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708 views157 pagesJiu Jitsu Complete (PDFDrive)
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yoni zerbibCopyright
© © All Rights Reserved
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/ 157
Jiu
Jitsu Ai
Complete
by KIYOSE NAKAE
Assisted by CHARLES YEAGER
WEHMA A BROS.
m2 BROADWAY, THEW YORK 3,N.Y.
LYLE STUART NEW YORK Jiu Jitsu Complete
© 1958, by
Kiyose Nakae & Charles Yeager
All rights reserved including the
right to reproduce this book
or portions thereof in any form.
‘Linrany oF Cononess Catatoc Cano Nuatmen: 58-1029
Queries regarding the rights and permissions
should be addressed to Lyle Stuart
225 Lafayette Street, New York 12, N. Y.
Designed by John Putnam
‘Typography by The Polyglot Press
Pated ti the United Slates of America Publisher's Preface
I have known and admired Professor Kiyose Nakae for many
years. He is considered the foremost instructor of authentic Jiu Jitsu
in the western world. His students come from all over the world to
New York City. To receive private lessons from him you have to put
yourself on a waiting list and his schedule is so crowded that you may
have to wait a year or two for your first lesson.
Professor Nakae has spent most of his life teaching Jiu Jitsu to
Americans. When he first arrived in this country some fifty years ago
he was hired to teach his skills to police departments in all parts of
the land.
Professor Nakae knows thousands of tricks. From his boyhood he
was drilled in the methods of the old masters of the Jiu Jitsu art. In
nearly fifty years of teaching, he has boiled his system down to a com-
pact group of tricks which comprise a complete method of self-defense
and which are the easiest and most practical to learn. The dubious
tricks that don’t work—and which are found in so many of the books
that have appeared on the subject—are not in these pages. The tricks
in these pages work: each and every one. This alone makes it a unique
product!
It is one thing to teach Jiu Jitsu in private lessons, It is quite
another to teach it with a book. Only because of Nakae’s deep under-
standing of his science and his unequalled teaching ability has such a
book become possible.
Books on the self-defense arts are usually illustrated with cartoons
or photographs. Professor Nakae and Charles Yeager examined these
and concluded they were of little value when it came to practical
Iearning.
A new method of showing the tricks had to be devised. Hundreds
of photographs were taken of two men in action. A skilled artist then
made line drawings from the photographs. I believe the result has more
than justified the time, effort and expense that was invested to make
such a perfect visual presentation.
My feelings were confirmed when the manuscript of this book was
submitted to B. Vedel of Chicago who is probably the authority on
books about Jiu Jitsu and Judo.
“The line drawings are a brilliant idea!” was the comment. “This
is the best thing I have ever seen on the subject, and as you know, I
regard books on the subject with a very jaundiced eye. This one is
almost as good as actually working in class!”
‘There has never been a book like this one. And perhaps there has
never been a time when this book was so badly needed. For in this
changing world, the streets of our cities often seem like paths in a dense
jungle fraught with peril. A working knowledge of Jiu Jitsu offers the average man (or
woman) an ability to cope with and triumph over a physical attacker
—and to do so with ease. This, whether the opponent is larger, more
powerful, or armed with knife or gun.
Mastering Jiu Jitsu has the pleasant byproduct of giving one a
feeling of security in situations once packed with tensions and fears.
Interestingly enough, a study has shown that a person trained in Jiu
Jitsu is less likely to run into “trouble” than an untrained person, This
could be because of the air of self-confidence the Jiu Jitsu-trained
person possesses. Or it may be because he is less willing to become em-
broiled in physical violence because he knows that when he goes into
action, the other guy is going to be badly hurt. Theodore Roosevelt
said to “Speak softly and carry a big stick.” The Jiu Jitsu student may
also speak softly because he knows that his skill is a very big and very
damaging stick.
The book you hold in your hands is not a plaything. Jiu Jitsu is
serious business and must be studied and practiced until the student
is skilled in the art.
I was tempted to say “in the almost lost art” for a lost art it has
almost become. Jiu Jitsu is no longer taught in Japan. It is no longer
passed from generation to generation, as it had been for hundreds of
years. And here I should explain that Jiu Jitsu is not Judo—and the
two should not be confused.
Judo is a sport and a worthy one. Its popularity is very much on
the increase, and many believe the time will soon come when Judo is
an Olympics sport.
There is a surface similarity about some of the movements in Judo
and Jiu Jitsu—but there the likeness ends. Judo, of course, derived
much from Jiu Jitsu.
However Jiu Jitsu is an art of self-defense which was developed
with skill and precision as the exclusive property of Japanese nobility.
Judo is played for points, Jiu Jitsu is played “for keeps.” With
Jiu Jitsu you may, as you desire, punish, damage, or even kill your
‘opponent.
With Jiu Jitsu, David may defeat Goliath. Thus the beauty of the
art is that it relies for success not upon brute strength but upon finesse
and the ability to win by seeming to yield.
One last note before you enter the portals of your Jiu Jitsu class-
room. As the published, it was my original plan to price this book at
$6. Though the volume is small, its production costs were large and
would justify the $6 price. But then it was decided, for sentimental
reasons, to price the book at $5. For $5 is the cost of a single forty-five
minute lesson with Professor Nakae. And here is the course for the
price of a single lesson!
Lyle Stuart To
the generations of men before us
whose lifetime devotion to the
art of Jiu Jitsu has made this
book possible. 44
FOREWORD
Jiu Jitsu is a method of defense and offense without weapons in
personal encounter. For many centuries in Japan it was practiced as
a military art, together with fencing, archery and the use of the spear
Jiu Jitsu is not a contest of muscular strength. Nor is its prime
purpose to maim or kill, but merely to incapacitate one’s opponent
for the time being by means of simple tricks and holds.
Jiu Jitsu tricks and holds are very simple. A thorough knowledge
of them, gained only with constant practice, should develop in one a
feeling of strong self-confidence. This confidence causes the Jiu Jitsu
expert to react almost instinctively in the event of a sudden attack and
to maneuver any situation to his own advantage.
Professor K. Nakae is one of the few living masters of authentic
Jiu Jitsu. As Chief Instructor of New York’s Dojo (Judo academy) I
have seen many books written on this subject. This book is unusually
good for the simple and clear illustrations and captions are readily
understood by the beginner. And they derive from genuine knowledge
and skill.
George G. Yoshida 1. The Beginning
You are about to take an intelligent and progressive step which
should provide mental and physical benefits for you not only in the
immediate future but for the rest of your life. You are about to begin
training in Jiu Jitsu.
Jiu Jitsu tends to wipe out the differences of size, weight, height
and reach. The possesser of the skill gains tremendous self-confidence
and the ability to walk without fear.
Skill and knowledge are in themselves sufficient to subdue any
aggressor no matter how strong or vicious. You are always ready for
action, unarmed, in any situation, regardless of the direction from
which the attack comes.
The first lesson you must learn is poise and assurance, You learn
to be mentally cool and alert in the face of danger, and you begin
to experience a self-restraint which comes only with supreme self-
confidence,
Jiu Jitsu Complete was written to fill the definite need at this
for a more practical, a more complete and more authoritative course
‘on the subject shan has heretofore appeared.
Jiu Jitsu is a word which consists of two parts: jiu means “gentle,
pliable, virtuous, to submit” and jitsu means “art or science.” In mean-
ing and in fact, Jiu Jitsu depends not on brute strength but on psy-
chology, knowledge of anatomy, and skill that comes from practice in
making certain movements with your body.
Practice—and lots of it—is essential. ‘To become an expert in the
complete art requires years of training. However a few simple tricks
which may be adapted to any emergency are enough to put mastery in
the hands of the average person who must defend himself against an
assailant who has superior strength or who may be armed.
Jiu Jitsu is not Judo. The tricks in this book are dangerous and
must be practiced with extreme care. In Judo, a modified derivation
frem Jiu Jitsu, friends can compete because real danger-tricks have
been removed and because certain rules and prohibitions are imposea
in order to avoid injury to the participants.
Not so with Jiu Jitsu. Jiu Jitsu is dangerous business and should
be used only in case of emergency where “anything goes” for the sake
of self-protection.
Strength is not a major factor in Jiu Jitsu. Rather, balance, lever-
age and speed are needed, for then available strength is applied to its
greatest advantage. Women can become proficient in Jiu Jitsu. In many tricks, the
stature of a woman, the softness of her arms and the sharpness of her
heels are exceedingly potent weapons. Moreover, women need Jiu
Jitsu. Many a girl owes her life to a slight acquaintance with its tricks.
As sex is no barrier to learning, so age is no barrier. Newspapers
recently told of a 72-year-old frail man who, with Jiu Jitsu, disarmed
a youthful robber who was forty pounds heavier than he. The old man
held him with case until the police arrived.
Eyen the police often have a need for Jiu Jitsu. In my lifetime I
have demonstrated and proven the superiority of this science to police
departments in Yonkers, Chicago, Philadelphia, Pittsburgh, Detroit,
Memphis, Syracuse, Toledo, Montreal and Indianapolis
Many police officers have enrolled with me for private lessons.
I hope you will never be in a position where your life is en-
dangered. But if it is, I am confident that what follows will prove of
value to you-if you learn it.
Good things take time. Do not hurry through this book. Practice
each trick diligently until you know it well.
As you learn new tricks, keep practicing the old ones. This review
and practice is important. Especially since I am going to give you the
most difficult tricks first. Only practice, practice and more practice will
give you proficiency in Jiu Jitsu
Let us begin then by acquainting you with a classification of Jiu
Jitsu’s tricks.
‘There are the exercises and the break-falls.
There are throws and holds and combination ticks. There are
breaking tricks. And there are practical applications of Jiu Jitsu such
as the defense against a knife or a club or a gut or a blow with a fist.
For the complete list of the tricks we are going to learn, turn the
page. As you become good in the application of a trick, check it off.
You will be pleased to discover how quickly they come to you once
you have mastered the first few.
Now, with a minimum of further talk, we shall get to the exer-
cises.
You will find that the instructions which accompany each illus-
tration are brief and to the point. Read them carefully. No words have
been wasted—and every word is meaningful if you are to progress as
you should. 10
Although a gym (wrestling) mat is not essential—it is quite help-
ful. If the use of one is not available to you, a thick rug or any surface
softer than cement or hard carth would be helpful for learning and
practicing. In place of carpeted floors, a soft lawn or a sandy beach is
suitable.
When practicing the tricks which follow, dress in old clothes or
shorts. Your clothing should be loose enough to permit free comfort-
able movement. CLASSIFICATION OF TRICKS
EXERCISES ............. Di@anis a5 Remsse annie nd Sore, idiot
BREAK FALLS m4 16
1. THROWS
a, Foot Technique
Ankle ‘Throw No.2...
Ankle Throw No. $+ +--+ -
Spooning”
Sweeping Calf No.1.......- ++ 26
The Knee Whirl... . +48
Sweeping Galf No, 2 with Shoulder Scissor . 28
b. Hip Technique
Spring Hip Throw naka tt
Sweeping-Side Hip Throw 38
Hand Technique
Over-Shoulder Throw .
Hand Throw No. |
Hand Throw No.2... +.+++
Hand Throw No. $Spinner .
Hand Throw No. 4—Arm Pressure Ag:
2. HOLDS
a. Against the Joints
Shoulder Lock
Elbow Lock (Down) No. 1
Elbow Lock (Up)
Arm Lock No. | -120
Alter Breaking, When Opponent Holds Arm
After Breaking, When Opponent Holds from Front (1)
Alter Breaking, When Opponent Holds from Front (2)
Bent-Arm Wrist Lock... . nee bees . 66
Straight-Arm Wrist Lock .. 24-560. 06+200205 79
b. Against Nerves
Pencil Holding Trick ....... Be
Finger Holding Trick ..... ‘ 82
c. Neck Holds
Strangle Hold No. | (From Rear) - +84
Strangle Hold No. 2 (From Front)... ‘ ere)
3. COMBINATION TRICKS
Effective combinations of foregoing ticks
Elbow Lock (Down) to Sweeping Calf No. 1. . 3 + 138
Hand Throw No. 2 to Strangle Hold. . soa . 136
Hand Throw No. 1 to Hand Throw No.4 (Against Knee)... «186
Haind-Throw No. 1 to Hip Throw . ‘ ++ 187
Spring Hip Throw to Sweeping-Side Hip Throw . . wi
Elbow Lock (Up) to Sweeping Calf No. 2... +++ +138
And many others
VW }
:
4. BREAKING TRICKS
How to free yourself from strangle and other holds, .
When Opponent Strangles from Rear (1) «-
When Opponent Strangles from Rear (2) ..
When Opponent Strangles rom Front (1)
| When Opponent Sangles from Front (2)
When Opponent Strangles from Front (3)
| When Opponent Holds from Front
| When Opponent Holds from Rear -
| When Opponent Hugs Tightly .
Il When Opponent Hugs from Rear, Over Arm ;
I When Opponent Hugs from Rear, Underneath Arms . .
4 Breaking Half-Nelson
Breaking Full-Nelson .
When Opponent Holds Arms from Front (1)
When Opponent Holds Arms from Front (2) «
When Opponent Holds Two Hands from Rear .
5. PRACTICAL APPLICATION
| a. Defense Against Blow with Fist
Practical means of avoiding blows from any direction
and of throwing, and holding.
b, Defense Against Knife
Practical means of protecting yourself against an
‘opponent armed with a knife, and of disarming,
throwing or holding.
opponent armed with a club, and of disarming,
throwing or holding.
d. Defense Against Pistol . . .
Practical means of protecting yourself against an
opponent armed with a pistol (and within reach),
| and of disarming, throwing or holding.
c. Detense against Club
Practical means of protecting yourself against an
6. ARTS FOR EMERGENCIES
Resuscitation
exactly this order since it is frequently more in-
teresting for the student to learn as he progresses,
how throws may be combined with blows, etc. How-
ever when you have learned all the lessons in this
book, you may wish to practice them in this order as
The lessons in this course are not furnished you in
a logical system.
12 |
|
EXERCISES
A-Lift arms, extend forward and pull
back in loose flowing motion, the fingers
opening and closing alternately. Do this 6
times. Then extend the arms over the head
and back to the shoulder in the same man-
ner for 6 times.
I
C.—Place your left palm on your left hip,
with fingers pointing to the floor. Push
body forward and to the side, straighten
up and repeat with right hand. Alternate
6 times.
14
PURPOSE: To train the muscles to extend
and contract freely, and the joints to func-
tion smoothly in every part of the body.
f
B.—Extend arms forward, move them in
large circles, the right arm clockwise, the
left counter clockwise, do this 6 times then
reverse.
x
> 2
id
D.Stand on left foot and move your right
foot in the air in circles. This exercises the
hip joint, Lift the right heel to the buttock
and down again, this exercises the knee
and ankle joints. Repeat with the left. This
is good practice for balancing on one foot,
which, as you shall see, is important. E.—Half raise arms and back, then
lean forward, bending knees, and touch the
floor with your nands.
NOTES.—Remember, these exercises are for be done slowly, with body held loosely, The
flexibility and not for strength. They must muscles and joints must never be tightened,
The right way to fall must be
learned in the beginning for you will take
many falls in learning Jiu Jitsu. Once you
learn to do this easily and safely you will
not fear falling and this will make your
movements free, rapid and uninhibited.
This enables you to concentrate on the
offense instead of thinking only of the de-
fense.
See Next Page Break Fall No. 1
Rai
FALLING BACKWARD SITTING POSTURE
ise both arms, cross at the wrist and
bring to shoulder height. (1)
NOTE:—As you roll back, pull your chin
to your chest and watch your belt. This
protects your head from hitting the mat
or ground. Falling back should be like
rolling a wheel, the feet raising automati-
cally. The hands hit when shoulder blades
Roll backward, raise both feet together (2).
Hit mat with both hands (3).
touch the mat. Fingers held straight to
gether (lightly), hitting with the whole
arm. This BREAKS the fall. Kick up with
both legs at moment of hitting. This stops
you from rolling over.
Break Fall No. 2
Raise arms as in “B" (1). Raise heels and
ben
16
nd legs (2).
2
FALLING FORWARD
'
'
'
Vv
gS
Kneel on mat, continue forward motion
of body and land on arms from fingertips
to elbows (3) arms extended in direction
of body. reak Fall No. 3 FALLING BACKWARD STANDING POSTURE
c
Raise your arms as in “B" (1). Bend legs Raise one leg (3).
at the knees (2).
eak Fall No. 4
FORWARD SOMERSAULT
) forward a little outside with right Push your body forward,
(1) bent forward, place left hand on throw up left leg, turn
ind palm down (2)sahead of left foot.
right hand on ground palm up (3)
yeen left hand and left foot.
body over as in “B.
c
.EAKFALL No. 4. (G) Alter practising
while you will find that there are differ-
t ways of finishing.
(1) One leg in the air
(2) Both legs in the air
(3) Halfway getting up Finish as in
(4) Getting Up WARD STANDING POSTURE
Raise one leg (8). Lower body near the ground (4). Finish as in “E” by raising legs (6) and
hitting mat (6),
Other way
AERSAULT
Repeat A. B. C. D. and finish with one
foot on ground, raise the body to keep up
the lower back to avoid injury (kidney)
(2), hit mat with both hands (8) other foot
is kept in air (9).
© body forward,
p left leg, turn
wer as in “B.’
Other way
Repeat A. B. C. D. and finish with side ir
fall “G," hit mat with one hand (10), One {
leg lies on mat (11) other arm and leg Kay
remain free (12 and 13), Ay |
o -# , Breaking -Opponent Strangles from Front
If opponent attempts to strangle with two
hands from side . . .
Swing your hands up between opponent's ‘The impact of your arms against the inside
arms (2). of his arms will break the hold.
In this situation, opponent's weak spot is with your arms against his elbows Now try
his elbow. The idea is to apply pressure the next trick, which is just as easy. Ps 20
Breaking - Opponent Strangles from Front
If opponent attempts to strangle you with
one hand back of your neck, one hand in
front of neck, and his head in close; or
both hands choking from side; or in any
case in which opponent holds you with
face in close...
‘This will put you in the position shown
above. Opponent will cry, temporarily
blinding himself. You will be tree and able
to start almost any of the throws or fini
ing wicks to be described later.
Frequently, when an opponent attempts
to choke, or in any case when he holds
you from the front, a strong blow to the
nose with the base of the hand is all that
is needed to break the hold.
Smear his nose up and back
with either hand.
Remember that when you have finished
cither this or the previous trick, you have
merely freed yourself, But this is not
enough. You must either hold opponent
in a helpless position or must apply punish-
ment if you really mean to protect yoursell.
Many different ways to hold-or punish
an opponent will be taught you in this
course. But because there are so many
tricks, you may be tempted to ask, “Why
are they all needed?" No matter how good
‘a medicine is, it is not good for every case.
Therefore, it is wise to have many kinds
of medicine available, so that if one does
not work, another may be tried.
Likewise, there are many different parts
of the body which can work together or
individually. ‘The knowledge of many
tricks will enable you to protect yourself
even if both hands are incapacitated—by
using the feet. Or if your feet are held—by
using your hands, Or you may find yourself
seated when the attack comes.
When you have finished this course you
will be master of many tricks, and will be
able to protect yourself regardless of your
position when danger comes. king- Opponent Hugs from Rear, Underneath Arms
If opponent attempts to hug you tightly
from rear, underneath arms. .
Drop hips, bend over and seize opponent's
right leg with both hands (3). Now lift his
right leg quickly (4) with your hands while
pressing down against his right leg with
the back side of your left thigh.
VARIATIONS
If your opponent holds you with one hand
underneath your arm, and the other hand
over your shoulder and mouth, you can
free yourself by a blow from your elbow
to his neck.
It opponent holds as shown in “A,” you
can also free yourself by a blow with elbow
“to his chin. If blow is hard enough, it will
‘Take a long step to the right with your
right foot (1) so that opponent's right knee
is behind your left thigh. Bend forward
and prepare to seize opponent's right leg
(2). (If opponent holds very tightly, push
against his stomach sharply with your hips.)
This will force your opponent to fall.
knock opponent out.
Or if opponent holds as in “A,” you can
ako free yourself by a sharp blow with the
back of your head to his chin, If opponent
is too short for a blow to his chin, the
same blow against his nose or forehead will
be equally effective.
Or you can free yourself by a back-kick
to opponent's knee with the sole of your
foot. Pencil Holding Trick
Hold a pencil or fountain pen between
. your second and third fingers. With your
other hand (1), grasp opponent's wrist, and
lift up to about waist level (2). Slide pencil
between any two of his fingers.
Position of bodies at start of trick.
Now close your fingers around opponent's The pencil will cause severe pain and force
fingers, and squeeze (3) opponent to submit.
22 DO NOT FORCE
IL you try a trick and it doesn't succeed,
“don’t wilfully attempt to force the trick to
work, Change to some other trick. Often
this strategy gives even better results be-
cause the first attempt has caused opponent
to assume an unbalanced position, At this
moment almost any trick will work with
great success, because you have led your
‘opponent into a position where his strength
and weight work to his disadvantage.
Assume your opponent attempts to push
you. Hesitate a moment, Then step back
suddenly, instead of pushing him back. He
will lose his, balance, At this moment try
some trick suitable to his position, and
you Will find it easy to throw him. But
remember that no matter how good a trick
is, you will not be successful unless you
apply it while your opponent is in the
right position.
Intentionally act to excite your oppo:
nent, and watch for the moment when he
is off guard. Then apply your trick, or
combination of tricks. But this action
should mechanical, automatic—done
without thinking—the result of much prac-
tice. When you have achieved this ‘pro:
ficiency, you can use your knowledge and
ability against an opponent in any position,
in any situation; against a group, or against
weapons.
Do not ty for too much speed at first.
Practice every movement correctly step by
step. After you haye gained the proper
understanding of the movement, you can
then increase your speed. Naturally, speed
is very important.
Again we remind you that it is essential
that you practice all movements with re-
taxed mind and body.
be,
NOTE FOR YOUR OPPONENT IN PRACTICE
Whenever a trick is improperly used
against you, and is not effective, do not fall
for the sake of appearances. Otherwise your
parmer will never learn, But remember,
do not try to resist and do not forcibly
move against the action, for you will either
be hurt or you will find yourself in a still
more vulnerable position. Also, you will
force your opponent to call on his reserve
strength which results in a serious possi
bility of sprain or fracture.
GIRL HAD TRICK TO OVERCOME THUG
Los Angeles, Oct. 29 (A. P.).
—Mary Bischel, attractive 20-year-old tele
phone operator, told the police that she
was walking down the street when a
clutched her from behind.
Quickly she leaned forward, grabbed his
ankle, reared back and planked him flat
on the pavement. Then she stomped on
his, face and fled,
‘I don't remember where I learned that
stunt,” she explained, “but maybe it was
from the boys in my neighborhood:
man Balance
We
An ordinary chair serves to demons
the importance of breaking balance in ji
Jitsu. The chair, solidly resting “flat on
ieet," is strong; difficult to overthrow.
you push it, it is likely to slide rather #
fall over.
POSTURE is important because the body
must have a strong foundation to impart
power to a trick.
This “A” shows a natural posture, comfort
able, relaxed, well-balanced, with each foot
under its corresponding shoulder. This is
the best position for both defense and of
fense. Your hands are inside his arms resting
lightly above his elbows, and all your mus-
cles and joints are relaxed and ready for
any move. This is a most convenient posture
from which to move in any direction
It is essential to be relaxed because this
permits free, quick movement. Moreover,
relaxation petmits the use of full power
at the point of attack since there is no
waste of power at some other point.
You may practice any trick, starting with
this posture
24 Tilt the chair so that it rests on only bi
its normal base. Now it requires much k
energy to make it fall, Tilt the chair even further so that you
take away still more of its balance. Now
it requires very little energy to make it fall.
Balance
Suppose you face, instead of a chair, an
opponent who is 50% heavier and stronger
than you are, By matching your strength
against his strength, you will obviously
never overthrow him. His position is strong,
like that of the chair in “A.”
But suppose he attempts to push you. If
instead of resisting, you yield by retreating
a little faster than he is advancing (at the
same time retaining a hold on him), he
will be forced to lean forward in an un-
balanced position, similar to that of the
chair in “B.” Because of his awkward posi-
tion, he will have momentarily lost two-
thirds of his resisting strength, and your
strength (if you have kept your own bal-
ance) is cow approximately twice as great
as his.
If, at this point, you also break his
balance to the side, as with the chair in
“G," he will have lost so much of his resist-
ing power that it will require very little
strength to make him fall to the ground.
If your opponent is standing erect, and
is not resisting, it is easy to break his
balance to the right or left, forward or
backward, by a light pull or push, or by
lifting or pressing. If opponent is resisting,
you can break his balance just as easily by
pushing or pulling in the direction in which
he is resisting, thereby using some of his
strength to accomplish your purpose.
‘The foundation principle of Jin fitsu is
balance and relaxation. This” must be
learned first.
When relaxed, it is easier to maintain
balance, act quickly, change position sud-
denly. And you can bring power to the
spot where it is needed without wasting
any of it. You need all your power, so
waste none of it,
25 Sweeping Calf No. 1
With your left hand, grasp your opponent's
right arm behind his elbow (1), Place your
right hand behind his neck. Pull down
(2), Push your hip back and bend chest
forward (3).
Now try the following case
Breaking -
Opponent Holds
from Front
If opponent holds your coat collar or shirt
front with one hand or both hands, and
pulls, or bends his elbow . . .
Place your right hand back of his neck
and pull (1), and at same time grasp his
elbow with your left hand (2). Step for
ward with your left foot in preparation for
26 Sweeping Calf No. 1
af
Keep pulling down on his neck and step
forward with left foot to 4 point 10 or 12
inches outside of your opponent's right
toes, Left toes point a little to outside (4),
Keep balance on your left leg, and bend
left knee (5). Bend chest forward for bab
ance and power. Your head almost res
‘on opponent's right shoulder. Keep bot
feet on ground; do not release your hol
on his neck, Hold this position momei
tarily. Now quickly sweep your right upper calf
up against opponent's right leg or to side
of the knee-joint (6). At same time your
right arm presses opponent's shoulder to
the direction of your left foot (7). As you
sweep with your calf, bring ‘your foot
around in a circling motion and lift your
heel up high. Use only leg strength (from
knee-joint down). When opponent starts to
fall, release your right-hand hold. How:
ever, keep your grip on his right arm to
hold him afterwards and (in practice) to
keep opponent from falling too hard.
Now you can throw opponent with
Sweeping Calf No. 1. Remember that after
you step forward with your left foot, there
is a momentary pause before sweeping
back with your right foot; the purpose of
this is to gain better balance and more
power for the sweep-back.
You can also break this hold by a sharp
blow to the nose with the heel of your
hand.
Opponent will fall. Sweeping Calf No.2 with Shoulder Scissor
With your left hand, grasp
your opponent's right arm
just in back of elbow (1).
Alternative (calf sweeping), from “GC” wrap
your right leg around his right leg from
the outside, holding contact with your
thigh, calf and heel. Tighten your leg grip
raising his leg with yours, hold his leg
28 Gently grasp his right wrist with your right
hand (12), using the hold shown; and free
your left hand (13). Or you can hold with
Step back a little with your right foot (2).
Pull his elbow toward your right (3), using
only hand power, Bend forward a little,
This puts your opponent in half-turned
position.
tightly in your knee joint, to prevent his
releasing his leg. Pull his captured leg be-
hind you with your leg, bending your lett
knee slightly and bring him down with
leg power alone,
both hands. Place your right foot over his
left shoulder (14). m your body and both feet to left (4).
ge your right hand or arm on top of
pnent’s right.shoulder or left shoulder
“Shift your balance to left leg, and bend
i knee (6). Keep chest forward (7). At
Spoint be sure you are relaxed; other-
you cannot finish. Hold this position
nentarily (as you would just before
ng a golf ball, to be sure your balance
Tip for beginners: Picture “E.” Sweeping up
‘opponent leg first (8). Press his shoulder
next (9) then pull his arm until his fall
(10). Use your power against one point at
atime. ‘chis means your power will con-
‘Bend your left knee (15).
Now quickly sweep your right upper calf
up against opponent's right leg behind or
to side of the knee-joint -(B). Your right
hand or arm presses opponent's shoulder
around to the direction of your left foot
(9), and your left hand pulls opponent's
centrate in one point. Practice any other
tricks the same way until you learn well.
Alter much practice all these movements
will come simultaneously.
Fall naturally, straight to your left side.
Support balance with your left hand, palm
down (16). Retain your hold on his hand.
elbow as §
your calf,
circling mo
Keep your
Use only ye
down). our right upper calf
tight leg behind or
int -(B). Your right
opponent's shoulder
on of your left foot
nd puils opponent's
nt, Practice any other
‘until you learn well,
e all these movements
‘ously.
ight to your left side.
‘h your left hand, palm
‘our hold on his hand,
elbow as shown (10), As you sweep with
your calf, bring your foot around in a
circling motion and lift your heel up high.
Keep your hip steady. Keep chest bent.
Use only your leg strength (from knee-joint,
down).
‘This is a double tock—simultaneous arm
lock and strangle hold (shoulder scissor).
It is an almost perfect hold, from which
escape is practically impossible. Use” pres-
sure against neck only when necessary;
continuous pressure will cause uncon-
sciousness, Be careful in practice, If op-
ponent taps twice on your body or the
Opponent will fall heavily on his back. If
you are standing too far away after he
falls, step in closer, to be ready for the
next movement. Keep body bent forward
(uy.
ground, this is signal he has had enough.
In this throw, and all other throws, several
finishing tricks can be used. Likewise, most
finishing tricks can be used with a wide
variety of throws. To save your time, and
to avoid confusion, most of the finishing
tricks have been grouped for separate study
in a subsequent session,
Both hands must hold op-
ist above the wrist joint; or
your right wrist with your
Joint must be against op- 4g A Reminder
Are you having difficulty learning the
tricks? Does it seem to you that you will
never learn correct balance?
Do not become discouraged. You are tak-
ing private lessons and so you cannot see
the other pupils are having the same diffi
culties. Nor should you forget that the
experts were once just as awkward as you
‘are now—maybe more so!
It takes time to overcome the tense hab-
its of a lifetime. It takes time and much
effort to learn to relax your body. Jiu
Jitsu balance, however, is so natural that
your progress will be rapid.
In another few weeks you may wonder
how you ever could have been so stiff and
so clumsy. So remember again: the other
fellow, the one who performs Jiu Jitsu so
well, was once as rigid and as worried as
you are now. Cheer up, Beginner!
31 32
“Spooning” Ankle Throw No. 1
Stop just far enough away to be able to Pull opponent's elbow toward your left (2)
grasp opponent’s arm firmly, With your using for the most part hand power. Keep
left hand, grasp his left arm just behind your balance on your left foot. Rend your
elbow (1). left knee, and incline upper part of your
body forward (8).
Place your right hand on opponent's left
shoulder from behind (4). Place the instep
of your right foot against opponent's lett
ankle (5). Point your right toes in a little,
pigeon-toe fashion. Reminder: Your action should be against
one point at a time. Picture D (6) first (7)
next then (8) for finishing, Also may be
used following the next tricks: Spooning
Ankle Throws No. 2 and No. 3.
In any trick where you are on one leg and
ready to use the other leg, you must help
your balance by holding him with a good
grip of your hand or hands. Remember,
power comes from a strong foundation.
” your right foot against opponent's Opponent will fall on his back. Keep your
ft ankle from behind in direction of his grip on opponent's arm after he is down;
(6). Not necessary to put all your this will help in the holding trick you use
ith in this. Your right hand pulls op- to keep him down (9).
ent’s shoulder toward your right and
downward (7); and your left hand
his elbow toward you (8). 33 “Spooning” Ankle Throw No. 2
This shows “Spooning” Ankle Throw
when you grasp opponent's right arm in-
stead of left (1). Pull opponent's elbow to
your right (2), using principally hand
power.
Point your right toes in a little, pigeon-toe
fashion. “Spoon” your left foot against op-
ponent’s right ankle from behind in direc-
tion of his toes (5). At same time your
left hand pulls opponent's elbow toward
your right (6), and your right hand presses
downward toward your left (7).
‘This trick illustrates the analogy between
Jiu Jitsu and fishing. When you drop the
hook in the water, it swings free and the
string is relaxed. When the fish bites, you
pull suddenly, a quick moment of power
Place your right hand on his right shoulder,
from front (3). Place the instep of your
left foot against opponent's right ankle (4).
Opponent will fall.
and you catch him, If the fish then runs
you give him more line. When he relaxes
you pull in, In the case above, the moment
‘of quick power comes when you “spoon”
with your foot and pull down with hand. Step forward on your left foot (1) and make
your right foot free (2). Push back oppo-
nent’s upper arm very lightly with your
left hand (8) to make him hold his weight
on his right foot (4),
Place the instep of your right foot against
opponent's left ankle from behind (5) and
spoon your right foot against opponent's
left ankle from behind in direction of his
toes (6). Then your right hand pulls oppo-
nent’s upper arm downward (7).
35 COMBINATION TRICKS: Illustrations
below show how to work out combinations
of tricks. Obviously all possible combina-
tions cannot be illustrated. You can make
up many more. Drawings below are taken
directly from tricks referred to, and should
not be taken too literally when practicing,
Their purpose is merely to suggest the ac-
tion, You are supposed to know the tricks
before trying to apply them in combina-
tion, In fact, you cannot understand these
instructions unless you have already prac-
ticed the tricks referred to.
SPOONING ANKLE NO. 2
TO SWEEPING CALF NO. 2
If opponent resists, or if you miss for any
reason at this point in applying Spooning
Ankle No. 2 (Session 1)
You’ can transfer your weight to left foot
and go into Sweeping Calf No. 2 (Session
1). This shows the advantage of usin
power from knee down in applying 5;
ing Ankle No. 2; otherwise it would be
difficult to shift from the one trick to the
other.
BREAKING—OPPONENT STRANGLES FROM FRONT TO SWEEPING CALF NO. 1
After you break opponent's strangle hold
as shown (See Breaking—Opponent Stran-
36 gles from Front, Session 1)
You can go into Sweeping Calf No. 1 (Session 1) . .
SWEEPING CALF NO. 1—
If you start to throw opponent with Sweep-
ing Calf No. 1 (Session 1), and opponent
steps back with his right foot instead of
coming to the position shown at left. . .
PENCIL HOLDING TRICK— TO SPOONING ANKLE NO. 1
From position “D” in Pencil Holding Trick shoulder, catch his arm with your right
hand and spoon with your left foot. (A
good point to remember in
to put all the power possible into your big
toe.)
You can go into Spooning Ankle No. 1
(Session 1). In this case change the position
of your left hand from his wrist to his
TO SPOONING ANKLE NO. 1
pooning” is
You can go into Spooning Ankle No. 1
(Session 1) without even changing the posi-
tion of your hands. But in this case, when
he steps back, take a step straight forward
with your left foot, before spooning with
your right foot, and you wilt have stronger
balance and greater power.
37 Spring Hip Throw,
Front,
‘The Knee Whirl,
Rear,
Rear,
Before you start on this session, we again
want to emphasize the value of serious,
consistent practice—the importance of learn-
ing each trick so well you can do it
without thinking. Do a thorough job on
each trick before going to the next. Only
through practice can you gain the self-
confidence you need. Review Session | today.
Please go back and read the page on
Balance and Relaxation in Session 1. This
Session 2.
Over-Shoulder Throw,
‘This session contains the following lessons:
Breaking—When Opponent Strangles from
Defense Against Blow with Fist,
Breaking—When Opponent Strangles from
Breaking—When Opponent Strangles from
and a bonus trick—
Breaking—When Opponent Holds Wrists.
is all-important. Jiu Jitsu, which means
gentle or soft art, naturally indicates a
relaxed mind, and body. Of course, the
principle of relaxation, and the technique
of breaking balance, cannot be learned
overnight. But there is no reason to feel
discouraged if they seem to come hard at
first. It merely takes time and patience.
‘The point is to keep them always in mind
when you practice this course.
39 Spring Hip Throw
With your left hand, grasp opponent's right
arm just behind elbow (1). Step with your
left foot to a point inside opponent's left
foot (2). Push back your hips, and incline
your chest forward (3)
Now, shift your weight to your left leg (4)
Bend your knees (7) so that your hips go
low as shown, Push hips back against op-
ponent to strengthen your balance. While
you are turning into this position, your
right arm should encircle opponent's waist
and pull his chest and abdomen in as close
as possible against your back. Now your
40 hips can support his entire weight.
Quickly spring your hips up. And swing
forward with your right shoulder (8) as if
you were throwing a sack of potatoes over
your right shoulder. ‘Turn, spinning on the ball of your left
foot (5).
Opponent will fall on his back. Keep your
hold on his elbow or arm (9), In practice,
keep your right hand around opponent’s
waist and hold him up as much as possible
to keep him from falling too hard.
Go completely around, so that your hips
are full agai
the right of him (6-next picture).
opponent, and a little to
41 Breaking- Opponent Strangles from Front
If opponent attempts to strangle from front Step in with your left foot to the front of
as shown... your right foot (1). Strike the inside of hi
right elbow with your left forearm, forcing
it aside; and place your left hand on his
right arm (2).
This shows how action is
continued with
Spring Hip Throw.
Strike the inside of his left elbow UP-
WARD with your right forearm (3). This
brings you into position for any Hip
‘Throw, or Over-Shoulder Throw: (next
trick). NOTE: When breaking, do not
