tsurikomi-goshi;
That is the opponent is 'wheeled' over the top or hip of the leg
okuri-ashi-harai; tai-otoshi; harai-goshi; uchi-mata.
which is in the air, quite different from ashi-guruma, when it is
specifically only the leg which is in contact with the opponent; Dai Sankyo
the criterion is-does the opponent 'roll' over the top or hip ko-soto-gake; tsuri-goshi; yoko-otoshi; ashi-guruma; hane-
of the leg? If he does, it is o-guruma. goshi; harai-tsurikomi-ashi; tomoe-nage; kata-guruma.
202 JUDO FOR THE WEST BRITISH JUDO ASSOCIATION'S COACHING EXAMINATIONS 203

Dai Yonkyo
sumi-gaeshi; tani-otoshi; hane-makikomi; sukui-nage; utsuri-
goshi; o-guruma; soto-makikomi; uki-otoshi.
Dai Gokyo
o-soto-guruma; uki-waza; yoko-wakare; yoko-guruma; ushiro-
goshi; ura-nage; sumi-otoshi; yoko-gake.
PRONUNCIATION
Pronunciation of Japanese, for the beginner at any rate, is
quite a simple affair. For general purposes there is no voice
undulation or stress variation. Once the word (or sentence) is
started the same pitch can be kept constant throughout. To
further elaborate, each word can be looked on as comprising
several couplets ofletters, with additions of vowels (which can
stand on their own), or occasional 'triplets' (e.g., tsu, shi, chi),
and rarely the sole consonant en' (no other consonant can stand
on its own).
Therefore in words like tsu-ri-ko-mi-go-shi, it can be broken
down into its couplets and triplets and just read off, each
syllable given equal stress. Again it is not yamaada, butya mada;
the syllables are kept short and not elongated, as English
pronunciation tends to do.
No letters must be omitted. Remember that the Latin script
is essentially phonetic (ideographs are used by the Japanese)
so everything that is written down must be pronounced. For
instance in ippon, it is not said as 'i pon', but 'ippon' (two 'p's'
as in top pot). Nage, as in nage-no-kata, is not said nayj
(with the 'e' silent), but na-ge. All the consonants are hard,
as all vowels are pure.
middle. For example k becomes g (it is koshi-waza, but o-goshi).
'sh' becomes j (shime-waza, but ju-ji-jime), h becomes band
occasionally the b becomes hardened again to become 'p'
(it is hon for point, but ippon for one point).
A further complication is that because ideographs are used
by the Japanese it can be confusing when they are transferred
into phonetical script. There are two main origins of this confu-
sion. One is that different ideographs can have the same sound
(e.g 'kami' meaning god or paper as well as top) and the second
is that the same ideograph can have different sounds; one
type is called the 'on' reading and the other 'kun' reading
(e.g. one ideograph can be read tai, or karada, both meaning
body). When these points apply I have tried to indicate it in
the glossary. That is, when there are several meanings under
the one heading, it means that each meaning has a different
ideograph. If it is the same ideograph with different readings,
I have cross-referenced them. Most of the technique names are
derived from verbs, so I have indicated what these verbs are,
so that if the reader is so interested he can check them in a
dictionary.

k as in king; g as in got; t as in tader;

a as in bat; e as in set; i as in bit;
o as in got; u as in put.

By the way there are no plurals in Japanese!

Another peculiar thing about the Japanese language is that
some consonants can be hardened (nigori as it is called) when
they change their position from the front of the word to the
 GLOSSARY 205

Ji: (a) Japanese ideograph; (b) Self, oneself.

Jigotai: the posture which attempts to lower the centre of gravity by bending the
legs and widening the (foot) base. It is very strong, but at the cost of mobility.
Jitsu (Jutsu): usually translated as 'art', but can often mean just an extension of
GLOSSARY technique
Judngi: the clothes worn when practising judo
Aiki: a form of self-defence, based on special principles (literally 'harmony of Judogu: general equipment for judo
spirit') Judoka: a very senior player (at least 4-Sth Dan)
Aikido: the 'way' of Aiki Ju-jitsu: a name covering all forms of fighting without weapons. Its methods are
Aite: opponent, partner very drastic; includes aiki, karate.
Ashi: leg/foot Ju-rw-kata: the forms of giving way, illustrated by symbolic self-defence movements
Ashi-waz;a: leg/foot technique Jushin: centre of gravity.
Atama: head Kaeshi (Gaeshi) (v. Kaesu): to turn about or to counter (e.g., o-soto-gaeshi); to
Ate: strike, hit overturn or rotate
Atemi-waz;a: hitting body technique. Kaeshi-waz;a: counter techniques
Budo: military way, form, concepts Kake: the success moment of the throw, the point of maximum power
Bujitsu: martial arts/crafts Kai (Kwai) : society, club
Bushi: a warrior in Japanese feudal society Kami: (a) upper, top; (b) paper; (c) god/s
Bushido: the moral, ethical code of the Bushi, formulated originally circa 14th Kansetsu: a joint, articulation
century Kantsetsu-waz;a:technique of locking limb joints
Butsukari: see Uchikomi. Kao: face
Chiisai: small Karada: body
Chikara: strength. Karate-do: the 'way' of karate, fighting with 'empty-hands' (lit.)
Dan: 'leader' grade, generally black belt Karui: light
De (v. Deru): to come out, to advance (e.g., de-ashi-harai) Kata: (a) a stylized set of techniques, performed in order to extend the participant's
Do: (a) way, path, etc. This word was used frequendy in Chinese and Japanese movement experience; (b) one side; (c) shoulder
philosophy in the sense of the way of doing an act in the moral and ethical sphere Katai: hard
as well as the simple physical; (b) trunk of the body Katame (v. Katameru): to harden, tighten, hold, control
Dojo: hall or room in which judo is practised. Katame-no-kata: the forms of controlling (including Osaekomi, Shime and Kansetsu)
Eri: collar, of a jacket. Katame-waz;a: controlling techniques
Fusegi-kata: method, form of defending Keiko: training, practice
Fusegu: to defend. Ken: sword
Gake (v. Kakeru): to hang, hook, block Kendo: the 'way' of the sword (Japanese two-handed fencing)
Garami (v. Garamu): to bend, entangle, wrap Kendogu: general equipment for practising kendo
Genlci:energetic, lively, active Keru: to kick
Goshinjitsu: self-protection (in all its forms) technique Kiai: a shout used to strengthen the body when maximum effort is required
Gyaku: reverse, upside down. Kime (v. Kimeru): to decide
Ha: wing Kime-rw-kata: forms of decision, the kata of self protection
Hadaka: naked Kiri (v. Kiru): cut, as with a knife
Hairi-kata: the way of entering or attacking (for a technique) Ko: (a) small; (b) old, ancient; (c) lecture, study, think
Hane: spring (e.g., hane-goshi) Kodokan: the headquarters of judo in Japan (Tokyo)
Hara: stomach Koshi (Goshi): hips
Harai (Barai) (v. Harau): sweep, reap Koshiki-rw-kata: the forms of the 'old style'. All techniques are done as if in armour
Hidari: left Kubi: neck
Hiji: elbow Kumi-kata: method of holding the judogi
Hiki (v. Hiku): pull Kuruma (Guruma): (a) wheel, or by extension a vehicle
Hishige (v. Hishigu): to crush, break, smash Kuz;ure(v. Kuz;ureru): to crumble, collapse, break-down, loosened
Hiz;a: knee
Kuz:.ushi:the effect on the opponent of tsukuri. It is from the verb 'kuzureru', to
Hon: (a) point, ippon given in a contest; (b) basic, relating to techniques; (c) break or crumble
number suffix for counting long cylindrical objects; therefore ippon seoi-nage--
one arm shoulder throw. Kyu: ajudo 'student' grade
Itsutsu-no-kata: forms of five, attempting to show the elemental forces concerned Ma: exact, just, absolutely
with throwing technique in an abstract form. Mae: front
 206 JUDO FOR THE WEST GLOSSARY 2°7
Makikomi: to wrap or roll up, to throw by rolling oneself so that the opponent is Shita: below, underneath
whipped off his feet Shizen: nature
Manaka: centre Shizen-tai: natural, (upright) posture
Ma-sutemi-waza: technique whereby the attacker falls straight on to his back Sode: sleeve
Mata: the inside top of the thigh Solo: outside, outer
Mawari (v. Mawaru): to turn round Sukui (v. Sukuu): to scoop up
Meijin: expert, master Sumi: comer
Mi: body (human) Sutemi (v. Suteru): to throwaway
Migi: right Sutemi-waza:technique whereby the attacker throws away his own body; sacrifices
Mama: thigh his own posture.
Morole: both hands, two hands Tachi (v. Tatsu): to stand
Mune: chest T achi-waza: technique done in the standing position
Nage (v. Nageru): to throw Tani: a valley
Nage-no-kata: the forms of throwing. Thirty selected throws executed half on the Tatame: rice straw mats used in dojos and Japanese houses. Measure 3 feet X 6 feet
left and half on the right, to train the participants in body control and appreciation X 2 inches
of judo technique Tate: vertical, standing
Nami (v. Naruberu): to place in a line, range in a row (e.g., nami-ju-ji-jime). Te: hand
Ne (v. Neru) : to lie down Tekubi: wrist
Ne-waza: techniques done in the lying down position. Te-waza: hand technique
0: big Tokui: favourite
Obi: belt Tori (v. Toru): (a) the name used often in technical explanations for the person
Okii: big who throws; (b) to grasp, to hold in the hands
Osaekami: to pin, hold T suri: to 'fish' up, to hoist
Osaekomi-waza: holding technique Tsurikomi: to 'fish', lift up and pull forward
Oshi (v. Osu): to push T S19'oi: strong.
Otoshi (v. Otosu): to drop Uchi: inside
Owari: the end. Uchikomi (v. Utsu): to beat against. A static repetitive exercise where the throwing
Randori: free practice technique is taken only to the point of kake
&i: bow Ude: arm
&nraku: connection, contact Ue: above, on top of
&nraku-waza: combination technique Uke (v. Ukeru): to take. The name used often in technical explanations for the
&nshu: to practise, train person who is thrown
Renzoku-waza: comprehensive name for throws linked up in any way. It includes Ukemi: ways offalling
RENRAKU-WAZA Ukemi-waza: the technique of falling
Ryole: two hands Uki (v. Uku): to float, buoyant
Ryu: school. Attached to most of the names of the old ju-jitsu systems (e.g., Kito Ura: back, rear, reverse
Ryu). Ushiro: behind, back of (e.g., ushiro-goshi)
Saika-tanden: the lower abdomen Utsuri (v. Utsuru): to change, move (e.g., utsuri-goshi).
Samurai: see BUSH! Wakare (v. Wakaru): to divide, separate (e.g., yoko-wakare).
Sasai: to block, prop (e.g., sasai-tsurikomi-ashi) Waza: technique.
Senaka: the back (of a body) Tama: mountain
Sensei: teacher, senior Toka: side
Senshu: a competitor, champion Toko-sutemi-waza: technique in which the attacker falls on to the side of his body in
Seoi (v. Seou): to carry on the back (e.g., seoi-nage) order to execute the attack
Seppuku: the bushi method of committing suicide. Normally erroneously called Towai: weak
'harakiri' . Tubi: finger or toe.
Shiai: contest
Shiai-jo: contest area
Shihan: master, past master, founder
Shiki: style, ceremony
Shiho: four quarters (of the body)
Shime (Jime) (v. Shimeru): to tighten, strangle
Shime-waza: technique of neck-locking
Shisei: posture