Discovery Judotokui Waza 07

DISCOVERY OF JUDOS TOKUI-WAZA___
Ronald Dsormeaux, Kodokan 5th dan Technical Director Chikara Dojo Private collection-2007
Tokui Waza by Ronald Dsormeaux
DISCOVERY OF JUDOS TOKUI-WAZA
Copyrights to Ronald Dsormeaux ISBN-2-9806269-2-0 National Library of Canada 2007
Acknowledgements
I wish to thank Marie-Claire, Marc and Nathalie for their support and input regarding this project. To my former teachers, instructors, students and judoka colleagues, a special thank you for your friendship and your precious advice over the years. I want to signal my cordial appreciation to those involved with the photographic sessions and the editing, in particular: John Huntley of the Aberdeen Judo Academy, as well as Corinne Critchlow, Nathalie Dupuis-Dsormeaux and Marie-Claire Dupuis. Without such friends, I would not have grasped the true dimensions of judo. My appreciation is also extended to Sensei Naoki Murata of the Kodokan Institute for permitting access to the judo archives and to Bob Willingham for the use of his international shiai photos. Ottawa, June 2007
INTRODUCTION TOKUI-WAZA Ron Dsormeaux first book The Discovery of Judo was a treatise on the beginnings of judo derived from the styles of jujutsu of various schools (ryu) to present-day judo with photos from the 2006 Judo Canada National Kata Championships and the Kodokan 2006 Summer Kata Course. Tokui-Waza is an extension of The Discovery of Judo, but more importantly, it outlines a judokas path to development of a tokui-waza or favorite technique. For those familiar with famous past judoka such as Shiro Saigo, Kyuzo Mifune and more recently Yasuhiro Yamashita or Katsuhiko Kashiwazaki, the mere mention of their name brings to mind their tokui-waza performed at the highest level! Tokui-Waza begins with the evolution of the gokyo-no-waza as judo spread throughout the world. In Europe especially, we find judoka applying Greco-Roman and Russian Sambo techniques - un-orthodox gripping and modifications to the standard gokyo-nowaza. The gokyo has evolved but its essence remains. The main content of this book covers various applications of a number of select tokuiwaza, followed by training recommendations and suggested training sessions to assist one in the acquisition of their own tokui-waza. Also covered are situations of Sen or Go, Gono-Sen, and Sen-no-Sen. The book concludes with auto-evaluation and bio-mechanical dimensions. Ron covers a lot of material in 100 pages, material that is pertinent to all judoka but, as indicated in its conclusion, will prove invaluable to the contest-oriented judoka. Working hand in hand with a competent instructor a judoka will discover new approaches to waza application. I highly recommend this book!
John A. Huntley, 7th dan Aberdeen Judo Academy Kamloops, British Columbia
Table of content
Part One JUDOS TOKUI-WAZA INTRODUCTION TO HISTORICAL DIMENSIONS LEGACY FROM SHIHAN JIGORO KANO KODOKAN JUDO INSTITUTE; ORIGINAL SCHOOL GOKYO-FIVE ELEMENTS ADAPTATION AND MODIFICATION OF GOKYO THE COMMON REPERTORY OF JUDO WAZA TACHI WAZA OR STANDING TECHNIQUES KATAME WAZA OR GRAPPLING TECHNIQUES Part Two STATISTICAL ANALYSIS THE APPLICATION CONTEXT TEN ESSENTIAL ELEMENTS TOKUI WAZA AND SHIAI THE LEARNING PROCESS Part Three SELECTED TOKUI WAZA First Selection: Seoi-Nage Connections Second Selection: Uchi-Mata Connections Third Selection: Tai-Otoshi Connections Fourth and Fift Selection: O-Uchi and Ko-Uchi Gari Connections Sixth Selection: Harai-Goshi Connections Seventh Selection: O-Soto-Gari Connections Eight Selection: Kata-Guruma Connections Ninth Selection: Uki-otoshi Connections Tenth Selection: Te-Guruma Connections TOKUI WAZA TRAINING RECOMMENDATIONS SUGGESTED TRAINING SESSIONS Part Four AUTO-EVALUATION ABOUT BIOMECHANICAL DIMENSIONS CONCLUSION Annexes A. B. C. D. UNDERSTANDING THE CONTEXT REFERENCES GLOSSARY AUTHORS PROFILE 87 96 100 101 7 8 10 13 14 14 15 15 18
22 25 27 41 43
46 47 53 57 60 64 67 69 72 74 76 77
80 83 86
Preface
Judo has been a way of life for me for over 50 years. In my early apprenticeship and competitive days, I practiced hard and tried to absorb all the good counsel received from my peers and teachers. Having become a teacher and a coach, I was blessed with more time to analyze and reflect upon the many judo techniques and their principles. This book is the fruit of my reflection and research and I wish to share it with others who may have an interest in pursuing the study of judo. Have a pleasant reading.
Ronald Dsormeaux, 2007
Should the reader have suggestions, comments or questions about this text, please Email them directly at ronalddesormeaux@ yahoo.ca
Part One:
JUDOS TOKUI-WAZA
JU: meaning soft, flexible, supple, pliancy. DO: referring to the way of progress or path of conduct. The essence of Kodokan Judo is to perfect oneself physically, mentally and morally in order to use those strengths to the benefits of society. The Kodokan techniques aim at returning an opponents strength against himself and overcoming him through skill rather than force. The use of Tokui-waza will be our strategy.
Ju Do Tokui-waza: from the verb toku-yo-no, to be economical, From the adjective toku-yu meaning unique, From judo dictionary expressing the preference or favoritism towards a technique. Tokui-waza: a preferred or favorite technique. Any technique that an individual finds particularly effective and therefore uses frequently.1
Teizo Kawamura, Toshiro Daigo, Kodokan Dictionary, 2000
Introduction to Historical Dimensions

Within the dynamic process of nature, all things develop particular methods to defend themselves. All living forms are provided with a defense mechanism to ensure their survival. The human being is no exception. It too has developed methods of self-defense. Martial arts systems followed various trails of human conflicts and wars. There are many heroes and war episodes that became famous and which were transformed with time into legends and religious festivities. The Europeans have their share of folklore and the Asian populations have also their traditions that mutated from one country to the other. The various arts of grappling and self defense skills are no exception. Hereunder are a few illustrations depicting systemic approaches in the art of fighting found in Europe in the 15th and 16th century. For the purpose of this book, the Asian and the Japanese trail in particular will be of more of interest to the judoka as Judo not only evolved from ancient Asian jujutsu techniques. The Asian art of self-defense was elevated to the level of a scientific and philosophical art, based upon the study of human anatomy, psychology and the laws of nature. It was practiced in war and in peaceful times.
Favorite techniques illustrated in 1674 in the book by Nicholas Petter Handbook of Wrestling showing the existence of some sort of self-defense and grappling studies in Europe during the Medieval and Renaissance times.

A collage from the German print book on Wrestling dated 1553. By the printer Wurm depicting hip and arm techniques.
The original purposes of jujutsu were to throw and kill the opponent, to capture him or strike his vital points. Certain schools and styles came to be studied as something quite removed from the concept of combat. While combat may have been at the core of jujutsu practice, it also had related goals of physical education and mental training2
Naoki Murata, Mind Over Muscle, 2005, p-17
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LEGACY FROM SHIHAN JIGORO KANO
Shihan Jigoro Kano
His Kodokan Emblem (The cherry blossom)
Shihan Jigoro Kano, the founder of modern judo was born in Japan, on October 28th, in Mikage near Kobe in 1860. He followed his family to Tokyo in 1871 when Japan was in the midst of a cultural transformation from a feudal country to a modern nationhood. He began his university education at the Imperial institution and like many students he sought to learn jujutsu. As Japan was coming out of its long journey of internal wars, many combat schools had survived and were attempting to establish themselves as public establishments. From the many schools available to him, he approached the most reputable masters to teach him the best skills in the art of self-defense. His first teachers were Sensei Yagi and Karagiri of the Yagyu School which was a fencing (Kendo) and jujutsu Ryu. He then moved on to attend the Takenouchi, the Kito and the Tenshin Shinyo schools. He became a personal student of Master Hachinosuke Fukuda, Tozawa Tokusaburo, and Masamoto Isohizue and of Iikudo Tsunetoshi. Not fully satisfied with the combat techniques and the physical training skills he received, Shihan Jigoro Kano pursued his Doctorate degree from the Imperial University and continued his researches into the philosophy and teaching methods of jujutsu and their tactical approaches. He was somewhat influenced by his own studies of Buddhism, Daoism and Confucianism. He attempted to link the jujutsu teaching with the Japanese cultural dimensions. He embarked upon the studies of old documents called Kudensho which were transferred to him by his former masters. He analyzed other documents located in several libraries. Back in the training room, he refined techniques, questioned purposes and usefulness. He codified and realigned them in accordance with known basic natural laws of nature. He further challenged some theories expressed by colleagues and other jujutsu masters. He recognized the values of jujutsu but challenged the pedagogy. When ready, in 1882, he formulated a new approach and complete educational program based upon those key natural principles he had tested in his remote dojo. I took the name judo that already existed and added the name of my dojo to it.3 The name judo was most likely taken after the jujutsu Chokushin-ryu-judo (also known as JIKISHIN) located in the city of Izumo.
3
Jigoro Kano, Naoki Murata, Writings from the founder of judo, Mind over Muscle, Tokyo, 2005
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Jigoro Kano at the centre of a gathering of jujutsu experts circa 1895
Shihan Jigoro Kanos approach was based upon the following two principles:
The intelligent use of energy. Mutual benefits and prosperity for self and others.
Tokui Waza by Ronald Dsormeaux Shihan Jigoro Kanos program contained three parts: The physical training and development of the body known as Renshindo; the accrued proficiency in combat and fighting called Shobuho and the mental development and culture known as Shushinho.
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These three objectives were later simplified to become: Shin-Gi-Tai. (Mental-techniquephysical). Inspired by the bushi culture of yesterdays, Shihan Jigoro Kano was able to provide a different path for the Japanese people to link up with their past, train their physical and mental abilities and become part of the League of Nations.
Shihan Jigoro Kano and some of the Kodokan earlier teaching staff-1933
(Kodokan archives)
The above were the first group of teachers of the Judo theory: Ju Yoku Go O Seisu usually translated as softness overcomes hardness and flexibility overcomes stiffness. The central principle of the martial system was being receptive, alert and in control of the situation in order to yield to the opponents attack and reverse it to your advantage.
Shihan Jigoro Kano went beyond the physical attributes of the jujutsu and introduced a higher mental dimension with social ramifications.
While respecting and valuing jujutsu traditions, Kanos judo incorporated a new concept of morality, and fulfilled the purpose of health education while emphasising science and logic4
Naoki Murata, Mind over Muscle, 2005, p 145
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KODOKAN JUDO INSTITUTE: ORIGINAL SCHOOL

In May 1882, Shihan Jigoro Kano decided to open his independent school. It was a modest beginning in the annex of the Eishoji temple in the Shitaya district of Tokyo. There, he began his work with very few students. A dozen or so assistants quickly joined him. It is there that he officially declares that his Kodokan Judo would now replace the old jujutsu. The main reason for the change of name was that he would now focus his Kodokan teaching upon the way involving the three aspects Shin Gi Tai for the betterment of society. His new school took roots and more students with like-mind attended. Not satisfied of being one of the many school in the region, he desired to prosper and expand his philosophy of intelligent use of strength to societys benefits as the number of students grew. To realize his dreams, he lobbied and made presentations to the political elite and to the higher society of Japan. His messages were heard. The influential milieu would in turn help him secure his political ground against other schools and systems who were also trying to gain a hold. As was the practice at the time, his school was often challenged by groups of dojo yabushi, so-called fighting experts looking to destroy the reputation of other schools through open challenges. Shihan Jigoro Kano did not seek nor avoided challenges; he would rely upon the abilities of his pupils and colleagues to rebuff them. Masters Yamashita, Nagaoka, Hiratsuka, Takamatsu, Fukuda, Totsuka and Isogai were the prime fighters involved in ensuring supremacy of the Kodokan system. With victories, came new students and Shihan Jigoro Kano recruited other masters who shared his ideals and invited them to join his Kodokan. In 1883, he presented several theses to the Ministry of Education illustrating the educational merits and values of his new physical education system. He convinced the Ministry of Education to make use of Kodokan Judo training methods to promote individual self-discipline and character building in the Japanese Youth society. Shihan Jigoro Kano provided convincing arguments using students engaged in Kata (prearranged form) demonstrations and free practices or Randori. His Kodokan Judo was indeed different and considered relatively safe to practice. The physical and social programs of the Kodokan Judo was appealing and its moral education of practicing what is good and right could be applied to complex situations in everyday life. It got the necessary endorsement and his system soon became the replacement to the Bujutsu curriculum previously taught in public schools.
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GOKYO-FIVE- ELEMENTS
In his first school curriculum or training package, Shihan Jigoro Kano made provisions for the Nage-waza, the Ne-waza and the Atemi-waza. They are the three dimensions of the combat skills training: throwing, holding and striking. He limited his initial throwing techniques (Nage) to about 40 standing units. The mat techniques or holding were originally covered in the Katame-no-kata, or pre-arranged form to develop the understanding. His Atemi-waza were included into several other Kata training since they required special care and attention in training exercises in order to avoid major accidents or injuries. By limiting the initial curriculum, he intended to guide his students towards a greater appreciation and mastery of the physical principles and components involved with specific waza. These essential dimensions were: Kuzushi, placing the opponent into a broken posture; Tsukuri, the body movement and the placement of one into the right angle for attack and posture for the throw; Kake, the proper placement or manner to execute the throw with maximum impulse. The initial 40 techniques became known as the Gokyo of 1895. The five groups of eight techniques represented the actions and reactions taking place between two opponents. The technical skills used by both players would facilitate the transmission of power from one onto the other. The first and second groups of techniques demonstrate the use of the various segments located in the upper body to accomplish the displacement of the opponent. The third group makes reference to the use of the trunk muscles and central joints best represented by the hip power or Hara. The fourth group illustrates the influence of the legs and feet as they are used as lever, fulcrum or instrument of sweeping. The fifth group shows how the total body weight can be used to attract and guide the opponent into a fall or throw. It also reflected the risk taking involved in the use of ones balance to affect a throw. The practice of the Gokyo techniques was generally conducted through randori or free practices and complemented with kata or form studies. Since its inception, Judo techniques and styles have been remodeled to meet demanding international expansion. The mat work became randori style training and linked with the competition scoring system.
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ADAPTATION AND MODIFICATION OF GOKYO

In the early years, standing techniques were following rigid lines found in jujutsu. Ground work was not popular as it took too long to score in competition. After the birth of the International Judo Federation in the 1950s, new champions were mastering one or two tokui-waza and applying them to perfection. With the coming of the University and Youth games in the 1960-70s, younger and more athletic judoka brought more daring throws to the forefront. In the past twenty years, the Eastern countries and the GrecoRoman grappling systems made their entries. There is now more variety and more follow up technique to the mat work. Non-orthodox techniques such as Hikomi (toppling or reversing) have been refined to cope with athletes lowering their centre of gravity and crouching. We observe the use of more combination techniques known as Renraku waza to enticed or lure the opponent or as following strategies. The Gokyo may have evolved but its essence has remained the same. Today, the International Judo Federation recognizes several new techniques and variations as a result of international competitions. The Kodokan Judo Institute in Tokyo has published an enriched Gokyo syllabus with 67 Tachi or standing waza and a full compendium of mat techniques under its Katame or Ne-waza grouping comprising 32 hold downs, arm-locks and strangulations. It is from this updated syllabus that our selected Tokui-waza will emerge. A partial name-list of the root techniques is presented hereafter to situate our choice.
Sensei Bernard Gauthier performing Uchi-mata (inner-thigh)
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THE COMMON REPERTORY OF JUDO WAZA

For those tenacious enough, the process of learning judo must be a committed effort over several years. One cannot achieve mastery in a few months or through lectures of technical material alone. It is a process of a lifetime. Sensei Sakujiro Yokoyama wrote in 1908:5 It is beyond the power of the pen to explain the delicate points of judo and the mysterious mental action it brings out.
Not everybody grasps the full meaning of judo, but there are some who do.6
Achieving mastery in judo demands intensive and demanding training over an extended period of time under the guidance of experienced sensei.
TACHI WAZA OR STANDING TECHNIQUES
Te-waza- 15 techniques of the hands The following techniques demonstrate how the energy contained in the upper body can be used against the opponent. The lifting, blocking, pressing, pulling and pushing actions of the hand and shoulders against the opponent are best seen in: Ippon-seoi-nage, Seoi-otoshi, Tai-otoshi, Seoi-nage, Kata-guruma, Uki-otoshi, Sumiotoshi, Sukui-nage, Obi-otoshi, Morote-gari, Kuchiki-taoshi, Kibisu-gaeshi, Kouchigaeshi, Uchi-mata-sukashi, Yama-arashi. Koshi-waza-11 techniques involving the hips This group emphasizes the undulations of the hips and trunk caused by lowering or lifting of the hip. The pelvis region provides most of the power needed to throw the opponent down. The activation of the middle group of muscles is used as a lifting power and as a fulcrum arm placed under the opponents center of gravity. These actions are found in: Uki-goshi, Harai-goshi, Tsurikomi-goshi, Sode-tsurikomi-goshi, Hane-goshi, O-goshi, Ushiro-goshi, Utsuri-goshi, Tsuri-goshi, Koshi-guruma, Daki-age.
5 6
Sakujiro Yokoyama, Judo Kyogi, 1908 Jigoro Kano, writings compiled by Naoki Murata, Mind Over Muscle, 2005
Tokui Waza by Ronald Dsormeaux Ashi-waza- 21techniques performed with the legs The inferior or lower segments are used to gain quick entries, to establish a lever, to block, to sweep, to lift or to avoid the actions of the opponent. In some cases, the opponents feet are pushed out from under him or are stopped in their tracks. They are represented by: Hiza-guruma, O-uchi-gari, O-soto-gari, Sasae-tsurikomi-ashi, Harai-tsurikomi-ashi, De-ashi-harai, Ko-uchi-gari, Ko-soto-gari, Ko-soto-gake, Ashi-guruma, Uchi-mata, Oguruma, O-soto-otoshi, Sasae-tsurikomi-ashi, Okuri-ashi-harai, Tsubame-gaeshi, Kouchi-gari, O-soto-guruma, O-soto-gaeshi, Uchi-mata-gaeshi, Hane-goshi-gaeshi, Harai-goshi-geashi. Sutemi-waza-20 techniques involving the major sacrifice of loosing balance This group shows that when the bodys posture is challenged, it can still be used as an instrument of power to throw the opponent in a rearward and lateral direction. Sacrifice throws are risk takers; you must sacrifice your own balance in order to carry out the throw and you risk having the opponent gain the upper hand if you are unsuccessful.
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Representative techniques are: Tomoe-nage, Ura-nage, Sumi-gaeshi, Hikikomi-gaeshi, Tawara-gaeshi, Uki-waza, Yoko-gake, Yoko-otoshi, Yoko-guruma, Tani-otoshi, Yokowakare, Hane-makikomi, Soto-makikomi, Uchi-mata-makikomi, Daki-wakare, Uchimakikomi, Harai-makikomi, O-soto-makikomi, Kani-basami, and Kawazu-gake.
Sensei Katanishi performing Ura-Nage and Tomoe-Nage movements
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CHART: SAMPLE TECHNIQUES OF GOKYO 1895
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KATAME WAZA OR GRAPPLING TECHNIQUES

These techniques were first contained in the formal Katame-no-kata in 1895 but were seldom used in principal Shiai or competition until the 1930.s. There has been a comeback to them in the last 15 years. Because of the current Shiai contest rules, the judo contest starts with a standing posture. Entering into Ne-waza or ground work is normally associated with an imperfect throw by either opponent or continuity to a waza. We generally identify four options to enter into Ne-waza: 1. Following a Tachi-waza attack and pursuing to the ground in the follow-up action. 2. Inviting the opponent to the ground via a strong defensive posture. 3. Enticing the opponent with dragging and toppling techniques known as Hikomi. 4. Applying a standing Shime or Kansetsu (strangulation or lock) and bring the opponent down with it. Neil Ohlenkamp, a senior coach of the United States Judo Association recommends that judoka should master transitions techniques from standing to ground techniques. We refer to this latter group as Hikomi or toppling forms. The focus of osae komi waza is to learn the basic control and how to maintain a superior position on the ground. Knowing the final hold is only a small part of the skill needed to get an opponent into a vulnerable position.7
Osae-komi-waza- holds or pins These techniques are used to control the opponent while fighting on the ground. The judoka tries to maintain a fluid displacement, keeps his center of gravity low, envelopes the opponent from a superior position and uses leverage and balance to keep him under control for a given time lapse. The techniques are: Hon-kesa-gatame, Kuzure-kesa-gatame, Kata-gatame, Kami-shihogatame, Yoko-shiho-gatame, and Tate-shiho-gatame.
Variations of traversing holds- makara- kesa gatame
Neil Ohlenkamp, Judo Unleashed, 2006. p 117
Tokui Waza by Ronald Dsormeaux Shime-waza- strangulations and chokes
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These techniques are intended to force a submission from the opponent. Applied to either the carotids arteries (strangulation) or the windpipe (choke) with speed and accuracy they should not last longer than 10 seconds. Carotid strangulations are safer and quicker and produce less pain to the opponent. If properly applied, they do not represent a severe danger. A loss of consciousness will occur if a submission is not signaled. Recovery from strangulations occurs normally within release or during the following 20-30 seconds. A longer laps time in a state of unconsciousness may necessitate the recourse of medical help. When used in Shiai, the referee will watch for signs of submission (tapping or unconsciousness). When practicing in the dojo, both opponents should be careful not to apply the technique beyond early signs of effectiveness. These techniques are: Nami-juji-jime, Kata-juji-jime, Gyaku-juji-jime, Hadaka-jime, Okuri-eri-jime, Kata-hajime, Kata-te-jime, Ryote-jime, Sode-guruma-jime, Tsukkomi-jime, Sankaku-jime, Dojime. The most important safety rule when applying a shime waza is to release the pressure after the opponent submits or when he begins to feel the effect. (Discoloration, difficulty in breathing or numbness)
Standing strangulation being attempted
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Kansetsu-waza-locks applied against the joints Arm locks or arm bars may be applied in a standing posture and when fighting on the ground. Because one has a better control over the opponents movement on the ground, these techniques are principally used in the mat work to obtain a quick submission from the opponent. These arm bars or locks are applied principally against the elbow joint. The technique involves manipulating the opponent elbow joint by twisting, stretching, separating or bending it beyond its normal range. Kansetsu waza frequently accompanies a tachi waza (standing) to permit the continuation of the fighting and maintain control over the opponent when reaching the mat. Safety precautions: Like the shime waza group, these techniques are learned and practiced under close supervision and should not form part of the curriculum for children training. Standing arm locks are normally applied faster and therefore present a higher risk of injury. Included in this group are: Ude-garami, Ude-hishigi-juji-gatame, Ude-hishigi-udegatame, Ude-hishigi-hiza-gatame, Ude-hishigi-waki-gatame, Ude-hishigi-hara-gatame, Ude-hishigi-ashi-gatame, Ude-hishigi-te-gatame, Ude-hishigi-sankaku-gatame, and Ashigarami. In learning judo, sincerity of min. Kokoro is indispensable. Without it only a limited technique remains
Attributed to sensei K.Mifune
Sample techniques from a group of Katame waza abstracted from a German Chart circa 1950
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PART TWO
STATISTICAL ANALYSIS
Background Various researchers worldwide have kept an accurate account of the techniques that have proven successful in competition. Over the years, they have gathered many statistical data. It is interesting to note that there may be a tendency related to the most frequently used techniques. Sensei Otaki Tadao made a census of the 10,552 contests during the first part of the Showa (1926-1950-1989) period.8 He found that 83% of contests were won by a clear Ippon. He confirmed that the ratio of tachi-waza to ne-waza was 7 to 3. The most popular tachi-waza of the period was: Uchi-mata (16%) followed by O-soto-gari (13%) and Harai-goshi for 10%. Counter techniques had a 7% rate of usage. Most recent statistics obtained from past Olympics, World and European championships revealed the use of less than 20 techniques per event. The Polish study of Sikorski and Keseck of 1996 was chosen to represent our study base. Their study of 876 judo matches at the international level identified that there was an evolution and a progression in the use of standing techniques: of the techniques used, 90% came from the Tachi-waza group. When applied in singular mode or in combination, they scored full mark or Ippon 62% of the time. Another 10% of the maximum score awarded came from a mixture of Ne-waza (ground or mat work) or superiority awarded by decision of the officials. Of the 67 techniques available in the Gokyo Tachi-waza, they further identified that some techniques proved to be more popular than others. The frequency ratio was as follow: 10% resulted in Seoi-nage combination. 9% attributed to Uchi-mata. 9% performed Tai-otoshi. Champions performed this winning trio either on their right or left side. A second group of powerful waza was used very effectively in 3 to 4% of the time. They are represented by: O-uchi-gari, Ko-uchi-gari, Harai-goshi, Uki-otoshi and O-sotogari. Three other techniques re-appeared at a frequency of about 1%, they are: Kataguruma variations and counter techniques variations of Te-guruma and Sukui-nage. Judoka of all ranks and levels have learned the aforementioned techniques from their early judo lessons. They are studied as part of the first and second grouping of the Gokyo. Past champions, the like of sensei Kimura, Natsui, Sone, Geesink, Inokuma, Ruska, Sato, and Yamashita and numerous others had ample time to practice them in various fighting situations during their long competitive careers. (Some of those champions practiced daily for more than 10 hours.)
Otaki Tadao, Contest and technique, Judo International, 1950
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In 2001, a similar research conducted by Stanislow Sterkowicz of the Krakow University concluded 9 that: of the 283 matches of the Sydney Olympics, 246 were won by the use of a tachi waza movement while 36 victories were determined as a result of applying a form of grappling techniques. The most popular techniques of the tournament were: Uchi- Mata, Seoi- Nage, Ko- Soto- Gake, Sukui- Nage, O- Soto- Gari, Kata- Guruma, Ura- Nage and Harai- Goshi. The favourite mat technique was the Juji- Gatame. Again, we can observe that the favourite techniques are not hybrids but form part of the regular training and preparation undergone by serious judoka. The miracle solution appears to be: TRAIN, TRAIN HARD AND TRAIN INTELLIGENTLY. Sensei Isao Okano, the 1960s champion and former trainer of the Japanese national team once said: To accomplish a superior brand of judo, it is necessary to master all the fundamental techniques and to train hard daily.10. No judoka can hope to reach perfection unless he is thoroughly familiar with the basic movements. In 1983, Pierre Albertini presented a major paper about the judo learning process. He pointed out the inadequacy of the classical training methods of conducting static repetitions and embarking into shiai without intelligent preparation. He stressed the need to take into account, the reality of fighting situations and suggested to introduce them into the special randori training used in preparation for major fights. For him, the judoka is no longer seen as an individual but as a member of a couple engaged in bettering their skills. He recommended the adoption of new learning processes and the development of mutual benefit exercises exploring the intelligent use of work done in pairs. Combinations and follow-up techniques performed at incremental speed were recommended for both newaza and as tachi- waza drills.11
Michel Brousse, a former European and French champion and now a senior national trainer for France, made several studies on the technical aspects of judo.12 In the noted reference, he identified a relationship between the effectiveness of throws and the scoring of Ippon. He confirmed that some judo techniques having a high performance ratio or used to score Ippon had previously been performed extensively in training sessions against multiple opponents before the actual contest. He concluded that such situational training is a very effective way of gaining dj vu situations and worth pursuing. He also noted that such devoted training was not equally applied to minor waza who that did not produce a major score. He recommended the use of different training programs where emphasis would be placed on: gaining impulse and speed, improved timing, tai-sabaki and seeking opportunities while on the move.
Stanislow Sterkowicz and Wieslow Blach, IJF Research paper 2001. Okano Isao, Le judo vivant, page 9 11 Albertini Pierre, Pour une pratique et une Pdagogie de lOpposition, Revue judo no 59, 1983 12 Brousse Michel, Judo Performance, A Study of Technical Aspects, STAPS, 1986
10
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The detailed analysis of training regimen is not covered in this manual. Other good books are available for that purpose. If we reflect upon what sensei Kyuzo Mifune wrote: There are no limits in the application of judo techniques13. Our task would lengthen both our time and purpose. Our concentration will therefore cover the ten techniques identified above and their combination training as Renraku-waza. (Combination or application in rapid succession, moving from one to the next in a smooth and unbroken fashion).
Hiza-guruma (knee wheel) performed by sensei Bernard Gauthier
At the Kodokan, we study and practice techniques with the purpose of using mental and physical energy most efficiently in order to achieve ones goal no matter what the endeavour, which is the basic principle of judo. So those in training do not merely imitate the actions of the master or practice without understanding the reasons behind what they are doing, but rather consider methods and train in accordance with detailed principles.14
13 14
Kyuzo Mifune, Canon of Judo, 1956 Jigoro Kano, Mind over Muscle, 2005, p 34
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THE APPLICATION CONTEXT

We can normally identify three situational contexts where Tokui-waza can best be used either in Randori (free practice) and Shiai (contest): In a Sen or Go situation, the judoka takes the initiative and starts the attack, breaks the opponents posture and applies his technique. The basic elements in this offensive strategy are: Imposition and control. The judoka must have the capacity to adapt to changing situations without loosing the focus. He needs the perseverance to seek and produce action-reaction. He has to maintain psychological and physical control over the opponent and take advantage of the various forms of Kuzushi. In a Go-no-sen situation, the judokas own posture is attacked by the techniques of the opponent; yet, he has the time and the reflex to identify the weaknesses in the attacks and turns them to his advantage. The judoka is in an apparent defensive stance. This situation is normally identified as the counterattack. The basic elements are: The ability to measure and skilfully use your own weight and body mass to quickly resolve a dangerous situation or make use of the technical impurities of the opponents techniques. In a Sen-sen-no-sen situation, the judoka foresees the attack at the very initial stage of the energy-gathering process undertaken by the opponent. He anticipates the forthcoming displacement and launches his own offensive before the other. The major elements are: Keeping a relaxed posture and open mind: seeking the right moment or opportunity and retaining the ability to switch from defense to offensive tactics spontaneously. The judoka must move about skilfully and keep the right balance. He must play on the engagement distance between the opponents, lure the opponent into emptiness by yielding or following and use an explosive force against the weakest point when required. Being able to identify the opponents intentions needs lots of practice and experience. The Chinese master Lu Shengli identified the critical aspect of the training when he said: the most important thing to understand in your training is the relationship between dynamic and static states, between movement and stillness.15
15
Lu Shengli, Combat techniques, p 69
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To be able to feel and observe correctly the opponent, you need to be in a proper vantage point, have a relaxed mind and be receptive to all kinds of signals that may be perceived by your eyes, ears, nose and hands (visual signals, noises, concentrated smell or odour and tactical feeling). These are your perception, identification and assessment tools. You have to acquire the sensitivity to feel small movements, assess strength and power, identify situations when the opponents balance is stable or unstable, determine when and in which direction you can easily gain control over him. The Japanese call this state of awareness Mizu no Kokoro meaning the reflective mind like the surface of the water. Secrets are just like your eyebrows, though they are near you, you can not see them. When you understand a secret, you will find that it was quite near you or very simple16
The proper application of the listed Tokui-waza is no different than the other techniques left out of this text. They are all constructed around 10 essential elements that we have described at length in our previous work of 2005 entitled Discovery of Judo. We are hereafter presenting them in a summary review, because we consider them to be essential towards the comprehension of the principles of all waza regardless of you choice.
LEARN THE BASICS, THEY WILL LEAD YOU TO HIGH LEVEL MASTERY If you have things of value You should pass it on to others.
16
Sakujiro Yokohama, Judo Kyogi, 1908
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TEN ESSENTIALS ELEMENTS

We have to seek to understand everything, from the global picture to the minute details and work our way up from the smallest to the biggest element.17 The above quote is from a 1640 message by fencing Master Miyamoto Musashi encouraging his followers to persevere with an open mind. He warned that learning new techniques for the first time could be difficult. With practices and repetitions, the techniques will become easier. Hundreds of Sensei that followed this great sword fighter repeated similar messages and placed the same importance to teaching judo fundamentals elements as prerequisites to all other form technical training. The 10 essentials elements of a waza are: Breaking the fall, the standing posture, moving the body about, placing the opponent in an unbalanced position, turning motion, grasping the costume, making the entry, applying the technique, keeping contact with the opponent and applying constant harmony. First element: Ukemi. Breaking the fall. Ukemi means to use ones body to break the fall. It is a method by which pain and fear can be mastered. Sensei Ichiro Abe mentioned in his recalls of judo souvenirs that when we witness someone making a break fall, we can determine the level of his or her expertise. With good break falls comes good Tai-sabaki. The body becomes supple and relaxed. To be able to make a good technique and control all its elements, it is necessary for the judoka to feel the fall, understand the impact with the mat and visualize its natural trajectory. Having practiced the different ways to break the fall, he will be able to modify his throwing technique and develop defensive means to minimize the scoring attributes. It is said that when you can take a throw without discomfort, you can attack with confidence. The American coach Neil Ohlenkamp made this observation of Ukemi: Being able to fall comfortably and with confidence frees the mind and relaxes the body so you can attempt more difficult moves. 18
17 18
Miyamoto Musashi, Go-Rin-No-Sho, 1983 Neil Ohlenkamp, Judo Unleashed, New York, 2006
Tokui Waza by Ronald Dsormeaux Second element: Shisei. Standing posture.
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There are several stances used in judo. The recommended posture for best judo practice is the upright natural posture. This is the starting posture for any given contest. It consists of placing oneself in a natural stance where you are free and able to move at will without being entangled with the opponent. The posture is the foundation for every movement once said Sensei Sumiyuki Kotani. My body is linked with my centre. My centre is full of energy. My energy makes one with my intention. My intention is free of everything. Extracted from the Munen-Mushin principle meaning: pure and simple. Since the judo match will begin in a standing posture, it is important to understand all the possibilities of using body weight and displacement to close in on the opponent for the eventual throw or to secure a solid defense by lowering the center of gravity or stepping out of the critical throwing path. When your posture is bad, you can neither move freely nor take positive action comfortably. You should train as much as possible by maintaining a natural stance without tensing your body, particularly your arms and legs, and remaining very relaxed so that you can move freely.19 In the natural posture, the head must be held erect as if suspended. The centre of your head should be aligned with your centre of gravity. The chest should be slightly drawn back and kept natural (not inflated). Your back should be straight and not hunched forward or permitted to sway backward. You hips and waist areas should be relaxed. The buttock should be tucked in and kept under your lower back so that it does not protrude. Your legs should be slightly bent at the knee to that the front of the knee is aligned with your forward toe line. Your feet should be slightly apart and the whole weight resting comfortably somewhere in the middle of the foot.
Training slowly teaches you to move slowly. When applying techniques, you should speed up after you have grasped the initial understanding.
19
Jigoro Kano, Mind over Muscle 2005, p 139
Tokui Waza by Ronald Dsormeaux Third element: Shintai. Moving the body.
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With most judo techniques, you are required to maintain your own balance even when the opponent is trying to tip you over. For most of your techniques, you will make use of the upper portion of the body yet all techniques will require of you to use your feet properly. How to keep your balance is important and how to move about is crucial to your success. There are two methods in use for advancing or retiring. They are called: Ayumiashi and Tsugi-ashi. (Normal foot advancing or alternating foot and sliding foot preceding or successive). They form part of the ashi-sabaki of foot work techniques. Sensei Yoshimi Osawa reflected on the displacement of the body in the following expression: The skillful way of walking is closely related with correct and manipulatory movement of the body. The correct way of walking is by moving the feet, waist and upper body in good coordination. For this, it is necessary to keep the natural standing posture all the time and walk with sliding steps. E.g., walking by making one foot succeeds the other. 20 The judoka has two principal weapons: one overt, which is his body, and a covert one, which is his mind set. Observation tells us that between two opponents, it is the quicker and more agile of the judoka that has the greater ability to regain balance faster and easier and it is the most determined that will have the greater chance of success. Since the judo match will be won by the use of both weapons, it is necessary to surprise the opponent and make maximum use of both at the right moment. The body mass is the most visible, therefore, caution will be needed to use it intelligently to secure necessary energy sources, to defend and block incoming attacks, to go on the offensive and elude the opponent, to generate impulse and add to the strength by way of a kuzushi. The posture will also determine the way the judoka makes contact with the opponent. The hands touching the opponent will become the key conductor. They are the end of the reaching poles or fulcrum permitting the necessary leverage to be applied. Meanwhile, the employment of the entire body displacement known as tai-sabaki will be used to secure or keep out of the entanglement and permit the wise escape from a trap.
Juban-no- ma- ai is the capacity to hold a correct and safe distance. Your posture will determine your freedom.
20
Yoshimi Osawa, Formal techniques of Kodokan Judo, 1959
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Fourth element: Tai sabaki. Turning motion of the body. The judoka needs to move about and constantly change his position to prepare his attacks or defend himself. The ability to turn, rotate, twist and place the body at the right angle and right time will prove essential. During ground work grappling or pinning maneuvers and while performing tachi-waza, he needs to realize his whereabouts in relation to his opponent. In performing both the natural and defensive positions, the judoka will need to practice his moving abilities and fine tune his spatial orientation. In the standing posture, he has to become conscious of his ability to use his toes to reinforce his balance and guide his displacements. The inside and outside of his feet will require adjustments when he is pushing or pulling. His knees have to be exercised to absorb shocks and quickly spring up to produce lifting impulses when required. When moving about on the tatami, the player must be able to travel the space with suppleness, elasticity and freedom without telegraphing his intentions. Direct, angular and rotational displacements must give greater maneuverability and permit securing of the free space needed to launch the attack. Like a sudden wind, the attack must come as a surprise to the opponent. It may take any direction to best overcome the opponent or engulf him by a combination of forces gathered to make the throw. In moving about or during the execution of the throw, the judoka will try to keep his balance as long as possible in order to avoid being a target for the opponent. Forfeiture of balance can only be done in extremis such as when the judoka feels that the opponent can no longer regain his balance, that he has committed all his power and has no more reserve tricks and that the judokas sudden and total shifting of weight in the direction of the fall will make the final difference. When performing ground work, the judoka has to train his body and mind to locate the pressure points, to estimate the distance between his body and that of the weakest part of the opponent. He has to create moving space and estimate how he can profit from that whole to twist and turn around and secure his position or escape.
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Fifth element: Kumi-kata. Grasping the costume. Sensei SakujiroYokoyama recommended a light Kumi-kata when describing the Judo Kyohan: When you take hold of a part of the clothes of your opponent, you should hold him as lightly as possible.21 Gripping methods vary with the style and easiness of each player. As a matter of principle, there is no strict rule other than holding the costume on the same side for more than four seconds. The judoka can choose a holding pattern to best suit his style. At the mudansha levels, the natural hold is recommended because it facilitates the learning skills. A natural grip consists in the normal extension of the arms, slightly bent and placed at the breast level and at the elbow of the opponent. A right or left natural posture will favor the loose grip and offer a lesser surface for the opponent to make use as a target area or fulcrum. Similarly, holding on the sleeves ends produce a different psychological mind set and frequently confuses the opponent. Another grip set has been recommended by sensei Masahiko Kimura: holding of the sleeve with five fingers. in judo,, when one grabs the opponents sleeve or lapel, one uses 4 fingers of each hand with extending thumbs. Whether one pushes or pulls the opponent, without pressing the thumb hard, one can not grasp firmly and the speed is reduced. The 4 fingers generate an inner force and the thumb (Fift finger) creates the opposing force, developing a firmer grip. Therefore, not using the thumb goes against the principles of dynamics.22
A study by George Weers of the USA made from videos of the 1996 Olympics revealed four common types of gripping: A. Same grip; when both players took either a right or left power hand position from the start. B. Opposite grips; when players adopted a right against a left or vice versa. C. Sleeve end grips; when the dominant player gripped both the opponents sleeve ends. D. Gripping without form; the dominant player not revealing his power hand and not allowing the opponent to secure a power hand until the last instant.
21 22
Sakujiro Yokoyama, Judo Kyohan, 1908 Masahiko Kimura, Fighting Recollection, EJU bulletin, 2001
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George Weers found that gripping without form was the preferred option in 63% of the more advanced and elite rounds. That loose grip is considered as a natural element adapted to the attack sequence and integral to the last minute attack. It was not an action standing alone and persistent during the match strategy. Elite players seemed to move more about the mat and go about prying and probing while keeping constantly on the look out for an opening. This tactic is used to identify weaknesses without committing to a definite approach. It requires a very high level of both defensive and offensive mobility. Gripping without form means that the judoka has minimal contact with maximal space thus allowing more flexibility to enter into offensive or defensive tactics.
Sensei Michel Novovitch demonstrating different kumi kata or gripping style
Standard kumi-kata hold
Tokui Waza by Ronald Dsormeaux Sixth element: Kuzushi. Breaking the balance.
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This is the most important of all the elements and is the cornerstone of the judo philosophy. On one side, you have an opponent who tries to remain in balance and in control while his opposite is trying to make him adopt an unstable posture and make him loose his balance. In a standing posture, the human body is said to be in balance when the maximum weight rests around his trunk area and the latter is held directly above the feet. Total balance also comprises the mental or spiritual tranquility or balance. A disturbed mind cannot function properly and will not be in full control of the body actions-reactions. Judo originates from dynamic mental and physical actions. No throw or lock can be applied effectively against an opponent who retains his complete state of balance. One of the most important and first fighting principles of the Kodokan judo is to break the opponents balance while retaining ones own and use that moment to your advantage. During a match, players must observe each others movements and determine when it is the right time to place the attack. That moment will occur when the opponent is most vulnerable, less powerful or preoccupied and disturbed. This vulnerability can happen by the sheer noise distraction, the lack of concentration, the fact of moving about, the incidence of lifting a leg too high, over bending to the side, outstretching the legs too much or turning the head in the wrong direction. Small actions may produce sufficient inattention or force the displacement of the centre of gravity to imperil the entire balance or equilibrium.
If the opponent maintains his composure and keeps his balance most of the time, other occasions must be found to break his balance by incitation or by making him lean or place himself into vulnerable positions. The overall process is called Kuzushi. The ideal occasion to apply a Tokui-waza is when the opponent is in a self induced broken posture or subject to be influenced by a pull or push action. Other circumstances are: when one of his feet is in motion and he is transferring his weight from side to side. Another favorable moment is when one of his feet is off the mat and his weight is resting on one leg. We refer to Happo-no-Kuzushi as the method to initiate and accomplish braking balance in eight potential directions or axis. Performing Kuzushi by direct action is to apply a certain amount of force to the opponents upper and lower parts in order to make him move his centre of gravity by forcing him to lean forward or backward, or have him step sideways. The applied force can either render him uncomfortable or make him rotate around his own centre of gravity (around an axis) either horizontally or vertically. Once his normal posture is broken, the direction of the force must be maintained to effectively produce the turning or pivoting effect.
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In the following diagram, we demonstrate the current axis or direction that can be taken by the opposing partner when forced to make a rotation. The body rotation is frequently referred to as angular motion. For the Kuzushi to be really effective, it is important to apply the pushing or pulling actions along the natural path and not attempt to twist the opponents body segments against their own joints. The applied forces must be coordinated and follow the same direction. In theory, for maximum impulse, all parts of Toris body should commence their acceleration and build a momentum or displacement simultaneously. In practice, we soon discover that the slower and stronger muscles groups (normally around the trunk area) are the first to move. They are followed by the thighs muscles and then the weaker and faster muscles at the extremities are added as complementary action. All muscle activities being applied should then end their action when the opponent has attained his zero gravity status. (When the forces being applied equal the forces of gravity).
Illustration from The Mechanics of Athletics by G Dyson23
When you face the opponent, you can apprehend several potentially axis or directions to apply the Kuzushi. For purpose of orientation we can says that: the longitudinal axis (Z) is vertical and both the medial (X) and transverse axes (Y) are at the horizontal. This axis of orientation can be used to understand the angle of attack and the potential results to be expected.
23
Dyson Geoffrey, The Mechanics of Athletics, Hodder, Toronto, 1975
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When applying a push or pull action with the hands against the upper part of the opponent, you will in fact displace him along a medial-transversal axis. Should your pushing, lifting or pulling actions be exercised by your entire body and applied against several segments of the opponent, you should be able to move him along several complementary axes. When the opponent begins to move in the direction of the applied forces, he will normally follow a single direction. Nevertheless, you may find that some of his body segments may perform minor rotation on their own around different joints such as the elbow or knee areas. This phenomenon is natural. The overall force being applied will remain sufficiently strong to carry and synchronize all the minor moving segments along its principal direction. If the stronger force is not sufficient there is likelihood that some of the minor movements will negate each others. There are instances where the Judoka can accomplish angular displacement by himself. Such is the case when he is using the hands, shoulders or buttock as touching points with the mats instead of using his feet. The technique of Kanibasami is a good example and so are some varieties of sutemi-waza. The next diagram attempts to illustrate the precarious conditions of the judoka moving along an axis and attempting to maintain his balance. When his displacement is symmetrical, (identified in (a) and (b)), we find that one side of the axis is a mirror image of the other side and the imaginary line of balance passes through the center of gravity and comes to rest at the base of his feet. His body is also in balance when the various weight centers are equally distributed along this imaginary axis. This is referred to as the normal standing posture or natural stance.
The posture is broken (Asymmetrical) when we apply a kuzushi. Such is the case in C. The weight components or masses are distributed unequally. In this case, the balance line or axis is not centered.
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Such a balance line passes through the base but avoid the centre of gravity located at (X). This kind of posture is quite unstable and will require additional muscle strength from the opponent or find other external forces to keep it in balance. In judo contest or when applying a waza, the posture represented in must be sought after and managed by the judoka who must follow up the kuzushi with a tsukuri. On the other hand, if it is Tori who find himself in such a fragile state, he will need to quickly readjust is alignment with complementary forces and use is pending fall to launch his final attack. Movement while airborne It is to be noted that movements originating in the air have similar pattern in that they follow distinctive axis and one cannot change the total arc of angular momentum nor the landing target. Sometimes, it may appear that it is impossible to turn the whole body in the air without a fulcrum arm or point dappui. In practice, this point dappui can be the extension of the holding hand or the body of the opponent (back or shoulder) which is still in contact with the mat. We see these possibilities more and more when judoka perform non orthodox techniques such as Makikomi (roll) or Hikkomi (topple) style waza. When being thrown, the judoka will follow a definite line of movement in his trajectory towards the mat. While in the air, and still attached to the opponent by way of the kumi kata or similar grip it will be possible for him to make rotational movements about that axis of momentum and those possibilities will last as long as he is in a state of suspension. It is to be remembered that one can twist and turn like a cat to avoid falling on the back or turn some extremities in the opposite direction to slow down the effects or cause a serious break in the momentum thus avoiding a major score against him. . It is therefore essential for Tori to properly control the fall of the opponent. The following picture gives a good indication of both the rotational potential of Tori and the counter rotation possible by the Uke.
"In action, balance must be retained: yet, to achieve an object, one must risk of losing it.24
24
G.Koizumi, 12 Judo Throws, Budokwai, London, 1948
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IJF Archives, Bob Willingham collection
Riding the Uchi-mata: TORI is deeply engaged in a frontal plane along a sagittal axis and rotating his trunk along its medial axis. Toris right leg is the driving force up while his left leg keeps in contact with the mat. We can observe that the force passes through the hip joint and under the centre of gravity. All his body segments follow the same trajectory while UKE is attempting a Dome technique to avoid being caught along the axis of momentum by rotating his body counter clockwise and adding a smaller rotation outwardly with his flexed arm. Note that Tori is still in control of the technique because a point of contact with the ground is maintained.
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Seventh element: Tsukuri. Making the entry or fitting in. One of the difficult elements to master is the Tsukuri, a word derived from the verb Tsukuru meaning to obtain a position, to follow, to pursue, or make the entry. This phase of the waza is very critical. Now that Uke is placed off-balance, you need to turn him on his toes or heels while in a continuous movement, enter into position to throw while retaining your own balance. In order to throw a well balanced opponent, the judoka needs to destroy the equilibrium of the opponent and assume continuous control of the attack. The judoka must choose his timing and the angle of entry in order to keep Uke in a state of suspension until the Kake is made. During that quick lapse of time, Tori will need to get closer to the opponent and make maximum use of the space in between them. In this preparatory phase, Tori must make a quick displacement in order to surprise the opponent and gain his power. Upon taking the initiative, the judokas movements should produce kinetic forces capable of being mustered and applied to the throwing technique. Tsukuri will be influenced by Ukes reactions and displacement and by the facility with which Tori can sustain the Kuzushi. When moving in a circular motion or in spiral, the judoka becomes the instigator of a centripetal force giving further propulsion and power to his technique. The rotation or spinning action can take several forms: circular, angular, zigzag, horizontal or vertical. The actual turning action of the body is called the Tai Sabaki and must be addressed either with the Shintai or Tsukuri. Sensei Kyuzo Mifune emphasized the turning movement. He said: It is a special
technique that must be learned. It is not a spontaneous move. It is a rotation done while keeping proper balance. Turning movements are natural thus more basic, yet, the very basic things are frequently the most important.25
The rotational moves can be accomplished by jumping around, switching the weight from leg to leg, advancing or retreating along imaginary circle lines. Taisabaki is made stronger when the entire body is working to create the rotation. The legs, the hips, the torso and the head should be aligned on the same arc and move in the same direction. Additional speed and momentum will be gained by keeping the centre of gravity low and by retracting the arms closer to the centre. Sensei G. Koizumi said in 1948 that: It is impossible to over emphasize the importance of tsukuri, for it is estimated to represent 70% of the throws effectiveness. Tsukuri in a throw is like courting in love, without it, the result will be a disaster26
25 26
Kyuzo Mifune, Canon of Judo, 1956 G. Koizumi, 12 Judo Throws, The Budokwai, London 1948
Tokui Waza by Ronald Dsormeaux Eight element: Kake. Applying the selected technique.
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In Kake, the mind and the body unite to seize the fleeting opportunity and deliberately and speedily apply the technique that will secure the victory. It is the use of the body as the lever or the fulcrum to ensure the opponent is turned around its axis. It is the moment of no return and of total commitment. Kake can be performed on several planes: horizontal, vertical, angular, or spiral depending on the chosen course of action already prepared by the preceding elements. Kake will give form to the intent. It should be accomplished with speed, determination and with the intelligent use of force. For that purpose, we normally identify three elements in the Kake: the control over the opponent, the approach or positioning and the application of vector forces in the intended direction or arc. If Kake is carried out badly, the judoka cannot control the opponents body nor for that matter, his own. There must be a continuum in the direction of the throw both in the horizontal and vertical planes. The intended technique is stored in memory and executed only at the last minute. Its careful and secretive preparation will begin with the displacement of the entire body either in advancing (Tsugi- ashi-tobi- komi) or by withdrawing. (Tsugi- ashihiki- dashi). It will take momentum in the rotational or angular approaches and will explode in the bending, arching or lifting actions. (Kake is similar to the crest of the wave; it can only follow the preceding actions). In the Kake phase, the judoka will have make use of his transference abilities. He will need to displace all his hidden energy stored in several points of origin or muscle groups and develop the maximum impulse possible to be applied towards one contact point on the opponent. You need to make use of explosive movement.
Ninth element: Sesshoku. Keeping the contact to control the fall. Sesshoku is the action of maintaining contact and control over the opponents fall. We previously discussed the potential of Uke to turn and roll within the trajectory taken by the fall. The ancients referred to the state of Zan Shin the maintaining of awareness till the end of a throw. Sesshoku is considered the end phase of the throw. It is sometime captured within the definition of Kake. It is a safety net deployed to prevent serious injury to the opponent and guard against sudden actions by an opponent refusing to accept the throw and trying at all cost to avoid the fall. The follow-up action should guide the fall, maintain the rhythm and place the judoka in a state of readiness for the next action or opportunity with a follow-up waza to the ground.
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Tenth element: Ju. Applying flexibility and harmony. This element is added to summarize the spirit of the waza. Going with the flow is important. Sensei Mifune would say to enter into the WA by opening the gate and closing it when the opponent is trapped. This fighting principle aims for you to take control of the match with a certain degree of secrecy. An initial attack can ensure the early visible control, yet if you wait for the opportunity to take advantage of the opponents moves and follow up with your own technique, you are then exercising a better control as the opponent has committed himself and has no more recourse. This strategy is also called using quietness to defend or yielding yourself to follow the opponent. In randori or shiai events, it is not always possible to gain and maintain total control all the time. The judoka should seek to control the opponent by understanding his movements and intentions. Too many players forget this important dimension. As soon as they feel a bit of resistance or strength from the opponent, they respond with similar use of strength and rigidity. The end result is an endless struggle to make the Ippon. While practicing judo, such a habit must be discarded and make way for a better and intelligent use of strength. Let us round up the above reflection by extracting three lessons from Randori practices. In order to develop the strength to win someday, you must be satisfied with practicing losing for a time. And even if you are at risk of losing you must take the offensive. Try various waza and train hard.27 Randori practices are not meant to gain victories over the opponents but to learn to better apply techniques and outwit the partner. Shihan Jigoro Kano explained its purpose in the following remark: The correct practice of randori is to learn to slip dexterously away from the opponent, adapt to his strength, cause him to lose his balance while stepping back and then, take advantage of that opportunity to perform your waza.28 Teachings found in Randori Saki O Tore. To anticipate and be on the offensive Jukuryo Danko. To act without delay Tomaru Tokoro O Shire. To know when to stop 4. Zenshu WA Zenko Ni Shikazu. Attack is the best defense. 5. Shin Shutsu Ki Botsu. Appear and disappear unexpected.
1. 2. 3.
27 28
Jigoro Kano, Mind over Muscle, 2005, p 138 Jigoro Kano, Mind Over Muscle, 2005, p 137
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TOKUI-WAZA AND SHIAI

Now that we have described the ten basic elements forming a technique, we have to understand the milieu into which they will be applied. The ultimate venue for the trail is the competition or Shiai. Sensei Isao Inokuma regarded by many as one of Japans greatest fighters and outstanding coach had this to say regarding the reasons for doing Shiai: Judo is a combative sport. It is a martial art aimed at defeating your opponent. Other purposes of judo involve developing physical strength and mental spirit. But when you are against an opponent you must never forget the combative aspects of the sport. You fight against the opponent, throwing him down on the mat to achieve victory. At the same time, you fight against yourself. If you think the opponent is stronger than you and get the jitters, or if you are in a difficult position and feel that you must give up, then it will be impossible to win. You must not give up the bout until the last instant, no matter how strong your opponent may be. You must have the fighting spirit which will urge you on to attack and attack again to the very end.29
The Tokui-waza will become your personal weapon and must be used wisely. It will not do miracles if the body and the mind are not linked with your technical skills. An alert mind will make use of the body to draw upon its inner energy and use its best parts to defend or block, to attack or elude, to generate counter forces, to build on strong points and to care for the weaknesses. Your technical skills applied through the Tokui-waza will translate that into a successful match. At the beginning of the match, and during its process, we repeat the tactics: the judoka will need to identify the opportunities at hand, find the right angle to get closer to the opponent and place himself in the right position to launch his technique with speed and determination. If a bad angle is chosen, and there is little or no dynamics involved, there will be a greater need to use additional forces in order to gain superiority or throw. If the Kumi-kata is too rigid or tense, there will be less sensitivity at the wrist level and less flexibility to adapt the grip to changing postures.
Transform the opponent strength and turn it to your advantage while returning it with value added energy.
29
Isao Inokuma, Nobuyuki Sato, Best Judo, 1986
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When both judoka are in contact, they form a small world of their own with its energy center. This new sphere is moving about and in it, other spheres are making gravitational and magnetic influences. The judoka has to keep moving by enlarging or reducing his strides thus influencing the dynamics to his advantage. He has to generate sufficient power through constant acceleration. Smooth circular, angular and direct approaches will require good balance and body movement. The push and pull with the hands has to be coordinated with the hip displacement and leg movement in order to make the sphere turn and roll in a desired direction. In the final stage of his Tokui-waza, the judoka will have produced sufficient energy to repulse or attract the opponent into a throwing direction and his final touch or contact will produce the desired impulse to set free the opponent. The techniques of great master Kyuzo Mifune illustrate such coordination of the entire body.
Beauty in judo reside in the execution of a perfect waza, accomplished in harmony with the energies of the moment30
In the next chapter, we will analyse the various Tokui-waza connections as follow: 1. SEOI-NAGE 3. TAI-OTOSHI 5. KO-UCHI-GARI 7. O-SOTO-GARI 9. UKI-OTOSHI 2. UCHI-MATA 4. O-UCHI-GARI 6. HARAI-GOSHI 8. KATA-GURUMA 10.TE-GURUMA
30
Kyuzo Mifune, Canon of Judo, 1956
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THE LEARNING PROCESS

You must find a good teacher and work hard to train both your physical and mental skills. The learning process for the Tokui-waza is similar to other learning practices. It is made up of a discovery phase, followed by a maturity period where trials or experiments are made. From the first attempts, there are corrections and refinements to follow. Improved grip, angle or timing will be necessary. Adding more body power and speed should be your focus at every opportunity. When first attempted in shiai, its success rate needs to be evaluated. The subsequent use of the Tokui-waza will be subjected to further analysis and more adaptations will be made. The improved technique is then reintroduced into the training cycle to cleanse it from its impurities. We can best represent this process by its various steps as follow: 1. Make the first discovery of the technique. 2. Refine and personalize the technique 3. Enter the maturing phase where it is tried left and right. 4. Use it freely in Randori. 5. Make use of it in Shiai as often as possible. 6. Analyze the rate of success. 7. Make the corrections and refinements. 8. Rediscover and re-apply the Tokui-waza.
1. Identify what you like in the desired technique: find out what constitute its spirit and why you are attracted to it. (E.g. jumping in, sliding under, pivoting etc) Does it represent for you a major adaptation or does it suit your personality. Can you appreciate its potential for use in offensive and defensive situations? Can it best be used directly or as a combination? Can it last you several years? The lifespan of a champion is measured in months while the masters is in years. 2. Refining your technique means working at it from different angles, with different opponents and in a variety of circumstances. The three components of Kuzushi, Tsukuri and Kake must be decomposed and reconstructed several times. 3. Entering the maturity phase implies that you are capable of performing it on all sides and while advancing and withdrawing. It includes the preparation combination with other smaller techniques and the follow up with complementary waza. 4. Using it in randori presupposes that you are able to perform it directly, indirectly, in succession and with multiple attack systems. Your Tokui-waza becomes the focus of your explosive moves linked with other techniques in a snow flake configuration.
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5. Introducing it into your Shiai when the opponents are trying to counter it requires intelligence. The use of multiple entries to surprise and control the flow will add dimensions to your waza. Let us remember the instruction of Shihan Jigoro Kano: In so far as possible, you should accommodate your opponent and compete in such a way as to allow him to use his waza on you freely. If you do not win by using a waza superior to those of your opponent or by turning his waza against him, this can not be said to be a true victory.31 6. Analyze your success rate against the various types of opponents, verify the timing or the instances when used, and (at the beginning, middle or later part of the match) identify your feelings and apprehensions if you can. Evaluate if you have correctly used the opponents energy to your advantage. 7. Make the necessary adjustments. In partnership with a training coach and willing partner, go over various routines and situations. Practice freely, then, add light opposition and measured randori. 8. Rediscover your attachments to the technique and add the Kokoro to it, (Soul and determination) and: 9. Start again.
Craftsmen and judo technicians have an old saying about seeking perfection: You must turn an ordinary stone into a work of art. Likewise, old masters have been known to set their goal along the following: You must be able to dance on the tatami, be free and appear to be everywhere and nowhere. There are various approaches to Shiai, but each contest must serve the judoka to improve both his techniques and his psychological awareness. Each match should provide the occasion to gain confidence in the use of Tokui-waza and improve on it regardless of the results obtained. In his book the Fighting Spirit, sensei Yasushiro Yamashita, World and Olympic champion made the following recommendation: In the end, technique will defeat power. Make no judgment about winning or loosing and concentrate on applying your strong points and techniques.32 Three additional remarks worth thinking about when preparing to use the Tokui-waza in Shiai: 1. JU-NO-RI. Be in harmony with the flow. 2. KUZUSHI-NO-RI. Apply total body to produce disequilibrium. 3. SEN-NO-SEN. Anticipate and take the initiative.
31 32
Jigoro Kano, Mind over Muscle, 2005, p 133 Yamashita Yasushiro, The Fighting Spirit of Judo, Ippon Book, London, 1999
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Preliminaries
Tokui Waza should be effective, to the point. It should be sudden and comes as a surprise. It should be performed with vigor, speed and concentration. It should be used only after finding the weakness of your opponent and then applied to that neuralgic point. All your actions should be accomplished naturally and be united with your intentions, your body and with the actions of your opponent.
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Part Three SELECTED TOKUI-WAZA
Ippon-Seoi from Judo International 1950
Preliminary phase of Ippon Seoi Nage
First SELECTION. Seoi-nage connections

Shoulder techniques are very impressive and well liked by many young judoka. It is a group of virile techniques difficult to counter and easy to combine with others. The gist consist in placing Uke on his toes. Following a forward pull, Tori lowers his body under the centre of gravity and makes an arc with his body, placing Uke along his back and pushes with his buttock to effect the throw. Because of the resemblance between techniques, we have chosen to address the first group of shoulder and hand techniques as one entity called Ippon Seoi-nage. There are numerous approaches: with one hand, with both hands, with the leg outside, holding one lapel only and wrapping oneself up with the opponent. We will explain four waza in this group: Ippon-seoi nage, Seoi-nage, Seoi-otoshi and Yama-arashi.
Tokui Waza by Ronald Dsormeaux Ippon-Seoi nage is normally approached with four styles:
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Kata Style: Parry the blow, grasp inside the opponent right elbow, and break his balance forward. Make a pivot with the body and turn you back to the opponent, slide your right arm to fully grasp and enrol his right shoulder, both of your feet will be in the triangular space with toes facing forward. The bending action of the knees will carry the opponent on the shoulder and awaits the straightening of the legs as the same time as you bend forward and pull the opponent straight down in front. Side twist style: You go towards the opponent and step in. You force a kuzushi by using the left hand pull to the right front and encircle the opponents right arm under the shoulder. You then rotate your shoulder and body in an outward twist, the head looking to the side or slightly down as to ensure that the entire body is committed in the upward twisting action. You keep strong body contact with your upper back and bend down to the front corner for the kake. Kimura-collar style: You grab the right collar with your left hand over the opponents arm or the inner portion of his biceps. The pull for the kuzushi is done at the collar. With the right hand, you encircle the opponent arm at half point between the elbow and the shoulder. The body rotation or twist is the same as in the side twist style. The encirclement of the arm is not an absolute but preferable component. When the encirclement is not done, the resting right arm of uke can complement the throw when you start bending down with an action of lifting the opponent with a brushing action to the rear against his upper portion of the right leg. Wrapping arms style At the beginning of the kuzushi phase, you may keep control of Ukes left arm by pushing it in between you and him as crossing your body to reach out under his own armpit. You make the twisting action to the preferred side as required and proceed to do the other actions as described above. You may place both legs inside the free space between you and the opponent, one leg inside and the other out, or one inside and the second extended either inside or outside. Seoi-nage contains certain points of interest. These are breaking the balance and using the reaction of Uke to get into position, make sure you support the weight of Uke with both your feet and get under his center of gravity. Trap his arm at the armpit level and push your shoulder against him using a good contact with at least your rear shoulder blade and make an upward push before bending. Do not forget to spring the knees, place your centre of gravity on the toes or in the middle of the line of the toes and keep your head straight up until the kake phase. Sensei Sumiyuki Kotani 10th dan often suggested to place the shoulder in contact with Uke at the lowest point possible against his stomach.
Tokui Waza by Ronald Dsormeaux Hereunder are some of sensei Kimuras Seoi-nage styles.
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Secrets are just like your eyebrows, though they are near you, you can not see them.33
Renraku- waza or combination techniques can easily be applied with Ippon-seoi nage. This shoulder technique is well suited to embark upon the Renraku combinations on either side of the opponent. Using the principle technique as the centre of the offensive building strategy, the judoka can proceed to apply other techniques in rapid succession and moving from one unto the other as required in the pursuit of the objective.
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Sensei Yokoyama, Judo Kyohan, 1908
Tokui Waza by Ronald Dsormeaux The succession must nevertheless be smooth and harmonious and preferably with no unbroken sequence.
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O-soto-gari (Switch direction)
Ippon Seoi Nage
Sukui-nage (Go under the arm and reverse)
Ko-uchi-gari (Attack the leg)
O-uchi-gari (Withdraw to the front)
Seoi-otoshi (Drop fast forward)
Kata guruma (Keep turning and enter)
Ippon-Seoi-makikomi (Continue the rolling) Tai-Otoshi
Tomoe-nage (Returning to centre)
Go-no-sen or countering the Seoi nage can be accomplished by using the following techniques: Sumi-gaeshi, Ushiro-nage, Ura-nage, Yoko-guruma and Te-guruma. These techniques can be entered into even when the judokas posture is broken by a strong kuzushi by the attacking opponent. With quick reactions, it is still possible to turn his technique against him as he will most likely have committed all his power to the technique at hand and placed himself off-balance in doing so. With some practice, it is also possible to anticipate his moves by remaining alert and ready (Zan-Shin) and by adopting a natural posture. Having a soft Kumi-kata and holding on the judogi with a light grip will permit the reception of signs of tension; stiffening and flexing of muscles which can then be turned to your advantage in an anticipation move known as sen-no-sen.
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Morote-Seoi-nage is a variation technique to Ippon-seoi-nage. Its essence is to break the opponents balance forward or to his right. From the natural posture and with a regular Kumi-kata, Tori will twist his right wrist and cross over his right arm under the opponents shoulder ensuring he maintains the same grip on the collar. With the push of the right arm and the back of his shoulder, he will lift the opponent on his back and throw him forward or sideways as chosen. There are several variations of the technique but we generally find three practical styles in use in competition: Waki-style or inserting the arm under the armpit. In this style, Tori push the opponent and await a reaction. Tori controls the return with both his hands placed on the forearm and at the collar of the opponent. Toris left hand pulls the opponents at the height of his chin, permitting to introduce the necessary space to place his incoming right elbow under the armpit of Uke. The action is followed by a pivot of Toris body and the placing of both of his feet in the triangle of space between the two opponents. Tori may jump in or pivot into the position. The knees are well bent so that Tori is now placed under the centre of gravity and in a position for pushing up the opponent. Then, a coordinated whipping action is introduce by simultaneously stretching the knees, pushing back and upward with the trunk as the right elbow push upward and is transferred into a forward drive. The left hand undertakes a similar and circular push that will bring the opponent to the top of Toris shoulder and in the front for his eventual fall. In this style, it is the right shoulder that performs the role of the fulcrum. The opponent is not carried undo the back but is rolled around the shoulder. Note: If Tori simply throws the opponent down and forward without loading him around his shoulder and that his legs are placed inside the centre and either one or both of his knees touch the mat, the technique becomes known as Seoi-otoshi.
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The outside style This style is referred to when Tori, using the technique above, steps outside the triangular space and places one leg on the outside of Ukes right leg. Tori is approaching the opponent by placing his right foot in the middle of the space in between the opponents. The kuzushi is similar to the Waki style, yet, when making the entry or producing his body movement known as Tai-sabaki, he either pivots in front to offer his back to the opponent and replace the right leg for the left as the anchor leg or he may jump in the air to accomplish his rotation of the body and land with feet largely separated. The left leg bent to the front and the right one bent close to the mat and deep beyond the exterior of the opponents leg. Tori then loads the opponent over his shoulder by continuing his lower position in front of Uke and places his right leg close to the opponent knee cap. Tori then rise up simultaneously with the legs, waist and arms. The rotation over the shoulder then follows its course.
The same side style. This method of doing Seoi-nage involves grasping the collar of the opponent and the arm on the same side. There is no cross over of the arm and the elbow is placed directly into the armpit for a quick entry. The hand that grips the collar is holding the opponent with all fingers inside and the thumb on the outside. A twist of this upper wrist is necessary to introduce the elbow under the armpit of the opponent. The body rotation is similar to the Waki style and the legs are placed in the centre of the triangle. This style is frequently associated with a quick push at the shoulder and upon the returning action of the opponent. The twist of the wrist is executed at the same time as the body rotation takes place. The lowering of the body and the lifting of the opponent is also similar and to the front.
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Renraku-waza or combinations possible with the Seoi-nage as the centre of the strategy are numerous as was this related technique the Ippon-seoi-nage. In order to maintain superiority, one must also strive to combine Tachi-waza with Ne-waza by making the liaison with Ikomi techniques (come down). This kind of liaison is encouraged for all our selected Tokui-waza. Here under, are a few possibilities using other Tachi-waza:
Morote Seoi Yama-arashi Ko-uchi-gari (Encircling the leg) O-soto-otoshi (Rear reversing and drop) Hane-goshi (Using the inner leg Seoi-makikomi (Completing the roll) Kata-guruma (Sideways by returning inside) gatame Seoi-nage
Ude-Gatame Sukui-nage Waki-otoshi Tani-otoshi O-uchi-gari (Returning side) Tomoe-nage Uchi-makikomi Seoi-otoshi (Dropping on the knees) Ikomi with liaison to the mat with: Kuzure-keza, Yoko-shiho-
The best defense against this technique is still Te-guruma, Sumi-gaeshi, Ko-soto-gari, Uki-waza, Yoko-wakare and Okuri-eri-jime.
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Uchi-mata from Judo international, 1950
Uchi-mata in Shiai photo Bob Willingham, IJF
SECOND SELECTION: Uchi-mata connections

Uchi-mata has been considered a dangerous yet a very effective waza in Shiai for many years. The more it is being used, the more there are counter techniques for it. The judoka who takes Uchi-mata has a Tokui waza must become an early expert at it and keep on adding speed to his Tai-sabaki for he will face many opponents who are just waiting for him to introduce it in the next shiai so they can counter it. We will address the Go-no-sen in the following paragraphs.
First, its description; Uchi-mata has been part of the Gokyo ever since the beginning of the Kodokan Institute. There is a reference to a Sumo technique called Kate-nage where the fighters are hooking the inner thigh of the opponent. It was practiced in several jujutsu schools and was adopted by Shihan Jigoro Kano. Sensei Shozo Nakano best described this technique in the following terms: This technique uses the chest and waist. You do not thrust out with the leg that much. Even if you do not thrust the leg out, it will naturally enter into position under the opponent when the latter rises and will assist in throwing him down. His conclusion was that Uchi-mata was very much akin to a Koshi-waza since it could be executed when the opponents legs are spread out or place close together. In the early 1900, Sensei Shozo was observed alternating between Uchi-mata and Hane-goshi as his favorites shiai techniques.
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He always let the opponent take whatever grip and accommodated his tsukuri with it. When facing a right hand natural posture, he would attack with Hane-goshi, against a left hand grip; he used Uchi-mata on the right side. Uchi-mata is performed under many styles. The most current are: the Nage-no-kata style, the inner-thigh form, the deep hip style and the leg roll form. Nage-no-kata style Tori will take the initiative and occupy the inner circle of the closed-in space between opponents. With three successive steps, he harmoniously closes the circle tighter around Uke while maintaining a horizontal and circular pull with the hands. On the third step, when Uke is about to shift his weight, Tori completes the breaking of the balance of Uke forward ensuring that the latter is on his toes. Tori then make contact with Uke with the hips and side of the rib cage and start lifting or sweeping the opponent with the extension of the leg, the raising of the hip and the pull of the hands. When Uke is secure on the rear upper thigh of Tori, the leg is raised against the inner thigh of Uke and the hands continue their forward and downward actions. Uchi-mata is more a pulling action with both hands at the horizon then a pull-push action of the kuzushi. The pushing up action is done more with the leg sweep.
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The inner-thigh style In this application of Uchi-mata, Tori force the opponent to step sideways then enters deeply in the free zone with first his left leg and pivoting his body so that the toes of the resting foot are pointing directly out. He shortens the distance between the two opponents with the application of his forward kuzushi and uses his approach to gain momentum. When pivoting, the right leg is making an arc or pendulum from the front to the rear. When the action of the right leg reaches Uke, he maintains the momentum of the pendulum directing the rear action in between the inner thigh of Uke forcing the latter to roll around his right rear thigh. In this style, it is frequently seen that the judoka will jump in directly under the centre of gravity and into the inner space before launching his right leg deep inside and under the opponent. A major rotation of the body similar to the Ashi-guruma can also be performed in the Tsukuri stage. The deep-hip style This application is akin to the Nage-no-kata style with the difference that there are no horizontal circles made to approach the opponent. Tori use a direct approach. When Uke adopts a defensive posture, Tori change his natural Kumi-kata to secure a grip at the rear collar with his right hand. Stepping back, he increases the distance between the opponents and pulls Uke down to benefit from the incoming reaction by Uke who will likely try to straighten his body. Taking this opportunity, Tori pivots in the circle and jumps in the centre with legs bent and ready taking their respective momentum. The left leg is flexed and will be used to support both their weight. It acts as the support leg and must be directly under the opponent gravity centre. The right leg is then raised to assist the strong push-lift effect of the hip and may be placed in the centre of Uke or extended to the underside of his right leg and guiding Uke over the hip joint. The leg roll style This style makes use of the inner thigh application but concentrates on the Tori making the leg lift near the inner knee of the opponent. Uke is rotated around more by a hook on the inner leg than by a lifting of the hip. The Tsukuri is produced by the rotation of the body in a whirling action on his left. Tori is not in contact with the hip area of the opponent but he is to his left side, closer to the leg. His right leg hooks the left leg of Uke behind the knee and he then starts to rotate and lift the leg up.
Tokui Waza by Ronald Dsormeaux Remarks about Uchi-mata
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This technique may easily fall under either the Koshi-waza or the Ashi-waza categories depending on where is the emphasis or fulcrum. It is most successful when the opponent is drawn out and placed unfavorably on the tip of his toes. Tori must drive in with speed and determination. There are almost no return possibilities after the commitment. The strategy is linked to the old saying: You go for the Ippon and nothing else. In the deep hip style and in the Nage-no-kata style, the lift of the opponent is accomplished more with the hip and waist area. The best fulcrum remains under the waist of the opponent and in between the legs. In the leg roll and inner-thigh styles, the technique is made easier when the opponent has the legs wide apart. In all cases, the pendulum leg must spring in deep inside the target area. Renraku-waza or combination techniques with Uchi-mata are possible with Harai-goshi or Hane-goshi for the deep hip style and the Tai- otoshi in the leg roll style. The commitment being so intense, it is likely that the judoka will resort only to Uchi-mata makikomi.
O-uchi (Used to entice)
Uchi- Mata
Uchi-mata makikomi (To complete) Sumi-gaeshi (From leg-roll)
Hari-Goshi (From deep hip) Tai-otoshi (From inner-thigh)
Hane-Goshi (From deep hip)
Go-no-sen or counters to the Uchi-mata are done principally by the use of Sukashi and Uchi-mata gaeshi or by securing a good grip of the sweeping leg and using it to reverse the motion to Ukes favor. Tani-otoshi can also be effective when securing the sweeping leg and falling rearward in the direction of the supporting leg. Because the preparation of the technique is done further away from the opponent, it is possible to anticipate the movement in a Sen-no-sen mode and after identifying the inward thrust, simply twist the hip to the rear to avoid a direct confrontation and thus make the attacker rotate in the void. Tori can further add to the spinning action by using his hand to grasp the pendulum leg and lift the opponent in a full circle.
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THIRD SELECTION: TAI-OTOSHI connections

Tai-otoshi is a front body drop technique. The gist is to make a pivotal move in front of the opponent and both thrusting and stretching out a leg in front oh his tibia. It is considered a hand technique (Te-waza) where rhythm and timing are needed to draw the adversary forward. The opponents balance should be broken so that the bulk of his weight rest on the front of his toes. There is little contact with the opponents body. The action is more a pull-push or pull-punch with the hands accompanied with a front whip down action the opponent is somewhat lifted from the ground and thrown over the lower leg of Tori which is placed in front of the opponent. We know of three styles: The frontal drive, the side drive and the crossed-arms style. Frontal drive style The opponent is retreating from a push given by Tori using his normal Kumi-kata. Tori uses the come back action to place a high Kuzushi at the eye level with his left hand, pulling in the direction of an outer circle. The right hand pushes up the opponent at the collar (pushing close to the opponent ear). The opponent is off balance on his tip toes. Tori pivot to the front, his feet are pointing in the direction of the throw. He lowers his waist and sticks his chest out slightly. In a wide open stride position, he then places his bent leg (his calf) in front of the opponents ankle and goes down low in front and starts pulling Uke forward in a whip like movement(a big circle out and down) engaging the hands, the waist and the legs for the throw around his ankle. The throw can be directed to the front or toward the front right angle. Side drive style The side drive style is frequently accomplished after trying an O-uchi-gari with limited success or when dodging an Uchi-mata attempted by the opponent. Tori begins with a less powerful attempt at O-uchi-gari and when Uke is transferring his weight to his right leg to recuperate his balance, Tori moves his leg outside and in front of the opponent in a deep bending action that is complemented with an extension of the leg or spring upward of the leg against the opponent lower front leg. The action of the Kuzushi is similar to the frontal style. When dodging the Uchi-mata, Tori move in close to the opponent after having twisted his hip outward. He makes a large step crossing the space and placing himself lower than his opponents centre of gravity and to the outside of the opponent. Toris push and whipping action is more to the side of the opponent. In the side drive, we may see the occasional same side grip whereby Tori grasp the collar on the same side as the hand doing the pull. In this case, the push is against the front deltoid muscles region of the shoulder; otherwise, the technique follows the same pattern.
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Crossed-arms style This style somewhat resemble the Ude-otoshi technique where Ukes arms are crossed over the front before the latter is pushed to the side over the extended leg of Tori. Instead of grasping the collar with the right hand, Tori seek to grasp the left sleeve of the opponent near the wrist. He pushes the arm inside and in the free space between both players. It is possible to place the arm of the opponent over or under his own left hand. He then pivots to the front, extending his leg as he lower his hips and pushes Uke to either the front or the front corner. The seizure of the opponents arm by Tori before crossing it over is sometime facilitated by an opponent who is trying to hold tight on Toris sleeve with both his hands on the same lower portion of the sleeve. The Kake phase remains the same as in the side drive style.
Renraku-waza or combinations frequently seen with the Tai-otoshi are Seoi-otoshi, Kouchi-gari, O-uchi-gari, Uchi-mata, Morote-seoi-nage, O-goshi, Ko-soto-gari, Uki-otoshi and O-soto-gari. One must keep in mind not to place the opponent in a Kuzushi or off balance posture with the use of the arms only or by pure force. Kuzushi must be accomplished with the entire body.
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Seoi-otoshi
Tai-otoshi
Ko-uchi-gari
O-uchi-gari
Uchi-mata
Morote-seoi-nage
O-goshi
Ko-soto-gari
Uki-otoshi
O-soto-gari
Yoko-wakare
Go-no-sen applications against the Tai-otoshi are mainly movements in regaining ones balance or the control. When the attack is not low enough, there is a possibility to strengthen the upper body and draw the attacker to the rear making him loose his balance.
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FOURTH SELECTION: O-UCHI-GARI FIFTH SELECTION: KO-UCHI-GARI connections

We have grouped these two waza as they are performed similarly. The former, O-uchi is performed directly against the inside leg of the opponent and Ko-uchi is accomplished by crossing over Toris leg and attacking the inside of the far away leg of the opponent. Both techniques have for results the rear fall of the opponent. It is somewhat difficult to score the perfect Ippon with either of them in their pure form as the opponent will generally slide down on his rear or back and the officials are unable to define the nature of the impact with the ground and classify the impact of the fall as a sufficient amount to score Ippon. Both techniques are efficiently used in combination and as individual style Makikomi. Both are recognized by their three styles; rear reaping at the heel, the calf and the back of the knee. All three can be pursued into a makikomi waza. Tori will tackle Uke with his shoulder and head tucked in the Ukes armpit while the left hand will lift the right leg and the reaping leg will be placed for a rear knee to rear knee contact. O-uchi-gari, direct rear reaping of the heel style The aim is to reap the leg of the opponent and make him fall to his back. Tori is using a natural Kumi-kata and gets closer to the opponent. He pushes Uke to the rear and awaits the reaction as he attempts to regain his composure. When Uke is pushing back, Tori will assume control and start pulling front and down. Tori place the toes of his foot near the inside of the opponents foot. Tori change his lift by entering into a pushing action with his right hand on Uke left shoulder. He breaks the balance to the rear and pushes his left hand against Ukes body while bringing with him Ukes elbow closer to the body. He inserts his leg deep inside the Ukes leg stand until the back of his knee makes contact with the back of the opponents knee and draws a large circle outward and to his rear. The large toe is gliding onto the mat and around the opponents heel. Tori make a slight twist to the outside with his body, leans upon Uke and pulls him down. The important factors to consider first is to keep control of Uke and prevent him from lifting the target leg or foot from the mat, then, try to induce Uke to make a large recuperating step from the initial push and finally, be alert to the timing in the application.
Tokui Waza by Ronald Dsormeaux O-uchi-gari, calf to ankle style
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This style involves the general kuzushi and Tsukuri as above. The difference is in the Kake, where Tori places the reaping leg more to the side of the opponents leg having his ankle touch the inside of Ukes ankle. Tori pushes the target leg outside to force an over extended posture. Tori is facing the opponent but the body is slightly at an angle. When the opponents weight is transferred, he then pulls Uke down and reaps the heel with his calf.
O-uchi-gari, back knee style The difference is in placing the reaping leg deep inside the leg spread of the opponent and turning it outside so that Toris knee is touching the back of Ukes knee. The pull down is accomplished during the push back action when Ukes weight falls over his heels. The reaping is done more with the rear lift with the leg on the opponents target leg and its continuation into a large circle to the side. Renraku-waza and combinations are numerous with this technique: Morote-seoi, Kouchi-gari, Tai-otoshi, O-soto-gari, Uchi-mata and Tai-otoshi are most common. Morote-seoi O-uchi-gari Ko-uchi-gari
Tai-otoshi
O-soto-gari
Uchi-mata
Hiza- guruma
Tani- otoshi
The go-no-sen techniques regularly applied against this waza are the O-uchi-gaeshi where the defender sweeps both legs of the attacker from the outside and rear. He can also raise the attacked leg to avoid the reaping and then proceed with Uki otoshi. Another form of defense is to twist the body counter clock-wise to the incoming attack or jump over the leg and enter into a sutemi waza such as Yoko-wakare or Sumi-gaeshi.
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Ko-uchi-gari heel style Tori will reap the inside right heel of the opponent with the sole of his foot and make the opponent fall on his back. Tori push first and await the return from Uke. While facing the opponent, Tori make a small step back forcing the opponent to make a long forward step and pull forward. With the inside of the foot placed against the heel, he starts reaping by drawing the opponents leg toward him to the front. He then transfers his action into a push down and leans over the opponent to force him into a back sitting posture. Having his leg removed under his weight, Uke falls to his back. To be effective, the technique needs timing and Uke must be controlled so that he is prevented from raising his leg up from the mat. Toris little toe is touching the mat as the push is being applied to the heel.
Ko-uchi-gari, calf style The technique is similar to the one above, yet Tori is more to the side. He is forcing Uke to overstretch his legs and attacking the outer leg with his calf. He then withdraws his leg while making in a circle around Ukes support leg. Both opponents have their calf touching during the reaping action. Tori must maintain balance and lower his position to bring Uke with a downward pull.
Tokui Waza by Ronald Dsormeaux Ko-uchi-gari, knee style
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Tori is facing the opponent, he attempts a tackle by pushing Uke back with his body by placing his shoulder and his head to the side of the opponent. The right leg is push deep inside the opponent standing position and turned outside hooking the knee from the rear. Toris right hand is used to assist by encircling the outside of the target leg and in a continuous movement, Tori makes a roll to the side, bringing the opponent down with him. Note that an O-uchi-gari can also be performed on the support leg if needed. Sensei Toshiro Daigo identified three possibilities to carry out Ko-uchi-gari: 1. At the moment when Uke moves his right foot forward and his foot touches the mat. 2. When uke is in a defensive posture having his weight resting on his heels 3. When uke moves backward and his right foot is placed in his back.
Renraku waza and go-no-sen techniques are similar to that outlined for the O-uchi.
Do not make abrupt shift in behavior. Go with the flow and use the combined energy To counter attack swiftly
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SIXTH SELECTION: Harai-goshi connections

Harai-goshi is a technique refined by Shihan Jigoro Kano to prevent opponents from jumping over or slide away from his favorite Uki-goshi. A very popular technique used by former great champions such as Roug of France and Matsushita of Japan in the 1970s; Van de Walle of Belgium in the 1980s and Traineau of France in the 1990s. In practice we find three styles of Harai-goshi: the kata style, the front entry and the side entry. In all three cases it is possible to pursue the technique to a point of rolling forward with the sweep into a makikomi. Harai-goshi, kata style As Tori withdraw, he maintains his natural Kumi-kata and pulls Uke with him. In his second steps rearward, he places his right hand under the opponents arm and at the tip of the shoulder blade. He breaks the balance forward using both his left and right hand to pull. Tori takes a third step back, in a diagonal. He is followed by Uke. As he gets closer, Tori make contact with his right hip touching the opponents abdomen. Tori places his right leg forward and high in the air, at waist height if possible and in a sweeping action, brings down the leg against Uke for a fall. In the kata form, the Kake of the waza resembles more the one used for Uki-goshi, whereby it is the hip that does most of the lifting and that the leg sweep only comes to complement the push back. The Kuzushi is strong from both hands and the hand under the armpit is constantly pulling Uke to the front. The Tsukuri is made by the action of Tori getting closer to the opponent, yet not too deep inside as to loose his balance.
Tokui Waza by Ronald Dsormeaux Harai-goshi with a front entry
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Tori pushes the opponent back and awaits the returning reaction to break Ukes balance forward or in the direction of the front corner. With the natural hand grip or Kumi-kata, Uke is pulled closer. His chest is held against Toris back. Tori lowers his body by bending his knees and placing himself in a balanced position, resting first on his right leg, then his left. When stabled on his left leg, Tori will use his right hand to pull and lift high close to the opponents ear. His left hand will also pull out and upwardly. Keeping contact with the chest, Tori start lifting the opponent with the straightening of the body and sit Uke on his hip. Supporting both weights on his left leg, he slides his right leg to the front, toes pointing and in a large sweeping action upward, throws the opponent. In this style, it is not necessary to go deep under the opponent lower body. It is also possible to make use of your right elbow to lift under the opponents armpit or even grasp at the rear of his belt for more lifting power.
Harai-goshi with a side entry Tori pushes Uke back and awaits his frontal reaction to begin his pulling upward and forward actions. Tori introduces a high position for his lifting Kumi-kata hold. He crosses over his body in front of the opponent by placing his support leg vis--vis the outside of Uke and makes a pivot inwardly like an Ashi-guruma or O-guruma. He wraps the sweeping leg on the outside of Uke and applies a lifting action with the sweeping leg when Uke attempts to transfer his weight from one leg to the other.
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In this style, the Kuzushi must be kept constant to the front corner. In twisting your body, place your hip against the navel of the opponent and hold him tight near you. In the lateral entry, the hands can be used either near the armpit or at the position to do Tsurikomi-goshi. Tori can spin inside or outside providing he keeps his balance on the support leg. It is sometimes important to loose or sacrifice a little of your own balance to better distribute your weight towards the sweeping leg action for it to perform at maximum power. Renraku waza normally observed with the Harai-goshi are: Sasae-tsuri-komi-goshi, Ashiguruma, Hane-goshi, O-soto-gari, Ko-uchi-gari, O-uchi-gari, Uchi-mata, and Sukui-nage. O-soto-otoshi and Harai-makikomi are also associated with this waza. Sasae-tsuri-komi-ashi Hane-goshi Ko-uchi-gari O-soto-otoshi Uchi-mata Ko-soto-gari Go-no-sen techniques against the Harai are: the Ura-nage, the Te-guruma and Taniotoshi. Also very effectives are: Ushiro-goshi, Utsuri-goshi, and Ko-soto-gake. There are three other forms of counter accomplished with the straightening of the body and pushing the Hara forward. First, when attacked, straighten the body slightly to the rear of opponent, apply left leg lift against the back of Ukes thigh and lift him by pulling to the rear. The second method is similar, after straightening the body, twist counter clock wise and push Uke to the side and back to make him fall. The third form is to straighten the body, disengage the right arm from its Kumi-kata and grasp Ukes inner thigh with the hand. Lift his leg above your waist-line and push your Hara forward, arching to the rear to make him fall. You may make additional assistance for the lift by using your left leg against his rear thigh at the left and push up the body before exercising the rear pull action. Harai-goshi Ashi-guruma O-soto-gari Sukui-nage Harai-makikomi O-uchi-gari
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SEVENTH SELECTION: O-soto-gari connections

O-soto-gari is a leg movement demanding quick action by the hooking and reaping leg. It must become a surprise attack and not be used as a technique to linger on fighting the opponents extended legs in order to hook it in the back. You should always know where you place your feet around the opponent and be able to move lightly around your support leg before you go for the powerful and deep attack. The Kuzushi for this technique is important. It is a pushing action to the rear or to the side depending on the style. The tsukuri must ensure that Uke is immobilized on his heel or on the side of his foot. Tori pull the Uke hand (right) down and outward while his own right hand pushes upward and back of the opponent. (Near the neck). The support leg should be out and to the side of the opponent. The small toes are near the heel of the opponents foot. Your own weight should rest on the big toe of the reaping leg and with a major lift of the leg beyond Uke, reap the rear of the knee and calf area of the opponent to make him fall. There are three styles associated with this technique, the rear approach, the right rear and the side style. O-soto-gari, the rear or right approaches style Tori advance with his left foot. He brings Uke off balance by applying a strong rear Kuzushi that force the opponent to temporarily place his weight on his heels or slightly beyond. Tori traverse the line of gravity and to the side of Uke, passes his right leg over and close to Ukes body. He extends that leg to point the toes and raises it to about the belt level. The leg is then pushed to the ground behind the knee or calf of Uke at the same time that the Kuzushi is being transformed into a push down of the upper part of Uke. Tori prevent Uke from transferring his weight in order to recuperate his balance. He completes his sweeping action so that Uke falls to his side or under him. O-soto-gari side style Tori steps out to the side of Uke. Tori is enticing Uke to follow. Tori then apply a Kuzushi by pulling outside with the left hand hard and high while the right hand pushes Uke under the chin along the ear line. Tori steps side way ensuring his support leg rest near the leg of Uke and extends his right leg at hip level and around Ukes leg. The push is continued to the side and the left hand action is changed to a pull down circle close to Ukes body. The leg action of Tori is then similar to the style above. The technique can also be performed when Uke has his legs wide apart. Tori perform a Kuzushi to the front corner forcing the opponent to over-extend. Tori then pass his right leg over and hook the extended leg behind the calf and lift the imprisoned leg to his rear. There are various Kumi-kata to be used to affect the kuzushi: push under the chin and to the rear, push the shoulder and neck area to the rear, push the outside shoulder to the back or encircle the neck before pushing down.
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In O-soto-gari, it is important to place Uke in a position of no return. Tori must place himself very close to the support leg of the opponent and touch and push with the side of his chest against Uke in the Tsukuri phase. The leg must gain impetus by making a large reaping arc to make contact with the opposing leg behind the opponent. If the leg trails too much or just extend, it may become an O-soto-otoshi. Renraku waza associated with this technique are:
Tai-otoshi O-uchi-gari
O-soto-gari
Sasae-tsuri-komi-ashi Uchi-mata
Ippon-seoi-nage O-soto-otoshi O-soto-guruma Harai-goshi
Ikomi to ne waza Soto-makikomi Hane-Goshi O-soto-gaeshi
Go-no-sen techniques applied against this waza are: O-soto-gaeshi or an Hikomi-waza (toppling) rolling your body in the back of Uke and under his legs,
Right side O-soto gari by the great fighter Masahiko Kimura (1917-1993)
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Kata guruma from Judo International 1950 (Pierre Roussel)
EIGHT SELECTION: Kata-guruma connections

Kata-guruma is a technique in the form of a wheel over the shoulder. It is done standing, kneeling and way down under the opponent. The standing style is less performed and a lower approach is appearing more frequently in international competitions. There are several styles, namely: the kata or standing style, the frontal drop and the knee drop. Kata-guruma, kata style Tori take a natural Kumi-kata and stance and entice Uke to come forward while he is moving back. Tori make several steps back. As he proceeds, he increases the forward Kuzushi on the opponent. On the second step, he lowers his body by bending the knees and grips the outside of right elbow of his opponent and traces a long forward arc towards his shoulders. (In kata demonstration, the grip is made to the inside of the elbow). On the third step, he reaches under, places his head and shoulder deep in the side of the abdomen, near the belt of the opponent and stretches his leg sideways to have a good support base. He lifts and pushes the opponent with both the shoulder and the left hand. The support legs are straightened and the opponent is raised straight up on his shoulder. The latter is then rotated on his shoulders for a side drop over and in front of his own left leg. The opponent is thrown sideways.
Tokui Waza by Ronald Dsormeaux Kata-guruma, front drop style
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The Kuzushi and Tsukuri phases of this style are similar to the above. When the opponent is raised and placed on the shoulder plane, Tori execute a twist of the body by rotating his left hand in front while is right hand makes a small rotation backward to accompany the gesture and Uke is thrown over the shoulder and in front. Tori may bend forward to deposit the opponent down in front and between his legs or stay in an erect posture and throw over one shoulder and around his head. Kata-guruma, knee drop style The Kuzushi and Tsukuri are similar than above. Tori approaches the opponent with his right knee bent and touching the mat. He then lifts the opponent with his shoulder placed deep inside the abdomen and straightens his legs. Once Uke is loaded on the shoulder, he completes the body twist and bends forward or slightly to the side and unloads Uke in front of his support legs. Another variation of this knee drop consists of staying very low under the opponent, and placing the left leg on the outside of Ukes right leg and extending it like a Yoko-wakare movement. The opponent is projected close to the mat and Tori can follow up immediately with a Ne-waza technique.
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Renraku waza associated with Kata-guruma are: Kata-guruma throwing Uke in the rear, Kata-guruma starting like a Sukui-nage or Morote-geri and lifting the opponent onto one shoulder and throwing him directly over one of the shoulders. Go-no-sen applications involve turning over when in the air and applying a Sutemi-waza or withdrawing the right leg as the opponent tries to grasp it and leaning unto his back then throwing the left leg inside and in front of the opponent and twisting the opponent into a Sutemi-waza.
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Uki-otoshi from Judo International 1950
NINTH SELECTION : Uki-otoshi connections

Uki-otoshi is a hand technique that is often used to counter others. It makes use of the opponents displacement to amplify the power of the throw. It is an important waza to understand the relevant judo principles of Kuzushi, Tsukuri and Kake. It is the first technique seen in the Nage-no-kata and it is demonstrated with these three phases. The variations adopted the principles and rendered the technique more competitive. We know three different styles: kata form, standing with a twist to the side and the elbow grip. Uki-otoshi, kata style Tori steps back and draws Uke in his path. He applies his Kuzushi on the right front corner. He takes a second step back and increase slightly the distance separating him further from the opponent. Uke follows after Tori as he tries to neutralize the Kuzushi. A longer third step back is taken by Tori and at the same time, he drops his left knee to the mat at an angle of 30-45 degree from the opponents right foot. While his knee is resting on the mat, his toes are raised and in control of the balance. He is in an oblique direction to the opponent. He fills the void created by his displacement by pulling firmly with his hands to draw them in a descending angle towards his belt. The swift pull in the downward direction is carrying the opponent to a fall.
Tokui Waza by Ronald Dsormeaux Uki-otoshi standing twist style
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In the standing style, the same Kuzushi is applied with the normal Kumi-kata. Tori steps back with a large stride to obtain more distance between himself and the opponent. He lifts and pulls with the left hand and pulls up with the right hand while grasping the opponents sleeve high near the elbow and raises it to his eyes level. Tori makes a small pivot to the side, lowers himself by bending the knees and places his left leg to his rear (The leg is half-bent and at the ready to spring into action). Tori pulls down the opponent using in a swift arc movement of the hands and throws the opponent down. Uki-otoshi with the elbow grip In this form Tori advances towards the opponent with his right leg and pushes his abdomen or Hara forward to get closer to the opponent. At the same time, he is lifting simultaneously Uke with both his right hand and left which are holding their grips on the opponent elbows. Tori make a pivot to the side and bring in his left hand close to his chest or belt level applying a strong pull down. Meanwhile, the right hand is securing its hold over Ukes left elbow and using the armpit as an extra zone to push at an angle, he proceeds to push Uke up in the direction of the opponents ear. Note that in this style, Tori is not facing Uke when throwing but looks to the side in the direction of his pivot. Renraku waza with Uki-otoshi are possible with Harai and Hane-goshi, Tai-otoshi, Osoto-otoshi and Hiza-guruma. Go-no-sen techniques most seen associated with this technique are: Uchi-mata performed on the leg when avoiding the standing style, As Chief instructor of the London Budokwai in 1948, sensei G.Koizumi made a remark concerning winning. He said: In action, your balance must be retained, yet, to achieve the objective, one must risk of loosing it. When equilibrium is lost, all actions are restricted. Forceful action is only possible when the body is stable.
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TENTH SELECTION : Te-guruma connections
We address the Te-guruma connections as our final group of Tokui-waza for they are techniques used extensively as counter techniques in Shiai. Te-guruma per se is not identified in the nomenclature of the standard Gokyo. Reference to it came about from its use in international matches by Eastern countries judoka who favored low entries and leg grip. They have been branded as Georgian pick-up. Many senior European sensei recognize this technique as an individual waza. At the Kodokan Institute, it is studied as a variation of similar techniques: Utsuri-Goshi, Ushiro-Goshi and Tani or Uki-Otoshi. The technique consists of lifting the opponent straight up by placing one hand in between the legs of the opponent and raising Uke with both Hara and the hand lift combinations. Te-guruma is one of the few techniques that can be adapted to the Sen-sen-no-sen or movement by anticipation. It is started as soon as Tori perceive the energy being mustered by the opponent and he anticipates the coming contact of the opponent. He activates the combined lift as soon as the contact is made and turns the opponent upside down after reaching shoulder height. In his 2005 treatise on judo techniques, Sensei Toshiro Daigo of the Kodokan Institute refers to this technique as variations of the makikomi style or as modifications to the Tani-otoshi. We will describe two styles: the rear offensive and the defensive forms. Te-guruma, rear offensive style. Tori first attempt an Ippon-Seoi Nage or Uki-otoshi technique. He sides-steps and follows with a roll to the side of the opponent. First, lowering himself, he seizes Ukes right knee at the rear with his left hand and holds on to the opponents right arm. He gets very close to the opponent and places his Hara to the rear of Ukes lower parts. He traps the opponents right arm in his armpit and proceeds to throw himself to the rear, thereby lifting Uke with his Hara and hand lifting the leg. Te-guruma, defensive style. Tori grip the opponents lower left sleeve by crossing over his left hand. He pulls Ukes arm towards his belt and centre of his abdomen. He lowers himself, places his right hand over Ukes arm and deep down under the back of the opponents leg. Tori make contact with Ukes chest with his head and shoulder. With a swift lifting action from the right hand, he lowers his body and while crouching down, lifts the middle section of Uke and throws himself backward.
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If Tori is unable to place his right hand deep under the opponents leg, he may use a grip by the belt while still ensuring that one of his legs is placed deep under the opponent stance. Both styles can be accomplished without crouching down. Tori can seize the opponent in the middle section with his hand facing inward or outward and still remaining standing. There are no standard Renraku waza associated with this technique except to say that while the opponent is being lifted, he can be transferred to a changing hip. Tori can try to sweep the leg lift by either attempting an attack to the front or to the rear or rolling forward into a returning technique such as an Ura-nage style. To prevent it, in Go-no-sen format, one can always resort to a leg hook to stop the lifting.
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TOKUI WAZA TRAINING RECOMMENDATIONS

With the technical knowledge given above, you are now ready to embark upon your training regimen. You must first determine your objectives. Should you intend to embark upon the competition route, you must be prepared to train for speed, endurance, determination and Kokoro. Should you seek enrichment through technical innovations and are more incline towards the recreational development for the next decade or so, then, your approach to training should be oriented towards mastering the fundamentals and freely expressing them in all kinds of Randori. There are several types of judo contests available for you to display your savoir faire and try out your tokui-waza. Your immediate dojo could accommodate you via the daily randori practices with friendly opponents or with periodic in-house contests of going for the line against 5 or more opponents (Kachinuki shiai) sometimes called Go-Nin-Gake. Inter-club meets and monthly events (Tsukinami shiai) are another form of practicing with other unknown opponents where single elimination is normally the rule (Tentori shiai). Joining a more organized league, you may find useful and educational to embark in round robin type tournaments (Soatori Shiai) or annual team competition like the Red and White (Kohaku Shiai). If you seek championship status, you may enroll in Big Point Tournaments called Koten Shiai which are normally organized by officials of provincial and national federations for the purpose of selecting representatives for international events or used to establish ranking (Kaikyu Shiai) amongst peers. Which ever line of training you may choose, your mental attitude is the key. You must first try to develop the capacity to remove the disturbances around you and quiet your mind so that you can focus on the technique at hand. Shy away from thoughts that will lead you in a mental Shiai state before you are ready for it. Do not rush to perform all the varieties of techniques at once. Go with the flow, take it in stride and acknowledge your strengths and weaknesses as you gain experience. You need to work out the principles underlining each one and refine their applications to your personality. You may begin with the kata form rehearsal of the technique. After having identified the three key components, you may try to apply them with a progressive dynamic stepping training where you progressively go from a slow and methodic 1-2-3 steps, then shortening the sequence with the aim of making a single displacement or explosion into the waza. The linear approach is a good starter but you need to practice changing the angles and the approaches. You must be able to adapt to changing circumstances, so you will need to practice situational judo and taking the initiative. This is done by working intelligently with various opponents who can help each other overcome numerous attacking and defensive tactics and strategies. Remember that: IF YOU TRAIN HARD, YOU WILL BE HARD TO BEAT.
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SUGGESTED TRAINING SESSIONS

In your training sessions, try to keep the dynamism going. All your lesson time should be well spent towards your goal. Some dojos have signs posted that say: No parking here / No loitering. These are physical and mental indications that the sensei mean business weather he conducts a 60 minutes lesson or a three hours intense training period. After a good warm-up to raise your body temperature, follow up with several muscle stretching exercises before practicing various forms of Ukemi to tone up your spatial orientation and your flexibility. Your Ukemi should pave the way to eliminate the hesitation to do Makikomi or rolling techniques and follow-up into Ne-waza. Once used to the dojo ambiance and the working surface, proceed with other judo specific exercises along a progressive training rhythm that will make you work faster and with more precision. Having completed the above, you should attempt entries without opposition, while moving freely about the mat. Try to find opportunities and practice your Tai-sabaki on the right and left sides and develop entries with several loose forms of Kumi-kata. Try to work with and against regular and irregular grips. Attempt your techniques from all directions. Adjust your technique to profit from the different opponents grips or kumikata and postures (high-low-sideways). Then, ask your opponents to defend themselves by doing Dome and side steps or blocking in certain ways and develop a cognizance of these moves and a feeling for them. It is generally agreed that if you do not have a good foundation, your application skills will never reach a high level of mastery34 You are now ready to embark upon light Randori where you can practice taking turn dominating and controlling the free space. Work on your distance and timing. You need to know the safe distance from where you can best observe the opponent and not feel threatened by him. You can then estimate what is the best distance for you to take in order to deliver your Tokui waza. Ask the opponent to limit his counters or employ different angles of displacement. Do not disregard the possibilities of both of you doing Hikomi techniques, pull down and toppling movements and Kaeshi-waza or counters. Follow up to the mat work when you can for you should never assume that you have scored the IPPON and seize the opportunities to enter, control and escape from holds as much as you can.
34
Lu Shengly, Combat Techniques, 2006, p 357
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When performing light Randori, do not disregard the use of Ashi-waza as complementary and transition techniques, they are excellent tools to improve your balance and speed. Likewise, do not limit yourself to one major Tokui-waza; consider adopting several and linking them with other minor techniques that could pull you out of tight situations These connecting and combinations known as Renzoku and Renraku-waza are indispensable in Randori and Shiai. These are good opportunities for you to assess the opponents capabilities and test your technical skills against them. Each opponent has a unique set of skills and abilities and you should try to identify their habits, their body conditioning levels, their preferences for certain waza or displacement and not last, identify their personalities. You can test them by luring them into your trap or by observing their reaction to your attacks. It is said that if you know both yourself and your opponent well, you will never be in danger.35 Sun Tzu is reported to have said that to subdue an enemy without fighting is the greatest of skills. Try to cultivate an atmosphere of mastery around you. Precision training drills can also be worked upon by performing Uchikomi in all four directions and with deep Kuzushi. Repetitions alone are not guarantees for success. You should attempt to perform your repetitions without telegraphing your intentions. Note that your initiative is foreseen when the opponent see you or hear you count aloud your entry steps, when you are disengaging one of your arms before attacking, cocking you rear leg to get an impulse, make mimics such as head turning and breathing differently. Even raising your eyebrows can give you away. You should try to perform 10 to 15 repetitions within a given time limit then switch opponent. Repeat the process with at least 5 different opponents. The next training mode is the more dynamic forms of entry. It is called: Nage-Komi and Kakari-geiko or free training exercises with some pre-arranged rules. The first has no time limit. In the latter, you should be able to perform against a number of opponents within a set time limit. Do not loose patience, do your best now, try again and again. Make corrections often, improve your style by small increments and try to learn more from each repetition. End the session with a light or moderate Randori followed by warm down exercises and a period of mondo (Reflexion and meditation with the sensei). Donn F Draeger, the American trainer and researcher made the following remark pertaining to randori practice: A few minutes of serious Randori is worth more than an hour of puttering about the mat.36
35 36
Lu Shengly, Combat Techniques, 2006, p 361 Donn F Draeger, Judo Training Methods, Charles Tuttle, Tokyo, 1962
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When training to improve your Tokui-waza be aware that boredom is just around the corner. Throughout your training periods you should pay attention to details for when we think that we have mastered a technique, we frequently close our eyes and heart and will soon loose interest in taking risks and learning anew. Be patient and determined. With every frustration and disappointment you must renew your commitment to do it once more. Do not try to control everything, try to behave effortlessly, go with the flow. Watch for fatigue and stress signs and adjust the intensity and length of your training session accordingly. If all seems to fail, return to the Kata training and try to absorb the fundamentals (kihon). Take time to engage into a frank discussion with your sensei or trainer about your state of preparedness and your results. Redefine your goals. Shihan Jigoro Kano was frequently reminding his students to master one self before attempting to overcome the opponent. He is quoted as having said: Know when to commit and when to let go.37 When sensei Ichiro Abe wrote about his early judo training memories38, when referring to his Tokui-waza as being Tsuri-komi-goshi, O-soto-gari, Ippon-seoi-nage and Ko-uchigari, he cautioned on their application in Randori and of their strategic use during Shiai. The Shiai mindset is clouded and preoccupied with winning and the fear of loosing he said and the judoka must be able to cope with such a stress. Improvements in techniques can only come from the hard and frequent practices followed with period of reflection and analysis. Once the performance status has been re-established, the training has to begin anew and with much vigor. 39
REMEMBER THAT THERE ARE NO BAD TECHNIQUE IF THE PRINCIPLES ARE RESPECTED
We finish this chapter with a reflection by M. Calmet a researcher of the University of Picardy who in 2002 declared: Faut-il enseigner le judo ou le savoir de combattre?40 Meaning: should we teach Judo (philosophy) or combat methods? This is one of the many challenges we now face. Ancient masters used to say: if one has been your master even for only one day, you should treat him like your father for the rest of your life.41 The final words are left to Shihan Jigoro Kano who devoted his lifetime to education and judo. Superior teachings are passed down from teacher to student fostering many other people and in this way, improving the world. 42
37 38
J. Kano, Writings compiled by Naoki Murata, Mind Over Muscle, 2006 I. Abe, Souvenirs de judo, 1953 39 I. Abe, Souvenirs de judo, 1953 40 M.Calmet, Thse de nouveau Rgime, U of Picardie, Amiens, 2002 41 Lu Shengli, Combat Techniques, 2006, 42 Jigoro Kano, Mind over Muscle, 2005, p 147
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Part Four
AUTO-EVALUATION
One of the great judo competitors Yasushiro Yamashita referred to the discovery of one self as follow: If you have evident disadvantages, you should not give up. If you are much superior to your opponent, you should not be off your guard.43 We have identified the various Tokui-waza in the previous pages. To help improve on their performance, and assist the judoka with his personalization of the techniques, we will now discuss some auto-evaluations processes and certain bio-mechanical factors that need to be considered during the analysis and the reshaping phases. Not only is it important to feel good in the performance of a Tokui-waza, the judoka must be capable of maintaining the attitude of a learner after its use and be prepare to receive criticisms from his trainers and teachers. What can be improved? How can IT get better? What can be changed or consolidated. To that effect, photos, video clips and notes taken during the performance should be attentively reviewed and compared with previous performances and styles. Self-questioning No one is a better judge of the actions done but the performer. Others may be able to see with a different perspective and point of view but can not feel and internalize the true dimensions. Their observations will nevertheless be very helpful. To augment his sensitivity and comprehension of what he accomplished, the judoka can embark upon an introspective analysis. In a quiet moment, he can mentally review his accomplishment and go over a list of questions that will guide him in his reflection. Hereafter is a sample of such a list.
43
Yamashita Yasushiro, The Fighting Spirit of Judo, Ippon Press, London 1999
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Questions that may lead to some improvements in your performance:

Was I well prepared for this contest? Was I familiar with and understood the competition rules? Did I enter the Shiai-jo with a positive spirit? Was I preoccupied by noises, officials or something else? Did I stand correctly to take advantage of the situation? Was I able to adapt quickly to the style of the opponent? Was my Kuzushi action complementary and unbroken? Was my own balance kept during my movements? Was the grasping too tense and at the right place? Was I able to feel or anticipate the actions of the opponent? Was I in control of the free space most of the time? Did I capture the right angle for the attack? Did the waza maintain the proper angle and direction I wanted? Did I surprise my opponent? Was my weight used properly? Was the Kake rapid and swift enough? Did my legs or lower parts play a greater role than my arms? Did I feel the Hara or body centre playing its part? Was I synchronized and continuous in my actions? What opportunity did I miss? Did I protect the opponent in his fall? What are the things or actions that I will not repeat? Did I do my best performance thus far? By self-questioning, the judoka will relive the different paths of the match and identify areas and moments that had an influence upon his behavior. The strangeness of the hall and physical layout may be intimidating. The presence of known great fighters, coaches or parents may make him uncomfortable. When facing his opponent, was he is dealing with some unknown fighter, did he know of his past records, of his favorites techniques, had he seen him in matches before, did he fight him before or saw him in action? Were the intents of the opponent apparent, was he cool and receptive, how much aggressiveness or passivity did he show? Could the opening posture give up some clues as to his style of fighting? Was he crouching or standing in the natural posture? Was he well prepared for the match physically and mentally? Were there signs of apparent injuries or of recent mishaps that could distract or direct your attention to?
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Many judoka have developed a mental protection against the Shiai-jo atmosphere, others have experienced lots of difficulties to cope with the stress of waiting for the name call. They do not feel at ease in the warming up area and the training disturbances caused by the other opponents who walk the space accompanied with their trainers. They may feel harassed by the comments or questioning from foreigners about their way of life and training. For others, there is a moment of great nervousness stepping on the tatami and facing the judges and officials, some of whom they may know by reputation or by affiliation. Still, another moment of distraction may be the shouts and cheers from the crowd and colleagues notwithstanding the activities of side coaching done by trainers. If any of the above presents a challenge, the judoka will need to undergo some future psychological training to get rid of those irritants which may cause some impurity in his performance. He will need to build abilities and develop alternate resources to cope with the stress and sharpen his retro feeder mechanisms. In consultation with his trainers, he will have to set new goals. Such a goal may read: Discard less meaningful movement but seek maximum yield.
There are five general weaknesses making us vulnerable to an opponents attack: Physical defects you may display Chemical imbalance produced by stress or other substances Strong emotions such as fear, anger, sympathy or greed Psychological concerns about doubts and mental symbols Socially imposed restrictions such as taboos or religious archetypes
Goad your foe into attacking before he is ready and you will always gain the advantage over him attributed to the samurai Kojiro Okinaga
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ABOUT BIOMECHANICAL DIMENSIONS

In the heat of battle, there is no time to identify all the sequences and point out what works for you and what has remained at rest. The high intensity workout and the bursts of energy provided were the results of your preparation. This section is intended to provide a review of what might have taken place. For your tokui waza to be effective, we already identified the ten basic elements. Here, we try to analyze what parts of the body should have participated in an effective, sudden and vigorous waza and in what order if any. We turn out attention to body joints and their relationships with the various muscles groups acting upon them. Seven large body joints are of particular interest: the head, the shoulder, the elbow and the hand play a vital part in the direction and amount of energy deployed. The hip, knee and foot joints are important for the displacement and equilibrium. Both groups work in unison, the former detect and send the action-message down the spine and the latter respond by producing the energy to act swiftly. Our whole body seems to work as a team to produce the necessary power or force needed to both displace the opponent and ensure we enter in the right space for the defensive or offensive actions. The head must stay upright to gain the vantage point and facilitate the transmission of action-messages. Sensory faculties and contact points on the opponent will identify the distance; assess the amount of power and the direction of the opponents movement. Decisions will need to be rendered as to the safe distance and the attacking angle. The primary movers constituted by the shoulder, elbow and hand will need to be activated to be able to turn the opponent about a given axis. A degree of force will be judge satisfactory to be applied at the chosen distance from the opponent. The greater the distance from its centre, the greater will be the corresponding rotational effect. The hip, knee and foot joints with provide the necessary rapprochement or distancing adjustments to effect the Kuzushi. More efficient results are to be expected when several large muscles groups are excited and combined with each others to share the workload as they apply their respective torque to the joints. When seeking technical mastery, experience also tells us that we are less satisfied with our performance of a waza when the principal muscles groups have been isolated or that they acted independently in a restricted area or when we used the wrong muscle groups to do the chores. A waza not providing the total level of satisfaction may still score the Ippon but will be less powerful.
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It is to be understood that maximum power is associated with large muscles groups acting concomitantly in the same direction. To that purpose, legs, trunk, arms, neck and head muscles must be aligned and used in the same power curve, arc or direction. Both the arms will need to form a unified curve around Ukes body like a truck driver holding on to his drive-wheel and making a sharp turn. Such an alignment has a major impact on the efficiency of the Kuzushi, Tsukuri and Kake. When cumulative power is transported along the same axis, it becomes exponential and very powerful. To make use of an independent force produced only by the arms or the isolated power of the legs thrust brings about too many interruptions or breaks in the angle of the throw and will tend to reach out for help from additional forces. When the level of sufficient force is being surpassed, there is a waste of power and energy. This condition is not following the judo principle of intelligent use of force.
While doing the Kuzushi, the complementary push-pull actions accomplished at the horizontal level may be transformed into a lift and press actions when the forces are used along the vertical plane. The activities of the wrists, elbows and shoulder joints are to be supported by the actions of the hips, the trunk and the legs. The judoka must enter the free space between the opponents and place oneself at the right distance to make his waza. One can not properly enter under the opponents centre of gravity with the use of the arms alone. The foot, knee and hip joints will play their respective roles at various contact points and fulcrum around the opponents body in order to throw correctly. During the Tsukuri and Kake stages, Tori will need to maintain the continuum of his actions by performing quick movements of the legs who will push his trunk up and forward. When advancing he should lower his body and when retracting, raising it. This wave-like action will provide the impetus to make a strong contact with the opponents body. When reaching the moment to make the surprise contact with the opponent Tori will select the angle of entry and reach its target for maximum impact. In fact, the Kake should resemble a powerful bowling ball reaching and hitting the 5 or 10 pins target in a bowling alley. In its final stage, the Kake needs to explode from its base and reach its target along a well defined trajectory. A sudden change in direction may result in the creation of different and unexpected counter forces which may result in injuries to either judoka. There must be total commitment into a Tokui-waza, and one must even risk the point of no return in order to achieve the objective. Reliance on speed and accuracy will be of prime importance considering that when on the move, the judoka will have less weight on the ground yet he will benefit from a greater force of impact. There is danger here of not being able to adequately react to a lateral force being applied by the opponent as a counter measure, yet, the surprise, the speed and accuracy should alleviate this imminent danger.
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A judoka may gain from observing how speed and power are increased by the actions of the javelin thrower trusting or crossing his legs in front of the other while on the move. One can surmise that the weight of the crossing leg gives greater impetus to the rest of the body as it is stretched in the direction of the throw. Should the opponent be on the attack mode first, Tori will have to counter attack. He needs speed and acceleration to move his body out and about. Only a faster speed can overcome the incoming attack. Having anticipated the direction of the incoming attack, he will need to estimate the opponents speed and at the last minute will sidestep. This sudden change in the location of the target will unbalance the opponent and offer an opportunity for Tori to turn the challenge into an opportunity. Tori can also absorb the opponents energy by relaxing the maximum of his muscles groups and enveloping the incoming energy. When adding his own power to the incoming force it will be possible to throw the opponent in the same incoming direction. If unable to overtake the incoming speed of the opponent, Tori may consider making a reverse movement when the contact is actually made. He may initiate a pull away movement to release parts or the whole of his body from the line of attack. This inverse rotation is sometime called DOME. It is the initiation of another movement in the direction away from the opponent thus reducing the power of the impact of the attacking force. Another alternative counter is to take an extreme defensive position by lowering his knees and trunk thus producing a major shift in the location of the centre of gravity and rendering the execution of a lift more difficult. From this low posture, the judoka may entertain getting into a Hikomi, an unorthodox and toppling technique. When engaging the opponent, the judoka must be familiar with the characteristics of his natural weapons that are his muscles groups and joints. More leg work is encouraged since the normal leg muscle groups have about three times the power of the arms to accomplish extension and flexion functions. When activated, they will transfer the necessary kinetic energy to the trunk area where abdominal muscles and tendons are more numerous per square inch and then, together, will ignite other parts of the body. This accrued energy and power will facilitate all forms of displacements activities such as pushing, advancing, turning, tucking in, twisting, rolling and bending, rotating, lifting or blocking. The power of centrifugal and centripetal forces should not be ignored. When judoka perform rotating and spinning actions, these two forces will come into play. At times, Tori may result into crouching postures or curling attitude to gather some energies. By adopting a ball shape figure, he is developing circular energies around or over witch he can make the opponent move. By accelerating the rotation of oneself, Tori will produce centripetal forces by being the center of an interior sphere and using the outward and fleeting effects of the centrifugal forces can then displace the opponent with greater ease.
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CONCLUSION
We have discussed many aspects pertaining to the tokui waza and the training systems. These notes should encourage you to persevere in your quest towards a better judo. Obtaining some degree of expertise in these tokui waza does not necessarily mean that you are ready to win all your contests. There are still many other things to learn from your sensei and practice. Should you decide to follow the competition route, you will need to work on your mental and psychological preparations. Fear, nervousness and unknown factors associated with the opponents and the shiai-jo (contest area) will require your attention. You will need to use all psychological factors to your advantage and not lose your patience or focus. If you want to become a good fighter, you will need to adhere to the principles of judo. You will need to enter and fight hard in contests of all kinds and gain the necessary experience. It is the only way to make substantial progress. Whatever tokui waza you will attempt, keep in mind that you should follow the principles correctly. By practicing frequently and trying to do your best all the time, you will achieve your goals. Shihan Jigoro Kano once said: I hope that students of judo will master their own waza and enjoy watching the waza of others. I hope they will come to appreciate the beauty in their own movements and come to appreciate the graceful and dynamic movements of others.44
44
Kano Jigoro, Naoki Murata, Writings from the founder, Mind over Muscle, Tokyo 2005, p-109
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Annex A
UNDERSTANDING THE CONTEXT
As humans, our principal physical activities are about walking, jumping, lifting and throwing; striking, bending, curling up, stretching and resting. Judo training also involves similar activities like walking, jumping, twisting, pivoting, rolling forward and backward. When we become familiar with our surroundings, we have a tendency to rely on automatic reflexes to guide us through desired activities. In unfamiliar milieu, we need to discover, learn and adapt to new circumstances. Hereunder are a few topics dealing with biomechanics that we should try to understand and apply to our judo techniques. Inertia: The body is at rest and will stay at rest unless influence by another force. Three laws were defined by the scientist Newton: First, the body continues in its state of rest, or of uniform motion in a straight line, except in so far as it may be compelled to do otherwise by an exterior force that will change that state. At rest, there is no judo match. To get an object to move, one must overcome inertia. It is more difficult to start making an object move than it is to keep it in motion. In judo matches, one of the opponents has to be on the move, preferably both. Judo contests begin with a dynamic step taken by either judoka. The initial force is the product of the muscular actions or tension of the fibers and the up-thrust power from the ground that is antagonistic to gravity. When performing the normal walk, the inertia of the body is being changed constantly. It is the horizontal power driven by the propulsive forces of legs that makes us walk. During judo matches, moving about or walking is a key function. During that activity, our body goes into series of translation actions where its centre of gravity is displaced by a rotary motion occurring in the lower and upper extremities. This bobbling or bouncing effect is more or less influenced by our weight distribution, the friction against the ground and the interactions between our various muscle groups. We call Ayumi-ashi the normal way of walking. In such circumstances, the forces being applied (impulses) to the body are not uniformed in time or space. (One leg is moved after the other and with different strides depending on the incline or speed). The centre of gravity is experiencing short periods of fluctuations producing an imbalance that is quickly recovered by our speeding up or slowing down steps.
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Ideally, to increased stability, and save energy, we want to minimize these fluctuations. We should lower the center of gravity by flexing the knees and adopt the Tsugi-ashi form of walking whereby one foot is following the other and both are gliding on the mat. It is a slower mode of walking yet, it offers more regular displacements which in turn, facilitate faster recoveries from the oscillations of the hips. From this first law, we can conclude the need to select the right moment for employing less force and to develop the balanced move. The second law of Newton tells us that the rate of change of momentum is proportional to the impulse of the force being applied. The actual change or displacement takes place in the direction in which the force is applied. From the above, one can observe that the forces being applied do not necessarily have to go through the centre of gravity to produce a linear acceleration. The force will create the same linear acceleration whether or not it is so directed towards the centre. The direction of the force becomes important when applying kuzushi. If the force is not going through the centre of gravity of the opponent, that point will still change speed in a direction parallel to the direction of the force producing a rotation of the body about an axis passing through its centre of gravity. There will be a turning or revolving effect. So, when performing Kuzushi, force can be applied directly at the centre of gravity (normally in the abdomen region) or on any of the body segments. The third law in consideration is that: for every force acting in a direction, there is an equal force reacting in the opposite direction. Using this principle, the judoka can prepare his attacks wisely and use decoys to entice a movement or gain a reaction by the opponent that can be mustered and used against him.
Tokui Waza by Ronald Dsormeaux On the use of force:
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There are several ways to deal with a force. You can address it head on by confronting it. You can direct it towards a specific target or use a superior and faster force against it. In Judo we tend to redirect the forces and harmonize with them. We can merge with a force by following along its directional axis. We can displace it by focusing an action at its points of origin or its impact area. We can avoid it or evade it by stepping out or we can diffuse it when we absorb it with a complementary technique. When considering the use of a direct technique or a counter, the judoka will need to pay attention to his choice and method of entry keeping in mind that the kake phase must comes as a surprise to the opponent. Adjustments to: his distance from Uke, the angle of entry, the speed and timing of his attack are all needed to avoid early detection. We can not avoid the use of force in judo. It used against and by the judoka. The key element is to use it intelligently. By definition, force is produced when an object is influenced by another. (Gravitational or magnetic attraction, push-pull actions). We all produce force when a number of muscles enter into contraction or extension which results in tension being produced at joints and leverage takes place. We refer to this influence as torque. It is to be noted that muscles by themselves have no capacity to push and they do not offer resistance to compression. They come alive when ignited by a neuron-stimulus that makes them vibrate and act upon the joint. Judoka will also come alive when he identifies the proper technique to be applied at the right angle, feels the exact opportunity to induce the kuzushi, moves from location A to B without detection and is able to rebound, turn or apply a technique in a Sen- Sen or Sen No- Sen patterns.
Skillful judo movement needs the intelligent use of muscle groups
Tokui Waza by Ronald Dsormeaux Direction of force: Observation tells us that to be the most effective, the performance of a linear technique requires more speed over a given distance. Its power and effectiveness come from the product of the body mass, velocity, displacement speed and impact.
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When separated from Uke at too great a distance, all movements can be detected, avoided or negated. Tai Sabaki or body movement and Kuzushi will require adjustments since they can both be affected by speed and distance. Selecting the right angle is important to be able to strike at the opponents weaknesses. It is used to cover the approaches (tsukuri) and coordinate the direction or flow of the attack. Mechanically, we refer to force vectors as the directions taken by various quantities of forces traveling in the same direction and which can be added to each other to perform a given task. Sometimes, we face a couple of forces developing into a system whereby the two forces are of equal strength yet coming into opposite direction, When such forces are applied against the axis, the object will not be moved as they normally annul each other . (This is the 3rd law of Newton) but the object can be turn upon its medial axis. We can observe such phenomena in the O-soto-gari when one force is produce towards the back with the arms and upper chest while the other force is exerted with the leg action is in a forward direction. Likewise, in a sutemi waza, we could have a force made up of 10 units by the leaning forward of the opponent to which a force of 5 units produced by the falling Tori will be traveling in the same direction, the united force vector will be then be of 15 units. This simple explanation was frequently used by Shihan Jigoro Kano to illustrate the JU principle or Yielding. In practice, the judoka should be able to use as much as possible of the opponents forces and add his own to it. Likewise, he needs to coordinate his personal inputs so that they amplify each other while keeping the same direction.
Tokui Waza by Ronald Dsormeaux Work and volume of work
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Work and volume relate to the ability to move things or objects with a certain amount of force over a given distance. This is what judo is all about. When applying kuzushi, the judoka displaces the Uke within the free zone or outside the support base. We need not measure it in horse-power over inches. The quick push or pull is a demonstration on the use of force required to make the initial displacement. We talk of making powerful Kuzushi when it is done within a fraction of a second or during a flash moment. If a continuous push is made against Uke and he is forced to withdraw, that work load could also be measured in horse power and distance covered. Both the push-pull actions can be viewed from a mechanical perspective. It is immaterial whether that push or pull is a result of a succession of forces used independently or simultaneously as a group. The end result is the same e.g. the displacement of Uke is being done. Forces emanating from the arms and upper body can be sufficient to produce the work and many judoka tend to use this upper strength for the making of kuzushi as the arms and shoulder muscles are speedily place in motion. However, we must consider that in humans, the strongest parts of the body are located in the middle and lower extremities. They are the heaviest and the slowest. Yet, they are the more powerful. Considerations should therefore be given to use the lower body displacement to produce the Kuzushi. For many of the judoka, it will be a question of adjusting to using different muscles groups to perform the required task The translation force When the whole body is on the move it is the product of a translation force acting upon it. Such force is the result of the work produces by the thrusting action of the foot and leg against the ground. It is to be observed that more effort is needed as we step out of a position of rest. Once the body overcomes the inertia, a lesser amount of work will be required to keep it on a steady pace. This continuous displacement ability should be practiced by the judoka during a match. Should the judoka wish to gain speed and accelerate, additional force will be required to respond to the new demand. The greater the power of the leg drive the greater the motion to be imparted to the trunk and the greater speed is to be attained. It is to be remembered that the propulsive action of the legs is either following an oblique or straight up line. That path is somewhat countered by a normal vertical force pulling him down towards the ground. Since the propulsion force of the leg muscles is greater than the opposing force, he shall enter into a forward movement. When moving, the lower extremities will gain momentum and transfer their power to the upper body producing the necessary kinetic energy (transfer from one group of muscles to another) to be applied against the opponent for greater impact.
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To take maximum advantage of the legs actions, the judoka should try to eliminate the unnecessary natural obstacles such as cold muscles and tight tendons by having a good warm up of the joints and lower extremities and keep moving. One may also observe that longer strides will make you move more slowly, yet, you will be heavier to displace. Shorter strides near the line of gravity will produce a continuum and you will attain greater speed faster. Nevertheless, you will be lighter and fragile to a side push or pull. Short strides will make you gain greater speed to initiate and pursue your attack. (Long distance runner versus sprinter) In the natural posture, if the judoka leans forward a bit, he will produce a slight shift of the centre of gravity so that when he wishes to resort to the Kuzushi, he will have less dead weight to move. Another consideration is the practice of using the pushing power of the legs by slightly extending the support leg backward in order to gain better leverage. By having semi-flexed muscles already at work against the joints should improve the speed of the output. Opposing forces We discussed the third law of Newton in preceding paragraphs. Every action has an equal or opposite reaction. It is important to understand that when applying a Kuzushi, extreme push or pull are not necessary. When attempting to place the opponent on his tip toes or outside of his foot, you will encounter a natural resistance of equal size and he will have a tendency to lean backward and squat downward. When applying a vertical and downward force against the opponent, such as performing a hip lift, it is to be remembered that the smaller vertical component of the force will liberate the trunk for a greater horizontal move. When the vertical and downward force is too great and applied linearly, it would impair the horizontal movement of the opponent. (Up and down motion without horizontal displacement)
Point of contact or fulcrum In the first form of the Itsutsu-no kata, we can visualize the effect of concentrating the force against a single point of contact. When pushing Uke with an alternate force from the thumb and little finger, he enters into a wavering effect from side to side. When that force is changed to the full power of the hand and directed to the centre of the axis, Uke is projected directly to his rear. Physics principles tell us that when a force is applied to a free movable object and is off centre, that object will have a tendency to rotate upon its axis. This rotation is caused by the opposing or counter forces.
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When applying the Kuzushi, it is important to consider not only where you grip the lapel (upper centre, to the side or lower centre) and place your second hand of the opponent (sleeve, elbow or back of the neck), but also in what direction the push or pull will take place in order to have the opponent move in the desired direction. Joints and movements When you are trying to hold down, to stretch or place an arm lock you should consider the weaknesses and the strong points of the targeted area. Not all joints perform the same movement or function. The ankle joint will flex and extend the foot as well as permit the internal and external rotation. The knee joint is principally used for flexion and extension. The hip joint is capable of flexion, extension, internal and external rotation as well as abduction. (Outward displacement). The thorax region has no difficulties performing the flexion and extension of the vertebras, accomplish internal and external rotations as well as perform the abduction and adduction functions. (Inward displacement) The shoulder joint provides the flexion and extension as well as the internal and external rotation of the shoulder. It has a limited power to conduct abduction and adduction of the arm. The elbow joint is principally used for the extension and flexion of the upper arm and conduct internal and external rotation facilities. The wrist joints can be used to exercise flexion and extension as well as abduction and adduction. It is interesting to note that the majority of joints possess a variance of one to three degree of freedom to cope with a limited amount of stress applied to it. The sterno-clavicular region will facilitate the elevation and lowering of the head as well as providing for the ante-pulsion and the retro-pulsing activities. The head joint can flex, extend, rotate inward and externally as well as provide room for the abduction and adduction of the head. There is an element of torque at all these joints. For maximum results, the muscles groups should best function when they are at right angle to the moving bone. The forces of each joint must be combined to produce the maximum effect. This is best done when all joints that can be used are indeed used. The important thing to remember is that every joint must be used to get the most speed, power or acceleration out of the movement. Joints which have large muscles and are located in the middle of the body should be used first.
Tokui Waza by Ronald Dsormeaux Gravity
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It is generally accepted that the force of gravity being exercised on the human body is very negligible. It represent less then 0.000 000 000 033 pounds per square feet. As a result, we are able to stand in balance on our two feet if undisturbed by an exterior force. We also know that the earth attracts every tiny particles of an object with a gravitational force proportional to the mass of each particle. All these separate attractions can be added to describe the weight of the object. The central point where these forces are at play is known as the Center of Gravity. Not all of our segments are of equal size and length. Our weight is distributed throughout our body. It comprises several hypothetical centers which are attracted to the ground by the force of gravity. The agglomeration of these centers can be represented by imaginary lines falling on each side of the body. By natural extension, these lines will contact a point on the ground that is located along the middle of each foot. If the gravity line falls outside the foot area, the body will lose its balance and topple over. Hereunder is a NASA chart depicting these various centers of gravity and hinge points with their value as normally found in a person of male gender. The female gender distribution may vary.
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Webb P, Bioastraunautic Data Book, Weeb Associates, Yellow Spring, Ohio, 1964
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Should we loose balance and start to fall, the speed of our free fall would be measured as 32 feet per squared second as a consequence, the judoka gains more speed from a shoulder throw than a lower foot technique. Consequently, if you are thrown from a higher distance you may have more time to turn around and twist in the air and land on your feet. If the opponent uses a lower form of throwing techniques such as a Hikomi, your ability to use counter techniques will be restricted by the height limit. This observation will be needed when choosing counter techniques or when applying speed to the Tokui-waza. The changing coloration of the toes may reveal the additional weight being placed upon them. The greater our weight the bigger will be the natural pull towards the center of the earth. To remain in balance during the application of a waza, the support feet and leg must be capable to absorb both opponents weight. Let us not forget the importance of the foot. The foot is used as a lever. It is a class 2 lever, meaning that the resistance is located in the middle of the foot with the point of contact or fulcrum made by the toes and the lifting power done by the calf muscles group who pull on the heel to make the body rise.
Saya no ichi, no kachi saya To win the victory without drawing the sword
Ancient proverb
Let us close this section with the words of sensei M. Kawaishi:46 The Tokui-waza or special is a key word, a kind of magic formula used to penetrate the opponents defense system. It is a gift provided by the great judo spirit so that you can continue to progress. It is from the special or Tokui-waza that you will be able to build your personal style and find harmony with your inner strength. Recourse to a Tokui-waza facilitates the keeping of the initiative, you will be able to anticipate the opponents move and annihilate his attack on the spot.
46
Kawaishi M, Enchanements et Contres, page 9
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ANNEXB REFERENCES
Abe Ichiro, Souvenirs de judo, dition Judo Toulouse, Robert Laserre, 1953 Arpin Louis, Le Guide du Judo, dition de lhomme, Montral, 1970 Bonet-Maury Paul et Courtine Henri, Le Judo, Que sais-je, 1425, Presses Universitaires de France, 1975 Blonk Mas, Judo Combinations video, Amsterdam, 2005-2006 Cauheppe J.D. et A. Kuang, Les arts martiaux intrioriss, dition de la Maisne, Paris France, 1984 Cauheppe J.D. et A. Kuang, Le Jeu des nergies dans la Pratique de lAikido, dition de la Maisne, Paris France, 1984 Cunningham Steven, The Root Arts of Judo, Http 152.163.26, 11 November 1996 Draeger Donn F, Judo Randori No Kata and Ju No Kata, AAU-JBBF Judo Handbook, USA, 1966 Draeger Donn F, Ishikawa Takahiko, Judo Training Methods, Charles E Tuttle, Tokyo, 1962 Daigo Toshiro, Kodokan Judo Throwing Techniques, Kodansha, Tokyo, 2005 Dsormeaux Ronald, The Discovery of Judo, Ottawa, Canada 2006 Dyson Geoffrey H.G, The Mechanics of Athletics, Hodder and Stoughton, Toronto, 1975 Fiore dei Liberi, Manuale di arte de combatti mento del xv seculo, ARMA, Cerchio, Italia, 2002 Gauthier Bernard, Canadian and American Modern Judo, CJF publication, 1949 Guillain Robert, Le Japon que jaime, dition Sun, Paris, 1965 Hirano Tokio, Judo Elements, video, Switzerland, 1956 Hoover Thomas, LExprience du Zen, Albin Michel, Paris, 1989 Inogai T, Habersetzer R, Judo Kata, Amphora Paris, 1995
Tokui Waza by Ronald Dsormeaux Inogai T, Habersetzer R, Judo Pratique, Paris, 2002 Inokuma Isao and Sato Nobuyuki, Best Judo, Kodansha International, Tokyo, 1986 Inoguchi Matsunosuke, Shikatsu Jizai Sekkatsu Ryoho, Kaishin Shoro, Japan, 1901 Ira Freeman, Physics Made Simple, Maple Book, New-York, 1990 Kawamura Teizo, Daigo Toshiro, New Japanese-English Dictionary of Judo, Kodokan 2000 Kano Jigoro, Kodokan judo, Kodansha International, Tokyo, 1994 Kano Jigoro, Naoki Murata, Mind over Muscle, Writings from the Founder of Judo, Kodansha International, Tokyo, 2006 Kano Risei, Illustrated Kodokan Judo, Kodansha, Japan, 1955 Kawaishi Mikonosuke, Correspondance Personnelle, Acadmie Kawaishi, 1961-1964 Kawaishi Mikonosuke, Les Katas Complets du Judo, Publi-Judo France, 1956 Kawaishi Mikonosuke, Enchanements et contre prises du judo debout, Le Plessis France, 1959 Koizumi Gunji, My Study of Judo, Cornerstone New York, 1960 Koizumi Gunji, The Budokwai, Journal of Combative Sports, 2002 Kura Mitsuo, Samurai, an Illustrated History, Tuttle publishing, Tokyo, 2002 Kimura Masahiko, Judo Techniques, video (1917-93) Kotani Sumiyuki, Otaki Tadao, Judo Kata, Fumido Publishing, Tokyo, 1971 Krieger Pascal, Ten Jin Chi, La boutique Japonaise, Switzerland, 2005 Leyshon Glynn A, Judoka, Tyrell Press Gloucester, Ontario, Canada, 1998 Le Berre Jacques, Champion de France 1963-64, Stage Gokyo, Werl, Allemagne, 1966 Leggett Trevor, The Dragon Mask, Ippon Books Ltd, London, UK, 1993 Lu Shengli, Combat techniques of Taiji, Xingyi and Bagua. Blue Snakes Book, California, 2006
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Tokui Waza by Ronald Dsormeaux Masnieres J.L, Judo DAttaque, Amphora, Paris, France, 1975 Mifune Kyuzo, Canon of Judo, Seibundo-Shinkosha, Tokyo, 1956
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Musashi Miyamoto, Trait des Cinq Roues, Go-Rin-No-Sho, ditions Albin Michel S.A., 1983 Momose Meiji, Kano Jigoro, 1860-1938, Look Japan publication, 1985 Morvan-Dengre Frank, Le Judo, Techniques et Conseils, Solar 1976 Nihon Sumo Kyokai, Sumo Techniques, Sumo Kimarite, Japan, 2006 Novovitch Michel, Judo Gravity Zero, Publiday Media, Maroc, 2003 Ohlenkamp Neil, Judo Unleashed, McGraw Hill, New York, 2006 Payne Peter, Martial Arts, the Spiritual Dimension, Crossroad New York, 1981 Pelletier Guy et Claude Urvoy, Judo Suprieur, vol 1-5, Siderep, France, 1979 Petter Nicholas and Remeyn de Hooge, Art of Wrestling, Amsterdam, 1674 Ple A.H et Fdration Franaise de judo, Judo International, dition A.M.I, Paris 1950 Ratti Oscar and Adele Westbrook, Secrets of the Samurai, Charles Tuttle, Tokyo, 1996 Roug Jean-Luc, Harai-Goshi, Judo Master Class London, 1985 Roullet Jean, Historique du judo au Qubec, Almanach des sports, 1970 Sato Nobuyuki, Ashi-Waza, Les Matres du judo, Chiron, Paris, 1993 Sogen Omori, T.Katsujo, Zen and the Art of Calligraphy, Penguin Group, New York, 1983 Suzuki Shenryu, Esprit Zen Esprit Neuf, dition du Seuil, 1977 Swain Micheal, Ashi Waza, Judo Master Class, Ippon Books London, 1992 Talhoffer Hans, Medieval Combat, Green Hill, London, 2000 Tomiki Kenji, Judo, JTB vol 22, Tokyo, 1956 Torbjorn Tannsjo and Claudio Tamburrini, Values in Sports, F.N. Spon, USA 2000
Tokui Waza by Ronald Dsormeaux Tseu Lie, Le Vrai Classique du Vide Parfait, dition Gallimard, 1961 Tzu Lao, Tao Te Ching, Vintage books, New York, 1972 Westbrook Adele, Ratti Oscar, Aiki-do and the dynamic sphere, Charles Tuttle Inc, Rutland, Vermont & Tokyo, Japan, 1983
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Watanabe Jiichi, Avakian Lindy, the Secrets of Judo, Charles Tuttle, Tokyo Japan, 1960 Yagyu Minenori, The Life Giving Sword, Kodansha International Tokyo, 2003 Yamashita Yasushiro, O-soto-gari, Judo Master Class, London, 1992 Yamashita Yasushiro, The Fighting Spirit of Judo, Ippon Book, London, 1999 Yamamoto Tsunetomo, Bushido, Square One Classic, USA, 2002 Yokoyama Sakujiro, Siguke Oshima, Judo, Nishido Press Tokyo, 1908 Zabinski Grzegorz, Codex Wallerstein, A Medieval Fighting Book, Paladin Press, 2002
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ANNEXC GLOSSARY
Ayumi ashi: Natural walking style with alternating leg Batsugun: Instant promotion by way of winning a Shiai Bogyo: Defensive maneuvers that may be dangerous Bugi: Martial techniques of ancient times Chikara: Inner strength Chin Gen Pin: Chinese master 1587-1672 Dai Nihon Butokukai: 1895 institution for martial virtues Dan: Ranking level of senior grade Eisho-ji: Temple in Shitaya Inaricho district of Tokyo Gakko judo: School of judo Hei joshin: Continuous state of calmness Ippon: One complete scoring point Jigo Hontai: Basic defensive posture Jigotai: Defensive posture Jita Kyoei: Mutual prosperity for self and others (2nd principle) Jiyu Geiko: Free training Jiyu Renshu: Free practice Joseki: Upper seat or place of honour Joshibu: Formal female judo training establishes in 1923 Judo Ichidai: A judo life or commitment to long-term judo practice Judoka: Also Judojin, a person doing judo Judo Kyoshi: A qualified instructor of judo Judo Seishin: The judo spirit to do its best, compete fairly and respect others Ju jutsu: General combat system also known as Yawara, kemp or Tai jutsu Ju no Ri: Principle of flexibility in avoiding direct confrontation Kakari renshu: Repetition training and Geiko, repetition practice Kake: Application or action of throwing Kano Jigoro: 1860-1938, Founder of modern judo Kata: Formal movement pattern of idealized techniques Kiai: Concentration of will and spirit expressed in a shout Kodansha: Person having obtained the 5th dan and higher Kodokan: The institution of Dr Kano established in 1882 Kumi kata: Engagement positioning Kuzushi: The action of breaking balance Mae Ukemi: Forward break fall in a plane position Randori: Free practice or sparring Renshu: Practice synonymous to Keiko Seiryoku Zenyo: Maximum use of energy, first principle Sesshoku suru: To touch or keep in contact with Shiai: a judo contest held with specific rules Shihan: Founding master, one who has obtained mastery in the art Shin Gi Tai: Expression of unity of the mind-spirit and body Shisei: Posture or natural stance Shomen: Physical front of a practice hall Tachi Waza: Techniques executed from a standing position Tai wo sabaku: To shift and position the body Tokui waza: A preferred or favorite technique Tori: The giver or initiator Tsukuri: Action to set-up a throw Uchikomi: Repetition training
101
ANNEX D
AUTHORS PROFILE
1956 1959 1959 1960 1961 1961 1962
Ronald Dsormeaux
1962 1963 1964 1964 1965 1966 1967 1968 1969 1969 1970 1971 1975 1980 1988 1993 1998 1998 2000 2003 2004 2004 2004 2005 2005 2006 2006 2007
Beginning of judo practices in Hull, Qubec with sensei Bernard Gauthier 4th dan. Promoted black belt, 1st Dan and became the secretary of the Canadian Judo Federation. Provincial champion FCJ and creation of the Ottawa School of Modern Judo. Provincial champion and finalist at national championships of the Canadian Judo Federation. Casual sports writer for the newspaper: Le Progrs de Hull. USA New York State open judo champion. Acquired membership no: 41 at the Acadmie de judo Kawaishi of Paris. Promoted 2nd Dan and enters the Canadian Kodokan Black Belt Association. Graduated in Physical Education from the University of Ottawa. Created the dojo of Buckingham,Thurso and Gatineau in Quebec. Teachers assistant at the Victoria Dojo under Sensei Y.Inouye. Chief instructor at the Calgary dojo with Sensei H. Kanashiro. Created the Shilo military judo club in Manitoba. Worked towards the integration of military judo within the CKBBA. Overall Champion of the Canadian Armed Forces. Overall Champion of the British Army on the Rhine 1966-1967-1968. Member of the British Judo Association. Member of the British military team in several international tournaments. Finalist all categories, British Armed Forces. Promoted to 3rd Dan. Received the Jean Charles Daoust trophy for best French Canadian Athlete Opened the Val Cartier dojo in Qubec. Member of the administration for Quebec Kodokan Judo Association 1972-76. Founder and technical director of the Gatineau dojo. Obtain the National Coaching Certificate, level one. Obtain Masters degree in Public Administration from ENAP. Graduated to National Coaching Certificate, level two. Obtain National Coaching Certificate, level three. Promoted to 4th Dan by the Kodokan Institute of Japan and Judo Canada Invited teacher at the White Rock dojo in British Columbia with Sensei R. Clemas Technical director of Chikara dojo in Gatineau Qubec. Served as President of judo zone Outaouais. Editorial member of the Yudansha magazine for Judo Canada. Promoted 5th Dan from the Kodokan Institute of Japan and Judo Canada. Zone president and technical director for the Ottawa region. Invited teacher at the Takahashi dojo in Ottawa Attended the Kodokan Institute international kata training certificate course Published reference books: Les Mystres du judo and The Discovery of Judo. Published a reference book Tokui-waza.
102

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DISCOVERY OF JUDOS TOKUI-WAZA___

Tokui Waza by Ronald Dsormeaux

DISCOVERY OF JUDOS TOKUI-WAZA

Copyrights to Ronald Dsormeaux ISBN-2-9806269-2-0 National Library of Canada 2007

Tokui Waza by Ronald Dsormeaux

Tokui Waza by Ronald Dsormeaux

Tokui Waza by Ronald Dsormeaux

Ronald Dsormeaux, 2007

Tokui Waza by Ronald Dsormeaux

Teizo Kawamura, Toshiro Daigo, Kodokan Dictionary, 2000

Tokui Waza by Ronald Dsormeaux

Introduction to Historical Dimensions

Tokui Waza by Ronald Dsormeaux

Naoki Murata, Mind Over Muscle, 2005, p-17

Tokui Waza by Ronald Dsormeaux

LEGACY FROM SHIHAN JIGORO KANO

Shihan Jigoro Kano

His Kodokan Emblem (The cherry blossom)

Tokui Waza by Ronald Dsormeaux

Jigoro Kano at the centre of a gathering of jujutsu experts circa 1895

Naoki Murata, Mind over Muscle, 2005, p 145

Tokui Waza by Ronald Dsormeaux

KODOKAN JUDO INSTITUTE: ORIGINAL SCHOOL

Tokui Waza by Ronald Dsormeaux

Tokui Waza by Ronald Dsormeaux

ADAPTATION AND MODIFICATION OF GOKYO

Sensei Bernard Gauthier performing Uchi-mata (inner-thigh)

Tokui Waza by Ronald Dsormeaux

THE COMMON REPERTORY OF JUDO WAZA

TACHI WAZA OR STANDING TECHNIQUES

Sensei Katanishi performing Ura-Nage and Tomoe-Nage movements

Tokui Waza by Ronald Dsormeaux

CHART: SAMPLE TECHNIQUES OF GOKYO 1895

Tokui Waza by Ronald Dsormeaux

KATAME WAZA OR GRAPPLING TECHNIQUES

Variations of traversing holds- makara- kesa gatame

Neil Ohlenkamp, Judo Unleashed, 2006. p 117

Tokui Waza by Ronald Dsormeaux Shime-waza- strangulations and chokes

Standing strangulation being attempted

Tokui Waza by Ronald Dsormeaux

Tokui Waza by Ronald Dsormeaux

Otaki Tadao, Contest and technique, Judo International, 1950

Tokui Waza by Ronald Dsormeaux

Tokui Waza by Ronald Dsormeaux

Hiza-guruma (knee wheel) performed by sensei Bernard Gauthier

Tokui Waza by Ronald Dsormeaux

THE APPLICATION CONTEXT

Lu Shengli, Combat techniques, p 69

Tokui Waza by Ronald Dsormeaux

Sakujiro Yokohama, Judo Kyogi, 1908

Tokui Waza by Ronald Dsormeaux

TEN ESSENTIALS ELEMENTS

Tokui Waza by Ronald Dsormeaux Second element: Shisei. Standing posture.

Jigoro Kano, Mind over Muscle 2005, p 139

Yoshimi Osawa, Formal techniques of Kodokan Judo, 1959

Tokui Waza by Ronald Dsormeaux

Tokui Waza by Ronald Dsormeaux

Tokui Waza by Ronald Dsormeaux

Sensei Michel Novovitch demonstrating different kumi kata or gripping style

Standard kumi-kata hold

Tokui Waza by Ronald Dsormeaux

Illustration from The Mechanics of Athletics by G Dyson23

Dyson Geoffrey, The Mechanics of Athletics, Hodder, Toronto, 1975