Best Judo (PDFDrive)

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Isao Inokuma lUobuyuki Salo
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KODANSHA INTERNATIONAL LTD.

Tokyo, New York, and San Francisco
Action photos by Keiz6 Kaneko ; demonstration photos by Yoshinao Murai.
Distributed in the United States by Kodansha lnternational/UsA Ltd., through
Harper & Row, Publishers, lnc., 'l 0 East 53rd Street, New York, New York
10022.
Published by Kodansha lnternational Ltd.,12-21, Otowa 2-chome, Bunkyo'
ku, Tokyo it2 and Kodansha lnternational/UsA Ltd., with offices at 10
East 53id Street, New York, New York 10022 and The Hearst Building.
5 Third Street, Suite No. 400, San Francisco, California 94103. Copyright
@ 1979 by Kodansha lnternational Ltd. All rights reserved. Printed in Japan'
LCC 79-84656
lsBN 0-8701 1-786-6
ISBN 4-7700-1286-1 (in JaPan)
First edition, 1979
First paperback edit'ton. 1986
Contents
Foreword by Shigeyoshi Matsumae 7
Preface 8
JUDO FUNDAMENTALS
1 Posture 12 / Salutation 13 / Holding Methods 14 / Tsukuri
11
and Kake 14 / Kuzushi 14 / Movement 16 / Ukemi 17 / Judo

Techniques 22
THROWING TECHNIOUES 23
Tewaza (hand techniques) 24 / Koshiwaza (hip techniques)
36 / Ashiwaza (leg techniques) 48 / Ma Sutemiwaza (rear
body-drop throws) 72 /Yoko Sutemiwaza (side body-drop
throws) 82 / Other Nagewaza 92
GRAPPLTNG TECHNTOUES 97
3 Basic Postures and the Attack Pattern 98 / Osaekomiwaza
(holding techniques) 99 / Shimewaza (strangle techniques)
131 / Kansetsuwaza (armlock techniques) 140
coMB|NAT|ON TECHNTOUES
+
^ -+
Nagewaza Nagewaza 154 Nagewaza
/ -> Katamewaza
153
178 / Katamewaza -> Katamewaza 1gO
TRAINING 209
About Training 210 /Training without Equipment 211 /
Training with Equipment 216
JUDO AND I ZZT

FIGHTING SPIRIT by lsao tnokuma 228
NEVER SAY DIE I by Nobuyuki Sato 237
Appendix:Judo Records 246
Glossary of Common Judo Terms 2Sg
General lndex 254
lndex of Judo Techniques 255
Foreword'
Shigeyoshi Matsumae
President. Tokai
U niversity
It is wonderful to see how popular Kodokan judo has become throughout the
world today. lwould like to congratulate lsao lnokuma and Nobuyuki Sato on
their timely instruction book. EesI Judo, which has been designed for judo en-
thusiasts in all the countries of the world. lt is a book I have been looking forward
to, for I have long felt lnokuma and Sato to be among the best qualified to speak on
therealspiritandtechniquesof judo. Forthosewhofollowthesport.thesetwomen
need no introduction. They are both former All-Japan judo champions and have
excellent international reputations, having won titles in the Olympic Games, in
World Judo Tournaments, and in other international contests. Today, as instruc-
tors at Tokai University, they are uncovering and training many top-class judoists.
One of their students is Yasuhiro Yamashita, who won the coveted All-Japan title
at the age of only 19. The authors'outstanding records, experience, leadership,
enthusiasm, and numerous activities, including books like this one. have indeed
made them into a major force for the popularization of judo on an international
scale.
Judo is a representative Japanese sport which has an international character.
Constituting a culture in itself, judo is contributing enormously to friendship and
peace among the nations of the world today by offering an area in which people
can come together for fruitful exchange. ln this way. judo is helping to promote the
happiness and prosperity of all mankind. This is judo's mission and there can be no
loftier goal.
lnokuma and Sato are two men who fully understand this role that judo has to
play. They are judoists who are capable of bringing the ideals of judo into actuality.
BestJudo incorporates alltheir experience and studies in judo, and I am confident
that it will make a strong impression on judo enthusiasts everywhere.
My joy will know no bounds if. through this book, the readers come to know what
this subtle art of self-defense really is. not only its techniques. but its spirit. I would
like those who use this book to understand the object of their training and. through
judo, widen the circle of their friendships and contribute to international peace and
goodwill.
ln conclusion, lwould like again to compliment lsao lnokuma and Nobuyuki
Sato on their efforts in writing this book. I recommend their work highly to judoists
throughout the world.
Preface
lsao lnokuma
Judo today is an international sport knowing no boundary between states or

races. lt is a sport in which millions of people throughout the world are engaged,
whether for simple recreation or for more serious purposes. The world-wide popu-
larity of judo is evidenced by the more than one hundred nations that belong to the
lnternational Judo Federation, by the acceptance of judo as an Olympic event,
and by the numerous international judo contests held each year, such as the World
Judo Tournament.
Several decades ago, judo was considered a sport in which only the Japanese
could excel. But with the international character of the sport today. the perform-
ances of judoists from various countries have improved considerably and show a
skill and power on a par with that of their Japanese counterparts. Geesink and
Ruska of the Netherlands and Novikov of the Soviet Union, for example, have
already surpassed Japanese judoists to become Olympic or world champions.
Their accomplishments clearly show that judo is no longer a monopoly of Japan
but a common property of the entire world. That judoists from many nations are
training hard to perfect their spirits and techniques can only help stimulate the
further spread and development of judo.
As a man brought up in the judoworld, ltake pride in seeing howJigoro Kano-
sensei's sport has become so popular since its organization a hundred years ago.
And I have made it my mission to see that the spirit of judo. through correct under-
standing of its principles, becomes as widely practiced as the sport itself.
I am grateful that I have been given an opportunity to take one step toward this
goal through the publication of Eesr Judo, writlen by Nobuyuki Sato and myself.
Sato, like me, is devoted to the internationalization of judo and the judo spirit.
The judo presented in this book is that which is recognized by the Kodokan, the
official judo organization in Japan. Covered here are the fundamental and repre-
sentative techniques performed from a standing posture,.while on the mat, and in
combination. Judo is practiced by many people for pure recreation because it is a
satisfying and intelligent sport. lt should be pointed out. however. that judo is a
systematic sport and that judo practice techniques and strategies like those in this
book all derive from the Kodokan rules governing organized tournament com-
petition. By confining your practice to the techniques presented here you will avoid
injury and be able to practice fairly with other judoists anywhere. lf the opportunity
I
presents itself we would like in the future to write a more advanced and technical
work that focuses on some of the high-level techniques that are also frequently
used.
ln order to help the reader understand judo quickly we have relied on action-
sequence photos instead of voluminous text explanations. The models for the
photos are, aside from Sato and myself, Hideharu Shirase, Katsuhiko Kashiwazaki,
Katsumi Suzuki, and Yasuhiro Yamashita, all of whom are representative
tudoists of Japan. These men have trained under us and have achieved brilliant
records in competition. We hope that the reader will be able to grasp the vital points
of the various judo techniques presented here by carefully studying each photo. We
have also allocated a substantial number of pages in the book to physical training
methods and to essays on judo. We believe that the fostering of basic physical
power is a prerequisite for modern judoists, and we hope that our impressions of
judo may be of interest and help to our readers in numerous ways.
ln order to become strong in judo there is only mastery of the fundamentals and
hard training every day. Everyone starts training by learning the basic movements of
judo such as posture and how to be thrown. You will be thrown to the mat innumer-
able times during your training. but the time will eventually come when you will at
last be able to throw your opponent. There is no one who is able to throw his op-
ponent or hold him down with a mat technique from the beginning. We would like
to recommend that you keep this always in mind and train hard to master the funda-
mentals as soon as possible. The importance of a teacher cannot be overrated. But
if no teacher is available to you, try to attend judo contests or watch them on
television whenever they appear.
The techniques of judo are limitless and the spirit of judo is sublime. All the
countries in the world have their own particular fighting arts, and it is our opinion
that from now on we judoists must make a comprehensive study of these arts
together with the study of our own sport.
Readers coming to judo for the first time may be dismayed at the original Japa-
nese judo terms used in this book. These terms are used here because they have
gained wide acceptance throughout the world as the language of judo. English
equivalents are, however, given at the first appearance in the text, in the glossary
and indexes. or in the major text headings.
We would like to express our thanks to the organizations and individuals that
helped us:the Kodokan. the Matsumae Young People's Judo School, the Tokai
University Judo Club, Toshiaki Hashimoto, Hideharu Shirase. Katsuhiko Kashiwa-
zaki. Katsumi Suzuki, and Yasuhiro Yamashita. We would also like to thank the
staff of Kodansha lnternational for their encouragement and advice.
Preface 9
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Judo
Fundamentals
.$nmm iilm Migi shizentai Hidari shizentai
Jigo hontai Misi jisotai Hidari jigotar
Posture
The basic posture in judo is the natural posture, or shizentai' This simply means
that you stand in a natural way. From shizentai you can move into various other
postures.
There are three natural postures-shizen hontai (basic natural poslure), migi
shizentai(right natural posture), and hidari shizentai (left natural posture).
Jigotai, or defensive posture, is taken by spreading the feet a bit wider than in
shizentaiand bending both knees to lower the body's center of gravity. Jigotai also
has three f orms-jigo hontai (basic defensive posture), migi iigotai (right defensive
posture), and hidarijigotai (left defensive posture). Jigotaiis used when defending
yourself from the opponent's attack and is not very effective for attacking. lf you
must assume this posture for a time to defend yourself, be sure to switch back to
shizentai as soon as you can.
All attack and defense techniques derive from postures. lt r-s extremely important,
therefore, that you maintain correct posture at all times'
SHIZENTAI : natural posture
sHlzEN HONTAI: Spread both heels about 30 centimeters (1 ft.) apart. Point
the toes of your feet naturally outward and place the weight of your body equally
on both feet. Your knees and hips should be relaxed so that you can, at any time,
step freely forward or backward. This is the fundamental judo posture.
MlGl SHIZENTAI: From shizen hontai. move your right foot forward about 30
centimeters (1 ft.).
HIDARI SHIZENTAI: From shizen hontar, move your left foot forward about
30 centimeters (1 ft.).
JIGOTAI : defensive posture
JIGO HONTAI: Stand with both feet a bit wider apart than in shizen hontai.
Bend your knees to lower your hiPs.
MlGl JIGOTAI : Take one step forward from jigo hontaiwith your right leg.
HIDARI JIGOTAI: Take one step forward fromiigo hontaiwith your left leg.
12 Judo Fundamentals
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W, Entering seiza
Salutation
Judo practice takes the form of a fight. But no matter how fierce the
practice may be, its object is to improve your technique and train your
spirit. As a reflection of these hi.gher goals, all judoists pay due respect
to each other both before and after the practice or actual contest.
There are two salutations in judo; one is made standing (rirsurei) and
W,
Standing salutation
Seated sa/utation
the other, kneeling (zarei). The combatants stand or sit about 3.6 meters
(almost 12 ft.) apart. ln the explanations that follow, the bold numbers
in the text correspond to the photo numbers.
STANDING SALUTATION
7. Stand with your heels together and your toes open outward.
2.3. fuck your chin in and, with a natural motion, bend your upper
:,@ body forward about 30". Touch your fingertips to your kneecaps. This
takes about 4 seconds. Then return to your origrnal posture.
FROM A STANDING POSTURE TO A SEATED POSTURE
7. Start in an upright posture.
! 2. Pull back your left leg and kneel down on your knee (keep the
tips of your toes upright on the floor).
3. Kneel down on your right knee and place both feet together.
4. Straighten out your toes and squat down with your right big toe
crossing the left big toe. The space between both your knees should be
about 20 centimeters (B in.). Place both hands on your thighs. the
fingers together and turned slightly inward. This position is called serza.
When standing up, follow the same steps in reverse.
KNEELING SALUTATION
/. Begin in seiza with your hands on your lap.
2, 3. Place your hands in front of your knees on the floor and bend
your upper body forward. When bowing. don't raise your hips or bend
and lower your elbows. The index fingers of both hands should be
facing each other and should be about 6 centimeters (21in.) apart.
The upper body should be bent down so that the brow of your head is
about 30 centimeters (1 ft.) above both hands. Return to seiza.
Salutation 13
Rioht hold Left hold Right hold Left hold
fråm nigi shizentai trom hidari shizentai from migi jigotai from hidari jigotai
Holding Methods
The basic holds in judo are taken from shizentai (natural posture) and iigotai
(defensive posture) by grasping the lapel of the opponent's jacket with one hand
and his sleeve with the other. There are many variations of the basic holds, such as
a double-lapel grip or a double-sleeve grip. When holding the opponent, put
strength in your ring and little fingers, and let your thumb rest lightly on the fabric
of the jacket. Grips used in competitive situations to gain control of the opponent
are called kenka yotsu, and many of these are shown in the photographs in the
following chapters. With a partner. practice holds appropriate to your body size.
strength. agility. and favorite techniques.
Tsukuri and Kake

Tsukuri is the entry and proper fitting of your body into the position taken just
before the moment required for completlon of your throwing technique. Necessari-
ly, the off-balancing (kuzushi, see below) of your opponent takes place at the
same time as tsukuri so that he is helpless and easily controlled. Kakeis the com-
pleting movement of your technique.
Judo techniques work splendidly when these three elements work together al-
most instantaneouslyto become a single entity. lf any one of them is inadequate or
late in coming, your attempt to throw the opponent or bring him down to the mat
wlll likely end in failure.
Kuzushi
Kuzushi(literally, breaking) in judo means forcing the opponent into an unbalanced
position. This is an important factor in executing effective nagewaza (throwing
techniques), for when the opponent is off-balance he is unable to use his strength
aggressively and is virtually under your control. Kuzushi can be performed in eight
different directions (happo no kuzushi). Although you can use a variety of tech-
niques, such as pushing, pulling. or going around the opponent, you should al-
ways execute kuzushi not with your hands alone but with your entire body. You
must also consider the distance between you and your opponent.
\ /ffi To left back corner
To right side To left side
To right front corner To left front corner
The eight directions of kuzushi

(All directions in terms of the receiver)
Kuzushi 1 5
Ayumi ashi Tsugi ashi Mae sabaki
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Movement
WALKING METHODS
There are two ways of walking in judo-rsugi ashi and ayumiashr. Both involve
suri ashi, a manner of walking in which the soles of your feet slide over the floor.
These two ways of walking are used to move your body forward or backward, to
the right or left, or in any other direction. Be sure to maintain shtzentaias you move.
nyUVtt ASHI: This is the ordinary pattern of walking in which you move for-
ward alternately with each foot.
TSUGI ASHI: This involves moving by bringing one foot up to the other after
each advance.
TAI SABAKI: body contol
Tai-sabakimeans changing the position and direction of your body while maintain-
ing a stable posture. The basis of nagewaza (throwing techniques) lies in keeping
yo-rr opponent off-balance by executing excellent tai sabaki. This will determine
whether or not your throw will be successful. lntroduced here are the three major
types of tai sabaki.
MAE SABAKI (front movement control) : Shift your position by advancing
one foot and withdrawing the other at a right angle to your opponent.
USHIRO SABAKI (back movement control) : Shift your position by retreating
one foot and pivoting on the other at a right angle to your opponent.
MAE-MAWARI SABAKI (front-turn movement control): shift your position,
advancing one foot diagonally in front of your opponent; pivot on that foot and
withdraw the other until you have made a complete 180' turn'
1 6 Judo Fundamentals
Ukemi
Ukemi is a series of techniques that enable you to fall or be thrown down in relative
safety. avoiding shock or rnjury from a vrolent impact against the mat. The important
points in ukemi are striking the mat strongly with your entire arm and curling up
your body when you hit the mat in order to lessen the shock of the impact. Doing
this will prevent injury to your head and neck and other vital parts of your body.
ln judo. numerous techniques such as pressing. choking, and locking the joints are
also used, but for practicing the throwing techniques in chapter 2 it is essential that
you master ukemito soften the fall.
lf you master the fundamentals of ukemi, you will not be scared of being thrown
byyour opponent and you will be able to continue practice aggressively and with
correct posture. Ukemi gets you used to the mat and is therefore one of the first
steps to judo. Your mastery of it will contribute much to improving all your judo
techniques. As is said in judo, "Learn the techniques by learning how to be thrown."
There are four kinds of ukemi: ushiro ukemi (falling backward). yoko ukemi
(falling sideways). mae ukemi (falling forward), and mae-mawari ukemi(tumbling
forward). Ukemi training should begrn from low postures and then proceed to
high postures and on into practice while in motion.
USHIRO UKEMI : falling backward
FROM A SITTING POSTURE
/. Raise up the arms shoulder high in front of your body.
2. Roll backward while tucking your chin in and curving your back slightly.
3. Hit the mat with both arms a fraction of a second before your back touches
the mat. The angle of your arms when they hit the mat should be about 30' in
relation to your body. So that the back of your head does not hit the mat. draw in
your chin and look at the knot in the belt on the front of your jacket.
Ukemi 17
Ushiro ukemi from a
standing posture
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Ushiro ukemi from a squatting posture
FROIVI A SOUATTING POSTURE

/.Take a squatting or half-rising posture and bring the arms forward shoulder
hish.
2. Rott straight backward, keeping the hips as close to the heels as possible.
3. Keep the chin drawn in and curve your back when falling'
4. Strike the mat with both arms.
FRON/ A STANDING POSTURE
/. While standing, bring the arms forward shoulder high'
2. Bend both knees and. passing through a squatting or half-rising posture,
roll directly backward.
3. Tuck in your chin and curve your back.
4. Strike the mat with both arms.
1 8 Judo Fundamentals
Yoko ukemi from a squatting posture
Yoko ukemi from a standing posture
YOKO UKEMI : falling sideways

FRON/ A SOUATTING POSTURE
7, 2,3. From a squatting or half-rising posture, raise your right arm up to the
level of your left shoulder. At the same time kick out your right leg diagonally to
the left front.
4. Drop your buttocks to the mat and roll back to the right side.
5. Tuck in your chin and strike the mat with your right arm. Keep your left hand
lightly on your belt.
Similar movements can be used for yoko ukemi to the left. Practice falls to both
sides.
FRON/ A STANDING POSTURE
/.Assume a standing posture.
2. Advance your left foot one step diagonally to the left.
3. Kick out your right foot to the left front and let your body drop to the mat.
4. Hil the mat with your right arm.
Ukemi 19
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MAE UKEMI :falling forward

/, 2. Assume a standing posture and fall forward. (
3. Keep both hands aI a 45" angle to the floor and let them form a
V-shape pointing out from your body.
4. Hilthe mat with both arms; support your body with arms and toes.
MAE-MAWARt UKEMI : tumbling forward
l. From migi shizentar, bend down and place your right hand on the
mat, between your legs and with the flngers pointing inward.
2. Kick out with your left leg and roll your body forward.
3. During your fall, your right elbow. right shoulder, left hip, and
oody make a circle as they contact the mat one after the other along a
diagonal line.
4. When your left hrp is about to touch the mat, strike the mat
strongly with your left hand. The angle between your left hand and your
oody should be about 30'. Place your right hand lightly on your belt.
A similar procedure is followed for mae-mawari ukemi to the left.
POINTERS: A regular triangle is formed by your left hand. right foot,
and left foot. Your right hand is placed in the middle of the triangle. The
backs of your left and right hands should be facing upward and the
fr ngers pointing inward. PIace your right ear against your right shoulder.
One-handed tumble
Ushiro ukemi Yoko ukemi Mae-mawari ukemi
ONE-HANDED TUMBLE
/. Advance forward. speeding up gradually.
2. Step forward onto your left foot.
3. Place your left hand on the mat in front and, pushtng off with your Ieft foot,
do a big somersault.
4. 5. Just before your right hip hits the mat, strike the mat strongly with your
right hand.
6. Then rise up inlo shizen hontai.
UKEMI PRACTICE
When you have mastered the basics of the various ukemi, practice them while you
are in motion, or with a partner or an obstacle. The important thing is for you to
learn to execute ukemi correctly no matter what way you fall.
Ukemi 21
j
Tewaza: tai otoshi, seoi nage, kata guruma, uki otoshi,
sumi otoshi, sukui nage. obi otoshi, morote gari.
kuchiki taoshi, etc.
rAcH,*AZA_ Koshiwaza: uki goshi, harai goshi. tsurikomi goshi,
hane goshi, o-goshi. ushiro goshi. utsuri goshi. tsuri
I goshi, koshi guruma. etc.

Ashiwaza: hiza guruma. o-uchi gari, o-soto gari, sasae
tsurrkomi ashi. ashi guruma, haraitsurikomi ashi, okuri
ashi barai. deashi barai, ko-uchi gari. ko-soto gari, ko-
Nagewaza soto gake, uchimata, o-soto otoshi, o-soto guruma,
j-guruma. kani basami, yama arashi, etc.
Ma sutemiwaza.' tomoe nage. ura nage, sumi gaeshi,

SUTEl\/IWAZA tawara gaeshi. hikikomi gaeshi, etc.
Yoko sutemlwaza: uki waza, yoko otoshi, tani otoshi,
yoko gake. yoko guruma, yoko wakare, daki wakare,
hane makikomi, soto makikomi, uchi makikomi, etc.
OSAEKOMIWAZA-kesa gatame, kuzure kesa gatame, ushiro kesa gatame.

makura kesa gatame, kata gatame, kami shiho gatame.
kuzure kami shiho gatame, yoko shiho gatame, kuzure
yoko shiho gatame, tate shiho gatame, etc.
Katamewaza SHIIVEWAZA-nami juji lime. gyaku juji jime, kata juji lime, hadaka
jime, okuri eri jime, kataha jime. sankaku jime, tsukkomi
jime. ryote jime, etc.
KANSETSUWAT4__ude garami. ude hishigi luli gatame, ude hishigi ude

gatame, ude hishigi hiza gatame, ude hishigi waki
gatame, ude hishigi hara gatame, etc.
TSUKIWAZA-kobushi ate, yubisaki ate. hiji ate. etc.
Atemiwaza UCHIWAZA-kobushi ate, tegatana ate, etc.
KERIWAZA*-hiza ate, sekito ate, kakato ate, etc.
Judo Techniques
There are many kinds of techniques in judo. but they can all be classified into three
main categories: nagewaza (throwing techniques), katamewaza or newaza
(grappling techniques on the mat). and atemiwaza (striking techniques). Nage-
waza and katamewaza are also called randoriwaza (techniques for free practice)
and are used both in practice sessions and contests. Atemiwaza are used to strike
or kick the opponent's vital points. Because they are dangerous if used in free
practice, atemiwaza are practiced only in controlled model techniques, what are
called kata.
Throwing
Techniques
Tewaza : Hand Techniques
TAI OTOSHI : body drop
Tai otoshi is a throwing method that involves your hands, hips, and legsworking
together to use the off -balanced condition of the opponent to throw him. The im-
portant point is timing. Tai otoshi is often used in contests because the physical
size of the opponent is irrelevant. Even a small man can use it to throw a larger op-
ponent.
l, 2. Sland in migi shizentai and push the opponent backward.
3,4. When the opponent pushes back. use the force of his push to pull him
forward. Timing is important here.
5. As you pull the opponent forward, turn around by pivoting on your right foot
and bringing your left foot back.
6, 7. While the opponent is off-balance. place your right leg in front of his right
leg. Make sure you place your right calf squarely across the opponent's right ankle.
8. Then throw the opponent forward in one motion.
24 Throwing Techniques
POI NTERS
Use of both hands: Get the opponent off-balance by pulling him forward.
Turn the little-finger side of your left hand (which islhe hikite. or pulling hand) out,
pulling with your left arm while keeping the movement of your elbow in a horizontal
plane. Push your right hand up, bringing your right forearm into position under the
opponent's Ieft armpit.
Use of the legs and hips: Relax your knees and see to it that they move into the
opponent from a low position. The tips of the toes of the right foot are pointed in.
Thrust up your chest so that your buttocks do not touch the opponent's body.
Tewaza: Tai Otoshi 25

IPPON SEOI NAGE : one-arm shoulder throw
lppon seoi nage uses the pushing power of the opponent to the maximum to throw
him over your back and shoulder. Because the weights of you and the opponent
are supported by your two feet and because it is much easier to throw the oppo-
nent when his center of gravity is high, this technique is the most effective one
to use against a larger man. Very dynamic, ippon seoi nage is considered one of
the most representative of judo throws.
1. 2, 3. From migi shizentai. push the opponent backward.
4, 5. When the opponent pushes back, take this opportunity to off-balance him
to the right front corner.
6, 7. While pulling the opponent forward with your left hand, pivot on your
right foot. turning your body to the left. Trap the opponent's right arm at the armpit
with your right hand and lift him onto your back.
8, 9, 10. Straighten your knees and throw the opponent across your right shoul-
der and down in front of you.
zo lnrowtng lechntques
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POINTERS: Pull the opponent far enough forward to make him fully off-
balance. Hold his right hand firmly against your chest. Curling your right little
finger to the inside wili thrust your chest up and bring your right arm in closer
contact with the opponent's armpit. Before the throw, both knees must be fully
bent, and your body's center of gravity should be over the tips of your toes.
Tewaza: lppon Seoi Nage 27

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Throwing Techniques
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FROM A RIGHT-HAND HOLD: You take a right-hand hold while
the opponent has a left-hand hold. (This and other "fighting" holds are
called kenka yotsu.) lppon seoi nage is effective here. push the opponent
backward, and when he attempts to push back, use his reaction to
throw him. lnstantaneous speed is necessary to make this throw. The
opponent loses his balance because you shift from right to left (photos
t-6).
VARIATION 1
1.2,3. When your hip does not go in close in rppon seoi nage, or
when the opponent moves to the rrght side, press against the area
around his right knee with your right hand. The lower you press the more
effective it will be since it will prevent him from advancing.
4. 5. Then throw the opponent as if you were sweeping his knee
with your right hand.
This throw becomes most effective when the opponent is being
cautious and withdraws his hips or stiffly stretches out his right hand.
VARIATION 2: This variation is used when your right hrkrre is not

suff iciently effective.
/. You are attempting ippon seoi nage but the opponent suddenly
turns backward to the left.
2. He steps forward and hooks his leftfooton your left leg. Grab his
right sleeve with your right hand while increasing the force of the pull
of your left hand.
3. 4. 5. With your left hand. sweep off the left foot of the opponent
which is hooked on your left leg and throw him over your shoulder.
Tewaza: lppon Seoi Nage 29
Tobikomi
Hikidasht
MOROTE SEOI NAGE : two-arm shoulder throw

Morote seoi nage is in the same category as ippon seoi nage in that it uses the
pushing power of the opponent to throw him completely over your shoulder.
Morote seoi nage can be easily executed from a simple natural posture and is such
a brilliant throw that it has become very popular today. one defect, however. is that
the body weight of the opponent tends to concentrate excessively on your right
elbow. Also, it is difficult to execute when the opponent holds you with his hands
thrust out stiffly. lt is common for people to start wilh morote seoi nage and then
move on to rppon seoi nage.
TOBIKOMI (jumpins in)
l, 2. From hidari shizental. pivot on your left leg.
3,4. Spin your left elbow into the opponent's left armpit; bend your knees and
drop your hips and heave the opponent onto your back.
C 6. Throw him over in front of you.
HIKIDASHI (pulling out): The hikidashiform of morote seoi nage is good for
throwing large opponents because it makes it easy to get them off-balance.
1.2. From hidari shrzentai, take a big step backward with your right foot and
pull the opponent close to you.
3, 4. Move your left foot back to your right foot and execute the throw.
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KATA GURUMA : shoulder whirt

Kata guruma also uses the pushing power of the opponent as you
lower your hips and.grab his leg to heave him onto your shoulders and
execute the throw. This is a very grand throw. but it sometimes happens
that you are crushed by the weight of the opponent when he is not far
enough off-balance.
f 2. From hidari shlzentai. draw the opponent well in with your left
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hand whrle withdrawing your left foot.
3, 4. Lower your hips and place the right side of your face onto the
right thigh of the opponent as you grab his right leg.
5 Hoist the opponent onto your shoulders.
6, 7. 8. Then in one motion throw him in front of you to the left.
A MORE COMBAT-EFFECTIVE METHOD

/, 2. Swiftly kneel down on your right knee and take
a low posture.
3, 4. Wirhout lifting the opponent too high. throw
him in one swift motion.
Tewaza: Kata Guruma 33

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UKI OTOSHI : floating drop
Taking advantage of the pushing power of the oppon enl, uki otoshi uses rai sabaki
to make the throw. Uki otoshi, because it involves difficult timing. requires the
highest level of skill.
l, 2, 3. Push at the opponenlfrom mtgi shrzentai.
4,5,6,7. When the opponent pushes back, keep your upper arms sealed tight
to the side of your body and. with good timing. push upward as if to thrust into the
opponent's armpit with your right forearm
8, 9. 10. Pull your left hikite straight down and throw the opponent so that his
falling movement causes him to spin in a half -circle on the ball of his own right foot.
Tewaza: Uki Otoshi 35

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Koshiwaza : Hip Techniques

O-GOSHI : hip roll
o-goshi uses the pushing force of the opponent as you place your hip close to his
body and then swing him around the hip to make the throw. lt forms the basis of
all hip techniques, and because tai sabakihere is relatively easy and the hips and
legs are f ully employed, it is a must for the beginner.
1, 2, 3. From mrgi shizentai, push the opponent backward.
4,5,6. When he pushes back at you, get him off-balance by pulling him with
your left hikite lo his right front corner. At the same time, pivot on your right foot
to move your left foot in a backward arc to the front of the opponent's left foot.
7. 8, 9. Bend both knees and lower your hips as you bring your right hand way
to the back of the opponent to grab hold of him. Pullthe opponent in close to your
hip and, as if lifting him from below, straighten your knees and throw him to the
front with a twist of your hip.
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Koshiwaza: O-goshi 37
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TSURIKOMI GOSHI : lifting-pull hip throw

Tsurikomi goshi enables you to use the pushing force of the opponent to lift him up
onto your hips and throw him. lt is a representative hip technique and is often used
in contests because it can be executed directlyfrom the natural posture atthe same
time that it makes full use of the feet and hips.
l. 2, 3. Push the opponent backward from mrgi shizentai.
4, 5. Utilize the force of the opponent when he pushes back and pull him with
your left hikite to his right front corner to get him off-balance.
6. Bring your left foot swrftly around to the front of the opponent's left foot as
you thrust his left armpit up with your right arm.
7, 8. Bend your knees and lower your hips to place your buttocks against the
front of the opponent;heave him up and twist your hip to throw him to the front.
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POINTERS: Your right hand grasps the opponent's left collar. Bend your elbow
and hoist him up as if to place your elbow ln his left armpit.
Your hips move in from a low position. From behind your right armpit all the way
along your back, your body should be in close contact with the opponent's.
Koshiwaza : Tsurikomi Goshi 39

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SODE TSURIKOMI GOSHI : lifting-sleeve-pull hip throw

The times when you execute sode tsurikomi goshi are the same as tor tsurikomi
goshi. Bul here you hold onto the sleeve of the opponentto lift him up and throw
him. This is an effective combat technique. and it is often executed to the right
from a left hold and vice versa.
/. Stand in hidari shizentai. Hold the opponent's sleeve with your right hand.
2, 3. When the opponent, wary of a technique to the left side, shifts his center
of gravity to the right front corner, take this chance to lift him up as you turn.
4, 5. Thrust your right tsurite (that is, your lifting hand) forward as you pull
straight down with your le'ft hikite.
6, 7. Throw the opponent to the front in one motion.
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sode tsurikomi goshi. The right tsurite is thrust straight forward. lt is acceptable here
to cross the right tsurite and the lefl hikite.
Koshiwaza: Sode Tsurikomi Goshi 41
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HARAI GOSHI : hip sweep

ln contrast Io o-goshi, the hips here move in shallowly-the point of the hip
bone is placed just below the opponent's navel and his body rs held tightly against
your side. You then twist your upper body to make the throw. This is a technique
derived from uki goshi (a rising-hip throw;see p. 93). When the opponent pushes
or goes around you, place your hips shallowly against him, bring his upper body
close to yours, and sweep him with your leg. lt is difficult to bring the opponent's
body in close to yours, but with hard practice you will be able to perform this
technique well.
HIKIDASHI (pulling out)
l, 2. From migi shizentar, push the opponent backward'
3, 4. tJsehis force when he pushes back atyou to bring him off-balance to the
right f ront corner.
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5, 6. Pull the opponent's body close to your right side as you place your right leg
along his thigh and knee.
7. 8. Twist your body to the left to sweep and throw the opponent.
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Koshiwaza: Harai Goshi 43

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MAWARIKOMI (spinning in): The main feature of this form of harai goshi is
the way it effectively uses the opponent's psychology.
1, 2. 3. From a right hold, take yourfirst step as if you were going to execute a
technique to the left side so that the opponent shifts his center of gravity to the
right. Take the chance he has given you by pivoting on the ball of your left foot and
spinning back to the right.
4. 5, 6. Then sweep him to bring him down.
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Koshiwaza: Harai Goshi 45

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HANE GOSHI : hip spring

For hane goshi you half-bend your knee and spring into the opponent with your
whole body to fling him down. This is a spectacular technique, because as soon as
you have moved in on the opponent he wrll go flying high into the air.
1,2. From mrgi shizentai. bring the opponent off-balance to the right front
corner.
3, 4. while moving your left foot toward the front of the opponent's left foot,
half-bend your right leg and place it across the opponent's right leg. pull the
opponent's body close to you and keep him in close contact until he is over you.
5, 6, 7, 8. Heave the opponent up high as you twist your hips to the left to
throw him down in front and to the left.
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Ashiwaza : Leg Techniques
DEASHI BARAI : forward foot sweep
Here you sweep the opponent's foot in the direction it is advancing. The trming for
this technique will not be right unless you use good tai sabaki to make the opponent
advance his foot smoothty. When your timing is right. the opponent will fall down
as if he had slipped.
l, 2. Push the opponent from migi shizentai.
3, 4. fhe instant the opponent advances with one foot. take a step back with
your right foot and open your body to the right, thus drawing the opponent forward.
5. 6, 7. With the sole of your left foot, sweep the anklebone of your opponent's
right foot just before it touches the mat and pull straight down with your left hand
to bring him down.
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Ashiwaza : Deashi Barai 49

FRON/ KENKA YOTSU: Deashi baraican also be used when you are in kenka
yogu.fhe main feature here is that only lhe tsurite is used to make the throw. To
ensure proper timing you must get the opponent to advance his foot smoothly (as
shown in 2-6). This is an effective combat technique often used in contests.
Ashiwaza : Deashi Barai 51
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OKURI ASHI BARAI : assisting foot sweep

You can sweep the opponent down the moment he tries to move diagonallY to the
back. Because okuri ashi barai is largely a matter of timing, a small man can use
it
to topple a big man.
SIDE MOVEMENT
l,2,3. From migi shizentai. make the opponent move sideways to his left.
left'
4,5. Althe moment the opponent is trying to move farther to the take a
big-0,step forward with your right foot.
z. g. With rhe soie of yåur left foot. sweep the anklebone of the opponent's
right leg. As you do so, lift up the opponent with your right hand and pull down and
iriwith"your left hand to throw him down and along the direction he was trying to
move in.
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Ashiwaza : Okuri Ashi Barai 53

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SASAE TSURIKOMI ASHI : suppofting foot lifting-pull throw

The instant the opponent tries to move forward, you open your body ; then, propping
your foot against his leg. you sway backward and twist your body to make the
throw. Sasae tsurikomi ashi is often used because its movements are simple.
FROM A RIGHT HOLD
/. Hold the opponent from migi shizentai.
2. 3. 4. Advance your right foot to the side of the opponent's left foot and bring
him off -balance to the right front corner.
5. Prop the sole of your leftfoot againstthe front of his shin slightly above his
ankle and lean backward.
6, 7, 8. Twist your body backward to the left to throw the opponent.
FROM A LEFT HOLD: A person who uses left holds generally has a strong
left foot. Consequently, the same technique can be executed from the left (/-5)
without having to change the hold used above. Also this technique can be easily
combined with other techniques. (See o-soto gari --> sasae tsurikomi ashi, p. 167.)
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Ashiwaza : Sasae Tsurikomi Ashi 55

Debana
KO-UCHI GARI : small inside clip

When the opponent moves forward, sideways, or backward, you move in to clip
the inside of his right foot with your right foot (or his left foot with your left foot) to
throw him. Ko-uchi gari can be combined with other techniques and is often used
because it is hard for the opponent to countermaneuver you. (See ko-uchi gari -->
morote seoi nage. p. '156, and o-uchi gari--> ko-uchi gari, p.159.)
OIKOMI (dashing in)
1, 2, 3. Stand in hidari shizentai. fhe instant the opponent tries to retreat
backward, jump forward.
4. With your left hand. thrust upward into the chin of the opponent;with your
right hand. squeeze and wring his left arm to the inside and push forward.
5, 6. Al the same time. make the opponent fall by clipping his left heel with your
left foot from the inside so as to draw his leg slightly outward and in the direction in
which his toes were pointing.
DEBANA (thwarting the opponent)
l. 2. From hidari shizenrar. push the opponent backward.
3,4. When the opponent pushes back, open your bodyto the right.
5, 6, 7. Clip the left heel of the opponent from the inside with the sole of your
left foot in the direction in which his foot was advancing. Squeeze and wring your
right hand to the inside; push the opponent down with your left hand.
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Ashiwaza: Ko-uchi Gari 57

Ko-uchi gari: stde movement
Ko-uchi makikomi
SIDE MOVEMENT
f ,2. From migi shizentar, make the opponent move to his right side.
3, 4. Move half a step ahead of the opponent and, with the sole of your right
foot, clip his right foot just after it has moved.
5, 6, 7. Squeeze and wring your left hand to the inside; push with your right
hand on the opponent's left chest. Clip him so that his legs spread as he falls.
KO-UCHI MAKIKOMI : small inner winding throw
This is a form of ko-uchi gari (p.56) in which you seem to roll into the opponent.
l, 2. Wilh your right hand, forcefully draw the body of the opponent toward you.
3, 4. Step forward with your right foot and lower your body to move into the
opponent's midsection. Then wrap your right arm around his right leg and start to
topple hrm backward.
5, 6. Keep the back of your right shoulder tight against the chest of the oppo-
nent. As you fall and roll into him, knock the opponent down to the mat.
O-UCHI GARI : big inside clip
When the opponent moves forward, backward, or to the side, take the opportu-
nity he offersyou and clip the inside of his left leg with your right leg. Like ko-uchi
gari, o-uchi gari is often used in contests because it is easy to combine with other
techniques. (Seeo-uchigari->taiotoshi,pp.160.161,and o-uchigari->ko-uchi
gari. p.159.)
OIKOMI (dashing in)
1,2,3. Frommrgishizentai. moveyour leftfoot by tsugiashi (see p. 16) sothat
it is behind your right foot.
4, 5. Pivoling on your left foot. turn the right half of your body to the opponent
and draw him toward you. Then clip the inside of his left leg with your right leg so
that he spreads his legs apart. Use your right hand to push on the neck of the op-
ponent while your lefl hikite pulls toward the left side of your body.
6.7,8. Clip and throwthe opponent backward to his left.
POINTERS: The tips of the toes of your right foot must be pointed when
clipping the opponent. Sweeping the foot of the opponent directly sideways or
upward will not be effective. lf you pivot too much to the right, your face will turn
to the side as you attempt to execute the clrp and there is a chance that the opponent
wil I countermaneuver you.
Ashiwaza: O-uchi Gari 61

Ashi mochi I 2
DEBANA (thwarting the opponent)
f . 2. From hidari shizentar. make the opponent bring his right foot forward.
3, 4. Keeping your center of gravity low, draw the opponent's body to you and
place your chest against his chest. Wrap your left foot around his right foot.
5, 6. While clipping the opponent. push with your own body to make him fall.
ASHI MOCHI (leg grab)
l,2. When the opponent grabs your inner lapel, move your head outside the
hold by slipping it down and under his arm.
& 4. Swiftly jump in close to the opponent and lift up his right leg with your left
arm and draw it toward you.
5,6.7. While pushing the opponent with your body. clip his left leg with your
right leg to topple him to the mat.
Ashiwaza : O-uchi Gari 63
KO-SOTO GARI : small outside cliP
Ko-soto gari uses your right foot to clip the outside of the opponent's left foot when
he advances forward or retreats backward. lt is very effective when the opponent has
you in a non-standard hold.
DEBANA (thwarting the oPPonent)
/. The opponent tries to execute a technique trom kenka yotsu and takes a big
step forward with his left foot.
2. Draw his right arm well forward and bring him off-balance to his left back
corner. At the same time. place your right leg along the outside of his right leg.
3,4. Bring your right hand straight down as you lift up on the opponent as if
to thrust your left forearm into his armpit. Sweep him with your right foot to topple
him backward to the mat.
NIDAN BlKl (two-stage pull)
1,2. From a jigotaislightly to the right. draw the opponent toward you and
clip his left foot with your right foot.
3. When the technique is not effective and the opponent withdraws, take a step
forward with your left foot. But do not loosen your hold on the opponent's hand
that you pulled toward you.
4, 5, 6. Now loosen your hold a bit as you use your right foot to clip both of the
opponent's legs.
Ashiwaza: Ko-soto Gari 65

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O-SOTO GARI : big outside cliP

off-balance to the right
The instant the opponent retreais or advances, bring him
backcornerandcliphisleftlegwithyourleftleg'o-sotogariisoftenusedin
contests and enables a small man to throw a big man'
|.2.Fromhidarishizenlal,advanceyourleftfoottowardtheopponent.
3.Whentheopponentretreats,takeabigstepforwardandplaceyourrightfoot
near the side of his left foot.
4,s.Wilhyourrighthikite,thrustdownandtowardtheopponent'sleftsideto
place your chest up
off-balance him;keep your left tsurite well applied' Then
your left foot high in front of you.
åguinrtthe opponent,s. Ås you do so. raise
6,7. Making as if å pirng" your head into the mat, swing your left leg back-
ward and clip ihe opponent's left leg to bring him down'
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Ashiwaza: O-soto Gari 67

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UCHIMATA : inner-thigh reaping throw

The instant the opponent.advances, retreats, or turns around, bring him off-balance
to the front; by inserting your leg between his legs and lifting with your leg at the
inside of his right thigh, you can throw him to the mat. Because you have to stand
on only one leg, it is rather difficult to maintain your balance,bul uchimara is easily
combined with other techniques and there are many who excel at it.
HIKIDASHI (pulling out)
l. 2. Push the opponent backward from hidari shizentai'
3,4. When the opponent pushes back at you, use his force to bring your right
foot to the side of your left foot as you pull him toward you.
5,6,7. Use the spring of your right leg and the lifting action of your left leg to
help you lift up on the opponent's right inside thigh to throw him.
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Ashiwaza: Uchimata 69
OIKOMI (dashing in)
f , 2. From hidari shizenrar, push the opponent backward.
3,4. As he retreats, put your right foot between the opponent's legs, well in
under his thighs. At the same time. pull his body forward, making full use of your
right hikite and left tsurite.
5, 6, 7. Employ your advancing force and the spring in your right foot to boost
your left leg up into the right inside thigh of the opponent. Then twist in such a
way that your body covers the opponent's as he goes down to the mat'
Ashiwaza: Uchimata 71
Ma Sutemiwaza: Rear Body-Drop Throws
Ma sutemiwaza are olren used to bring the opponent to the mat to apply katame-
waza (grappling techniques), which. if unbroken or painful enough, can earn the
competitor a victory. Some osaekomiwaza (holding techniques) are shown here as
examples of this strategy. Holding techniques are explained in chapter 3.
TOMOE NAGE : round throw
The instant the opponent advances, draw hrm farther forward so that he is off-
balance. Then fall backward with the sole of one foot on his Iower abdomen and
send him flying over and far beyond you. Tomoe nage is one of the most repre-
sentative judo techniques and. when effectively executed, is beautiful to watch.
l. 2. From migi shizentar. push the opponent backward.
3.4. When he pushes back, draw him forward until he loses his balance.
5, 6. Place your left foot on the opponent's lower abdomen and fall backward
by dropping your hips to the mat just behind your heels.
7, 8. fug strongly with both of your hikite as you raise your left foot vertical to
the mat and throw the opponent over your head.
Ma Sutemiwaza: Tomoe Nage 73
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l, 2. 3. Swing your right foot high from migi shizentai.
4,5. When the opponent tries to thwart you by assuming a defensive posture,
bring him off-balance to the right front corner while you bring your right foot back
to the mat. Then, after quickly swinging the left leg in. place the sole of your left
foot on the opponent's lower abdomen and roll down onto your back.
6, 7, 8. Use both hikite and your left foot to throw him over your head.
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Ma Sutemiwaza: Tomoe Nage

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TAWARA GAESHI : rice-bag reversal

When the opponent tries to grab your leg. hoist up his body with both hands and
heave him over your head as you fall back. Tawara gaeshi is a high-level technique
requiring great skill and is often used as a method for getting inLo katamewaza.
l, 2. The opponent tries to grab your left leg.
3, 4. Encicle his upper body with both hands and start to hoist him up.
5, 6. Fall straight backward.
7. 8, 9. Throw him over your head.
Ma Sutemiwaza: Tawara Gaeshi 77
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VARIATION
1.2,3. After struggling with you in the hold, the opponent grabs your belt
from over your shoulder with his right hand.
4,5.6. Move your right arm around to the back of the opponent and place
over his neck.
7, 8. 9. Place your right foot between the opponent's legs and fall straight
backward to bring him down. Keep your left arm wrapped around his right knee.
10, ll, 12. ln a contest. it is common to apply osaekomiwaza immediately after
the throw.
Ma Sutemiwaza: Tawara Gaeshi 79
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OBITORI GAESHI : belt-grab reversal

Hold the opponent's belt from over his shoulder. Then fall backward; use your left
leg to push up the opponent's right thigh from the inside as you roll back and throw
him over your head. Obitori gaeshi is often used to enler katamewaza.
/. Push in and slightly down on the opponent's left arm with your right hikite.
2, 3. V''lhen the opponent's reflex brings his arm back. take advantage of this
motion to draw his arm to the right side of your body. At the same time, grab his
belt from across and over his shoulder.
4.5. Place your rightfoot between the opponent's legs and fall backward.
6,7. Kick \rour left foot up into the inside of the opponent's right thigh and use
your instep to help you throw him over your head.
8, 9. Then immediately apply osaekomiwaza-
Ma Sutemiwaza: Obitori Gaeshi 81
Yoko Sutemiwaza i Side Body-Drop Throws
UKIWAZA : floating throw
Bring the opponent off-balance to the left front corner and fall sideways in front
of his left foot to throw him. Ukiwaza is one of the frnest judo techniques and a great
many masters of it have emerged since olden days.
l, 2. Push the opponent back from hidari shizentai.
3. 4. 5. When the opponent pushes back, take this opportunity to bring him
off-balance to the left front corner. While opening your body diagonally to the
right and rolling down to the back, thrust out your right leg, placing your thigh
just in front of the opponent's left foot.
6.7,8. As you finish falling sideways to the right, pull your righlhikite straight
down to throw the opponent so that his body makes a complete revolution.
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Yoko Sutemiwaza: Ukiwaza 83

TANI OTOSHI : valley drop
There are various methods of tani otoshi, but fundamentally it is a technique in
which you bring yourself close to the opponent's side and, falling down, throw him
as if you were shoving him into a deep valley. lt is one of the authors' favorite
techniques and is often used to enler katamewaza.
METHOD 1
1, When the opponent tries to execute hidari uchimata, grab his hips; while
2.
keeping your own hips low. thrust out your stomach and knock the opponent to
the right side.
3. Move as if to clip both of the opponent's feet from behind with your right foot.
4, 5, 6. Fall forward to bring the opponent down to the right front corner.
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METHOD 2
1,2. From kenka yotsu, try to execute uchimata (p 6B)
3, 4. But when the opponent sways backward, grasp this opportunity and move
your left leg around behind and against the back of both of the opponent's legs.
5,6'. While your left hand is pulling down, thrust up with your right hand and
fall onto your back to make the throw.
METHOD 3
1,2. From kenka yotsu, grab the opponent's lapel from above his left armwith
your rrght hand while your left hand holds his left sleeve near its mouth.
g. 4. Move so that you and the opponent are side by side in as much of a straight
line as possible; with your right hand. take hold of the back of his left thigh while
swinging your right leg around behind him.
5, 6. As you fall backward, scoop up the opponent's leg to bring him down.
Yoko Sutemiwaza: Tani Otoshi 87
HIKIKOMI GAESHI : back-fall reversal
Asin obitori gaeshi(p 80). grab the opponent's belt from over his shoulder and fall
sideways to make the throw. This is a technique which is often used to enter
katamewaza.
METHOD 1
/. With your rrght hikite pull the opponent's left sleeve to the side.
2, 3. As the opponent reacts by trying to recapture his balance, pull his left arm
close in to the right side of your body, at the same time, grab his belt from over his
shoulder with your left hand and draw him toward you.
4, 5, 6. The opponent will try to move backward.
7, I, g. Take advantage of the opponent's motion and, almost placing your left
ear along his left side, revolve sideways.
10, 11. You should apply osaekomiwaza immediately.
88 Thrcwing Techniques
-lg r
Yoko Sutemiwaza : Hikikomi Gaeshi 89

METHOD 2
/. From kenka yotsu, grab the opponent's left sleeve near mouth with your
left hand.
2.3.4. Breakthe grip of your opponent's left tsurite by pulling down with your
left hand and pushing down and rn with your right hand at the top of the wrist.
Then, with your right hand, grab his back from over his shoulder and draw him
toward you sideways.
5, 6. Step forward onto your left foot and insert it between the opponent's legs as
you raise your right foot up against his right inner thigh.
7. 8, 9. Drop your body sideways to throw the opponent.
10. ll. Then immediately apply osaekomiwaza'
-$
Yoko Sutemiwaza: Hikikomi Gaeshi 91

Sumi otoshi
Sukui nage Morote gan
Koshi guruma Uki goshi
Other Nagewaza
SUMI OTOSHI : corner droP
Bring the opponent off-balance to the left back corner and throw him with good
timing. This technique is also call kuki nage (the air throw).
SUKUI NAGE : scoop throw
When the opponent attempts uchimata, insert your hand between his legs from
behind and throw him in a scooping motion.
MOROTE GARI : two'arm cliP
Move into the opponent's chest and clip his legs to make the throw'
KOSHI GURUMA : hiP whirl
Hold the opponent on your back with one arm held tightly around his neck and
use your hips like the axle of a wheel to throw him.
Ushiro goshi
O-tsuri goshi Ko-tsuri goshi
UKI GOSHI : rising hip throw

Place one hand on the opponent's belt from under his armpits; let your hip enter
shallowly, pull him tightly against you, and twist your upper body to make the throw.
USHIRO GOSHI : rear hip throw
When the opponent attacks with a hip technique, counter by lowering your center
of gravity below his; then lift his hip up with your own hips to make the throw.
UTSURI GOSHI : hip shift
When the opponent attacks with a hip technique, draw him to you and shift your
hips to throw him.
O-TSURI GOSHI : big lifting hip throw
Grab the opponent's belt from over his shoulder;throw him as in o-goshi(p. 36).
KO-TSURI GOSHI : small lifting hip throw
Grab the opponent's belt from under his armpit and throw him as in o-goshi.
Other Nagewaza 93
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Harai tsurikomi ashi
Hiza guruma O-soto guruma
KO-SOTO GAKE : small outside hook

Start with ko-soto gari (p. 64) ; then place the clipping foot on the mat and throw
the opponent over your knee by using the forward motion of your upper body.
O-GURUMA : big whirl
Get the opponent off-balance as you did for harai goshi (p 42) and throw him
around your thigh.
HIZA GURUMA : knee whirl
Bring the opponent off-balance to the front corner. Place the sole of your foot on
the opponent's knee and throw him with your upper body.
HARAI TSURIKOMI ASHI : pulling-lift leg sweep
Pull and lift the opponent's upper body as you sweep his right leg at the ankle
with your left foot to make the throw.
ASHI GURUMA : leg whirl
Put your right calf on the opponent's right knee and throw him over and around it.
O-SOTO GURUMA : big outside whirl
Get the opponent off-balance as you did for o-soto gari (p.66). Then. with your
right leg, sweep both his feet to make the throw.
Sumi gaeshi
Ura nage Yoko otoshi
Yoko gake
SUMI GAESHI : comer reversal

From a defensive posture (jigotai), place your right instep on the opponent's left
inner thigh and throw him by pulling him to you and rolling backward.
URA NAGE : rear throw
when the opponent attempts o-soto gari or some hip technique, draw him toward
you. drop your hips lower than his. and fall straight backward to make the throw.
YOKO OTOSHI : side drop
Slip your left leg to the outside of the opponent's right foot and fall sideways to
make the throw.
YOKO GAKE : side hook
Use both hands to off-balance the opponent to the side. Then place your left foot
on the back of his right foot and bring him down by falling sideways.
Other Nagewaza 95
Soto makikomr Hane makikomi
Yoko wakare
Yoko garuma
SOTO MAKIKOMI : outside wrcp-around throw

Off -balance the opponenL as in harai goshi (p. 42) and thrust your right arm across
his shoulder as you spin to the right and wrap him around you to make the throw.
HANE MAKIKOMI : springing wrap-around throw
Start as in hane goshi (p.46) and then thrust your right arm overthe opponent's
shoulder as in soro makikomito make the throw.
YOKO WAKARE : side split
Bring the opponent off-balance to the front and. stickrng your right foot out to his
right side, fall backward to bring him down.
YOKO GURUMA : side whirl
When the opponent attempts uchimata or some hip technrque, draw him to you and,
placing your right foot between his legs, fall while turning to make the throw.
Grappling
Technlques
\
You are on your back The opponent is on his back
The opponent rs on all fours You are on all fours
Basic Postures and the Attack Pattern

When you are on your back
. Take a position in which you can roll around easily bycurling up your body.
. Grasp the opponent's lapel and bring his head lower than his hips.
. Use your feet and legs to hook and grab as if they were your hands and arms.
When the opponent is on his back
. Take a position in which you can turn around easily.
. Keep your head above your hips when you attack.
. When you are not in control of one or both of your opponent's legs, do not
thrust your hand farther than his belt.
. Do not move your feet in such a way that the insteps touch the mat. Keep your
toes up so that you can move quickly and with good traction.
When the opponent is on all fours
. Place your chest in close contact with the opponent's back.
. Although there are times when you attack from the opponent's head, it is more
effective to attack from his side or rear.
When you are on all fours
. Since it is difficult for you to attack from this position you should avord taking
rt as much as possible.
. lf you unavoidablyfind yourself in this position, tryto directyour head toward
the opponent so that he cannot get behind you.
98 GrapplingTechniques
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"*JJ' I
<esa gatame
Kuzure kesa gatame
Osaekomiwaza : Holding Techniques

KESA GATAME : sash hold
ln kesa gatame. the opponent is lying face up on the mat. From his side. pin him
down from shoulder to armpit. in the form of a diagonal sash. Hold the opponent's
left arm deep in your right underarm. Place your left hand around the back of the
opponents' neck from over his right shoulder. Use your forearm to raise and restrain
his neck. Grasp the sleeve of the opponent's left arm with your right hand and
forcefully draw his hand to the right side of your stomach. Place your left leg under
the opponent's left shoulder. Bend your right leg and open it to the rear.
Two important points are to keep your body in close contact with the opponent
and to keep the opponent's left arm trapped tightly in your underarm. Maintain a
position in which you will be able to coordinate your moves with your opponent's.
There is a modification of this hold called kuzure kesa gatame. lts shape and the
way both legs are opened are both quite similar to those of kesa gatame except for
the use of the left hand. Here you slip your left hand under the opponent's right
armpit and grab the back of his collar. Depending on the opponent's movements.
you may release your hand and place it on the mat to keep him under control.
lf you are being held in kesa gatame or kuzure kesa gatame, you can escape in
either of the following ways: (1) Twist your body to the left and hook your right
leg on the opponent's right foot ; then. with your right hand, grab the opponent's belt
from the back. pull him close to your body. and turn him over to the left side. (2)
Pull in your left shoulder and twist your body to the left to release the opponent's
hold on your left arm ; then turn onto your stomach to extricate yourself.
Osaekomiwaza: Kesa Gatame 99

ATTACK 1 (from above)
/. Hold both of the opponent's knees to check their movement.
2,3. Pin down the opponent's left inner thigh with your left knee to further
restrain the movement of the leg. Lift up the opponent's left collar with your left
hand and draw his left sleeve toward you with your right hand.
4, 5. Keeping your chest in close contact with your opponent's, hold his left
arm frrmly with your right hand and apply the hold.
/. with your left hand, reach under the opponent's nght armpit and grasp his
left lapel.
2, Press down with your chest and with your right hand grasp his left sleeve.
3,4. open your left arm to the right and turn the opponent's body over while
pullrng his left arm out and into you.
5, 6. When the opponent turns over. move in to apply the hold.
Osaekomiwaza: Kesa Gatame 101

&
ATTACK 3 (from below)

1,2. With your left hand, grasp the opponent's left lapel near his neck. Trap
the opponent's left arm under your right upper arm and slip your right hand
through to grab his right lapel and draw him toward you.
3,4. Wilh your left hand grasp the opponent's belt on his right side; using the
push of both of your legs and the pull of both of your arms. draw the opponent
toward you to straighten out his body.
5, 6, 7. With your right foo1, kick the opponent's left leg and raise your left foot
up against his right leg to make him turn over.
8, I, 10. Apply the hold as soon as the opponent is on his back.
102 Grappling Techniques

Kata gatame
KATA GATAME : shoulder hold
The opponent is lying face up on the mat. You are on his right side. While you
lower your upper body, press down on the opponent's right arm and head with
your own right arm and head to control them. Stretch your left foot out straight;
bend your right arm and keep it in close contact with the opponent's body. Then
clasp both of your hands under him, palms together in the shape of a cross.
You have to be careful to lower your head straight down when you hold the
opponent in order to prevent him from turning and disentangling himself. Kara
gatame combines holding techniques and strangle techniques. and if it is well
executed the hold on the neck of the opponent will become tighter as he tries to
escape by rolling over. You must completely control the opponent's right arm.
To get out of this hold, clasp both of your hands and press the opponent's neck
with your right elbow in order to create space between you and him ; then turn your
body over to the left or right to make your escape.
Osaekomiwaza: Kata Gatame 103

Kami shiho gatame
Kuzure kami shrho gatame
KAMI SHIHO GATAME : upper four-corner hold

The opponent is lying on his back. Approach him from his head. Pass both of your
hands beneath his arms;then grab both sides of his belt and draw him toward you.
Clamp down tightly with your arms and slightly raise your upper body. Press your
body down on the opponent's face and chest to hold him. For forceful restraint,
keep your chest close to the opponent's and lay your chin on his solar plexus.
When the opponent tries to wriggle free, spread your legs into a straddle posi-
tion and let them act as a stabilizer. lt is important to keep your body and your
opponent's body in a straight line. Keep your elbows off the mat.
KUZURE KAMI SHIHO GATAME : modified upper four-corner hold
ln kami shiho gatame, you execute the hold with your body and the opponent's
body in one straight line. But in kuzure kaml shiho gatame, your bodies form a
shallow V. As the opponent lies on his back. cover his right shoulder and the right
side of his neck with your body. Pass your right hand over his right shoulder and
around his arm and grasp his belt at the back. Then slip your left arm between his
leftarm andthe matand geta strong hold on his belt in back. Clamp down tightly
with both arms and straighten your upper body. Spread both of your legs wide
apart and hold the opponent by pressing your chest on his.
lf you make your body too rigid when executing the hold your opponent will
soon escape. Put power only into the vital areas and ride atop the opponent with
your body relaxed. Keep your body and the opponent's in the shape of a shallow V.
There are two methods of getting out of kuzure kami shrho gatame: (1) lnsert
your left hand between you and the opponent and create a greater space by mov-
rng your body up and down. Press up with your left hand and pull down with your
right hand. As you do this. make a small half-turn to the rightand lie prone on the
mat. (2) Grasp the opponent's back belt from over his shoulder with your left hand.
With your right hand grab the opponent's belt in front and twist your body to
bring you and him into a straight line. While twisting, raise up your right hand
suddenly and pull with your left hand to disengage yourself from the hold.
,

l. Grab the opponent's beh in front with your right hand and with your left
hand grab his right knee to control its movement.
2. Press down on his right inner thigh with your right knee to further restrain him.
3. Grasp the right lapel of the opponent with your left hand ; then grab his left
lapel with your right hand and pull him toward you.
4. With your left hand, reach over and around the opponent's left shoulder and
grab his belt in the back.
5 6. Place your chest close to the opponent's to complete the hold.
Osaekomiwaza: Kuzure Kami Shiho Gatame 105
/. Grab the opponent's belt at the sides from under his legs.
2, 3. Keep your chest in close contact with the body of the opponent and raise
him up to restrain his movement.
4,5. Grasp his left sleeve with your right hand and pull it toward you.
6, 7. 8. With your body held close to the opponent's, shift him around on the
mat to make the hold.
1OO GrapplingTechniques
/. Grasp the opponent's right lapel after thrusting your left hand under his left
armpit.
2. 3. rurn over your left wrist and place your left knee on the right side of and
next to the opponent's head.
4, 5. wi:}, your left knee as a pivot, use both hands to turn the opponent over.
6, 7. when the opponent is about to turn over, thrust your right hand below
his left arrnpit and pull your body close to his.
& 9. When the opponent has turned over, pounce on him to make the hold.
Osaekomiwaza : Kuzure Kami Shiho Gatame 1O7
(rear view)

/. Control the opponent's body with your chest and get a shallow grip on hrs
right lapel with your right hand.
2. When you attempt to strangle him with your left hand, the opponent will
tighten his left arm and bunch hrmself up.
3, 4. f ake this opportunity to press down the opponent's left shoulder with your
left hand and open your body to the right. At the same time, use your right hand to
roll the opponent's body around your left hand diagonally to his left.
5, 6. When the opponent has rolled over, apply the hold at once.
Osaekomiwaza: Kuzure Kami Shiho Gatame 109
ATTACK 5
l,2. With your left hand. take a deep hold on the opponent's left lapel;with
your right hand, grab his left arm from below.
3, 4. Now use your left hand to grab the opponent's belt in back from across his
shoulder and pull his body closer to you.
5, 6, 7. Thrust your left leg between the opponent's legs and with your left foot
kick up into the opponent's right inner thigh to make him roll over.
& 9. As soon as the opponent is on his back, apply the hold.
FOUR WAYS TO CONTROL THE OPPONENT'S UPPER BODY
A. Grasp the opponent's belt in back from over his left shoulder with your left
hand and place your head in his left armpitto control his movement.
8. Passyour left arm underthe opponent's head and grab his left lapel from under
his left armpit; pull your chest close to his.
C. Wrth your Ieft hand, grab your own left lapel from over the opponent's head
and pull it down to control him.
D. When the opponent grabs his belt. thrust your left arm over his left shoulder
and then under his arm to grab and half -wrap his belt (or jacket, D') over his Wrtst.

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YOKO SHIHO GATAME : side four-corner hold
Yoko shiho gatame is author lnokuma's favorite holdrng technique. There are two
ways to apply tt.
4. As the opponent lies on his back, hold him under your body at a right angle.
Go around his shoulder and grab his belt with your left hand. Place your right hand
between his legs to prevent him from escaping. Spread both your legs apart but
keep the right leg bent and close to the opponent's body. The most important thing
is hornr you use your left arm. The little finger of the left hand, which is grasping
the opponent's belt, should be turned upward;the left arm should be held tight
around the opponent. Do not place your body too far over the opponent. But do
thrust your left chest forward to make the hold more effective.
L As the opponent lies on his back. hold him under your body at a right angle.
Pass your right hand between the opponent's legs and grab his belt in back. Slip
your left hand under hrs head and grip the left side of his collar. keeprng your body
close to his. This hold uses your entire body and controls the opponent by focusing
on his hips. The use of both tegs is the same as jn 4, above. Release techniques
are the same as in kuzure kaml shrho gatame (p. 104).
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Control the opponent by holding both of his knees with both of your hands.
2. Straighten out the opponent's knee and lean over his left leg.
3. 4, 5. Scoop up the opponent's left side and pass your left hand over his
shoulder to grab his belt at the back.
6. 7, 8. Using your right hand. pull your entangled right leg free and apply the
hold.
Osaekomiwaza: Yoko Shiho Gatame 113

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1, 2.From between the opponent's legs, grab the tail of his jacket
with your right hand. With your left hand, grasp his knee and, while
controlling his hips, step over his right leg.
3. Keep your chest close to the opponent's body and with your left
hand grab his collar from under his head.
4. Then apply the hold.

7. Hold the opponent's arms with both of your hands.
2, 3. Keep your chest close to the opponent's body and turn him
around by pulling him with both hands.
4. ApplV the hold.

/. Press down on the opponent's right shoulder with your right knee
to restrain the movement of his upper body. With your right hand, grasp
his left sleeve, and with your left hand. grab his left knee.
2.3. Use both of your hands to heave up the opponent and turn
him. Simultaneously control the opponent's body with your left knee.
4. Apply the hold.

l. 2. Grasp the opponent's belt in back with your left hand. With your
right arm. hold his right side to control his upper body. Then hook his
left arm with your right from under his armpit.
3. While keeping your upper body close to the opponent's upper
body. pull him forward with both hands and roll him on the mat using
his left hand as a lever.
4. ApplV the hold while still in control of the opponent's upper body.
Osaekomiwaza : Yoko Shiho Gatame 115
:)

l,2. WilJ;r yourright hand. grab the opponent's right collar. and with your left
hand. hold his inner thigh and push him forward.
3, 4, 5, 6. The instant the opponent tries to rise, grasp his belt in back with your
left hand to pull him over.
7, 8. Use your right arm, neck, and head to control the opponent's right leg
while you keep your body close to his.
I, 10. Whne still in close bodily contact with the opponent, apply the hold.
Osaekomiwaza: Yoko Shiho Gatame 117
l. The opponent grabs your belt in the back and, with his left hand slipped under
your right arm, tries to turn you over.
2. Bring your left knee up and clamp down with your right arm. Your neck should
be under the left side of the opponent's body.
3. Get a strong grip on the opponent's left sleeve with your right hand and slip
your right foot in front of the opponent's right foot.
4,5. Raise your neckwell up; push up on the opponent's innerthigh with your
left hand to turn him over.
6, 7. 8. When you have turned the opponent over, apply the hold at once while
your body is still in close contact with his.
ATTACK B (from below)
/. Hold the opponent's right leg with both of your arms.
2,3,4. Topple the opponent by bending his right leg inward. As he falls. grab
his belt in the back or the tail of his jacket from between his legs and pull your body
into close contact with his.
5, 6. Apply the hold while still in close bodily contact with the opponent.
Osaekomiwaza : Yoko Shiho Gatame 119

(side view) (rear view)
EXTRICATING YOUR LEG

When trying to apply a holding technique it often happens that, even though you
are in good control of the opponent's upper body, your feet get entangled and
trapped in his legs. You must be able to get your feet out deftly without jeopardizing
your control of the opponent. There are several ways of doing this, and six of these
are presented here.
METHOD 1
/. Control the opponent's upper body and. with your right hand, grasp his left
knee.
2, 3. 4. Raise the opponent's leg with your right hand to control his movement.
Slip your left knee under his hip. This will cause the hip to rise and, at the same
time. his leg lock to loosen. You will then find it easy to extricate your right leg.
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3' 4' 5'
METHOD 2
1.2. Hold the opponent's left side to control his upper body.
3,4,5,6. While shifting your upper body forward. use your left foot as if ex-
ecuting tate shrho gatame (p. 1 26) to release your right leg.
3',4'.5'(variation). From 2, grab the opponent's knee from inside with your
right hand. Loosen the opponent's right leg by using your right hand and left leg.
Then extricate your leg as if entering yoko shrho gatame (p.112).
Osaekomiwaza: Extricating Your Leg 121

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METHOD 3
1.2.3. Control the opponent's upper body by using his belt or his jacket flap
to tie down his left arm at the wrist.
4, 5. Use your right hand and left foot to loosen the opponent's leg lock and
extricate your leg as in tare shrho gatame (p.126).
6. 7. fhen apply yoko shrho gatame (p.112).

METHOD 4
I,2. Conlrol the opponent's upper body and hold the left side of his body in
your armpit. Use your right foot to loosen his leg lock.
3, 4. Pull your hips well out and use your right foot to release your leg. Be
careful not to let the opponent turn you over here.
5. When you have pulled out your left leg, twist your hips and reverse positions
with the opponent. Keep your body close to his.

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N/ETHOD 5: niu garami (double entanglement)

/. Both of your legs are trapped by the opponent.
2. Lower your hips and draw up your right foot as far as you can.
3. Then powerfully thrust out and straighten your right leg.
4. 5. 6. 7. lt lhe above doesn't break the entanglement, raise your right knee
from the floor and. while shifting your foot, slide your right heel close to the op-
ponent's hip. This will make it impossible for him to entangle your legs.
8. Use your right hand to slide the opponent's left leg lower.
I, 10. While controlling the opponent's upper body, keep your body close to
his and use your left foot to extricate your leg.
METHOD 6: niju garami(double entanglement)
/- Both of your legs are trapped by the opponent.
2. Press down on the opponent's right foot with your left foot and break the
entanglement by bending your right leg upward.
3. Turn your raised right leg in a circle to the outside and place your knee on the
mat. Bring your heel near the opponent's hips.

TATE SHIHO GATAME : straight four-corner hold
Your whole body is astride the opponent, and if you cannot control him completely
there is a chance that you will be turned over. But a small man well trained in this
technique can use it to handle a large man. There are several ways of holding the
opponent's upper body in this situation. Two are presented here.
,4. With your right hand. grasp the opponent's belt in backfrom over his shoul-
der; with your left arm, scoop up his right armpit to keep his body ctose to yours.
B. Encircle the opponent's neck with your right arm and grab your own belt on
the right side. Encircle the opponent's right arm with your left arm and grasp your
own left collar to control his upper body. Photo 2 shows how to use your legs. but,
depending on the opponent's movements, there are times when both legs become
entangled.
To extricate yourself from this hold. swing both of your legs widely to the right
and left and move your hips; then with your free hand break the opponent's hold.
You can also loosen the hold by raising your knee and wriggling the hand which is
under the opponent's control.
tail of his jacket. With your right hand. grab near his knee to control the movements
of his right leg. Then lift your leg over his left leg.
2, 3, 4. With your right hand. grasp the opponent's belt in the back from over
his shoulder; with your left hand, scoop up the left side of his body.
5. While controlling the opponent's upper body. slide your body upward to apply
the hold.
Osaekomiwaza: Tate Shiho Gatame 127

1,2. Go behind the opponent and. with both of your hands, grab his lapels
from under his armpits to control his movements.
3.4. Draw your right hand toward you and, with your left arm, wrap the oppo-
nent's left arm and slide your body upward and over. lt is important to use both of
your feet effectively here.
5. Apply the hold.
l, 2. With your right hand. grasp the opponent's belt in back from over his head
to bring him off-ba.lance.
3' 4. When the opponenttriesto regain his balance bythrusting out his leftarm.
reach over his head and capture his arm from below with your right arm.
5. 6. corlrol the opponent's captured left arm with both of your hands and use
your feet deftly to roll him over.
7, 8. fhen swiftly apply the hold.
Osaekomiwaza: Tate Shiho Gatame 129

A more effective
okuri eri jime
Shimewaza : Strangle Techniques
OKURI ERI JIME : collar strangle
Approach the opponent from behind and. sliding your right hand under
his right armpit. grip his left lapel. With your left hand, get a strong grip
on the opponent's right collar from under his chin. Then press your head
against the back of the opponent's head while you pull your right hand
downward. Draw your left hand toward the lower left side of your body
to strangle him.
This strangle hold will be more effective if you use both of your legs
to restrain the opponent's legs and prevent him from moving about on
the mat.
ATTACK 1 (from the front)

1, 2. Wi:h your right hand. get a shallow grip on the opponent's right
collar from under his right armpit. Stay in close to the opponent and
control his movements with your chest. Slip your left hand in from
under the opponent's left ear and get a deep grip on his right collar.
3, 4. Crush down on the opponent's body to place all "your body
weight on him. Apply the strangle hold.
4
ATTACK 2 (from the,rear)

/. Get astride the opponent and grip his collar from under both sides
of his body with both of your hands; keep your body close to his.
2. Put both of your legs between the opponent's thighs from the
inside and crush down on his body.
3. With the body of the opponent flattened. pass your left hand under
his chin and get a deep grip on his right collar.
4. Apply the strangle hold while still in close bodily contact with the
opponent.
Shimewaza : Okuri Eri Jimi 131

HADAKA JIME : naked strangle
Kneel on your left knee behind the opponent and pass your right hand
and arm over his right shoulder and across the front of his throat. Be
sure that the pait of your forearm just above ihe wrist is against the
opponent's throat. Then tightly clasp both of your hands above his
left shoulder. Shift back slightly to pull the opponenttoward you and
apply the strangle hold.
ATTACK (from above)

l, 2. 3. Get astride the opponent; when he tries to lie on his stomach, push on
both of his elbows to crush him down.
4, 5. As the opponent falls forward and then reacts by trying to heave up back-
ward. apply the strangle hold.
q,
KATAHA JIME : single-wing strangle

Get behind the opponent as in okuri eri jime (p. 131) and use your
right hand to grip his left collar firmly from under his chin. Slide your left
arm (which is reaching through from under the opponent's left armpit)
upward to contro.l the opponent's left arm. Then apply your left arm at
the nape of the opponent's neck to execute the strangle hold. The im-
portant point here is to raise the opponent's left hand high up behind
him before thrusting forward to strangle him.
ATTACK (from above)

7. Get astride the opponent and control his body with both of your legs. stay in
close to the opponent and grab his left collar with your left hand from under his left
armpit. With your right hand grab the left collar from under his chin as in okuri erj
jime (but not as deep).
2 3. Revolve to the left. thrusting your left hand up behind the opponent's head.
4, 5- use both of your legs effectively to control the opponent's body and.
thrusting your left hand farther in, apply the strangle hold.
Shimewaza : Kataha Jime 133

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KATA JUJI JIME : half cross strangle
The opponent is lying on his back. Straddle him and. while controlling
his body with both of your legs. grab his left collar with your left hand ;
hold the small-finger side of that hand toward the left side of the oppo-
nent's body. Cross your right arm over your left arm and. with your right
hand. get a deep grip on the opponent's right collar; hold the palm of
your hand upward. Pull on both hands swiftly and. while placing your
full weight on the opponent's body. strangle him.
Gyaku jujijime is a cross-lock like kata iuiiiime but with the palms
of both hands held upward. ln nami iuiiiime. both hands should enter
deep into the opponent's jacket with the little-finger sides touching his
neck. The choking action for both of these holds is the same asfor kata
lujijime.

/. Relax your hold on the opponent's body slightly; thrust your right
hand in from the base of his chest and grab his right collar with the
palm of your hand facing upward. At this time you may also feint osae-
komiwaza.
2. With your left hand, grab the opponent's left inner collar with the
thumb inside and fingers out.
3, 4. Cross both hands and apply the strangle hold.

7. Grasp the opponent's left collar with your left hand ; with your
right hand. grab his back collar on the left and pull him toward you.
2. Take advantage of the opponent's forward motion and shift your
body to the left as you cross both of your arms by slipping your right
hand over the opponent's head. (Keep hold of the opponent's jacket
as you do this.)
3. 4. Pull the opponent to your chest with both hands and with
your right foot trap his right knee to control his body; then execute the
strangle hold.
Shimewaza: Kata Juji Jime 135

Yoko sankaku jime Ura sankaku jime
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YOKO SANKAKU JIME ATTACK 1 (from above)

/. The opponent is on all fours. Grab his belt at the back with your left hand
and with your right hand, grasp his back collar and pull him forward and down.
2. When the opponent opens his right elbow and thrusts out his arm in an effort
to regain his balance. take this opportunity to wedge your left heel into his right
armpit. With your right hand, grasp his left sleeve.
3. 4. Rolling to the left. lock the opponent's right arm and neck with both legs.
5. Control the opponent's left arm by wrapping it with his belt or iacket.
6, 7. Withyour right hand. pull the opponent's right arm and then lock your legs
in a triangle to apply the hold. Each of your ankles should be at a right angle.
SANKAKU JIME : triangular strangle
Sankaku jime is a locking technique in which you lock your opponent's
neck and arm by forming a triangle with the top of the ankle of one leg
in the hollow of the knee of the other leg. Among katamewaza, it requires
the very highest level of technique, and it can only be executed effec-
tively when you are able to use your legs as deftly as your hands.
Because the opponent is strangled by your legs, the power of this hold
is quite impressive.
There are several strangling methods for sankaku jrme. Here we shall
introduce three that are representative.
Yoko sankaku jlme (side triangular strangle) : The opponent's neck
and arm are caught in both of your legs from the side.
Ura sankaku jtme (rear triangular strangle) : The opponent is lying on
his back. You are at his head and trap his neck and arm.
Omote sankaku jime (front triangular strangle) : You hold the oppo-
nent's arm and neck from below.
Omote sankaku jime
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YOKO SANKAKU JIME ATTACK 2 (from above)

l. The opponent is on all fours. With your left hand. grasp his belt at the back
and with your right hand. grab his right collar from under his Ieft armpit.
2- When you try to turn the opponent over to the left, he will try to thwart you
by placing his right elbow on the mat. Take this opportunity to thrust your left heel
into his right armpit.
3. 4. Rolling to the left. lock the opponent's right arm and neck with your legs.
5, Control the opponent's left arm with his belt or jacket.
6. Pull the opponent's right arm toward you with your right hand and lock your
legs triangularly to strangle him. Each of your ankles should be bent at a right angle.
Shimewaza: Sankaku Jime 137

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URA SANKAKU JIME ATTACK (from above)

/. Straddle the opponent, who is on allfours, and get control of him by grabbing
his collar with both of your hands from under his armpits.
2, g, 4. Revolve to the left and feint okuri eri jime (p. 131)'
5, 6. Thrust your right foot far in from under the opponent's right shoulder and
with both of your hands pull his right hand toward you to control it.
7. Place your left leg along the left side of the opponent's neck from over his
shoulder. Fix your left leg in the hollow of your right knee. Both of your ankles
should be bent at a right angle.
8. Then hold both knees close together to apply the strangle hold'
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OMOTE SANKAKU JIME ATTACK (from below)

l, 2. Place the inside of your right knee against the opponent's left neck. With
your right hand, pull your opponent's right arm as far as possible to your right side.
3, 4. Bend your right ankle at a right angle. and raise it up. locking it with your
left knee. Now fix your left ankle in a right angle.
5. Twrst your hips to the left and strangle the opponent with your legs. lf the
lock isn't effective, pull up your right shin with your left hand.
Shimewaza : Sankaku Jime 139

From the inside From the outside
Kansetsuwaza : Armlock Techniques

UDE GARAMI : entangled-arm armlock
IJde garami is a lock in which. while holding the opponent's wrist with your right
hand, you grasp your own right wrist wrth your left hand and twist his arm back-
ward at the elbow. Your body should be crossed over the opponent's. The oppo-
nent's left arm should be bent almost 90". Apply downward pressure on both of
your wrists and pull the opponent toward you wrth both hands. To make the lock
more effective, press down firmly on the opponent's body and frx it so that he
cannot move his left shoulder. There are two methods of applying this lock, from
the inside and the outside.

/. Start to control the opponent's upper body from above.
2. When the opponent carelessly thrusts out his left hand, grab his left wrist
with your right hand. Push your left hand in from under the opponent's left arm
and grip your own right wrist with it.
3. Pull the opponent's wrist toward you with your right hand to apply the
{

/. lnsertyour left hand underthe opponent's left armpit and grab his leftwrisl
2, Keeping in close bodily contact with the opponent, press down on him tr
the right front (press along the diagonal formed by the opponent's right shoulde
and left hip).
3.4. Place your right hand on your left hand and pull out the opponent's lel
arm.
5, 6. Open your body to the right and. laying your left elbow on the opponent'
left upper arm. push up on his left wrist with both of your hands to apply the lock

/. With your left hand. grip the opponent's left inner collar and draw him toward
you. When he tries to regain his balance and places his left hand on your knee or
on the mat. grasp this opportunity to grab his right wrist with your right hand.
2. Thrust your left hand under his armpit and grab your own right wrist.
3. Push upward with your right hand to apply the lock.
Kansetsuwaza: Ude Garami 141
(side view)
(rear view)
UDE HlSHlGl JUJI GATAME : arm-taking cross armlock

Ude hishigijuji gatame (or just juji gatame) is a technique in which you are over the
opponent so that your bodies form a "cross." Hold the opponent's right wrist with
both hands and then pull his right arm straight out as you clamp your knees around
it. Your body should be at a right angle to your opponent's. The lock will be more
effective if it is applied with the opponent's right thumb upward. By slightly
spreading both of your legs, it will be easier for you to lock the opponent's right
arm firmly with both of your thighs. lf you place your buttocks far in on the oppo-
nent's right shoulder. the shoulder will become fixed and immobile.

7. Straddle the opponent. Grab the front of his left sleeve with your right hand
from under his right armpit. With your left hand, grasp the front of his left sleeve
from over his left shoulder.
2, 3. Move forward, pulling on both of the opponent's arms. As you move, hook
your right foot onto the outside of his left thigh across his abdomen.
4,5.6. While rolling the opponent over, turn your body at a rightangleto his;
pull his left arm well toward you and keep your hips in close to his body.
7. Hold the opponent's right arm with your left hand and raise up your stomach
slightly to apply the lock.
Kansetsuwaza: Ude Hishigi Juji Gatame 143

Attack 2
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From a standing posture

/. From below, grab the opponent's right arm with your left hand; then, with
your right hand. take his right inner collar and pull him toward you.
2, 3. Form the cross by raising your hips. bringing your left leg around to the
left side of his neck. (You may also form the cross by grabbing the opponent's left
ankle from the inside with your right hand.)
4, 5, 6. Thrust up both of your legs, stick out your stomach, and bring your legs
down to execute the lock.
FROM A STANDING POSITION
1, 2, 3. From migi shizentai, swing up your right foot and plant it firmly in the
opponent's right armpit.
4, 5. Atthe same time. kick up your leftfoot and form the cross with the oppo-
nent.
6, 7. 8. Lock the opponent's right arm firmly between your knees and. while
lowering your legs, pull the opponent over and around and apply the lock.
1M Grappling Techniques
Kansetsuwaza: Ude Hishigi Juji Gatame 145
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From a kneeling posture From below
UDE HISHIGI UDE GATAME : arm-taking armtock

Ude hishigi ude gatame is a technique in which, having straightened out the oppo-
nent's arm and frxed his wrist on your right shoulder, you place both of your hands
on the outslde of his elbow and press down to apply the lock. The important point
is that you swiftly grab the opponent's arm as he thrusts it out. lf you bring both of
your hands a bit down from the upper part of the opponent's arm to his elbow. the
technique will be more effective.
ATTACK (from a standing position)
l' 2. when the opponentthrusts out his right arm from hidarijigotai. openyour
body to the left and thrust in to drive the elbow of your right arm toward the oppo-
nent's left side.
3, 4- Place your right hand on the opponent's left elbow and your left hand
over your right hand. Pull the opponent down to the front and apply the lock.

UDE HlSHlGl HIZA GATAME : arm-taking knee armlock
Ude hishigi hiza gatame is a technique in which, having straightened out the op-
ponent's left arm and fixed his wrist on your right upper arm, you place both of
your hands on the outside of the opponent's left elbow and, with your right knee
on his left collarbone, press down to apply the lock. There is another method in
which you hold the opponent's left arm to the right side of your body and. plac-
ing your right knee on his left coilarbone, press down to apply the lock.
ATTACK (from below)
/. With your left hand, grab the opponent's left collar and draw him toward you.
2. When he resists by placing his left hand on your knee or on the mat. move
your right hand under his left arm and place it on his left elbow from the outside.
3. Place your left hand over your right hand and trap the opponent's left arm with
the upper part of your right arm ' with your left foot push and straighten out the
opponent's right leg. While bringing the opponent down, straighten out his left arm.
4, 5. Press on his left collarbone with your right knee and apply the lock.
Kansetsuwaza: Ude Hishigi Hiza Gatame 147

UDE HlSHlGl WAKI GATAME : arm-taking side armlock
Here you trap the opponent's left arm firmly in your right armpit and stretch the arm
out while twistrng it backward at the elbow. The little frnger of the opponent's left
hand should be facing upward if the lock is to be effective. Do not hold the left arm
too far in. Use your right elbow to fix the opponent's left elbow from above and
raise your wrist to apply the lock.
l, 2. Atthe momentthe opponent is on all fours, thrustyour right hand in from
the top and under his left side near his shoulder.
3, 4. Sweep the opponent's left arm to the side with your right forearm and trap
it in your left armpit.
5. Tighten your armpit and fall on the opponent to apply the lock.
1. 11heopponent tries to cover you and thrust his right hand under the left side
of your body.
2. Grab the opponent's right knee with your right hand and tighten up your
left arm just above his elbow to trap his right arm.
3, 4. Stick your head out behind the opponent's right side; open your body to
the left and, with the back of your head, crush down on his body to apply the lock.
Kansetsuwaza: Ude Hishigi Waki Gatame 149

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UDE HlSHlGl HARA GATAME : am-taking stomach armlock

Here you take the opponent's right wrist with your right hand, fix it on the lower
part of your stomach, and. havrng grabbed the opponent's right collar with your
left hand to control his neck. apply the lock (4).
Another method is to tie up the opponent's right arm with your right leg and,
placing your left leg on the right, fall on the opponent to straighten out his right
arm and apply the lock (B).
ATTACK (from above)
/. Attack from above wilh okuri erijime (p. 131).
2. when the opponent tries to stand, capture his right arm with your right leg.
3. Keeping in close to the opponent, pull out his right arm while pressing down
on his body. Keep your right leg above your left as you hold the opponent's arm.
4. 5. change the position of your legs (rrght foot below and left foot above) and.
with your body still close to the opponent's. twist your left hip to apply the lock.
Combination
Techniques
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NaEewaza + Nagewaza
YOUR OWN TECHNNUE TO YOUR OWN TECHNIAUE
Shifting from one technique to another technique is commonly called saki no saki.
You apply one technique to get the opponent off-balance and then another
technique to throw him. This very positive combat strategy is called kake kuzushi.
The numbers in the headings below tell you on what page in this book the
techniques combined are explained in detail.
lppon seoi nage -> ko-uchi gari (26,56)
l,2,3,4. Attempt migi ippon seoi nage. The opponent resists by sticking out
his belly and swaying backward.
5L 6. While bringing your body back to its former position. place your right leg
against the opponent's right leg and control the leg with your right hand.
7, 8. With your right shoulder. push the opponent along his right chest and
shoulder. and then roll forward.
9, 10. Roll so that the opponent's right shoulder is completely down on the mat.
154 Combination Techniques

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Nagewaza (yours) + Nagewaza 155

Ko-uchi gari + morote seoi nage (56, 30)
1, 2. 3. From hidari shizentai, push the opponent and attempt hidari ko-ucht
gari.
4' 5. The opponent stretches out his left foot and pushes back in an attempt to
regain his balance.
6' 7. wilh good timing. bend your knee completely and execute hidariseoi nage.
8, 9, Use leg-strength to throw the opponent forward in one motion.

W
O-uchi gari + morote seoi nage (60, 30)
1,2.3. From hidari shizentai. push the opponent and attempt hidari o-uchi
gari.
4. 5. The opponent drops his right foot back and pushes at you in an attempt
to regain his balance.
6. Take this chance to completely bend your knee and execute morote seoi nage.
7, 8. Use the strength in your legs to throw the opponent forward in one mo-
tion.
158 CombinationTechniques
O-uchi gari + ko-uchi gari (60,56)
1, 2, 3.
From hidari shizentai, push the opponent and attempt hidari o-uchi gari.
4, 5- When the opponent eases up on his right foot and tries to step farther back,
continue advancing in tsugi ashi and attempt hidari ko-uchi gari.
6,7. fwisl and pullyour right hand tightlytoward the inside. and with your left
hand push the opponent on the chin to knock him backward. lt is important here
to topple the opponent by using your left foot more to push his left leg open than
to clip it.

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O-uchi gari+ tai otoshi 1 (60,24)

t. migi o-uchi gari.
z,i- From migi shizentai, push the opponent and attempt regain his balance'
4,5. Heeases up on his leftfootand pushesback in orderto right front corner
Take this opportunity to get the opponent off -balance to
his ;
6.
pivot around and in on your right foot. Then, keeping your posture low, take a step
iorward and place your right foot in front of the opponent's right foot'
7,8. As you turn yorinody. straighten out both of your legs and throw the
opponent forward with rai otoshi.

O-uchi gari + tai otoshi 2 (60,24)
1. 2, 3. From migi shizentai. push the opponent forward and attempt o-uchi gari.
4, 5. When the opponent reacts by shifting his center of gravity to the right. take
this opportunity to remove your right leg which made the clip. Take a step forward
and stretch your right leg in front of the opponent's body.
6, 7. Swiftly bring the opponent off-balance to the front and, using your htkite
and tsurite effectively. throw him forward with rai otoshi.

O-uchi gari + o-soto gari (60, 66)
l, 2. 3. From hidari shizentaipush the opponent and attempt htdari o-uchi gari.
4, 5. \Nhen the opponent eases up on his right foot and tries to step farther back,
take a blg step forward and place your right foot next to his right foot.
6, 7. Lower your right hand and raise your left hand to bring your body close to
the opponent's. At the same time, take a big step forward with your left foot.
8. Use the back-pedaling motion of the opponent to help you clip him down with
one stroke of your leg in o-soto gari.

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O-uchi gari '+
uchimata (60, 68)
1, 2. From hidari shizentai, draw your opponent to you and attempt hidari o-
uchi garr.
3, 4, 5. When the opponent lifts his right foot to thwart your move, pull him
forward and jump in at him.
O 7. Spring up and swiftly twist your body to throw the opponent. When the
technique does not work at frrst, you must sometimes repeat it again and again
(called ken ken uchrmata).

O-soto gari -+ harai goshi (66, 42)
l, 2, 3. From mrgi shizentai, push the opponent and attempt o-soto gari.
4. The opponent pulls his right foot back and leans forward to resist your move.
5. 6. Pivot on the tips of your left toes to open your body to the left and pull the
opponent toward you. Here, make effective use of your tsurite when you pull the
opponent so that his head leans to the right.
7, 8. Whilesweeping up the opponent's right leg with your right leg, twist your
body to throw hrm in one motion with harai goshi.

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O-soto gari + sasae tsurikomi ashi (66, 54)

l,2. From hidari shizenra, step forward with your right foot and attempt o-
soto gari"
g. the opponent tries to resist by placing his center of gravity over his right foot'
4, i- fake this chance to draw your left hand in while you lift the side of the
opponent with your right hand to enter sasae tsurikomi ashi'
6, 7. Sway back and twist your body to make the throw'
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Tai otoshi + o-uchi gari + tai otoshi (24,60)

l' 2. 3. From migi shizentai, pull the opponent toward you and attempt tai otoshi.
4' 5. 6- when the opponent successfully resists you, switch ro o-uchi gari.
7' 8' 9. The opponent eases up on his left foot and comes forward to regain his
balance.
10' 11, 12. 13. Take this oppor.tunityto execute tai otoshiin one motion.
ln order to execute one technique after another, good timing and speed are of
course necessary. But one must also have great stamina. The above is a high-level
technique which is very effective in contests and which can be mastered only by
constant practice.
O-uchi gari + tai otoshi -> sasae tsurikomi ashi (60, 24,54)
1.2,3. From hidari shizentai. push your opponent and attempt o-uchi gari.
4. 5, 6. Take the opportunity presented you when the opponent eases up on
his right foot and attempt hidari tai otoshi.
7, 8, 9. The opponent leaps across your left leg to thwart your tai otoshi and then
brings his center of gravity over his right foot in order to regain his balance.
lO, ll, 12, 13. Take this opportunity to execute sasae tsurikomi ashi.
Here, three techniques are combined. But it is possible to combine more than
three techniques. Practice so that you will be able to execute your best techniques
one after the other.
17O Combination Techniques

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YOUR OPPONENT'S TECHNIAUE TO YOUR OWN TECHNIAUE

Taking your opponent's technique and turning it into your own technique is com-
monly called a/o no saki. Here you use the power of the opponent's technique
against him to make the throw. Relying only on this strategy, however, will not help
your own techniques improve in the long run.
Koshiwaza -> utsuri goshi (38, 36, 93)
1, 2. From migishizentar. the opponent attempts a hip technique, either tsurikomi
goshi or o-goshi.
3. Lower your hips and resist the opponent's move.
4 5. Stick out your stomach and lift the opponent. Use the motion of the re-
turn of the opponent's body to the ground to shift his hips to your left hip.
6, 7, 8. Draw in the opponent fully and twist your hips to throw him with ulsurr
goshr.

@,@
O-soto gari + ura nage (66, 95)

l, 2, 3. From migi shizentai, the opponent takes a big step forward and at-
tempts migi o-soto gari.
4. Spread your right Ieg to lower your hips. then hug the opponent and pull him
toward you.
5. 6. Fall back and throw the opponent straight back in one motion.
Nagewaza (opponent's) + Nagewaza 173

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O-uchi gari + o-uchi gaeshi (60)

O-uchi gaeshi is the name given to the technique used to counter the opponent's
o-uchi gari.
/. From kenka yotsu, the opponent attempts mrgi o'uchi garr'
2, 3. Lean backward and thrust your left foot forward. Here. concentrate your
power in the tips of your toes and keep your left leg perfectly straight.
4. 5. Twisl your hips to throw the opponent.

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Uchimata > sukui nage (68, 92)
l,2.
\Nhen the opponent attempts to execute migi uchlmara, thrust your right
hand out and at the same time insert your left hand between his legs.
3, 4. Lean back swiftly and lift the opponent's body to the front.
5, When the opponent's body is about to come down, take a half-step forward
with your right foot and. whrle flinging up the opponent with your right hand, place
his body on your left hip.
6, 7. Twist your hip to throw the opponent with sukui nage while keeping your
body close to his.
Nagewaza (opponent's) + Nagewaza 175

O-uchi gari > morote seoi nage (60, 30)
l, 2.3. From hidari shizentaithe opponent attempts hidari o-uchi garr.
4. Take two steps forward and remove your trapped right foot.
C 6. Pivot and swing your left leg around until your feet are together; utilizing
the force of the opponent's push, enler seoi nage.
7, 8. Throw the opponent in one motion.

Uchimata -+ tai otoshi (68,24)
f,2. From kenka yotsu, the opponent attempts migi uchrmata. lt is important
here that you thrust your right hand into the opponent's armpit to make sure that
you are not drawn in by him.
3. Take a Iow posture and bring your left foot to your right foot.
4. Take a step slightly forward with your left foot and place your left foot in front
of the opponent's left foot.
5, 6, 7. Use the opponent's momentum to help you bring him down.
Nagewaza (opponent's) - Nagewaza 177

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Nagewaza -+ Katamewaza
ln a contest nagewaza alone might not be enough for a winning score (ippon), and
there are often cases in which you have to try to win by using katamewaza as well.
Be prepared forthis and practice daily to master moving from throwing techniques
to grappling techniques.
YOUR OWN TECHNrcUE TO YOUR OWN TECHNIAUE
lppon seoi nage -> yoko shiho gatame (26, 112)
1, 2. You attempt migi ippon seoi nage.
3, 4, 5. You get off-balance and your hikite is not effective. Drop to your right
knee and throw the opponent down.
6. 7. Keep your chest close to the opponent while holding onto his right arm.
8, 9. Step in close to the opponent and apply yoko shrho gatame.

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Nagewaza (yours) + Katamewaza 179

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O-uchi gari + kesa gatame (60, 99)

l. 2,3,4. From hidari shizenlar. push the opponent and throw him with o-uchi
gari.
5, 6. Do not relax your right hrkite as you use the momentum of the throw to
approach the opponent from his left side.
7. Clamp down on the opponent's left arm and, keeping his left side close to
your body. apply (esa gatame.

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Sasae tsurikomi ashi > kuzure kami shiho gatame (54' 104)
l, 2, 3. Throw the opponent with sasae tsurikomi ashi.
4, 5. Do not loosen your grip with your left hand but swiftly fall on the opponent
and place your chest in close contact with his body.
6,7. Wilh your left hand, grab the opponent's belt from over his shoulder and
apply kuzure kami shiho gatame.
Nagewaza (yours) > Katamewaza 181

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Tomoe nage > ude hishigi juji gatame 1 (72,142)

l, 2. Attempt hidari tomoe nage.
3. When it isn't effective, do not loosen your left hikite but pivot on your right
Ieg and twist your hips so that your body and the opponent's body are perpendicular,
forming a cross.
4, 5. Place your left leg across the opponent's neck and, jutting out your stomach,
bring your leg down.
6. Then apply juji gatame.
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Tomoe nage > ude hishigi juji gatame 2 (72,142)

l, 2, 3. Attempt tomoe-nage.
4. 5. when it isn't effective and the opponent topples forward. lift your left leg
twist your hips. and thrust your left leg under his chin.
6. Apply juji gatame while face down on the mat.
Tai otoshi > ude hishigi juji gatame (24,142)
l, 2. 3.4. Execute htdarl tai otoshr.
5, 6. Wrthout loosening your hrkite. llft it up and clamp down on your opponent's
left arm with both of your legs to form the cross.
7,8. Pull your knees together and, fixing the opponent's left arm, apply juji ga-
tame.
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YOUR OPPONENT'S TECHNNUE TO YOUR OWN TECHNIAUE
lppon seoi nage + okuri eri jime 1 (26, 131)
1, fhe opponent attempts migi rppon seoi nage.
2, 3. Go a half-step around the opponent on your right foot and get him off-
balance to thwart his seoi nage
4 5. Squeezing with your right arm, crush down on the opponent's body and
move forward to place your body weight over your right hand to apply okuri ert
jime.
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lppon seoi nage -> okuri eri jime 2 (26,131)
/. The opponent attempts migi ippon seoi nage.
2, 3. f ake a half-step forward with your right foot to counter the opponent.
4. Bring your right hand, which is holding the opponent's collar. back around
his neck as you shift your body to the |eft side.
5,6,7. While keeping your body in close contactwith the opponent's, grab his
left innerthigh with your left hand and roll him over onto his rightside.
8,9. fhe roll will make the opponent's collar, held by your right hand, close in
on his neck and give a better strangle hold.
Nagewaza (opponent's) + Katamewaza 187

Uchimata + tani otoshi -+ yoko shiho gatame (68,84,112)
l, 2. fhe opponent attempts migi uchimata.
3. Lower your hips to resist.
4. 5. Push the opponent forward in an attempt to crush him.
6, 7. 8. When the opponent tries to stand up and regain his balance, thrust out
your left foot and execute tani otoshi.
9, 10, 11, 12. Ger on top; then apply yoko shiho gatame"
This is one of Yasuhiro Yamashita's favorite combination techniques.

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Nagewaza (opponent's) + Katamewaza 189
Katamewa,za- --.> Katamewaza
Combination techniques involving throws are performed rnstantaneously. Katame-
waza combination techniques lack this speed, but for this reason allow you to map
out a strategy involving holds, chokes, and locks in a variety of combinations.
Of course the instant you actually move from one technique to another you will have
to be quick and agile. Work out your own combinations and practice them until
you have mastered them.
YOUR OWN TECHN|AUE TO YOUR OWN TECHNIAUE
Kesa gatame -> ude hishigi waki gatame (99, 148)
/. Hold the opponent down in kesa gatame.
2, 3. fheopponent tries to escape by drawing in his right elbow and rolling onto
his stomach.
4, 5. While staying close to the opponent, hold his left arm under your right arm
and apply waki gatame.
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Kesa gatame + yoko shiho gatame (99, 112)

/. Hold the opponent down in kesa gatame.
2. 3. The opponent pulls on his left elbow and with his right hand removes your
arm from around his head in order to escape.
4.5. Hold the opponent's right arm while keeping his body close to yours.
6.7. VVhile holding the opponent's right arm. switch to yoko shiho gatame
Katamewaza (yours) > Katamewaza 191
Kesa gatame + okuri eri jime (99, 131)
7. Hold the opponent down in kesa gatame.
2.3. The opponent loosens his right arm and. wriggling his shoulders, tries to
escape by turning face down.
4. Grab the opponent's right collar with your left hand while still close in on him.
(Your hand must move in from under the opponent's chin.)
5.6. Put all your body weight on the opponent and apply okuri eriiime.
Okuri eri jime-+ kuzure kami shiho gatame (131. 104)
/. Thrust your right hand in under the opponent's underarm. With your left hand.
attack wirh okuri eri irme.
2 3. When the opponent tries to pull your left arm wtth hts left hand and moves
his arm away from his body. take this oppoi'tunity to trap his arm by thrusting your
left arm under his armpit from over his shoulder. Keep your head in close contact
with the opponent and. using both of your Iegs. deftly work down his body.
4. Still holding his arm, get on top and apply kuzure kami shlho gatame.
Okuri eri jime -+ kataha jime (131, 133)

/. Approach the opponent from his back and attempt to apply okuri erijime.
2, 3. Look for a chance to move your right hand behind the opponent's neck to
control his right arm.
4. Thrust your left hand well under the opponent's chin and apply kataha jtme.
Katamewaza (yours) + Katamewaza 193
p
Kuzure kami shiho gatame > ude hishigi juji gatame (104,142)
/. Hold the opponent down in kuzure kami shiho gatame.
2, 3. The opponent tries to escape by turning face down.
4. The instant you enter juji gatame your hips are in close contact with the oppo-
nent's body. Hold his right arm and, lowering your hips as much as possible, turn
to make your body perpendicular to his in the form of a cross.
5, 6. Close your elbows tight and, holding the opponent's arm, applv juji gatame.

Kesa gatame -> ude hishigi juji gatame (99' 142)
/. Enter kesa gatame.
2,3. fhe opponent relaxes his right hand and tries to extricate himself by using
hrs shoulder and rolling over.
4,5. Grab the opponent's right arm with your right hand while still in close to
him and turn your body so that it crosses over his.
6, 7. Place your knees together and hold the opponent's right arm to apply
juji gatame.
Katamewaza (yours) - Katamewaza 195
Tate shiho gatame -> ude hishigi juji gatame 1 (126,142)
/. Enter tate shtho gatame.
2, 3. fhe opponent wriggles his hips and tries to escape by pushing upward
with his right hand.
4, 5. Grab his right arm with your left hand. While balancing yourself with your
right hand, turn to cross over the opponent at the moment he is trying to roll over.
6. Apply juji gatame.
Detail showing use of the elbow
Tate shiho gatame -+ ude hishigi juji gatame 2 (126,142)

/, Enter tate shiho gatame. Here, grab the opponent's right arm as in kesa gatame
(p. 99) and grip your own belt with your left hand.
2.3. Purposely let the opponent escape so that he ends up on all fours.
4. 5. Thenform a cross with him and pull in your elbow to apply juji gatame.

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Kuzure kami shiho gatame + yoko sankaku jime (104, 136)

/. Control the opponent's upper body and attempt kuzure kami shiho gatame.
2. fhe opponent resists and starts to go on all fours by using hrs shoulder.
3. As soon as the opponent is on all fours. hook the right side of his body with
your left sole;you are still in control of his upper body.
4, 5. Clamp both of your legs over the opponent's right arm and head and turn
him over to the left side.
6.7. Bind up the opponent's left arm with his jacket or beltto control his upper
body.
8. Form a triangle with your legs and apply yoko sankaku jrme.
Yoko sankaku jlme + kuzure kami shiho gatame
Yoko sankaku jime

+ jigoku jime
Yoko sankaku jime + kansetsuwaza
Yoko sankaku jime -> kuzure kami shiho gatame (136, 104)
l. 2. Your yoko sankaku jime is not effective. When the opponent tries to wrig-
gle out. place your right hand on the mat to prevent his escape.
3. Move on top of the opponent's upper body.
4. Disentangle your legs to apply kuzure kami shrho gatame.
Yoko sankaku jime + jigoku jime (136)
Jigoku iime (hell strangle) is a variation of yoko sankaku jime.
/. Your yoko sankaku jrme is not very effective.
2. Thrust your right hand between your legs; grip the opponent's right lapel.
3. Pull his lapel with your right hand as you entwine your legs tightly in a triangle.
The strangling action results from the actions of your hands and feet.
Yoko sankaku jime -> kansetsuwaza (136)
/. Your yoko sankaku jime is not very effective.
2- Grab the opponent's right wrist with your right hand and slide your right outer
thigh in the direction of the elbow to lock it.

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Sankaku garami + okuri eri jime (131)

/. The opponent attacks you by trying to hold your left leg with his right arm.
2. Push the left sjde of his neck with your left hand and turn him asrde. At the
same time. swing your right foot up.
3. shift your hips swiftly and swing your right foot down to the front.
4' Straighten out both of your feet to crush down on the opponent. Here, grab
hold of the opponent's trousers or belt to prevent him from rolling over.
5' Lock your legs in a triangle to apply sankaku garaml (triangular entangle-
ment) ; keep close to the opponent and attack his elbow.
6. when he resists, apply okurl eri jrme; maintain the lock with your legs.
2OO Combination Techniques
Ude garami + kuzure kami shiho gatame (140,104)
l. 2. \Nhen you attack the left arm of the opponent with ude garamr, he grabs
his belt.
3,4. Wtnd the opponent's jacket or belt over his left arm.
5. Then apply kuzure kaml shrho gatame while keeping your body close to the
oppo nent's.
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Ude hishigi ude gatame + tate shiho gatame
(146,126)
l, 2. From below, draw the opponent
down to you and attack with ude gatame.
3. The opponent tries to escape by turning
over.
4, 5. f ake this opportunity to control his
upper body and switch Io tate shtho gatame.

Ude hishigi hara gatame + jigoku jime (150)
l. 2. AIlack the opponent's right arm with hara gatame.
3,4. When the opponent tries to stand up, keep his arm trapped between your
legs and roll forward over his back. As you roll. hold the opponent's left arm from
under his armpit with your left hand.
5, 6. Grasp the opponent's left collar with your right hand and apply jigoku jime.
Katamewaza (yours) + Katamewaza 2O3

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YOUR OPPONENT'S TECHNIAUE TO YOUR OWN TECHNNUE

Yoko shiho gatame -+ kuzure kami shiho gatame (112,104)
l, 2. \Nhen the opponent has you in yokoshlhogatame. grab his beltfrom over
his shoulder with your left hand ; thrust your right elbow into your side to get your
hand under his stomach. Now grab his inner thigh. Bunch your feet up so that they
can be thrust into the opponent's chest.
3, 4. Making use of the opponent's attempt to move back. throw him over your
head so that. when he lands, your body and his lie in a straight line.
5,6. After the opponent is on his back, immediately go into kuzure kami shiho
gatame. Throwing the opponent like this is commonly called teppo gaeshi and is
done by those with powerful arms. But if your opponent is well trained. it may be
difficuit to execute this technique.

Yoko shiho gatame + yoko sankaku jime (112,136)
l,2. When the opponent controls your leg from above and tries lo apply yoko
shiho gatame. push the left side of his head with your left hand.
3, 4. 5. Wrap your legs to form a triangle around the opponent's head and right
arm.
6. Pull the opponent toward you and apply yoko sankaku jrme from below.
Katamewaza (opponent's) + Katamewaza 2O5

Okuri eri jime kesa gatame (131, 99)
'
1. The opponent attacks wilh okuri eri jrme while you are on all fours.
2. When the opponent slrps his right hand rather far in under your right armpit,
thrust out your right leg and quickly turn your right hip downward.
3.4. Roll over. While so doing. keep your right arm closed tight to control the
opponent's right arm. As soon as you are around on the mat, hold thetrunk of the
opponent's body with your left hand.
5. Then apply ushtro kesa gatame (kesa gatame from the rear) .
2OG Combination Techniques
(rear view)
Kuzure kami shiho gatame + okuri eri jime (104,131)

l. The opponent attacks from above.
2, 3. As he tries to control your upper body. wrap your left arm around his neck
and grip his left lapel.
4,5. lntentionally allow the opponent to control your upper body and apply
kuzure kami shrho gatame.
6- Thrust your right hand under the oppon'ent's right armpit and grab the back
of his jacket.
7. Pull with both of your hands and strangle the opponent by raising your stomach.
Katamewaza (opponent's) * Katamewaza 2O7
Training
About Training
For judo, you must work to develop your muscles, stamina, flexibility, power, and
speed, and strive to develop all-around body strength. Power and stamina particular-
ly are essenttal in contests;the competitorwho has trained harderto develop them
wtll in the end emerge the victor.
There are many ways to build up your strength, such as weight training. isometric
training. interval training, circuit training, and so on. you may also gain some
benefit from engagtng in sports such as soccer and basketball. This chapter presents
a variety of methods. but focuses on weight training, whrch involves liftrng heavy
objects like barbells and dumbbells. Weight training is a good choice for judoists
because it rs specifically designed to develop the strong muscles they need.
But physical training is a means. not an end in itself. Such training is meaningless
rf rt is not directly tied in to your judo techn iques. when you train. then. it is impoitant
that you plan and carry out exercises that will help your judo techniques develop
and that will have direct applrcation in your judo practice sessions.
TRAINING PRINCIPLES
when training, the following five principles sh.ould be strictly observed:
Overload
. Lift weights that are over a certain level.
Gradualness
. lncrease weight and strength gradually.
Continuity
. Train for an extended period of time.
Motivation
. Understand why you train and conduct your trainings voluntarily and with
enthusiasm.
lndividuality and totality
'Train in the way that suits you best and work for a totai training program.
TRAINING METHODS
Adjust the weights you use according to your objectives :
. To foster muscular strength, pull or lift up as fast as possible and use a weight
that rs one-third as heavy as your maximum muscular strength.
. To foster power, use a.weight that is about two-thirds as heavy as your maxi-
mum muscular strength and that you can lift from 8 to 1O times.
21O Training
Diagonal pull-up
Training without Equipment

STRENGTHENING THE UPPER BODY
PUSH-uPS: Bend your elbows all the way down and straighten them up. push-
ups don't take much space and are representative. supplementary exercises which
anyone can do.
4. Conduct push-ups with one hand.
L Put a load on your back.
C. Keep your feet high.
D- Push up into the air and do a handclap.
DIAGoNAL PULL-uPS: clasp hands with your partner and pull up with your
arms to raise your upper body.
Training without Equipment 211

STRENGTHENING THE STOMACH (sit-ups)
Lie on your back and raise your upper body.
A. Fix your knees and the lower parts of your legs so that they do not move.
8. Place your feet on your partner's shoulders.
C. Place weight on both of your shoulders.
212 Training
Running carrY
STRENGTHENING THE BACK AND LEGS

RUNNING CARRY: Hold your partner. lean back, and run an appropriate
dista nce.
UPPER BODY BEND
A. From a standing position,clasp your partner and, with your back still straight.
bend your upper body backward.
B. Lie with your face down and let your partner hold your lower legs. Then
lift up your upper body.
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Side hurdling
Squat
Sl DE H U RDLI NG . Leap over your partner, who is lying flat. Don't stop between
jumps. For one set. do about 20 back-and-forth leaps.
SOUAT: Let your partner ride on your shoulders as you squat and stand up.
Keep your back straight. This exercise creates a solid foundation for seoi nage and
other throws using both feet.
214 Training
s
STRENGTHENTNG THE BODY AND FOSTERTNG SPEED (leap-frog)

Leap over your partner from behind; then reverse your direction swiftly and crawl
back through his legs. Perform this exercise without stopping for about 15 times to
make one set.
STRENGTHENING THE NECK (neck press)
Let your partner push on your head with enough power to bend your neck down.
Lower your neck while supporting the power pushing down and then raise your
neck to press the pushing hand upward.
A- The push comes from behind.
B. The push comes from the side (alternate right and left).
C. The push comes from the front.
Bench press
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Back press
Training with Equipment

STRENGTHENING THE UPPER BODY
BENCH PRESS. The bench press is one of the most representative
exercises for strengthening the muscles. The goal is to train so that you
are capable of liftrng at least your own body weight.
l. Lie on a bench. Grip the barbell with your hands about the width
of.your shoulders apart and place it on your chest.
2. Press it straight upward.
BACK PRESS: Sit down on a bench and, without using your legs,
press up the barbell from behind your neck.
/. Place the barbell behind your neck.
2. Press it up straight over your head. Keep your back straight. lv
DUMBBELL PRESS: Raise the dumbbell alternately. This exercise
ts good for strengthening your tsurrte.
7. Hold the dumbbells wrth both hands next to your shoulders.
2. Straighten one arm and press the dumbbell over your head.
3. Let the dumbbell down as you press up the other dumbbell.
Repeat this exercise, alternating arms. aj::::tiial i r i-t:;:
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Dumbbell press
216 Training
CHEST AND WAIST PULLS: Conducred with great speed. ch.est and waist
pulls will strengthen the "pull" and "push" which are so important in judo. This
is a power training method that has great application in actual judo combat.
4. Pull with one hand. Use your entire body
B. Pull with both hands. Alternate good hikite and tsurite combinations.
C. Train your tsurlte.
#
Barbell curl
Dumbbell curl
Upright rowrng
BARBELL CURL: Train by curling a barbell up to shoulder level.

/. Stand up while gripping the barbell with your palms faclng front.
2. Keep your elbows close to your side and curl the barbell up to shoulder level.
DUIV4BBELL CURL: Alternating hands. curlthe dumbbells up to shoulder level.
/. Hold the dumbbells in both hands.
2. Curl up one dumbbell to the level of your shoulder.
3, 4. As you lower one dumbbell. raise the other.
UPRIGHT ROWING: Hoist a barbell to the level of your shoulders. This
strengthens the power of Ihe hikite.
/. Stand up while holding the barbell squarely with your hands together.
2. Hoist the barbell swiftly in one stroke up to the level of your shoulder. At this
point, your bent elbows are at ear level.
218 Training
t{,
Bent-over rowing Arm pull-over
BENT-OVER ROWING : Bend your upper body forward with your back straight
and lift the barbell to your stomach and chest. This exercise will strengthen your
pulling power and will also help develop the muscles all overyour body.
/. Bend your upper body forward and grasp the barbell.
2, 3. With your back straight, pull up the barbell to your stomach and chest.
ARIVI PULL-OVER: Lie on your back on a bench. Lower the barbell over your
shoulders to the back of your head and then raise it up again. There are two ways of
doing this exercise-while bending the arms and while keeping them straight.
l. Lie on your back on a bench and hold the barbell overyour chest with both
ha nds.
2.3.Lifl the barbell around your shoulders and lower it behind your head in a
half-circle motion. Then raise and return the barbell to its former position.

Bench leg raise
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STRENGTHENING THE STOMACH (bench leg raise)

Hold a medicine ball between your feet and lrft it up. Do the exercise without a
medicine ball until you have gotten used to the movement. Thrs exercise is good for
strengthening your stomach muscles and also provides effective training for nage-
waza and katamewaza.
L Lie on a bench with Vour legs hanging off the end. Hold a medicine ball with
both of your feet and grip the edges of the bench firmly with both hands
2, 3. Wi]iln your legs extended straight out, raise them up (together with the
medicine ball) until they are vertical.
STRENGTHENING THE BACK AND LEGS
DEAD LIFT: Raise your upper body while holding the barbell.
/. Spread your feet and bend your knees to grasp the barbell.
2. While raising your upper body. straighten your knees.
3. Lean backward.
22O Training
a:
Ball toss
A Full squat
o
B Half squat
BALL TOSS: You need two partners The one who throws the b: --- ,
to the catcher's left, right, and middle. Use a light ball at first and grac--= - . :
to heavier ones. Vary the speed of the throw.
l. Lie face down on a bench with your upper body extending -,:' -: .:
Have one partner hold your legs firmly.
2. The partner facing you throws the ball.
3. Catch the ball and throw it back to your partner. (Don't let t-= :' '.
f loor.)
SOUAT: With the barbell on your shoulders, squat and rise -: - -:
have strong legs and hip muscles as well as good bane (spring) S : -,-: r, "
the best methods for developing these qualities. They also prov::= .- - " i i" :
seoi nage and tsurikomi goshi.
4. Full squat: Spread your legs a shoulder-width apart ar: : -' i 'i td
your shoulders. With your back straight. bend your knees arl :: -l- " il ur. ,'-
Then stand up.
B. Half squat:This is done like the full squat except the ki==. ''. . " :.i" ''
they form a 90' angle.
Train'; affT ::ltulrlltntnlfintruirrru ,W

Bench hurdle
n *
Flving split
Jumping squat
BENCH HURDLE: with your knees bent, jump over the bench from left to right
and vice versa. Gradually make the bench hrgher and increase the speed of the
JUmps.
/. Crouch down by the side of the bench.
2, 3. with both of your feet close together,
use the spring of your knees to jump
over the bench sideways.
FLYING SPLIr: Shoulder the barbell and jump up; then split the legs (one for-
ward and the other backward) as you come down and lower your hips. Alternate
your legs back and front. Using a light weight and doing the exercise speedily will
be most effective for increasing the power of your uchlmata and other leg tech-
niques as well as the power in your legs and hrps.
JUMPING souAT: Stand up with the barbell on your shoulders and take a big
jump forward. spread out your legs to the left and right and lower your hips as you
contact the floor.
222 Training
High clean and press
STRENGTHENING THE WHOLE BODY

HIGH CLEAN; Raise the barbell up to the height of your chest. Thjs is an
exercise for your whole body and strengthens the muscles of your arms, shoulders,
chest, back. and legs.
/. Straighten your back and bend your hips and knees. Grip the barbell with
your hands a shoulder-width apart.
2, 3. Straighten out your hips and knees to raise the barbell.
4. S"wing both elbows forward and upward and catch the barbell on your chest.
Keep your back straight.
HIGH CLEAN AND PRESS: Doa "high clean" andthen raisethebarbell over
your head.

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BALL TOSS: Toss a medicine ball with your partner back and forth. Stand at
some distance from your partner and use your entire body to throw the ball from
every conceivable angle-from below. from above, to the side. on a diagonal. and
so on. This exercise not only strengthens the whole body but also provides a period
of relaxation before and after judo training.
224 Training
Judo and I
I
I
lsao lnokuma (left) advising At the Tokai UniversitY judo club
Yasuhiro Yamashita.
Fighting Spirit lsao lnokuma

I started learning judo at the age of fifteen. intent on becoming another Sanshiro
Sugata, the great master of ludo who has been depicted in Japanese novels and
movies and on teJevision. Since then, I have spent my lrfe involved in ludo and have
learned many lessons from the sport.
I believe I can roughly divide my career as a judoist into three periods. The frrst
period sees me entering Riichiro Watanabe-sensei's dajo in the city of Yokosuka,
still a boy and intent on becoming a strong ludoist. The second period includes my
first participation in the All-Japan Judo Tournament. I broke the jinx that said a
newcomer would never win the tournament. and in so doing also established a
record as the youngest man ever to win the title of judo champion of Japan, This sec-
ond period also includes my winning the heavyweight-class judo championship in
the 1964 Tokyo Olympic Games and the open-division title in the Fourth World
Judo Tournament in 1965. The third period covers the days up to the present and
my work as an instructor developing promising young judoists. In each of these
three periods I have concentrated all of my efforts and enthusiasm on judo.
But when I was a child I was rather sickly and did not have much of a physique.
Also, I was not very agile or dexterous. The only weapon I had at my disposal. then,
was a fighting spirit-a spirit which gave me the confidence that I would not be
defeated by anyone. And lthink it fair to say that it is this fighting spirit which
characterlzed my ludo throughout my career. I had good ippon seoi nage and tai
otoshi, but it was because of my frghting sprnt that these techniques proved effec-
tive against my opponents.
As a boy. as an active judoist, and as an instructor, I have experienced a great
many things, all of which I can hardly relate here. Based on my experiences. how-
ever, I will jot down some of my observations about judo.
228 Judo and I

6iltl'l::":t1" ;;'r'l:i'l'l!**i'$S$
Kaminaga vs. lnokuma. The ftnal match of the All-Japan Judo Tournament, 1959.
Never Give Up
Judo is a combative sport. lt is a martial art aimed at defeating your opponent.
Other purposes of ludo involve developing physical strength and mental spirit. But
when you are up against an opponent, you must never forget the combative aspect
of the sport. You fight against your opponent, throwing him down to the mat to
achieve victory. At the same time. you frght against yourself. lf you think your
opponent is stronger than you and get the jitters. or if you are in a drfficult position
and feel that you must give up. then it will be impossible for you to win You must
not give up the bout until the last second, no matter how strong your opponent
mayte. You must have a fightrng spirit which will urge you on to attack and attack
again to the very end. Frghting spirit. to put it simply. is the f irst thing a
judoist needs.
Of course, I cannot deny that you mav feel anxiety or uneasiness before a ftght.
Feelings like "l don't want to be beaten." "l just want to run away." or "l'm
frightened" are always felt to a certain degree. Also there is loneliness. But what is
important during these times is not to be afraid of loneliness, anxiety. or weal<ness
of the will but to overwheim these feelings with a fierce fighting spirit and confront
your opponent with your intention to defeat him.
I experienced such anxiety and overcame jt when I participated in my first All-
Japan Judo Tournament.
It was 1959. I was a senior at Tokyo University of Education and was unknown
as a judoist. Furthermore. lwas the smallest man in the tournament, weighing only
B3 kilograms and standing 173 centimeters tall. As I mentioned, there was a belief
that no newcomer could ever win the tournament. My opponent in my first pre-
lrminary bout was Yuzo Oda. a giant of a man-l 93 centimeters tall and weighing
100 krlograms. Because Oda had been touted as a sure winner of the tournament.
no one believed I had any chance of beating him.
Before I fought Oda I was deep in thought for a long time. After considering it
over and over, I decided that the best strategy would be to launch an attack against
oda trme and time again. relentlessly. My idea was to "do or die." and I hoped to
discover a way to win by hammering away on the offensive, as is suggested in the
old Japanese saying. "Attacking is the best defense."
Fighting Spirit 229
Yasuhiro Yamashita on his way to defeating Turin at the Jigoro Kano Cup Tournament, 1978.
ln order to carry out this strategy it was necessary for me to have the stamina to
continue my attacks, as well as the frghting spirit that would enable me to generate
such stamina. By nature. I disliked being beaten bythe otherfellow. and since I had
built up my stamina during practice sessions, lattacked oda without fear. As a
result, my strategy proved successful. and after fighting for the full time I won the
bout with yusei gachl (judge's decision). This was a very important victory for me
and signified the first step toward the maturation of my judo. Also, from this victory,
my confidence increased considerably in regard to my notion that one must always
go on the offensive in judo.
After winning my first bout wrth Oda, I won all my other matches up to the finals.
And by defeating my opponent in the finals my confidence in my judo increased
even more. My opponent here was Akio Kaminaga, another man thought to have a
good chance of winning the tournament. He, too, had won all of his matches up to
the finals.
By the time of my bout with Kaminaga, all of my stamina was depleted and I was
resting in a very exhausted state in the dressing room, muttering words to the effect
that I couldn't possibly win. Hearing these words, watanabe-sensei scolded me
sharply Encouraged by his scolding. I went up to the yudo arena. My match with
Kaminaga proceeded with him in a superior position, but about one minute before
the end the big clock in the arena caught my eye as I returned to the mat.
I thought to myself, I must beat him with my favorite ippon seoi nage before lhe
time is up. As soon as I grabbed hold of Kaminaga, I pushed him backward to get
him into position. Up to then. Kaminaga had thwarted all such attempts of mine.
But this time, when I pushed hrm backward, he moved forward together with
my push ; taking advantage of this, I made the throw. The hall was in an uproar, and
after several moments the chief referee declared my seoi nage a waza ari (half point).
Thus I had managed to come from behrnd to win the trtle of the All-Japan Judo
Tournament.
My victory was the result of my never giving up the match until the very end.
There are some judoists who are quite strong during practice sessions but who fail
to live up to their expectations in competition. There are also judoists who in a
230 Judo and I
The author throwing Yoshizawa with ippon seoi nage at the Al/-Japan Judo Tournament' / 960'
match are unable to execute the techniques thatthey are actually in full possession
of. The problems here lie in the attitudes of these men before the fights begin :They
defeat themselves before they enter the judo arena. Only by using all your energy
and spirit until the very last can you win a bout. I become more certain of this each
time I watch Yasuhiro Yamashita.
Yamashita is one of my prot6g6s. He is also the one who broke my record as the
youngest judoist to win the All-Japan Judo Tournament. Yamashita is not only a
big man, but also a fighter who likes to train very hard. During theJigoro Kano Cup
lnternational Judo Tournament held at the Nippon Budokan (Tokyo) in November
1978, Yamashita exhibited fully a fighting spirit that simply overwhelmed his
opponents on his way to winning the open-class title. The open-class bouts were
held on the fourth and last day of the tournament. Aside from Yamashita, those
participating were Novikov of the Soviet Union, winner of the open-class title in
the Montreal Olympics, Rouge (France), Adler (the Netherlands). and othertop-
flight ludoists of the world.
ln his second bout, Yamashita met the big Russian Turin. Yamashita had a hard
time getting his techniques to work because Turin continued to take strong
defensive positions. Yamashita was taken for a koka (two steps below a waza ari)
w,hen Turin countered with a technique after Yamashita had attacked. The specta-
tors in the hall gasped when the kokaw2s proclaimed, and everyone thoughtthat
the seemingly invincible Yamashita would go down to defeat. But Yamashita redou-
bled his attacks against Turin. who maintained his defense with his long arms.
Several seconds before the match was over, Yamashita unleashed o-uchi gari to
pick up a yuko (between koka and waza ari) and a victory.
During the finals, Yamashita met Rouge of France. and although the techniques
of the two men were ineffective, it was clear that Yamashita was the more aggressive
and that the bout was in his favor. Yet Yamashita continued his relentless attack
against Rouge and just before the end of the match he caught him with o-soto gart
to gain a yuko and the trtle as well. lt was a brilliant strategy on the part of Yamashita.
The spirit of a combative sport is that one does not give up until the very end and
keeps up a relentless attack against the opponent. Always take a bold, forward
Fighting Spirit 231

Defeating Muto with tai otoshi at the All-Japan Judo Tournament, 7 960.
posture and sweep away your fears. No matter what the situation may be. as long
as you have a fighting spirit and the desire to win you will always discover a way to
victory.
Build up Your Body and Your Techniques

You may have fighting spirit. but if you don't combrne it with excellent techniques
you can't win a bout. lt is often said that shrn-gi-tai (spirit, skill, and power) is
necessary to win in judo. You have to train hard so that these three elements will be
in harmony with each other when you face your opponent in the judo arena. Hard
training will not only dispose of your anxieties, but it will also create physical
strength and fighting spirit, thus enabling you to fight with everything you have.
I have often noted when viewing international judo tournaments in recent years
that Japanese judoists are inferior to their foreign counterparts in basic physrcal
powers and, as a result. lose their bouts without being able to apply their techniques
to the fullest. There is a saying which gets to the heart of judo . Ju yoku go o seisu
(Softness overcomes hardness). There are some who. hearing this. believe that
even without strength they can defeat their opponents. But this is false. How can a
man who has not trained diligently or who has not built up his physical strength
defeat his opponent ? Adages like "softness overcomes hardness" or "A small man
can defeat a big man" only apply when your basic physical powers are on a par
with the opponent's; in such a situation. power is not the issue, and it is here that
we first glimpse the importance of the smooth working of shrn-gr-tai in a match.
It is my opinion that the techniques of Japanese judoists today are more varied
and on a higher level than those of their foreign counterparts. But in order for these
techniques to be truly effective, Japanese judoists have to develop basic physical
powers that are in no way inferior to anyone else's.
Many forergn judoists on the scene today possess not only excellent basic physi-
cal powers but also strong techniques that have overwhelmed their Japanese
opponents time and time again. Among the foreign judoists with brrlliantshin-gi-
taiareLhe Soviet Union's Nevzorov. the victor in the light-middleweight class in
the Montreal Olympics, Dvoinikov of the Soviet Union, who was runnerup in the
232 Judo and I

.*Ftu i.,1'r}:ffiry-f?:"::-tri:-11j11"
- -: :.-1"1,-x" 1i e1..14
Winning with ippon seoi nage against Hasegawa at the All-Japan Judo Tournament. 1963
middleweight divisron at the same Olympics, and Lorentz of East Germany, who
won the 95-kilograms-and-under class in the Jigoro Kano Cup lnternational Judo
Tournament held in Tokyo in 1978.
Because lwas small physically, ltook up weighttraining during my boyhood in
order to overcome this handicap and strengthen my body. With my new power,
and in combination with my favorite techniques-seoi nage and tai oroshr-l built
up my own judo. I believe that a small man like me was able to beat bigger men
because lwas able to back up my favorite techniques with basic physical power.
A judoist's strongest and best techniques become his weapons during a contest.
Being strong. the more authority in their execution the more effective the result.
But it takes a long time and some very hard practice to develop techniques that you
can truly call your own. My favorite techniques were seoi nage and tal otoshi. Both
involve heaving up the opponent from below. I learned them from Watanabe-sensei.
who often used to tell me that if a small man is to defeat a big man. the small man
must practice and master katsugiwaza, or carrying techniques.
I was never one for exhibiting brilliant judo techniques. But as far as my rppon
seoi nage was concerned, lwas always sure lcould bring down my opponent, no
matter who he was or what the situation, as long as I caught him in exactly the posi-
tion I wanted him.
Power, speed, and stamina are going to be particularly important in judo from
now on. Becoming able to win a judo match will involve adding basic physical
training to your daily practice to develop these qualities as well as working to
master techniques of devastating effectiveness.
Don't Stop Learning

Let us saythatyou have mastered a certain technique and are meeting an opponent.
lf you depend only on your favorite technique, the time will surely come when it
will not work and you will find it difficult to win. This is because your opponent has
thoroughly studied your technique as well as the flow of your matches and has
devised countermeasures to neutralize you.
During the All-Japan Judo Tournament held in i 959, I concentrated on seoi nage
Fighting Spirit 233

AXacking Sakaguchi with ippon seoi nage at the All-Japan Judo Tournament, / 963.
to win, but in the championship of the following year I tasted a bitter defeat. The
reason for this is that my opponents had studied my seoi nage lhoroughly and were
on their guard from the very start. I managed to win up to the finals by virtue of my
determination, but in my bout with Akio Kaminaga, the man I had defeated the
previous year. all my seoi nage were thwarted and I ended up in defeat. This
showed me that you can't win by always fighting with the same pattern of attack.
technique. and strategy. ln order to win and continue winning, you must study and
work much harder than your opponent.
I realized then and there that I must perfect a technique other than seoi nage.
This was to be rai otoshi. Unlike in seoi nage, in tal otoshiyou do not throw your
opponent directly in front of you but twist your body a little to the side. You have to
unbalance the opponent with good timing first. ln seoi nage, there is the fear that
your opponent maythwartyou by hugging you and then countering with his own
technique. But in rai otoshithis fear is slight. I thought that if I perfected tai otoshi
and mixed it with seoi nage I could execute either one of them as the occasion
demanded and keep the opponent from knowing which one I planned to use. As a
result, the opponent would not know how to best guard himself against me.
Naturally I worked al o-uchi gari and ko-uchigari strenuously until they also be-
came techniques I could use. By using these leg techniques to get the opponent off-
balance. I established several attack patterns that could lead into seoi nage or tai
otoshi.
I also practiced my mat techniques very hard. My goal was to execute them
quickly in combination with my standing techniques to ensure victory. By studying
and strengthening my work on the mat. I managed to eliminate the anxiety I had
felt about it and could thus carry out my standing techniques boldly and without
any apprehension.
ln 1961 I hurt my hip and had to spend some time recovering from the injury.
When I got well, I practiced mat techniques diligently. As a result, I succeeded in
winning the All-Judo Tournament for the second time in 1963.
My strategy in the tournament was to concentrate on mat techniques after ex-
ecuting a standing technique. Also, when the opponent attempted a technique, I
234 Judo and I

Sending Kaseya to the mat wrth ippon seoi nage at the 1964 Tokyo Olympics.
would counter him and drag him down on the mat so that I could grapple with him
there. Because lwas confident in my mat techniques and because lwas sure that
I could fight on a par with my opponent even if I was the one thrown down to the
mat, I was able to attack with my favorite seoi nage purposefully and without fear.
I always studied my opponents far in advance, and when an opponent was bigger
than me I would hold him so that his eyes would be at the same level as mine. The
results of my study bore fruit in the frrst lnternational Judo Tournament held in
Moscow in March 1961 when lfought Kiknadze of the Soviet Union.
This tournament was kind of a preliminary to the soon-to-come Tokyo Olympics
of 1964, when judo was to be included in the competition for the first time. The
tournament was also a good opportun ity for me to see wheth er my tai otoshiwou ld
be effective against foreign judorsts. The favorites in the tournament were Kiknadze
and myself. Kiknadze was an enormous man, capable of firing an automatic rifle
with only one hand or lifting me clear up off the ground. I met him twice. once in the
preliminary league and once in the finals. ln the preliminaries ldefeated Kiknadze
in a matter of 30 secondswith rppon seoi nage, I couldn't have been more astounded
at the victory. However. Kiknadze managed to win all of his other bouts and I had
to confront him again in the finals. lt seemed that he had been studying my rppon
seoi nage, for when I pushed him backward, he would not push back at me. He
would rnstead block the movement of my right hand with his left hand. I got pretty
flustered and, breaking my customary rhythm. I attempted ippon seoi nage Just as
Kiknadze was stepping back. He seemed to have been waiting for just thrs oppor-
tunity, because he hugged me tightly and executed a strong back throw. lt was
judged a waza ari.
You can imagine my drsappointment. I was bound to lose if I did not make use of
everything I had been studying up till then. ldecided to attack wrth a mixture of
seoi nage and tai otoshi. This proved effective. After five minutes, I attempted a
seoi nage in the same pattern as before, and, lrke the previous time, Klknadze tried to
hug me. I took this opportunrty to lower my body and switched Lo tai otoshi.
Kiknadze fell to the mat from his right hip down. lt was a waza ari. We were now
equal. Kiknadze put caution to the wind and came forward voluntarily. He was in a
Fighting Spirit 235

l
tI
B
Iil
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ri
t,
i
l
tl
dr
'l
Receiving the gold medal at the award ceremonies of the / 964 Tokyo Olymprcs.
positiontobecaughtwithmyseoinage, butthistimelfaked seoi nage andchanged

lo tai otoshi.ltwas a perfect rppon.lf I had notstudied taiotoshilwould probably
have lost to Kiknadze in this bout.
In judo you will meet many kinds of opponents. The types of techniques they use
are also very different, depending on their physiques. ln order to continue winning
against such a wide variety of opponents you must study and train harder than they
do. A person who engages in the same type of training every day, who fights the
same types of contest every day. and who loses in the same way every day will
never be able to develop a winning pattern. I hope everyone who reads this essay
will keep this in mind.
Use Your Judo in Your Daily Life

ln the Tokyo Olympics held in October 1964. I won the heavyweight title. The
following year lwon the open-class title at the Fourth World Judo Tournament held
in Brazil to end my career as an active judoist. I am now retired from competition.
While lam concentrating on developing promising young judoists. lam also trying
to lead a life that shows how the spirit of judo can be brought into one's daily
behavior. I am trying to apply to society the same judo spirit that I acquired during
my years of training. My attitude at my place of work is the same as that when I was
practicing al a dojo or was engaged in contests in the arena. I am putting all
my enthusiasm and fighting spirit into my current work and keeping up my studies.
Judo is not a sportto be engaged in only allhe dojo.
Jigoro Kano-sensei trained on the principle that one can attain his objective by
getting both his spirit and body to work together productively. And he said that
one of the major objectives of ludo training was to become able to apply this
principle to all aspects of life in society. With "frghting spirit" as my motto, I am
even now, in lhe dolo that is society, drawing from my past ludo experience to
pursue my studies further. "Fighting spirit" judo is. for rre, a life-long endeavor.
236 Judo and I

l::::S!;;
Nobuvuki Sato applving sankaku tojrme to Kaneko at the All-Japan Judo Tournament, 7 975
Never Say Die ! Nobuyuki Sato

One encounters many things in life, and from these encounters one learns a great
deal as one grows into adulthood. As I reminisce about my past, lcannot help but
be struck by the wonderful people I have met. the good teachers I have had. and
the good friends I have made. lthink I have led a very happy life and am thankfulfor
it.
What I am today is all due to my brother Nobuhiro, who is four years older than
me. He and lwalked virtuallythe same path from kindergarten to college, and after
finishing school. we continued along the same course. teaching judo at Tokai
University. For me, Nobuhiro was my goal. He was everything. When he was in
senior high school he started practicing judo in earnest. I saw how diligently he
worked and made up mind then and there to follow in his footsteps and become as
strong as he was. This was my motive for starting to learn judo.
My father and mother also were deeply interested in and understood the im-
portance of physical education. My father was a professor of physical education
(track and field) at Hokkaido University of Arts and Sciences, while my mother had
been a swimming star during her high school days.
My start in judo was a good one. While my brother had not had a teacher, I began
judo at an earlier age than he did and had him to serve as my guide. And he guided
me well. When I was in the third year of junior high school. Nobuhiro was attending
Tokyo University of Education and was a member of its judo club. During school
vacations, he used to return to Hokkaido and teach me judo. He also passed on a
lot of information about the judo circles in Tokyo. You can imagine how eager I was
to learn what was going on there, the center of the ludo world, and how stimulated
I was by what I heard. when the vacation ended and my brother had to return to
school in Tokyo, he always gave me some work to be completed by the time he
Never Say Die | 237

Holding K. Sato in kuzure kami shiho gatame at the All-Japan Judo Tournament, /968
returned to Hokkaido on his next vacation. lf there was anything about judb I didn't
understand, I would write to him and he would send me his answer.
When lenteredthe Hakodate Chubu Senior High Schoolin Hokkaido, mybiggest
goal was to become high school champion of the whole of Hokkaido. During my
lunior high school days, I had not participated in any judo tournament outside the
school because we did not have any judo instructor. I did not know how much
ability I had since my only opponents had been my classmates. My brother, who
saw in me the talents and abilities of a future judoist, drew up a list of things for me
to accomplish while lwas in high school. lwas to become afirstdan (grade) by
the summer of my freshman year, to become second dan by the summer of my
junior year, and to become the judo champion of all of Hokkaido's high schools in
my senior year, This was a schedule my brother himself had dreamed of following
but had not been able to. My brother was always boasting to others that I would
someday become a judo champion, and I lived up to his expectations when I
finally did become the judo champion of all the high schools in Hokkaido in my
senior year.
lwas never first in sports or scholarships during my elementary and junior high
school days. There was always someone who was better than me no matter what
I did. And since I had a very strong will to win, my position as less than best was
hard to tolerate. When I became the high school judo champion of Hokkaido.
however, I realized that if I had the will I could succeed in anything lwanted to. I
was brimming with confrdence : number one in my high school. then in the city of
Hakodate. then in all of Hokkaido. I devoted myself to training more and more.
ln this same senior year in high school, the first individual judo tournament was
held in commemoration of the Tenth lnter-High School Judo Tournament.
Although my school was defeated in the school competition, lcaptured the in-
dividual championship and, as a result, qualified to participate in the AII-Japan
StudentJudoTournament. lwas confidentthat lwould make a good showing, but
during the preliminary league tournament I lost in the drawing of lots. After that I
participated in the National Athletic Tournament, but this time also I lost in the
drawings in my second bout. I had lost twice, but I was still confident that I could
238 Judo and I

Taking down Ueno with o-soto gari at the All-Japan Judo Tournament, /g68.
1
make a good showing in Tokyo, and my yearning to go there to improve my

techniques became stronger each day.
My high school was known for turning out many students who were able to pass
the grueling entrance exams to universities, and the pressure of study left the
school's judo club in great need of members. The manager of the club was Seiichiro
Misawa-sensei. His motto was Shinken naru doryoku (Do your utmost) . He used
to tell us judo club members that, as long as we practiced judo seriously, short
periods of practice would be sufficient and we would be able to mix sports with our
studies. He also noted that physical power was one prerequisite for passing
entrance exams. Together with Misawa-sensei, we used to roam the school to
solicit new members for our judo club. This is one of the fondest memories I have of
my high school days.
Like my brother, who graduated that year, I entered Tokyo University of Educa-
tion and became a member of the judo club. My first goal was to become a regular
member of the club, that is, to qualify to participate in judo tournaments as a regular
member of the school team. Another target was to be able to participate in the All-
Japan Judo Tournament while I was still a student.
The manager of the judo club at that time was lsao lnokuma-sensei. when I was
in my sophomore year in college, he won the All-Japan Judo Tournament for the
second rirne, and in the following year he took the heavyweight championship in
the Tokyo Olympics. He was at the peak of his career. Having the opportunity to
trarn with lnokuma-sensei, I put my whole body and soul into judo. practice was
severe beyond words. I was thrown down on the mat so violently so many times
that lthoughtforsure lwould neversurvive. Nevertheless. lcharged into lnokuma-
sensei with a ferocious vigor. By practicing with him and by watching the contests
rn which he participated, I came to know his brand of judo. which overflowed with
vitality. But at the same time I felt privileged to have lnokuma-sensei as my in-
structor. I also felt that I must become as strong as he was.
I sprained my knee before entering college. and for three months after I became a
freshman I could not practice judo. ln my junior year I was laid up for several
months because of a herniated disc. Except for these two mishaps, I was lucky to
Never Say Die ! 239

On the mat with Endo rn the semifrnals of the All-Japan Judo Taurnament, 7974.
be able to practice regularly. ln high school. since the school was located in
Hokkaido and we had to study hard forthe college entrance exams. I had not had
much time for practice. but in college my life centered wholly on judo. There were
practices at the school. at the Kodokan. at the Tokyo Metropolitan Police Depart-
ment. "l want to become strong in judo" were the words that formed my every
th o ug ht.
I was told by lnokuma-sensei to foster a scientific eye toward judo. During our
school's practice session in Tottori. when lwas a freshman. I had the opportunity
to meet Mitsuo Kimura-sensei, who was famous for his sankaku jime and who had
been active during his college days as a brilliant judoist. Whenever Kimura-sensei
came to Tokyo, I would knock at his door and ask him to teach me his famous mat
techniques. I even went to Tottori to take lessons from him.
i started off in judo with my brother as my goal, and lfinally began to beat him
around the summer of my junior year in college when I grappled with him during
summer vacation. Also in my junror year. my father died and our family was faced
with a financial crisis. But my mother and brother provided me with enough funds
to enable me to continue my judo training without having to take a side job. I would
be in a different position today were it not for the help they gave me.
When lwas a senior, lqualified to participate in theAll-Japan JudoTournament
and this gave me immense satisfaction, for it fulfrlled one of my greatest hopes.
Upon graduation from college, I planned to teach at a senror high school in my
native Hakodate. But after an excellent showing at the All-Japan Judo Tourna-
ment. I made up my mind to win the tournament sometime in the future and decided
to stay in Tokyo where there were many tough training partners.
Under these circumstances, lwas employed by Hakuhodo. a public relations
company that had a strong judo team and that was then emerging as a potential
contender for the judo championship among the Japanese business firms. The
manager of Hakuhodo's judo club was Kazunari Onda-sensei, an earlier graduate of
my own alma mater. Onda-sensei was a mathematician whose way of thinking was
theoretical and unique. He studied and analyzed in great detail each judo technique
and all kinds of combination plays, combat strategies. and control methods, and
24O Judo and I

Bringing down Ninomiya for the champronshrp of the All-Japan Judo Tournament, /974.
then conveyed to us what he had observed. He also taught us how to conduct

ourselves as members of Society and created an atmosphere where we could
practice judo to our hearts'content even while we were employed by a company.
At Hakuhodo I put all my energy into ludo, and it was in August 1966 that I was
finally recognized as a first-class judoist by virtue of my participation in the heavy-
weight championship bout in the First Weight-Classified Judo Tournament. ln my
first match, ldefeated the veteran Koga with kuzure kami shrho gatame. ln the
semifinals I beat the giant Sakaguchi with the same technique. But in thefinals I
was beaten by a slight margin by Matsunaga, the All-Japan champion of 1966. I
was the runner-up in the tournament, but I found out that I could do equal battle
with top-ranking judoists and that my techniques were not inferior to theirs. As a
result of this tournament. not only I but others as well began to think I had a chance
of capturing the All-Japan championship.
ln the fall of 1966, I was selected as a judo representative of Tokyo for the
National Athletic Tournament held in Oita. I won every bout I had with first-ciass
opponents and became more and more confident of winning the All-Japan crown.
During the All-Japan Judo Tournament held the following year (1967) lwon
every one of my bouts and met lsao Okano ln the finals. Okano defeated me by
getting awaza ari forhis ipponseoi nage.llwasagreatdisappointmenttoloseto
an oppon4nt who was smaller than me.
That summer I participated in the Fifth World Judo Tournament held at Salt Lake
City and won frrst honors in the class of 93 kilograms and under. ln the 1968 AII-
Japan Judo Tournament, everyone thought that Okano and I would fight for the
championship, but, regrettably, Matsuzaka defeated me in the semifinals by
ko-mata sukui. ln the All-Japan Weight Classified Tournament, however, I entered
the heavyweight class and managed to win the title.
ln January, 1969, I left Hakuhodo and was employed by Tokai University as a
judo instructor. I had always wanted to become a teacher, and though I had
attended a government-supported school, I was impressed by the vitality of private
universities. Tokai had established a new martial arts department that focused on
judo, and I was attracted by the opportunity to try to help build up the judo club
Never Say Die ! 241

Receiving congratulations from shigeyoshi Matsumae, president of rokai IJniversity.
from practically nothing into one of the foremost in Japan. I did not hesitate for a
moment, then, when lnokuma-sensei. my senior and teacher, invited me to take the
post as instructor of judo at the university. Of course, I had every intention of
continuing my career as an active judoist.
After joining the staff of Tokai University. I set up two targets-to win the All-
Japan Judo Tournament and to make Tokai University's judo team the champion
of all university teams in Japan. With strong support from Tokai President Matsu-
mae. lnokuma-sensei, and other teachers and colleagues, I pursued these objectives
with all the energy I had.
lwas defeated in the preliminaries of the 1969 All-Japan Judo Tournament, and
in 1970 all I could do was finish among the best eight. ln 1971 I was the runner-up
and in 1912, lhird. I placed among the best sixteen in the 1973 tournament. But
I just couldn't seem to win it.
ln the meantime my other achievements were;third place in the 1969 World Judo
Tournament (all-weight class), winner of the 93-kilogram class in the 1971 All-
Japan Weight-Classified Judo Tournament, second place in the 1971 World Judo
Tournament (93-kilogram class), and champion of the 93-kilogram class in the 1 973
World Judo Tournament. But no All-Japan championship ! lt was stilljust a dream.
and I thought about it day and nrght. Frankly, I was in a rather unbalanced state of
mind. One voice told me I simply did not have the ability to win, while another
told me to continue my efforts and wait until the following year.
For the 1 974 All-J apan J udo Tournament. my condrtion was the worst it had been
since 1967. ln January of 1914 I caught a cold which nearly developed into
pneumonia, wrecking my condition. My training, both in amount and quality, had
been very poor. and my physical powers had greatly deteriorated. I made up my
mind that, win or lose, '1974 would see my last participation in the All-Japan Judo
Tournament. Others were also thinking the same thrng. Therefore, I told myself that
I would do battle in each bout as if it were the very last one I would engage in. lt
was the first trme that I told myself it would be my last tournament. I don't know
whether this determination had anything to do with the results, but at Iast lman-
aged to win.
242 Judo and I

Winning the championship of the European Sambo Tournament, 1972
Afterward. ltold myself that abtlity alone cannot win a tournament, Destiny
also plays a big role in ludo.
My advice, from my own experience, is not to give up. "lf you set up a target,
strive to accomplish it no matterwhat happens. Destiny will surely be on your side
some day." These are the words made famous by Jigoro Kano-sensei.
Untiring Efforts Make the Man

During thetime lwas actively participating in judo competitions, no one ever told
me I had the talents or abilities of a judoist or that I had any sense of judo. Judo,
I
think, is a matter of all-around power, and this holds true for any other sport.
Though your feeling for judo may not be the best, you can overtake an opponent
with good judo sense by practicing twice or three tjmes as hard as he does. The
important thing is to be in possession of a fighting spirit, a never-say-die spirit.I
believe that a person in possession of such a spirit and who also has good techniques
and physical power will in the end emerge the victor. Making untiring efforts toward
the accomplishment of a goal and developing a fighting spirit, I believe, also
demand a kind of talent.
While I was still competing, I made up my mrnd to study various other sports and
to do things others didn't in an attempt to adopt new ideas rnto my judo. One of
the sports I studied was wrestling. From December 1966 to January 1967 I worked
with a group of wrestlers training for the Olympics. Dur:ing the practice sessions I
studied holds and the development of basic physical power and was able to make
use of what I learned in my own judo. Also from 1966. I began studying Russian
sambo jn earnest. ln comparing sambo with judo, I found out that. on the whole,
judo techniques were on a higher level. But I also discovered that Ihe ura nage and
iuji gatame used tn sambo were considerably more powerful and effective than
those in judo. Another thing I noted was that because the stance in sambo is wide,
the samboist is vulnerable to forward-and-back combination techniques, particu-
larly to those like tai otosht, ko-uchi gari. and o-uchi garl. Thus I was able to take
advantage of the weak points of Russian judoists when I metthem in contests. As
the saying goes, to know your enemy and to know yourself is the way to victory.
Never Say Die ! 243

On the way to the ltght-heavyweight title of the Bth World Judo Tournament, /973
I took up weight training on the advice of lnokuma-sensei during my student

days. This proved of great value later and made it possible for me to build up a body
with strong muscles. Furthermore, on the advice of my father, who told me that
running was the basis of all sports, I ran whenever I had the time. I continued weight
training and running to the last day lwas in active competition.
I am often called " newaza SaIo," and this is probably due to the characteristics of
my body-very supple but without much spring in it. An opponent I held dofrrn on
the mat would often say that it was Iike being pressed on by a glutinous hunk of
Japanese rice cake. Another reason. perhaps. which made me good in mat tech-
niques was that. during practice in cold Hokkaido. we often started out practicing
mat techniques first so that we wouldn't get hurt later.
But you can't win just with mat techniques. lt is my belief that you must be able
to win with standing techniques as well. After all, if you feel confident about your
work on the mat, you can execute a standing technique without fear of being coun-
tered, and your opponent. too, will hesitate to throw you down. Good mat tech-
niques will bring you many advantages in your bouts and will enable you to battle
your opponents without giving them any openings. But I advise you to master
standing techniques, too, difficult as this may be.
When I was a student, I favored left holds and used to grab my opponent by his
inner collar. However, this was not effective when lfought a very big man, so I
lowered my Ieft hand and heaved my opponent up from below. A beginner in judo
is often influenced greatly by his teacher, but when he runs into a problem and
doesn't know what to do. he has to find the solution himself and change his form
by his own willpower and efforts.
Fight Like There's No Tomorrow

Since 1969 I have been teaching judo with lnokuma-sensei at Tokai University. I
am very grateful to have the chance to teach the students of the judo club there and
to foster promising youths. Our school won the team honors in the All-Japan Stu-
dent Judo Tournament twice. and I have helped develop numerous students into
Judo champions. I have also had the opportunity to meet Yasuhiro Yamashita. one
244 Judo and I

As an instructor. watching his team. With Yasuhiro Yamashrta at ptacttce
of the most promising judoists in Japan today. All my hopes have been realized
since I started at the university, thanks to the organizational cooperation extended
to me by President Matsumae and other teachers. I would like to express my deep
gratitude to them.
As a teacher of judo, I hope that my students will always win. I hope they will al-
ways be confident of winning and will study the ways that they can win. ln contests
I want them to display all their power against their opponents. For this reason I urge
my students to fight each battle with all their energy and to express the spirit of
ichigo ichie, that is. wanting to fight perfectly each time for fear they wlll never have
a second chance.
But no matter how important tt is to win a bout, a judoist must realize that he is a
member of society. His period of competition is short compared to the time that
remains after his retirment. lf he learns the habit of makrng diligent efforts, develops
a never-say-die spirit, and adopts the attitude of ichigo tchie during his days as an
actrve judoist, he will be able to'put them to use when he becomes a full member
of society. He must never end up merely as some "winning machine."
I have made many friends through judo. and my colleagues will remain like
brothers to me no matter how many years elapse. The bond of our friendship has
grown strong because we have concentrated all our energy on everything we have
undertaken. As for my rivals in 1udo, because we gave our all in our bouts, lfeel a
certain type of friendship with them even today. I am no longer engaged in com-
petitive judo. but my colleagues as well as my past rivals and I are cooperating with
each other in various ways. I am confident that our friendships which were born
from judo will become stronger and stronger as the days pass.
Judo, which has been my way of life, is, among allthe Olympic events, the only
sport to have developed in Japan. Judo bears the mark of Japanese culture. and is
in fact a "sports culture" that Japan can take pride in. But there are numerous
problems, both in Japan and abroad, which must be solved in order to further spread
judo throughout the world. As a teacher of judo, it ls my intention to develop
promising judoists. At the same time. I intend to work on the various issues that
confront judo with a never-say-die spirit.
Never Say Die I 245

Appendix: Judo Records
I World Judo Championships Records
WEIGHT 1 ST PLACE 2ND PLACE 3RD PLACE
FIRST (Tokyo,1956)
N atsui Yoshimatsu Geesin k Courtine
Unclassif ied (J) (J) (Neth.) ( France)
SECOND (Tokyo. 1958)

Sone Kaminaga Yamashiki Pariset
Unclassif ied (J) (J) (J) ( Fra nce)
TH lR D ( Paris, 1 961 )
Geesi n k Sone Koga Kim
U nclassif ied (Neth.) (J) (J) /c Korea)
FOURTH (Rio de Janeiro, 1 965)

Matsuda Minatoya Stepanov Park
68 kg. and under (J) (J) ( USSR) (S. Korea)
Okano Yamanaka Kim Bregman

80 kg. and under (J (J) (S. Korea) (USA)
)
Geesink M atsu naga Sa kag uch i Rogers

Over 80 kg. (Neth.) (J) (J) ( Canada )
I nokuma Kibrosachwili S nijders Ki knadze

U nclassif ied (J) (USSR) (Neth.) (USSR)
FIFTH (Salt Lake City, 1967)

Shigeoka Matsuda Suslin Kim
63 kg. and under (J) (J) (USSR) (S. Korea)
M inatoya Park, S. Nakatani Park, C.

70 kg. and under (J) (S. Korea) (J) (S. Korea)
Maruki Poglajen Enju J acks

80 kg. and under (J) (Neth. ) (J) (Brit.)
Sato. N. Sato. O. Eugster Herrmann

93 kg. and under (J) (J) (Neth. ) (W. Ger.)
R uska Maejima M atsuza ka Ki knadze
Over 93 kg. (Neth. (J) (J) (USSR)
)
M atsu naga Glahn Shrnomaki Herrmann

U nclassif ied (J) (W. Ger (J) (W. Ger.)
)
SIXTH (Mexico City, 1969)

Sonoda. Y, Nomura Kim, C. Susl i n
63 kg. and under (J) (J) (S. Korea) (USSR)
Minatoya Kono Rudman n Kim. B.

70 kg. and under (J) (J) (USSR) (S. Korea)
Sonoda. l. Hiro Poklajen lp

80 kg. and under (J) (J) (Neth.) (S. Korea)
Sasahara Herrmann Kawabata Pokatajen
93 kg. and under (J) (W. Ger.) (J) (USSR)
Suma G lahn Matsu naga Onashwili

Over 93 kg. (J) (W. Ger.) (J) (USSR)
Shinomaki Ruska Sato Eugster

U nclassif ied (J) (Neth.) (J) (Neth.)
246 Appendix
WEIGHT 1 ST PLACE 2ND PLACE 3RD PLACE
SEVENTH (Ludwigshafen, 1971
63 kg. and under Kawaguchi Nomura Susllin Sam
(J) (J) (USSR) (S. Korea)
70 kg. and under Tsuzawa M i natoya Hoetger Zajkowski
(J) (J) (E. Ger.) (Po land )
80 kg. and under Fuyi i Sh igematsu Starbrook Auff ray

(J) (J) (Brit.) ( Fra nce )
Sasa hara Sato lshii Howiller

93 kg. and under
(J) (J) ( Brazil) (E. Ger.)
Over 93 kg. Ruska Glahn lwata Remf ry

( Neth. ) (W. Ger.) (J ) (Brit.)
Unclassif ied Shinomaki kusnezov Sekine Glahn

(J ) (USSR) (J ) (W Ger.)
EIGHTH (Lausanne, 1 973)
63 kg. and under Minami Kawaguchi R od rig uez Pilschela u ri
(J) (J) (Cuba) (USSR)
70 kg. and under Nomura Hoetger Yoshimura Novikov

(J) (E, Ger.) (J) (ussR)
Fujii Sonoda Rerter Loo k
80 kg. and under (J) (J) (Poland) (E. Ger)
93 kg. and under Sato U eg uchi Starbroo k Lorentz

(J) (J) ( Brir. ) (E. Ger,)
Taka kr N izha radze N ovi kov Remfry
Over 93 kg. (J) (USSR) (USSR) (Brit.)
Unclassif ied N inomiya Uemura Glahn Zuckschwerdl

(J) (J) (W Ger.) (E. Ger,)
NINTH (Vienna, 1975)
63 kg. and under Minami Kash iwaza ki Reissman Marrani
(J) (J) (E. Ger.) (ltaly)
70 kg. and under Nevzorov Dvoinikov Kuramoto Akimoto

(USSR) (USSR) (J) (J)
Fulii Hara Adamczyk Coche
80 kg. and under (J) (J) (Poland) ( France)
Rouge I shibashi H arshi ladze nov
Beta
93 kg. and under (J) (USSR)
( France) (USSR)
Over 93 kg. Endo Novikov Ta kaki Pak

(J ) (ussR) (J ) (N, Korea)
U nclassified Uemura N inomiya C hochoshvi I i Lorentz

(J) (J) (USSR) (8. Ger.)
Appendix 247
r
I
l
WEIGHT 1ST PLACE 2ND PLACE 3RD PLACE
ELEVENTH (Paris, 1 979)
60 Kg. and under Rey Jong Moriwaki Mariani
( France ) { Korea } (J) (ltaly)
65 Kg. and under Solodu kh in Delvingt Paiowski Sahara
( USSF ) ( France ) (Poland ) (J)
71 Kg. and under Katsuki Gamba Adams N amchalauri

(J) (ltaly) (uK) ( USSR)
78 Kg. and under Fujii fchoullouya n Hein ke Park
{J) I France) (E. Ger.) ( Korea )
86 Kg. and under Ultsch Sanch is Carmona Takahash i

(E. Ger.) ( Fra nce) (Brazil) {J)
95 Kg. and under Tkhubuluri Walle Numan N eureuther
(USSR) (Belgium) (Neth.) {W. Ger.)
Over 95 Kg. Yamashita Rouge Varga Kim
(J), ( France) ( Hungary) ( Korea )
U nclassif ied Endo Kuznetsov Rouge Kovacevic

1J) ( USSR) ( France) (Yugoslavia )
TWELFTH (Maastricht, 1981)

60 Kg. and under Moriwaki Petrikov Mariani Takahashi
(J) ( Czech .) {ltaly) ( Canada )
65 Kg. and under Kash iwazaki N iculae Ponomarev Hwang

{J) {Rumania ) {USSR) ( Korea )
71 Kg. and under Park Dyot Vu jevic Lehman

( Korea ) ( France ) (Yugoslavia ) (E. Ger.)
78 Kg. and under Adams Kase Petrov Doherty
(u. K. ) {J) (Bulgaria ) {Canada )
86 Kg. and under Tchou llouyan Nose Ultsch Bodavel i
( France) (J) {E. Ger. ) ( USSR )
95 Kg. and under Khubuluri Walle Ha Vachon

(USSR) (Belgium) ( Korea ) ( France)
Over 95 Kg. Yamashita Veritchev Kocman Salonen
(J) (USSR) (Czech. ) (Finland )
Unclassif ied Yamashita Reszko Walle Oszvar

1J) (Poland) {Belgium} ( Hungary)
THIRTEENTH (Moscow, 1 983)
60 Kg. and under Tletseri Bujko Hardguch i Stollberg
( USSR) { Hu ngary ) {J) (E. Ger.)
65 Kg. and under Solodukh in Matsuoka Pavlovski Rozati

(USSR) iJ) (Pola nd) (ltaly)
71 Kg. and under Na kan ish i Gamba Namgalauri Strahz

(J) (ltaly) {USSR) (W. Ger.)
78 Kg. and under H ikage Adams Khabareli Fratica
{J) (u. K. ) (USSR) (Rumania )
86 Kg. and under U ltsch . Canu Berland Nose

(E. Ger ) ( France) (USA) {J)
95 Kg. and under Preschel Divisen ko N eureuther Walle
{E. Ger.) (USSR) {W- Ger.) {Belg iu m )
Over 95 Kg. Yamashita Wilhelm Stohr Cioc

(J) {Neth ) (E. Ger.) (Rumania)
Unclassif ied Sa ito Kocman Ozsvar Walle

{J) ( Czech. ) (Hungary) (Belgium)
FOURTEENTH (Seoul, 19851
60 Kg, and under Hosokawa Jupke Khazret Bujko
(J) (W. Ger.) (USSR} (Hungary)
65 Kg. and under Sokoloy Lee Gawthorpe Matsuoka

(ussR) (Korea) (u.K.) (Jl
71 Kg. and under Ahn Swain Stranz Blach

(Korea) (USA) (W. Ger.) (Polandl
78 Kg. and under Hikage Denhmigen Adams Vladimir

(J) (E. Ger.) (u.K.) (USSR}
86 Kg. and under Seisebacher Petrov Pesniak Canu

(Austria) (Bulgarial (USSR) (France)
95 Kg. and under Sugai Ha Walle Neureuther

(Jl . (Korea) (Belgium) (W. Ger.)
Over 95 Kg. Cho Saito Grigory Zaprianov
(Korea) (J) (USSR} (Bulgarial
Unclassified Masaki Rashwan Wilhelm Biktashev

(J) (Egypt) (Neth. ) (USSR}
Appendix 249
f Olympic Judo Records
TOKYO (1964)
68 Kg. and under Nakatani Haenni Stepanov Bogolubov
(J) (Switz.) (USSB) (USSR)
80 Kg. and under Okano Hofmann Kim Bregman
(J) (W. Ger.) (S. Korea) (USA)
Over 80 Kg. lnokuma Rogers Kiknadze Chikviladze
(J) (Canada ) (USSR) (USSR)
Unclassified Geesink Kaminaga Glahn Brironovskis
(Neth. ) (J) (W. Ger.) (Australia)
MUNTCH (1972)
63 Kg. and under Kawaguchi Buidaa Mounier Kim
(J) (Mongolia) ( France) (Korea)
7O Kg. and under Nomura Zajkowski Novikov Hoetger
(J) (Poland) (USSR) (E. Ger.)
8O Kg. and under Sekine oh Coche Jacks
(J) (Korea) ( France) (u.K.)
93 Kg. and under Chochoshvili Starbrook Barth lshii
(USSR) (u.K.) (W. Ger.) (Brazil)
Over 93 Kg. Ruska Glahn Nishimura Onachvili
(Neth. ) (W. Ger.) (J) (USSR)
Unclassified Ruska Kusnezov Parisi Brondani
(Neth. ) (USSR) (u.K. ) (France)
MONTREAL {1976)
63 Kg. and under Rodriguez Chang Tunosik Mariani
(Cuba) (Korea) ( Hungary) (ltaly)
70 Kg. and under Nevzorov Kuramoto Vial Taraj
(USSR) (J) { Fra nce ) (Poland)
80 Kg. and under Sonoda Dvoinikov Obadov Park
(J) (USSR) (Yugoslavia ) (Korea)
93 Kg. and under Ninomiya Harshiladze Starbrook Roethlisberger
(J) (USSR) (u.K.) (Switz.)
Over 93 Kg. Novikov Neureuther Coage Endo
(USSR) (W. Ger.) (USA) (J)
Unclassified Uemura Remfry Chochoshvili Cho
(J) (u.K.) (USSR) (Korea)
MOSCOW {1980)
6O Kg. and under Rey Rodriguez Yemish Kincses
( France) (Cuba) (USSR) (Hungary)
65 Kg. and under Solodukhin Damdin Nedkov Pawlowski
(USSR) (Mongolia) (Bulgaria) (Poland)
71 Kg. and under Gamba Adams Lehmann Davaadalai
(ltaly) (u.K.) (E. Ger.) (Mongolia)
78 Kg. and under Khabareli Ferrer Heinke Tchoullouyan
(USSR) (Cuba) (E. Ger.) ( France)
86 Kg. and under Rdethlisberger Azcuy Ultsch Yatskevich
(Switz.) (Cuba) (E. Ger.) (USSR)
95 Kg. and under Walle Khubuluri Lorenz Numan
(Belgium) (USSR) (E. Ger.) {Neth. )
Over 95 Kg. Parisi Tsaprianov Kovacevic Kocman

( France) (Bulgaria ) (Yugoslavia ) (Czech. )
Unclassified Lorenz Parisi Ozsvar Mapp

(E. Ger.) ( France) ( Hungary) (u. K.)
LOS ANGELES (19841
60 Kg. and under Hosokawa Kim Liddie Eckersley

(J) (Korea) (USA) (u.K.)
65 Kg. and under Matsuoka Hwang Reiter Alexandre

(J) (Korea) (Austria) ( France)
71 Kg. and under Ahn Gamba Onmura Brown

(Korea) (ltaly) (Brazil) (u.K.)
78 Kg. and under Wieneke Adams Nowak Fratica

(W. Ger.) (u.K.l (France) (Rumania)
86 Kg. and under Seisenbacher Berland Nose Carmona

(Austria) (USA) (J) (Brazil)
95 Kg. and under Ha Vieira Fridriksson Neureuther

(Korea) (Brazil) (lsrael) (W. Ger.)
Over 95 Kg. Saito Parisi Cho Berger

(Korea) (Canada)
{J) . (France)
Unclassified Yamashita Rashwan Cioc Schnabel

(J) (Egypt) (Rumania) tW. Ger.)
Appendix 251
f Women's World Judo Championships Records
WEIGHT lST PLACE 2ND PLACE 3RD PLACE
NEW YORK (1980)
48 Kg. and under Bridge Denovellis Colignon Lewis
(uK) (ltaly) ( France) (USA)
52 Kg. and under Hrovat Yamaguchi lVcCarthy Doger

{Austria ) (J) (u.K. ) ( France)
56 Kg. and under Winklbauer Panza Doyle Meulemans

(Austria ) ( France) (u.K. ) (Belgium)
61 Kg. and under Staps Toma Rottier Berg

(Neth.) (ltaly) ( France) (W. Ger.)
66 Kg. and under Simon Netherwood Pen ick Pierre
(Austria) (u.K. ) (USA) { France)
72 Kg. and under Triadou Classen Meggelen Malley

( France) (W. Ger.) (Neth.) (u.K. )
Over 72 Kg Cal Fou illet Kieburg Berghmans

(ltaly) ( France )
(W. Ger.) {Belgium)
Unclassif ied Berghmans Fou illet Classen Fest
{Belgium) ( France) (W. Ger.) (USA)
PAR|S (19821
48 Kg. and under Briggs Colignon Bink Nakahara
(u K.) ( France) (Neth. ) (J)
52 Kg. and under Doyle Yamaguchi Boyd Doger

(uK) (J) (Australia ) ( France)
56 Kg. and under Rodriguez Williams Aronoff Bell

( France) (Austria ) (USA) (u. K. )
61 Kg. and under Rottier Solheim Peeters R itschel

( France) (Norway) (Belgium) (W. Ger.)
66 Kg. and under Deydier Kruger Andersen Staps
( France) {W. Ger.) (Norway) (Neth. )
72 Kg. and under Classen Berghmans Triadou Posch

(W. Ger.) lBelgium) ( France) (Australia )
Over 72K9. Lupino Castro Unen Motta

( France) (USA) {Neth. ) (ltalY)
Unclassif ied Berghmans Tateish i Sigmund Triadou

(Belgium )
(J) (W. Ger.) ( France)
VIENNA (1984)
48 Kg. and under Briggs Colignon Anaya Reardon
(u.K.) ( France) (USA) (Austria )
52 Kg. and under Yamaguchi Hrovat Boyd Majdan

1J) (Austria) (Australia ) (Poland)
56 Kg. and under Burns Williams Winklbauer Arnaud

(USA) (Australia ) (Austria ) ( France)
61 Kg. and under Hernandez Han Rottier Hach inohe

( Venezuela ) (Neth. ) { France) (J)
66 Kg. and under Deydier Kok Kandori Netherwood

( France) (Neth. )
(J) (u. K. )
72 Kg. and under Berghmans Classen Staps Vigneron

{Belgium) (W. Ger.) (Neth. ) ( Fra nce)
Over 72 Kg. Motta Gao Unen Castro

(ltaly) (China ) (Neth. )
(USA)
Unclassif ied Berghmans Unen Gao Lu pino

(Belgium) (Neth. )
(Ch ina ) ( France)
Glossary of Gommon Judo IgI-q
Definitions and translations for techniques discussed in the text appear in the two indexes.
aite: partner,oPPonent momo: Ihigh

ashr: foot, leg mune: chesi
atama: head
obi: belt (ot judogi)
dolb.' training hall
sensel teacher, instructor
er; collar, laPel shør contest
shiser: posture
hara.' stomach sode; sleeve
hidari: left
tatami: mat
hikite: pulling hand te: hand, arm
hiza: knee tekubi: wrist
tokuiwaza: one's favorite or best
ippon: one Point (in competition) tech n ique
tsurite.' lifting hand
judogi: judo Practice suit
judoka: judoisl ude: arm
ushiro: backward, rear
kansetsu: joint
kata.' shoulder; model technique waki: armpil
koka: less than a yuko (in competition) waza: lechnique
koshi: hip waza ari: half point (in competition)
kubi: neck
kumikata: holding method yoko: side
kuzure: modified (hold) yubi: finger
yuko: less than a waza ari (in
mae: lorward.lronl competition)
yusei gachi: win bY iudge's decision
253
General lndex
arm pull-over. 219 movement. See tai sabakt.'walking methods
ashiwaza (leg techniques). 49-71
atemiwaza (striking techniques). 22 nagewaza (throwing techniques), 23-96
ayuml ashi (ordinary pattern of walking). neck press. 21 5
16 newaza. See katamewaza
back press, 2'1 6 osaekomiwaza (holding techniques),

ball toss. 221.224 99-1 30
barbell curl. 21 B
basic postures and the attack pattern. 9B posture, 1 2
bench hurdle.222 push-ups, 21 1
bench Ieg raise,220
bench press, 2'1 6 randoriwaza (techniques for free practice),
bent-over rowing. 219 22
ren ra kuwaza (combination techniques)
chest and waist pulls, 217 katamewaza + katamewaza. 190-207
nagewaza + katamewaza, 178-Bg
dead lift, 220 nagewaza + nagewaza, 1 54-77
diagonal pull-ups, 211 ritsurei (standing salutation), 1 3
dumbbell curl, 2'1 B running carry,213
dumbbell press, 216
salutations, 1 3
extricating your leg, 120-25 seiza (Iormal kneeling posture), 13
shimewaza (strangle techniques). 1 31-39
Ilying split,222 shizentai (natural posture), 12
side hurdling. 214
happo no kuzushi (kuzushi in eight sit-ups, 21 2
directions), '1 4, 1 5 squaI. 21 4. 221
high clean.223 sutemiwaza. See ma sutemiwaza; yoko
high clean and press, 223 sutemiwaza
holding methods. 14
rai sabaki (body control). 1 7
jigotai (defensive posture). 1 2 tewaza (hand techniques), 24-35
judo techniques, 22 training. 210-24
jumping squat.222 tsugi ashi (walking by bringing one foot up
to another), 1 6
kake (completing move of technique), 14 tsukuri (enlrv into the opponent), 1 4
kansetsuwaza (armlock techniques),
1 40-50 u kemi (breaktall techniques) . 17
-21
kata (controlled model techniques), 22 ukemi practice, 21
katamewaza (grappling techniques), upper body bend, 21 3
97-1 50 upright rowing, 21 8
kenka yotsu (fighting grip), 14 ushiro sabaki (back movement control), 16
koshiwaza (hip techniques), 36-47 ushiro ukemi (falling backward). 17 -1 B
kuzushi (unbalancing the opponent), 14
walking methods, 16
leap-frog. 21 5
yoko sutemiwaza (side body-drop throws),
mae-mawari sabaki (front-turn movement 82-91
control), 16 yoko ukemi (falling sideways). 19
mae-mawari ukemi (tumbling forward), 20
mae sabaki (front movement control), 16 zarei (kneeling salutation ), 13
mae ukemi (falling forward). 20
ma sutemiwaza (rear body-drop throws).
72-81
254
lndex of Judo Techniques
Arrows for combination techniques (renrakuwaza) indicate whether the technique in the main
entry is applied to (+) orfrorn (e; the technique in the subentry.
Nagewaza
1. ASHIWAZA tsurikomi goshi hip throw),
3B-39
ashi guruma (leg whirl), 94 uki goshi (rising hip throw). 93
deashi barai (forward foot sweep), 48-51 ushiro goshi (rear hip throw). 93
harai tsurikomi ashi (pulling-lift leg utsuri goshi (hip shift). 93
sweep). 94 + koshiwaza. 172
hiza guruma (knee whirl). 94
ko-soto gake (small outside hook).94 3. MA SUTEMIWAZA
ko-soto gari (small outside clip). 64-65
ko-uchi gari (small inside clip). 56-59 obitori gaeshi (belt-grab reversal), B0-81
? ippon seoi nage,1 54-55 sumi gaeshi (corner reversal), 95
+ morote seoi nage,1 56-57 tawara gaeshi (rice-bag reversal). 76-79
+ o-uchi gari,159 tomoe nage (round throw) .12-75
ko-uchi makikomi (small inner winding + ude hishigi juji garame, 1 82. 183
throw), 5B-59 ura nage (rear throw), 95
o-guruma (big whirl). 94 ? o-soto gari.173
okuri ashi barai (assisting foot sweep),
trt trQ 4. TEWAZA
o-soto gari (big outside clip), 66-67
+ harai goshi.1 64-65 ippon seoi nage (one-arm shoulder
+ o-uchi gari,162 throw),26-29
+ sasåe tsurtkomi ashi, 166-67 + ko-uchi gari,1 54-55
+ ura nage,173 + okuri eri jrme, 186, 187
o-soto guruma (big outside whirl). 94 + yoko shiho gatame, 118-79
o-uchi gaeshi (big inside clip reversal) kata guruma (shoulder whirl), 32-33
+ o-uchi gari,174 koshi guruma (hip whirl). 92
o-uchi gari (big inside clip). 60-63 morote gari (two-arm clip). 92
+ kesa gatame, 1BO morote seoi nage (two-arm shoulder
+ ko-uchi gari.159 throw), 3O-31
+ morote seoi nage, 1 58. 76 '1 + ko-uchi gari.1 56-57
+ o-soto gari,162 + o-uchi gari. 1 58, 1 76
+ o-uchi gaeshi,174 sukui nage (scoop throw), 92
+ tai otoshi. 1 60, 1 61. 1 68-69. 170-71 + uchimata. 175
+ tai otoshi, l 68-69 sumi otoshi (corner drop), 92
+ uchimata, 163 tai otoshi (body drop). 24-25
sasae tsurikomi ashi (supporting foot + o-uchi gari,'1 68-69
lifting-pull throw). 54-55 < o-uchi gari. 1 60. 1 61. 1 68-69.
+ kuzure kami shiho gatame, 181 170-71
+ o-soto gari, 166-67 . + sasae tsurikomi ashi, 170-71
+ tai otoshi,110-71 + uchimata. 177
uchimata (inner-thigh reaping throw). + ude hishigi juji gatame. 184-85
6B-71 uki otoshi (floating drop). 34-35
+ o-uchi gari, 163
+ sukui nage,175 5. YOKO SUTEMIWAZA
+ tai otoshi.177
+ tani otoshi, l BB-89' hane makikomi (springing wrap-around
throw). 96
2. KOSHIWAZA hikikoni gaeshi (back-fall reversal). 88-91
soto ma k i ko mi (outside wrap-around
hane goshi (hip spring), 46-47 throw), 96
harai goshi (hip sweep). 42-45 tani otoshi (valley drop). 8zl-87
+ o-soto gari, 164-65 < uchimata, i 88-89
ko-tsuri goshi (small lifting hip throw),93 + yoko shiho gatame. 188-€g
o-goshi (hip roll), 36-37 u kiwaza (floating throw). 82-€3
o-tsuri goshi (big lifting hip throw). 93 yoko gake (side hook). 95
sode tsu r i kom i gosh i (lifting-sleeve- pu
I I
yoko guruma (side whirl). 96
hip throw),40-41 yoko otoshi (side drop). 95
yoko wakare (side split). 96
lndex of Judo Technaqts æ

I
I
I
Katamewaza
1. KANSETSUWAZA + yoko sankaku jrme. 199
< yoko shiho gatame,2O4
sankaku garami (lriangular entanglement) tate shiho gatame (straight four-corner
+ okuri eri jime. 200 hold). 126-29
ude garami (entangled-arm armlock), +
ude hrshigi juji gatame, 196. 197
140-41 +
ude hishigi ude gatame,2j2
+ kuzure kami shiho gatame, 201 yoko shtho gatame (side four-corner hold)
ude hishigi hara gatame (arm-taking 112-19
stomach armlock), 1 50 + ippon seoi nage, 178-79
+ jigoku jime, 203 + kesa gatame, 191
ude hishigi hiza gatame (arm-taking knee shiho gatame,
- kuzure kami 1BB-B9 204
armlock), 147 -+ tani otoshi,
ude hishigi juji gatame (arm-taking cross yoko sankaku jrme. 205
armlock). 142-45
+ kesa gatame, 195 3. SHIMEWAZA
+ kuzure kami shiho gatame, 194
? tai otosht, 184-85 gvaku juji jime (opposite cross strangle),
+ tate shiho gatame, 196, 197 135
? tomoe nage, 1 82. 1 83 hadaka jrme (naked strangle),132
ude hishigi ude gatame (arm-taking iigoku jime (hell strangle)
armlock), 146 +ude htshigi hara gatame, 203
+ tate shiho gatame, 2O2 +yoko sankaku jime, 199
ude hishigi waki gatame (arm-taking side kataha jime (single-wing strangle), 133
armlock), 148-49 + okuri eri jime, 193
+ kesa gatame, 190 kata luji jime (half cross strangle), 134-35
nami juiijime (regular cross strangle), 135
2. OSAEKOMIWAZA okuri eri jrme (collar strangle), 130-31
+ ippon seoi nage, 1 86, 1 87
kami shiho gatame (upper four-corner + kataha jime. 193
hold). 104 + kesa gatame. 206
kata gatame (shoulder hold), 103 + kesa gatame, 192
kesa gatame (sash hold), 99-1 02 + kuzure kami shrho gatame. 193
+ okuri eri jime, 192 + kuzure kami shiho gatame. 207
< okuri eri jime,206 + sankaku garami, 2OO
e o-uchi gari, 180 omote sankaku jtme (tront triangular
+ ude hishigi juji gatame, 195 strangle). 139
ude hishigi waki gatame. 190
- yoko sankaku jime (triangular strangle), 136-39
+ shiho gatame, 191 ura sankaku jrme (rear triangular strangle),
kuzure kami shiho gatame (modified upper 138
four-corner hold), 104-1 1 yoko sankaku jime (side triangular
+ okuri eri jrme, 207 strangle). 136, 137
+ okuri eri jime. 193 + jigoku jime, 199
+ sasae tsurikomi ashi, 181 + kansetsuwaza. 199
+ ude garami, 201 + kuzure kami shtho gatame, 199
+ ude hishigi juji gatame, 194 + kuzure kami shiho gatame, 198
+ yoko sankaku jime,198 + yoko shiho gatame,205

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What are the main sections covered in the book?

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@%

KODANSHA INTERNATIONAL LTD.

and Kake 14 / Kuzushi 14 / Movement 16 / Ukemi 17 / Judo

178 / Katamewaza -> Katamewaza 1gO

JUDO AND I ZZT

Judo today is an international sport knowing no boundary between states or

Jigo hontai Misi jisotai Hidari jigotar

Tsukuri and Kake

To right side To left side

To right front corner To left front corner

The eight directions of kuzushi

FROIVI A SOUATTING POSTURE

Yoko ukemi from a standing posture

YOKO UKEMI : falling sideways

MAE UKEMI :falling forward

Ushiro ukemi Yoko ukemi Mae-mawari ukemi

I goshi, koshi guruma. etc.

Ma sutemiwaza.' tomoe nage. ura nage, sumi gaeshi,

OSAEKOMIWAZA-kesa gatame, kuzure kesa gatame, ushiro kesa gatame.

KANSETSUWAT4__ude garami. ude hishigi luli gatame, ude hishigi ude

TSUKIWAZA-kobushi ate, yubisaki ate. hiji ate. etc.

Atemiwaza UCHIWAZA-kobushi ate, tegatana ate, etc.

KERIWAZA*-hiza ate, sekito ate, kakato ate, etc.

Tewaza: Tai Otoshi 25

Tewaza: lppon Seoi Nage 27

VARIATION 2: This variation is used when your right hrkrre is not

MOROTE SEOI NAGE : two-arm shoulder throw

KATA GURUMA : shoulder whirt

A MORE COMBAT-EFFECTIVE METHOD

Tewaza: Kata Guruma 33

Tewaza: Uki Otoshi 35

Koshiwaza : Hip Techniques

TSURIKOMI GOSHI : lifting-pull hip throw

Koshiwaza : Tsurikomi Goshi 39

SODE TSURIKOMI GOSHI : lifting-sleeve-pull hip throw

HARAI GOSHI : hip sweep

Koshiwaza: Harai Goshi 43

Koshiwaza: Harai Goshi 45

HANE GOSHI : hip spring

Koshiwaza : Hane Goshi 47

Ashiwaza : Deashi Barai 49

OKURI ASHI BARAI : assisting foot sweep

Ashiwaza : Okuri Ashi Barai 53

SASAE TSURIKOMI ASHI : suppofting foot lifting-pull throw

Ashiwaza : Sasae Tsurikomi Ashi 55

KO-UCHI GARI : small inside clip

Ashiwaza: Ko-uchi Gari 57

Ashiwaza: O-uchi Gari 61

Ashiwaza: Ko-soto Gari 65

O-SOTO GARI : big outside cliP

Ashiwaza: O-soto Gari 67

UCHIMATA : inner-thigh reaping throw

Ma Sutemiwaza: Tomoe Nage

TAWARA GAESHI : rice-bag reversal

OBITORI GAESHI : belt-grab reversal