Ronald Désormeaux, Kodokan 5th dan Technical Director Chikara Dojo Private collection-2007

Tokui Waza by Ronald Désormeaux



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

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-Désormeaux 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

Tokui Waza by Ronald Désormeaux


INTRODUCTION – TOKUI-WAZA Ron Désormeaux 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 judoka’s 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

B. 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. C. UNDERSTANDING THE CONTEXT REFERENCES GLOSSARY AUTHOR’S 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 .Tokui Waza by Ronald Désormeaux 5 Table of content Part One JUDO’S TOKUI-WAZA INTRODUCTION TO HISTORICAL DIMENSIONS LEGACY FROM SHIHAN JIGORO KANO KODOKAN JUDO INSTITUTE. D.

Having become a teacher and a coach.Tokui Waza by Ronald Désormeaux 6 Preface Judo has been a way of life for me for over 50 years. In my early apprenticeship and competitive days. Have a pleasant reading. 2007 Should the reader have suggestions. please Email them directly at ronalddesormeaux@ yahoo. comments or questions about this . Ronald Désormeaux. 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. I practiced hard and tried to absorb all the good counsel received from my peers and teachers. I was blessed with more time to analyze and reflect upon the many judo techniques and their principles.

The Kodokan techniques aim at returning an opponent’s strength against himself and overcoming him through skill rather than force. From the adjective toku-yu meaning unique. The use of Tokui-waza will be our strategy. Toshiro Daigo. flexible. pliancy. DO: referring to the way of progress or path of conduct. mentally and morally in order to use those strengths to the benefits of society. Any technique that an individual finds particularly effective and therefore uses frequently. to be economical. From judo dictionary expressing the preference or favoritism towards a technique. Tokui-waza: a preferred or favorite technique.1 1 Teizo Kawamura. 2000 . Ju Do Tokui-waza: from the verb toku-yo-no. The essence of Kodokan Judo is to perfect oneself physically. supple.Tokui Waza by Ronald Désormeaux 7 Part One: JUDO’S TOKUI-WAZA JU: meaning soft. Kodokan Dictionary.

Martial arts systems followed various trails of human conflicts and wars. It was practiced in war and in peaceful times. 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.Tokui Waza by Ronald Désormeaux 8 Introduction to Historical Dimensions Within the dynamic process of nature. All living forms are provided with a defense mechanism to ensure their survival. It too has developed methods of self-defense. psychology and the laws of nature. The human being is no exception. For the purpose of this book. There are many heroes and war episodes that became famous and which were transformed with time into legends and religious festivities. 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. The Asian art of self-defense was elevated to the level of a scientific and philosophical art. based upon the study of human anatomy. all things develop particular methods to defend themselves. 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.

to capture him or strike his vital points.Tokui Waza by Ronald Désormeaux A collage from the German print book on Wrestling dated 1553. While combat may have been at the core of jujutsu practice. 9 “The original purposes of jujutsu were to throw and kill the opponent. By the printer Wurm depicting hip and arm techniques. Mind Over Muscle. Certain schools and styles came to be studied as something quite removed from the concept of combat. 2005. it also had related goals of physical education and mental training”2 2 Naoki Murata. p-17 .

3 Jigoro Kano. He became a personal student of Master Hachinosuke Fukuda. He then moved on to attend the Takenouchi. Naoki Murata. in 1882. 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 formulated a new approach and complete educational program based upon those key natural principles he had tested in his remote dojo.Tokui Waza by Ronald Désormeaux 10 LEGACY FROM SHIHAN JIGORO KANO Shihan Jigoro Kano His Kodokan Emblem (The cherry blossom) Shihan Jigoro Kano. the Kito and the Tenshin Shinyo schools. many combat schools had survived and were attempting to establish themselves as public establishments. he refined techniques. As Japan was coming out of its long journey of internal wars. He further challenged some theories expressed by colleagues and other jujutsu masters. the founder of modern judo was born in Japan. He codified and realigned them in accordance with known basic natural laws of nature. He analyzed other documents located in several libraries. “I took the name judo that already existed and added the name of my dojo to it”. Not fully satisfied with the combat techniques and the physical training skills he received. Mind over Muscle. He was somewhat influenced by his own studies of Buddhism. 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. Back in the training room. Writings from the founder of judo. 2005 . His first teachers were Sensei Yagi and Karagiri of the Yagyu School which was a fencing (Kendo) and jujutsu Ryu. He attempted to link the jujutsu teaching with the Japanese cultural dimensions. Daoism and Confucianism. Tokyo. Tozawa Tokusaburo. He began his university education at the Imperial institution and like many students he sought to learn jujutsu. He recognized the values of jujutsu but challenged the pedagogy. 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 embarked upon the studies of old documents called Kudensho which were transferred to him by his former masters. in Mikage near Kobe in 1860. When ready. questioned purposes and usefulness.3 The name judo was most likely taken after the jujutsu Chokushin-ryu-judo (also known as JIKISHIN) located in the city of Izumo. and Masamoto Isohizue and of Iikudo Tsunetoshi. on October 28th.

Mutual benefits and prosperity for self and others.Tokui Waza by Ronald Désormeaux 11 Jigoro Kano at the centre of a gathering of jujutsu experts circa 1895 Shihan Jigoro Kano’s approach was based upon the following two principles: The intelligent use of energy. .

Shihan Jigoro Kano went beyond the physical attributes of the jujutsu and introduced a higher mental dimension with social ramifications. the accrued proficiency in combat and fighting called Shobuho and the mental development and culture known as Shushinho. 12 These three objectives were later simplified to become: Shin-Gi-Tai. Kano’s judo incorporated a new concept of morality. p 145 . 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. and fulfilled the purpose of health education while emphasising science and logic”4 4 Naoki Murata. train their physical and mental abilities and become part of the League of Nations. alert and in control of the situation in order to yield to the opponent’s attack and reverse it to your advantage. “While respecting and valuing jujutsu traditions. Mind over Muscle. (Mental-techniquephysical). 2005.Tokui Waza by Ronald Désormeaux Shihan Jigoro Kano’s program contained three parts: The physical training and development of the body known as Renshindo. 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.

There. His new school took roots and more students with like-mind attended. Totsuka and Isogai were the prime fighters involved in ensuring supremacy of the Kodokan system. A dozen or so assistants quickly joined him. It got the necessary endorsement and his system soon became the replacement to the Bujutsu curriculum previously taught in public schools.Tokui Waza by Ronald Désormeaux 13 KODOKAN JUDO INSTITUTE: ORIGINAL SCHOOL In May 1882. . his school was often challenged by groups of dojo yabushi. he presented several theses to the Ministry of Education illustrating the educational merits and values of his new physical education system. Shihan Jigoro Kano provided convincing arguments using students engaged in Kata (prearranged form) demonstrations and free practices or Randori. came new students and Shihan Jigoro Kano recruited other masters who shared his ideals and invited them to join his Kodokan. It was a modest beginning in the annex of the Eishoji temple in the Shitaya district of Tokyo. Not satisfied of being one of the many school in the region. he would rely upon the abilities of his pupils and colleagues to rebuff them. His messages were heard. Takamatsu. Hiratsuka. It is there that he officially declares that his Kodokan Judo would now replace the old jujutsu. he began his work with very few students. His Kodokan Judo was indeed different and considered relatively safe to practice. 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. Shihan Jigoro Kano decided to open his independent school. Nagaoka. he desired to prosper and expand his philosophy of intelligent use of strength to society’s benefits as the number of students grew. 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. Fukuda. In 1883. so-called fighting experts looking to destroy the reputation of other schools through open challenges. 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. Shihan Jigoro Kano did not seek nor avoided challenges. To realize his dreams. Masters Yamashita. 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. he lobbied and made presentations to the political elite and to the higher society of Japan. With victories. As was the practice at the time.

Tokui Waza by Ronald Désormeaux 14 GOKYO-FIVE. By limiting the initial curriculum. The mat techniques or holding were originally covered in the Katame-no-kata. The technical skills used by both players would facilitate the transmission of power from one onto the other. Tsukuri. the body movement and the placement of one into the right angle for attack and posture for the throw. . The initial 40 techniques became known as the Gokyo of 1895. Kake. Since its inception. It also reflected the risk taking involved in the use of one’s balance to affect a throw. The fourth group illustrates the influence of the legs and feet as they are used as lever. The third group makes reference to the use of the trunk muscles and central joints best represented by the hip power or Hara. the Ne-waza and the Atemi-waza. He limited his initial throwing techniques (Nage) to about 40 standing units. These essential dimensions were: Kuzushi. Judo techniques and styles have been remodeled to meet demanding international expansion. the proper placement or manner to execute the throw with maximum impulse. holding and striking. The practice of the Gokyo techniques was generally conducted through randori or free practices and complemented with kata or form studies. The mat work became randori style training and linked with the competition scoring system. 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. Shihan Jigoro Kano made provisions for the Nage-waza. he intended to guide his students towards a greater appreciation and mastery of the physical principles and components involved with specific waza. or pre-arranged form to develop the understanding. The five groups of eight techniques represented the actions and reactions taking place between two opponents. 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. placing the opponent into a broken posture. They are the three dimensions of the combat skills training: throwing. fulcrum or instrument of sweeping.ELEMENTS In his first school curriculum or training package. The fifth group shows how the total body weight can be used to attract and guide the opponent into a fall or throw.

younger and more athletic judoka brought more daring throws to the forefront. It is from this updated syllabus that our selected Tokui-waza will emerge. arm-locks and strangulations. After the birth of the International Judo Federation in the 1950s. In the past twenty years. We observe the use of more combination techniques known as Renraku waza to enticed or lure the opponent or as following strategies.Tokui Waza by Ronald Désormeaux 15 ADAPTATION AND MODIFICATION OF GOKYO In the early years. Ground work was not popular as it took too long to score in competition. standing techniques were following rigid lines found in jujutsu. There is now more variety and more follow up technique to the mat work. new champions were mastering one or two tokui-waza and applying them to perfection. A partial name-list of the root techniques is presented hereafter to situate our choice. Non-orthodox techniques such as Hikomi (toppling or reversing) have been refined to cope with athletes lowering their centre of gravity and crouching. 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. The Gokyo may have evolved but its essence has remained the same. the Eastern countries and the GrecoRoman grappling systems made their entries. With the coming of the University and Youth games in the 1960-70s. Today. Sensei Bernard Gauthier performing Uchi-mata (inner-thigh) . the International Judo Federation recognizes several new techniques and variations as a result of international competitions.

Tokui Waza by Ronald Désormeaux


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.”


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 opponent’s 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 Désormeaux 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 opponent’s 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 body’s 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.


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

Tokui Waza by Ronald Désormeaux



2006. Judo Unleashed. 2. 4. 3. Kata-gatame. There has been a comeback to them in the last 15 years.holds or pins These techniques are used to control the opponent while fighting on the ground. Enticing the opponent with dragging and toppling techniques known as Hikomi. The techniques are: Hon-kesa-gatame. The judoka tries to maintain a fluid displacement. We generally identify four options to enter into Ne-waza: 1. a senior coach of the United States Judo Association recommends that judoka should master transitions techniques from standing to ground techniques.s. We refer to this latter group as Hikomi or toppling forms. Knowing the final hold is only a small part of the skill needed to get an opponent into a vulnerable position. envelopes the opponent from a superior position and uses leverage and balance to keep him under control for a given time lapse. Inviting the opponent to the ground via a strong defensive posture. Kuzure-kesa-gatame. Variations of traversing holds. Neil Ohlenkamp.makara. Because of the current Shiai contest rules. p 117 . Entering into Ne-waza or ground work is normally associated with an imperfect throw by either opponent or continuity to a waza. Kami-shihogatame. Applying a standing Shime or Kansetsu (strangulation or lock) and bring the opponent down with it.Tokui Waza by Ronald Désormeaux 19 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. Yoko-shiho-gatame. and Tate-shiho-gatame. the judo contest starts with a standing posture. “The focus of osae komi waza is to learn the basic control and how to maintain a superior position on the ground. keeps his center of gravity low. Following a Tachi-waza attack and pursuing to the ground in the follow-up action.kesa gatame 7 Neil Ohlenkamp.”7 Osae-komi-waza.

Sode-guruma-jime. Applied to either the carotids arteries (strangulation) or the windpipe (choke) with speed and accuracy they should not last longer than 10 seconds. difficulty in breathing or numbness) Standing strangulation being attempted . (Discoloration. These techniques are: Nami-juji-jime. If properly applied. they do not represent a severe danger. 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. Carotid strangulations are safer and quicker and produce less pain to the opponent. Kata-te-jime. Gyaku-juji-jime. Kata-juji-jime. Recovery from strangulations occurs normally within release or during the following 20-30 seconds. When used in Shiai. the referee will watch for signs of submission (tapping or unconsciousness).strangulations and chokes 20 These techniques are intended to force a submission from the opponent. Dojime. Okuri-eri-jime. Sankaku-jime. both opponents should be careful not to apply the technique beyond early signs of effectiveness. Ryote-jime.Tokui Waza by Ronald Désormeaux Shime-waza. A longer lap’s time in a state of unconsciousness may necessitate the recourse of medical help. A loss of consciousness will occur if a submission is not signaled. Kata-hajime. Hadaka-jime. Tsukkomi-jime. When practicing in the dojo.

separating or bending it beyond its normal range. “In learning judo. Ude-hishigi-te-gatame. Included in this group are: Ude-garami.Tokui Waza by Ronald Désormeaux 21 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. These arm bars or locks are applied principally against the elbow joint.Mifune Sample techniques from a group of Katame waza abstracted from a German Chart circa 1950 . stretching. Kokoro is indispensable. Ude-hishigi-waki-gatame. 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. Ude-hishigi-udegatame. Ude-hishigi-sankaku-gatame. Without it only a limited technique remains” Attributed to sensei K. sincerity of min. The technique involves manipulating the opponent elbow joint by twisting. Ude-hishigi-juji-gatame. Standing arm locks are normally applied faster and therefore present a higher risk of injury. Ude-hishigi-hiza-gatame. these techniques are principally used in the mat work to obtain a quick submission from the opponent. and Ashigarami. these techniques are learned and practiced under close supervision and should not form part of the curriculum for children training. Because one has a better control over the opponent’s movement on the ground. Ude-hishigi-hara-gatame. Safety precautions: Like the shime waza group. Ude-hishigi-ashi-gatame.

World and European championships revealed the use of less than 20 techniques per event. Champions performed this winning trio either on their right or left side. Sone.Tokui Waza by Ronald Désormeaux 22 PART TWO STATISTICAL ANALYSIS Background Various researchers worldwide have kept an accurate account of the techniques that have proven successful in competition. and Yamashita and numerous others had ample time to practice them in various fighting situations during their long competitive careers. The Polish study of Sikorski and Keseck of 1996 was chosen to represent our study base. Judo International. they have gathered many statistical data. 1950 . Of the 67 techniques available in the Gokyo Tachi-waza. Geesink. They are represented by: O-uchi-gari. 9% performed Tai-otoshi. (Some of those champions practiced daily for more than 10 hours. they are: Kataguruma variations and counter techniques variations of Te-guruma and Sukui-nage. they further identified that some techniques proved to be more popular than others.8 He found that 83% of contests were won by a clear Ippon. 90% came from the Tachi-waza group. Natsui. Judoka of all ranks and levels have learned the aforementioned techniques from their early judo lessons. Sensei Otaki Tadao made a census of the 10. 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. Sato. When applied in singular mode or in combination. Past champions. A second group of powerful waza was used very effectively in 3 to 4% of the time. Ko-uchi-gari. Contest and technique. Most recent statistics obtained from past Olympics. Three other techniques re-appeared at a frequency of about 1%.) 8 Otaki Tadao. They are studied as part of the first and second grouping of the Gokyo. Uki-otoshi and O-sotogari. The most popular tachi-waza of the period was: Uchi-mata (16%) followed by O-soto-gari (13%) and Harai-goshi for 10%. It is interesting to note that there may be a tendency related to the most frequently used techniques. Inokuma. the like of sensei Kimura. 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.552 contests during the first part of the Showa (1926-1950-1989) period. Harai-goshi. 9% attributed to Uchi-mata. He confirmed that the ratio of tachi-waza to ne-waza was 7 to 3. Counter techniques had a 7% rate of usage. they scored full mark or Ippon 62% of the time. Over the years. Ruska. The frequency ratio was as follow: 10% resulted in Seoi-nage combination.

a similar research conducted by Stanislow Sterkowicz of the Krakow University concluded 9 that: of the 283 matches of the Sydney Olympics.Goshi. He recommended the use of different training programs where emphasis would be placed on: gaining impulse and speed. He concluded that such situational training is a very effective way of gaining déjà vu situations and worth pursuing. Pour une pratique et une Pédagogie de l’Opposition. Judo Performance.Soto. page 9 11 Albertini Pierre.Mata. Kata. Seoi. Ko.Gake. made several studies on the technical aspects of judo. The most popular techniques of the tournament were: Uchi. Sensei Isao Okano. STAPS. 1983 12 Brousse Michel. IJF Research paper 2001. No judoka can hope to reach perfection unless he is thoroughly familiar with the basic movements. He stressed the need to take into account. Sukui. TRAIN HARD AND TRAIN INTELLIGENTLY.Gari. Ura. 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.Tokui Waza by Ronald Désormeaux 23 In 2001. 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. a former European and French champion and now a senior national trainer for France. Again.10. improved timing. it is necessary to master all the fundamental techniques and to train hard daily. the reality of fighting situations and suggested to introduce them into the special randori training used in preparation for major fights. tai-sabaki and seeking opportunities while on the move. Revue judo no 59. 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. O. the 1960’s champion and former trainer of the Japanese national team once said: To accomplish a superior brand of judo. we can observe that the favourite techniques are not hybrids but form part of the regular training and preparation undergone by serious judoka. He recommended the adoption of new learning processes and the development of mutual benefit exercises exploring the intelligent use of work done in pairs. the judoka is no longer seen as an individual but as a member of a couple engaged in bettering their skills. Okano Isao.Gatame.Guruma. A Study of Technical Aspects. The miracle solution appears to be: TRAIN. The favourite mat technique was the Juji.waza drills. He also noted that such devoted training was not equally applied to minor waza who that did not produce a major score. Combinations and follow-up techniques performed at incremental speed were recommended for both newaza and as tachi.Soto.Nage and Harai. 9 Stanislow Sterkowicz and Wieslow Blach.Nage. In 1983.Nage. Le judo vivant.12 In the noted reference. For him.11 Michel Brousse. he identified a relationship between the effectiveness of throws and the scoring of Ippon. 1986 10 .

Tokui Waza by Ronald Désormeaux 24 The detailed analysis of training regimen is not covered in this manual. Hiza-guruma (knee wheel) performed by sensei Bernard Gauthier “ At the Kodokan. Other good books are available for that purpose. 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. we study and practice techniques with the purpose of using mental and physical energy most efficiently in order to achieve one’s goal no matter what the endeavour. Canon of Judo. (Combination or application in rapid succession. 1956 Jigoro Kano.”14 13 14 Kyuzo Mifune. but rather consider methods and train in accordance with detailed principles. moving from one to the next in a smooth and unbroken fashion). p 34 . Our task would lengthen both our time and purpose. If we reflect upon what sensei Kyuzo Mifune wrote: There are no limits in the application of judo techniques13. Mind over Muscle. Our concentration will therefore cover the ten techniques identified above and their combination training as Renraku-waza. 2005.

He has to maintain psychological and physical control over the opponent and take advantage of the various forms of Kuzushi. The judoka is in an apparent defensive stance. he has the time and the reflex to identify the weaknesses in the attacks and turns them to his advantage. Being able to identify the opponent’s intentions needs lots of practice and experience. The judoka must move about skilfully and keep the right balance. In a Go-no-sen situation. The basic elements in this offensive strategy are: Imposition and control. He needs the perseverance to seek and produce action-reaction. the judoka’s own posture is attacked by the techniques of the opponent. He must play on the engagement distance between the opponents. 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 opponent’s techniques. 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.”15 15 Lu Shengli. p 69 . the judoka foresees the attack at the very initial stage of the energy-gathering process undertaken by the opponent. the judoka takes the initiative and starts the attack. The judoka must have the capacity to adapt to changing situations without loosing the focus.Tokui Waza by Ronald Désormeaux 25 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. This situation is normally identified as the counterattack. yet. breaks the opponent’s posture and applies his technique. between movement and stillness. lure the opponent into emptiness by yielding or following and use an explosive force against the weakest point when required. He anticipates the forthcoming displacement and launches his own offensive before the other. In a Sen-sen-no-sen situation. Combat techniques. 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.

LEARN THE BASICS. noises. you will find that it was quite near you or very simple¨16 The proper application of the listed Tokui-waza is no different than the other techniques left out of this text. identify situations when the opponent’s balance is stable or unstable.Tokui Waza by Ronald Désormeaux 26 To be able to feel and observe correctly the opponent. The Japanese call this state of awareness Mizu no Kokoro meaning the reflective mind like the surface of the water. 16 Sakujiro Yokohama. assess strength and power. You have to acquire the sensitivity to feel small movements. ears. determine when and in which direction you can easily gain control over him. They are all constructed around 10 essential elements that we have described at length in our previous work of 2005 entitled Discovery of Judo. These are your perception. though they are near you. When you understand a secret. Judo Kyogi. We are hereafter presenting them in a summary review. you need to be in a proper vantage point. nose and hands (visual signals. 1908 . you can not see them. have a relaxed mind and be receptive to all kinds of signals that may be perceived by your eyes. concentrated smell or odour and tactical feeling). identification and assessment tools. THEY WILL LEAD YOU TO HIGH LEVEL MASTERY If you have things of value You should pass it on to others. ¨Secrets are just like your eyebrows. because we consider them to be essential towards the comprehension of the principles of all waza regardless of you choice.

To be able to make a good technique and control all its elements. we can determine the level of his or her expertise. Having practiced the different ways to break the fall.” 18 17 18 Miyamoto Musashi. Ukemi means to use one’s body to break the fall. grasping the costume. Go-Rin-No-Sho. 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. you can attack with confidence. With good break falls comes good Tai-sabaki. Sensei Ichiro Abe mentioned in his recalls of judo souvenirs that when we witness someone making a break fall. moving the body about. With practices and repetitions. Breaking the fall. turning motion. understand the impact with the mat and visualize its natural trajectory. 1983 Neil Ohlenkamp. New York. It is a method by which pain and fear can be mastered. 2006 .Tokui Waza by Ronald Désormeaux 27 TEN ESSENTIALS ELEMENTS “We have to seek to understand everything. The body becomes supple and relaxed.17 The above quote is from a 1640 message by fencing Master Miyamoto Musashi encouraging his followers to persevere with an open mind. The 10 essentials elements of a waza are: Breaking the fall. placing the opponent in an unbalanced position. It is said that when you can take a throw without discomfort. it is necessary for the judoka to feel the fall. he will be able to modify his throwing technique and develop defensive means to minimize the scoring attributes. the standing posture. the techniques will become easier. from the global picture to the minute details and work our way up from the smallest to the biggest element”. applying the technique. keeping contact with the opponent and applying constant harmony. He warned that learning new techniques for the first time could be difficult. 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. Judo Unleashed. First element: Ukemi. making the entry.

When applying techniques. My intention is free of everything. Mind over Muscle 2005. 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 can neither move freely nor take positive action comfortably. and remaining very relaxed so that you can move freely”. 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. The recommended posture for best judo practice is the upright natural posture. “You should train as much as possible by maintaining a natural stance without tensing your body. 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. Training slowly teaches you to move slowly. the head must be held erect as if suspended. My centre is full of energy. The posture is the foundation for every movement once said Sensei Sumiyuki Kotani. “My body is linked with my centre. When your posture is bad. Your feet should be slightly apart and the whole weight resting comfortably somewhere in the middle of the foot. particularly your arms and legs. My energy makes one with my intention. 28 There are several stances used in judo. The centre of your head should be aligned with your centre of gravity. 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.” Extracted from the Munen-Mushin principle meaning: pure and simple. You hips and waist areas should be relaxed. Standing posture. This is the starting posture for any given contest.19 In the natural posture. p 139 . 19 Jigoro Kano. you should speed up after you have grasped the initial understanding.Tokui Waza by Ronald Désormeaux Second element: Shisei. Since the judo match will begin in a standing posture. is the capacity to hold a correct and safe distance.” 20 The judoka has two principal weapons: one overt. which is his mind set. and a covert one. waist and upper body in good coordination. 20 Yoshimi Osawa. They are the end of the reaching poles or fulcrum permitting the necessary leverage to be applied. Meanwhile. 1959 . walking by making one foot succeeds the other. How to keep your balance is important and how to move about is crucial to your success. it is necessary to surprise the opponent and make maximum use of both at the right moment. you will make use of the upper portion of the body yet all techniques will require of you to use your feet properly. you are required to maintain your own balance even when the opponent is trying to tip you over. Moving the body. Your posture will determine your freedom. There are two methods in use for advancing or retiring. For most of your techniques. Observation tells us that between two opponents. They form part of the ashi-sabaki of foot work techniques. caution will be needed to use it intelligently to secure necessary energy sources. The correct way of walking is by moving the feet. Since the judo match will be won by the use of both weapons.Tokui Waza by Ronald Désormeaux Third element: Shintai. which is his body. 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 29 With most judo 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 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. The body mass is the most visible. For this. to defend and block incoming attacks.. Juban-no. it is necessary to keep the natural standing posture all the time and walk with sliding steps. to generate impulse and add to the strength by way of a kuzushi. Formal techniques of Kodokan Judo. The hands touching the opponent will become the key conductor. to go on the offensive and elude the opponent.g. (Normal foot advancing or alternating foot and sliding foot preceding or successive). The posture will also determine the way the judoka makes contact with the opponent. They are called: Ayumiashi and Tsugi-ashi. therefore.

Turning motion of the body. Direct. In moving about or during the execution of the throw. twist and place the body at the right angle and right time will prove essential. the judoka has to train his body and mind to locate the pressure points. the attack must come as a surprise to the opponent. The ability to turn. he needs to realize his whereabouts in relation to his opponent. His knees have to be exercised to absorb shocks and quickly spring up to produce lifting impulses when required. The inside and outside of his feet will require adjustments when he is pushing or pulling. During ground work grappling or pinning maneuvers and while performing tachi-waza. When performing ground work. the judoka will need to practice his moving abilities and fine tune his spatial orientation. .Tokui Waza by Ronald Désormeaux 30 Fourth element: Tai sabaki. the judoka will try to keep his balance as long as possible in order to avoid being a target for the opponent. In performing both the natural and defensive positions. Forfeiture of balance can only be done in extremis such as when the judoka feels that the opponent can no longer regain his balance. 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. The judoka needs to move about and constantly change his position to prepare his attacks or defend himself. It may take any direction to best overcome the opponent or engulf him by a combination of forces gathered to make the throw. that he has committed all his power and has no more reserve tricks and that the judoka’s sudden and total shifting of weight in the direction of the fall will make the final difference. elasticity and freedom without telegraphing his intentions. the player must be able to travel the space with suppleness. In the standing posture. to estimate the distance between his body and that of the weakest part of the opponent. When moving about on the tatami. angular and rotational displacements must give greater maneuverability and permit securing of the free space needed to launch the attack. rotate. Like a sudden wind. he has to become conscious of his ability to use his toes to reinforce his balance and guide his displacements.

when one grabs the opponent’s sleeve or lapel. D. Therefore. the dominant player not revealing his power hand and not allowing the opponent to secure a power hand until the last instant. without pressing the thumb hard. when both players took either a right or left power hand position from the start. 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. As a matter of principle. Same grip. The judoka can choose a holding pattern to best suit his style. “in judo. 1908 Masahiko Kimura. Gripping without form. C. Opposite grips. Another grip set has been recommended by sensei Masahiko Kimura: holding of the sleeve with five fingers. Fighting Recollection. 2001 . there is no strict rule other than holding the costume on the same side for more than four seconds. 21 22 Sakujiro Yokoyama. Sleeve end grips. the natural hold is recommended because it facilitates the learning skills. Grasping the costume. slightly bent and placed at the breast level and at the elbow of the opponent. you should hold him as lightly as possible. one can not grasp firmly and the speed is reduced. Similarly. B. holding on the sleeves ends produce a different psychological mind set and frequently confuses the opponent.Tokui Waza by Ronald Désormeaux 31 Fifth element: Kumi-kata. one uses 4 fingers of each hand with extending thumbs. Judo Kyohan. not using the thumb goes against the principles of dynamics. 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. developing a firmer grip. EJU bulletin. A natural grip consists in the normal extension of the arms.. when the dominant player gripped both the opponent’s sleeve ends. At the mudansha levels.21 Gripping methods vary with the style and easiness of each player. The 4 fingers generate an inner force and the thumb (Fift finger) creates the opposing force. when players adopted a right against a left or vice versa.”22 A study by George Weers of the USA made from videos of the 1996 Olympics revealed four common types of gripping: A. Whether one pushes or pulls the opponent.

It requires a very high level of both defensive and offensive mobility.Tokui Waza by Ronald Désormeaux 32 George Weers found that gripping without form was the preferred option in 63% of the more advanced and elite rounds. This tactic is used to identify weaknesses without committing to a definite approach. Gripping without form means that the judoka has minimal contact with maximal space thus allowing more flexibility to enter into offensive or defensive tactics. It was not an action standing alone and persistent during the match strategy. That loose grip is considered as a natural element adapted to the attack sequence and integral to the last minute attack. 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. Sensei Michel Novovitch demonstrating different kumi kata or gripping style Standard kumi-kata hold .

If the opponent maintains his composure and keeps his balance most of the time. Total balance also comprises the mental or spiritual tranquility or balance. 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. We refer to Happo-no-Kuzushi as the method to initiate and accomplish braking balance in eight potential directions or axis. players must observe each other‘s movements and determine when it is the right time to place the attack. the fact of moving about. the incidence of lifting a leg too high.Tokui Waza by Ronald Désormeaux Sixth element: Kuzushi. Another favorable moment is when one of his feet is off the mat and his weight is resting on one leg. Other circumstances are: when one of his feet is in motion and he is transferring his weight from side to side. outstretching the legs too much or turning the head in the wrong direction. This vulnerability can happen by the sheer noise distraction. Small actions may produce sufficient inattention or force the displacement of the centre of gravity to imperil the entire balance or equilibrium. 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. A disturbed mind cannot function properly and will not be in full control of the body actions-reactions. or have him step sideways. . less powerful or preoccupied and disturbed. 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. In a standing posture. No throw or lock can be applied effectively against an opponent who retains his complete state of balance. the direction of the force must be maintained to effectively produce the turning or pivoting effect. 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. Breaking the balance. other occasions must be found to break his balance by incitation or by making him lean or place himself into vulnerable positions. Once his normal posture is broken. Judo originates from dynamic mental and physical actions. During a match. 33 This is the most important of all the elements and is the cornerstone of the judo philosophy. One of the most important and first fighting principles of the Kodokan judo is to break the opponent’s balance while retaining one’s own and use that moment to your advantage. Performing Kuzushi by direct action is to apply a certain amount of force to the opponent’s upper and lower parts in order to make him move his centre of gravity by forcing him to lean forward or backward. The overall process is called Kuzushi. That moment will occur when the opponent is most vulnerable. over bending to the side. On one side. the lack of concentration.

we demonstrate the current axis or direction that can be taken by the opposing partner when forced to make a rotation. All muscle activities being applied should then end their action when the opponent has attained his zero gravity status. we soon discover that the slower and stronger muscles groups (normally around the trunk area) are the first to move. all parts of Tori’s body should commence their acceleration and build a momentum or displacement simultaneously. 1975 . For the Kuzushi to be really effective. The body rotation is frequently referred to as angular motion.Tokui Waza by Ronald Désormeaux 34 In the following diagram. In practice. it is important to apply the pushing or pulling actions along the natural path and not attempt to twist the opponent’s body segments against their own joints. 23 Dyson Geoffrey. The applied forces must be coordinated and follow the same direction. you can apprehend several potentially axis or directions to apply the Kuzushi. (When the forces being applied equal the forces of gravity). Toronto. This axis of orientation can be used to understand the angle of attack and the potential results to be expected. The Mechanics of Athletics. 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. for maximum impulse. Hodder. They are followed by the thighs muscles and then the weaker and faster muscles at the extremities are added as complementary action. Illustration from The Mechanics of Athletics by G Dyson23 When you face the opponent. In theory.

The technique of Kanibasami is a good example and so are some varieties of sutemi-waza. shoulders or buttock as touching points with the mats instead of using his feet. Such is the case in C. Nevertheless. lifting or pulling actions be exercised by your entire body and applied against several segments of the opponent. the balance line or axis is not centered. In this case. If the stronger force is not sufficient there is likelihood that some of the minor movements will negate each others. Such is the case when he is using the hands. The weight components or masses are distributed unequally. When the opponent begins to move in the direction of the applied forces. (identified in (a) and (b)). you will in fact displace him along a medial-transversal axis. His body is also in balance when the various weight centers are equally distributed along this imaginary axis. 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. 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. he will normally follow a single direction. The posture is broken (Asymmetrical) when we apply a kuzushi. When his displacement is symmetrical.Tokui Waza by Ronald Désormeaux 35 When applying a push or pull action with the hands against the upper part of the opponent. . There are instances where the Judoka can accomplish angular displacement by himself. This phenomenon is natural. The next diagram attempts to illustrate the precarious conditions of the judoka moving along an axis and attempting to maintain his balance. The overall force being applied will remain sufficiently strong to carry and synchronize all the minor moving segments along its principal direction. Should your pushing. you should be able to move him along several complementary axes. This is referred to as the normal standing posture or natural stance.

12 Judo Throws. 1948 . London. balance must be retained: yet. . "In action. he will need to quickly readjust is alignment with complementary forces and use is pending fall to launch his final attack. 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. It is therefore essential for Tori to properly control the fall of the opponent. 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. to achieve an object. the judoka will follow a definite line of movement in his trajectory towards the mat. it may appear that it is impossible to turn the whole body in the air without a fulcrum arm or “point d’appui”. this “point d’appui” 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. The following picture gives a good indication of both the rotational potential of Tori and the counter rotation possible by the Uke. 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. On the other hand. Sometimes. While in the air. the posture represented in © must be sought after and managed by the judoka who must follow up the kuzushi with a tsukuri. 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.Tokui Waza by Ronald Désormeaux 36 Such a balance line passes through the base but avoid the centre of gravity located at (X). We see these possibilities more and more when judoka perform non orthodox techniques such as Makikomi (roll) or Hikkomi (topple) style waza. one must risk of losing it. In judo contest or when applying a waza.Koizumi. In practice. Budokwai.”24 24 G. if it is Tori who find himself in such a fragile state. When being thrown.

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.Tokui Waza by Ronald Désormeaux 37 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. . Tori’s right leg is the driving force up while his left leg keeps in contact with the mat. Note that Tori is still in control of the technique because a point of contact with the ground is maintained. We can observe that the force passes through the hip joint and under the centre of gravity.

Turning movements are natural thus more basic. you need to turn him on his toes or heels while in a continuous movement. without it. Additional speed and momentum will be gained by keeping the centre of gravity low and by retracting the arms closer to the centre.Tokui Waza by Ronald Désormeaux 38 Seventh element: Tsukuri. It is not a spontaneous move. During that quick lapse of time. When moving in a circular motion or in spiral. 12 Judo Throws. The actual turning action of the body is called the Tai Sabaki and must be addressed either with the Shintai or Tsukuri. to follow. the very basic things are frequently the most important. Canon of Judo. advancing or retreating along imaginary circle lines. This phase of the waza is very critical. One of the difficult elements to master is the Tsukuri. the judoka needs to destroy the equilibrium of the opponent and assume continuous control of the attack. Koizumi. London 1948 . 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. a word derived from the verb Tsukuru meaning to obtain a position. enter into position to throw while retaining your own balance. The Budokwai. Now that Uke is placed off-balance. 1956 G. zigzag. or make the entry. the judoka becomes the instigator of a centripetal force giving further propulsion and power to his technique. Tori must make a quick displacement in order to surprise the opponent and gain his power. Tsukuri will be influenced by Uke’s reactions and displacement and by the facility with which Tori can sustain the Kuzushi. Sensei G. Upon taking the initiative. to pursue. yet. Tori will need to get closer to the opponent and make maximum use of the space in between them. In order to throw a well balanced opponent. The legs. the torso and the head should be aligned on the same arc and move in the same direction. the judoka’s movements should produce kinetic forces capable of being mustered and applied to the throwing technique. for it is estimated to represent 70% of the throw’s effectiveness. angular. Making the entry or fitting in. Sensei Kyuzo Mifune emphasized the turning movement. It is a rotation done while keeping proper balance. Koizumi said in 1948 that: “It is impossible to over emphasize the importance of tsukuri. horizontal or vertical. He said: “It is a special technique that must be learned. The rotation or spinning action can take several forms: circular. switching the weight from leg to leg. the result will be a disaster”26 25 26 Kyuzo Mifune. In this preparatory phase. Taisabaki is made stronger when the entire body is working to create the rotation. Tsukuri in a throw is like courting in love. the hips.”25 The rotational moves can be accomplished by jumping around.

it can only follow the preceding actions). We previously discussed the potential of Uke to turn and roll within the trajectory taken by the fall. For that purpose. The follow-up action should guide the fall. In the Kake phase. Ninth element: Sesshoku. the approach or positioning and the application of vector forces in the intended direction or arc.ashi-tobi.komi) or by withdrawing.dashi). There must be a continuum in the direction of the throw both in the horizontal and vertical planes.Tokui Waza by Ronald Désormeaux Eight element: Kake. Keeping the contact to control the fall. . Kake can be performed on several planes: horizontal. The ancients referred to the state of Zan Shin the maintaining of awareness till the end of a throw. the mind and the body unite to seize the fleeting opportunity and deliberately and speedily apply the technique that will secure the victory. It will take momentum in the rotational or angular approaches and will explode in the bending. his own. Its careful and secretive preparation will begin with the displacement of the entire body either in advancing (Tsugi. Applying the selected technique. the judoka will have make use of his transference abilities. arching or lifting actions. the judoka cannot control the opponent’s body nor for that matter. Kake will give form to the intent. angular. 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.ashihiki. we normally identify three elements in the Kake: the control over the opponent. 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. (Kake is similar to the crest of the wave. If Kake is carried out badly. The intended technique is stored in memory and executed only at the last minute. Sesshoku is considered the end phase of the throw. determination and with the intelligent use of force. 39 In Kake. 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. or spiral depending on the chosen course of action already prepared by the preceding elements. You need to make use of explosive movement. (Tsugi. 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. It should be accomplished with speed. Sesshoku is the action of maintaining contact and control over the opponent’s fall. It is sometime captured within the definition of Kake. vertical.

Appear and disappear unexpected. yet if you wait for the opportunity to take advantage of the opponent’s moves and follow up with your own technique. cause him to lose his balance while stepping back and then. 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. 2. it is not always possible to gain and maintain total control all the time. This fighting principle aims for you to take control of the match with a certain degree of secrecy. Mind Over Muscle. To anticipate and be on the offensive Jukuryo Danko. such a habit must be discarded and make way for a better and intelligent use of strength. p 137 .”27 Randori practices are not meant to gain victories over the opponents but to learn to better apply techniques and outwit the partner. 2005. “In order to develop the strength to win someday. This strategy is also called “using quietness to defend” or “yielding yourself to follow the opponent”. Too many players forget this important dimension. In randori or shiai events. Applying flexibility and harmony. Attack is the best defense. The end result is an endless struggle to make the Ippon. Try various waza and train hard. Let us round up the above reflection by extracting three lessons from Randori practices. As soon as they feel a bit of resistance or strength from the opponent. adapt to his strength. Zenshu WA Zenko Ni Shikazu. they respond with similar use of strength and rigidity. 3. The judoka should seek to control the opponent by understanding his movements and intentions. And even if you are at risk of losing you must take the offensive. 2005. 27 28 Jigoro Kano. p 138 Jigoro Kano. To know when to stop 4. While practicing judo. Shin Shutsu Ki Botsu. you are then exercising a better control as the opponent has committed himself and has no more recourse. take advantage of that opportunity to perform your waza.”28 Teachings found in Randori Saki O Tore. An initial attack can ensure the early visible control. To act without delay Tomaru Tokoro O Shire.Tokui Waza by Ronald Désormeaux 40 Tenth element: Ju. 5. 1. This element is added to summarize the spirit of the waza. you must be satisfied with practicing losing for a time. Sensei Mifune would say to enter into the WA by opening the gate and closing it when the opponent is trapped. Mind over Muscle. Going with the flow is important.

But when you are against an opponent you must never forget the combative aspects of the sport. If a bad angle is chosen. and there is little or no dynamics involved. or if you are in a difficult position and feel that you must give up. You fight against the opponent.29 The Tokui-waza will become your personal weapon and must be used wisely. At the beginning of the match. then it will be impossible to win. to build on strong points and to care for the weaknesses.Tokui Waza by Ronald Désormeaux 41 TOKUI-WAZA AND SHIAI Now that we have described the ten basic elements forming a technique. You must have the fighting spirit which will urge you on to attack and attack again to the very end”. to generate counter forces. Transform the opponent strength and turn it to your advantage while returning it with value added energy. throwing him down on the mat to achieve victory. The ultimate venue for the trail is the competition or Shiai. 1986 . Best Judo. we repeat the tactics: the judoka will need to identify the opportunities at hand. It is a martial art aimed at defeating your opponent. we have to understand the milieu into which they will be applied. 29 Isao Inokuma. At the same time. to attack or elude. and during its process. there will be less sensitivity at the wrist level and less flexibility to adapt the grip to changing postures. If the Kumi-kata is too rigid or tense. Sensei Isao Inokuma regarded by many as one of Japan’s greatest fighters and outstanding coach had this to say regarding the reasons for doing Shiai: “Judo is a combative sport. you fight against yourself. there will be a greater need to use additional forces in order to gain superiority or throw. Other purposes of judo involve developing physical strength and mental spirit. You must not give up the bout until the last instant. An alert mind will make use of the body to draw upon its inner energy and use its best parts to defend or block. 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 you think the opponent is stronger than you and get the jitters. no matter how strong your opponent may be. Your technical skills applied through the Tokui-waza will translate that into a successful match. It will not do miracles if the body and the mind are not linked with your technical skills. Nobuyuki Sato.

The judoka has to keep moving by enlarging or reducing his strides thus influencing the dynamics to his advantage.Tokui Waza by Ronald Désormeaux 42 When both judoka are in contact. they form a small world of their own with its energy center. He has to generate sufficient power through constant acceleration. 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. O-SOTO-GARI 9. UCHI-MATA 4. ¨Beauty in judo reside in the execution of a perfect waza. accomplished in harmony with the energies of the moment¨30 In the next chapter. UKI-OTOSHI 2. angular and direct approaches will require good balance and body movement. KATA-GURUMA 10. HARAI-GOSHI 8. TAI-OTOSHI 5. other spheres are making gravitational and magnetic influences. O-UCHI-GARI 6. 1956 . KO-UCHI-GARI 7. SEOI-NAGE 3. The techniques of great master Kyuzo Mifune illustrate such coordination of the entire body. This new sphere is moving about and in it. Canon of Judo. we will analyse the various Tokui-waza connections as follow: 1. Smooth circular. 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.TE-GURUMA 30 Kyuzo Mifune. In the final stage of his Tokui-waza.

5. It includes the preparation combination with other smaller techniques and the follow up with complementary waza. The three components of Kuzushi. The learning process for the Tokui-waza is similar to other learning practices. Use it freely in Randori. The improved technique is then reintroduced into the training cycle to cleanse it from its impurities.g. Rediscover and re-apply the Tokui-waza. (E. Identify what you like in the desired technique: find out what constitute its spirit and why you are attracted to it. Entering the maturity phase implies that you are capable of performing it on all sides and while advancing and withdrawing. Tsukuri and Kake must be decomposed and reconstructed several times. When first attempted in shiai. Make the corrections and refinements. 2. Make the first discovery of the technique. in succession and with multiple attack systems. angle or timing will be necessary. 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 master’s is in years. . 2. Enter the maturing phase where it is tried left and right. with different opponents and in a variety of circumstances. 4. 3. 6. followed by a maturity period where trials or experiments are made. 1. Analyze the rate of success. indirectly. jumping in. sliding under. pivoting etc) Does it represent for you a major adaptation or does it suit your personality. It is made up of a discovery phase. Using it in randori presupposes that you are able to perform it directly. 8. Your Tokui-waza becomes the focus of your explosive moves linked with other techniques in a snow flake configuration. From the first attempts.Tokui Waza by Ronald Désormeaux 43 THE LEARNING PROCESS You must find a good teacher and work hard to train both your physical and mental skills. Make use of it in Shiai as often as possible. there are corrections and refinements to follow. We can best represent this process by its various steps as follow: 1. The subsequent use of the Tokui-waza will be subjected to further analysis and more adaptations will be made. 7. 4. its success rate needs to be evaluated. Adding more body power and speed should be your focus at every opportunity. Refining your technique means working at it from different angles. Improved grip. Refine and personalize the technique 3.

Start again. 8. technique will defeat power. 31 32 Jigoro Kano. verify the timing or the instances when used. 2. Practice freely.”32 Three additional remarks worth thinking about when preparing to use the Tokui-waza in Shiai: 1. Rediscover your attachments to the technique and add the Kokoro to it. 3. In partnership with a training coach and willing partner. The Fighting Spirit of Judo. add light opposition and measured randori. be free and appear to be everywhere and nowhere. KUZUSHI-NO-RI. you should accommodate your opponent and compete in such a way as to allow him to use his waza on you freely. Introducing it into your Shiai when the opponents are trying to counter it requires intelligence. but each contest must serve the judoka to improve both his techniques and his psychological awareness. sensei Yasushiro Yamashita.Tokui Waza by Ronald Désormeaux 44 5. old masters have been known to set their goal along the following: “You must be able to dance on the tatami. middle or later part of the match) identify your feelings and apprehensions if you can. Let us remember the instruction of Shihan Jigoro Kano:” In so far as possible. SEN-NO-SEN. p 133 Yamashita Yasushiro. 7. this can not be said to be a true victory. (Soul and determination) and: 9. If you do not win by using a waza superior to those of your opponent or by turning his waza against him. 2005. and (at the beginning. The use of multiple entries to surprise and control the flow will add dimensions to your waza. World and Olympic champion made the following recommendation: “In the end. Mind over Muscle. London. Analyze your success rate against the various types of opponents. then. JU-NO-RI. Likewise. Each match should provide the occasion to gain confidence in the use of Tokui-waza and improve on it regardless of the results obtained. Evaluate if you have correctly used the opponent’s energy to your advantage.”31 6. go over various routines and situations. Be in harmony with the flow. Make the necessary adjustments. Anticipate and take the initiative.” There are various approaches to Shiai. Apply total body to produce disequilibrium. Ippon Book. Craftsmen and judo technicians have an old saying about seeking perfection: You must turn an ordinary stone into a work of art. In his book the Fighting Spirit. 1999 . Make no judgment about winning or loosing and concentrate on applying your strong points and techniques.

It should be used only after finding the weakness of your opponent and then applied to that neuralgic point.Tokui Waza by Ronald Désormeaux 45 Preliminaries Tokui Waza should be effective. speed and concentration. It should be performed with vigor. All your actions should be accomplished naturally and be united with your intentions. . to the point. your body and with the actions of your opponent. It should be sudden and comes as a surprise.

Tori lowers his body under the centre of gravity and makes an arc with his body. with both hands. Because of the resemblance between techniques. The gist consist in placing Uke on his toes. holding one lapel only and wrapping oneself up with the opponent. Following a forward pull. We will explain four waza in this group: Ippon-seoi nage. Seoi-nage connections Shoulder techniques are very impressive and well liked by many young judoka. placing Uke along his back and pushes with his buttock to effect the throw. Seoi-otoshi and Yama-arashi.Tokui Waza by Ronald Désormeaux 46 Part Three SELECTED TOKUI-WAZA Ippon-Seoi from Judo International 1950 Preliminary phase of Ippon Seoi Nage First SELECTION. It is a group of virile techniques difficult to counter and easy to combine with others. Seoi-nage. There are numerous approaches: with one hand. with the leg outside. we have chosen to address the first group of shoulder and hand techniques as one entity called Ippon Seoi-nage. .

. the head looking to the side or slightly down as to ensure that the entire body is committed in the upward twisting action. When the encirclement is not done. Do not forget to spring the knees. The pull for the kuzushi is done at the collar. You may place both legs inside the free space between you and the opponent. you encircle the opponent arm at half point between the elbow and the shoulder. and break his balance forward. one leg inside and the other out. Kimura-collar style: You grab the right collar with your left hand over the opponent’s arm or the inner portion of his biceps. Wrapping arms style At the beginning of the kuzushi phase. The body rotation or twist is the same as in the side twist style. 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. You then rotate your shoulder and body in an outward twist. grasp inside the opponent right elbow. 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. The encirclement of the arm is not an absolute but preferable component. 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 keep strong body contact with your upper back and bend down to the front corner for the kake. These are breaking the balance and using the reaction of Uke to get into position. Sensei Sumiyuki Kotani 10th dan often suggested to place the shoulder in contact with Uke at the lowest point possible against his stomach. or one inside and the second extended either inside or outside. make sure you support the weight of Uke with both your feet and get under his center of gravity.Tokui Waza by Ronald Désormeaux Ippon-Seoi nage is normally approached with four styles: 47 Kata Style: Parry the blow. You force a kuzushi by using the left hand pull to the right front and encircle the opponent’s right arm under the shoulder. Make a pivot with the body and turn you back to the opponent. With the right hand. You make the twisting action to the preferred side as required and proceed to do the other actions as described above. Seoi-nage contains certain points of interest. 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. you may keep control of Uke’s left arm by pushing it in between you and him as crossing your body to reach out under his own armpit. 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.

This shoulder technique is well suited to embark upon the Renraku combinations on either side of the opponent. 1908 .Tokui Waza by Ronald Désormeaux Hereunder are some of sensei Kimura’s Seoi-nage styles. though they are near you. you can not see them. 33 Sensei Yokoyama.waza or combination techniques can easily be applied with Ippon-seoi nage.33 Renraku. 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. Using the principle technique as the centre of the offensive building strategy. Judo Kyohan. 48 Secrets are just like your eyebrows.

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. Having a soft Kumi-kata and holding on the judogi with a light grip will permit the reception of signs of tension. . Ura-nage. it is also possible to anticipate his moves by remaining alert and ready (Zan-Shin) and by adopting a natural posture. stiffening and flexing of muscles which can then be turned to your advantage in an anticipation move known as sen-no-sen. Ushiro-nage. With some practice. With quick reactions. Yoko-guruma and Te-guruma. 49 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.Tokui Waza by Ronald Désormeaux The succession must nevertheless be smooth and harmonious and preferably with no unbroken sequence. These techniques can be entered into even when the judoka’s posture is broken by a strong kuzushi by the attacking opponent.

Tori’s left hand pulls the opponents at the height of his chin. Tori controls the return with both his hands placed on the forearm and at the collar of the opponent. 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. With the push of the right arm and the back of his shoulder. permitting to introduce the necessary space to place his incoming right elbow under the armpit of Uke. a coordinated whipping action is introduce by simultaneously stretching the knees. The action is followed by a pivot of Tori’s body and the placing of both of his feet in the triangle of space between the two opponents. Its essence is to break the opponent’s balance forward or to his right. he will lift the opponent on his back and throw him forward or sideways as chosen. In this style. In this style.Tokui Waza by Ronald Désormeaux 50 Morote-Seoi-nage is a variation technique to Ippon-seoi-nage. Tori will twist his right wrist and cross over his right arm under the opponent’s shoulder ensuring he maintains the same grip on the collar. the technique becomes known as Seoi-otoshi. 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. From the natural posture and with a regular Kumi-kata. pushing back and upward with the trunk as the right elbow push upward and is transferred into a forward drive. 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. . Tori may jump in or pivot into the position. it is the right shoulder that performs the role of the fulcrum. The left hand undertakes a similar and circular push that will bring the opponent to the top of Tori’s shoulder and in the front for his eventual fall. Then. The opponent is not carried undo the back but is rolled around the shoulder. Tori push the opponent and await a reaction.

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. 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. steps outside the triangular space and places one leg on the outside of Uke’s right leg. This style is frequently associated with a quick push at the shoulder and upon the returning action of the opponent. The rotation over the shoulder then follows its course. The lowering of the body and the lifting of the opponent is also similar and to the front. The hand that grips the collar is holding the opponent with all fingers inside and the thumb on the outside. . This method of doing Seoi-nage involves grasping the collar of the opponent and the arm on the same side. when making the entry or producing his body movement known as Tai-sabaki. Tori then rise up simultaneously with the legs. There is no cross over of the arm and the elbow is placed directly into the armpit for a quick entry. A twist of this upper wrist is necessary to introduce the elbow under the armpit of the opponent.Tokui Waza by Ronald Désormeaux 51 The outside style This style is referred to when Tori. The kuzushi is similar to the Waki style. using the technique above. The twist of the wrist is executed at the same time as the body rotation takes place. The same side style. The body rotation is similar to the Waki style and the legs are placed in the centre of the triangle. Tori is approaching the opponent by placing his right foot in the middle of the space in between the opponents. yet. waist and arms. The left leg bent to the front and the right one bent close to the mat and deep beyond the exterior of the opponent’s leg.

Yoko-shiho- The best defense against this technique is still Te-guruma. Ko-soto-gari. This kind of liaison is encouraged for all our selected Tokui-waza.Tokui Waza by Ronald Désormeaux 52 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. Yoko-wakare and Okuri-eri-jime. Uki-waza. Sumi-gaeshi. 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. one must also strive to combine Tachi-waza with Ne-waza by making the liaison with Ikomi techniques (come down). In order to maintain superiority. .

. We will address the Go-no-sen in the following paragraphs. 1950 Uchi-mata in Shiai photo Bob Willingham. the more there are counter techniques for it.Tokui Waza by Ronald Désormeaux 53 Uchi-mata from Judo international. You do not thrust out with the leg that much. 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. There is a reference to a Sumo technique called Kate-nage where the fighters are hooking the inner thigh of the opponent. First. Even if you do not thrust the leg out. 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. 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. Sensei Shozo was observed alternating between Uchi-mata and Hane-goshi as his favorite’s shiai techniques. His conclusion was that Uchi-mata was very much akin to a Koshi-waza since it could be executed when the opponent’s legs are spread out or place close together. its description. Uchi-mata has been part of the Gokyo ever since the beginning of the Kodokan Institute. it will naturally enter into position under the opponent when the latter rises and will assist in throwing him down. In the early 1900.

With three successive steps. Uchi-mata is more a pulling action with both hands at the horizon then a pull-push action of the kuzushi. he harmoniously closes the circle tighter around Uke while maintaining a horizontal and circular pull with the hands. when Uke is about to shift his weight. On the third step.Tokui Waza by Ronald Désormeaux 54 He always let the opponent take whatever grip and accommodated his tsukuri with it. the inner-thigh form. the leg is raised against the inner thigh of Uke and the hands continue their forward and downward actions. 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. he would attack with Hane-goshi. The most current are: the Nage-no-kata style. When Uke is secure on the rear upper thigh of Tori. When facing a right hand natural posture. 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. Tori completes the breaking of the balance of Uke forward ensuring that the latter is on his toes. The pushing up action is done more with the leg sweep. the raising of the hip and the pull of the hands. against a left hand grip. Uchi-mata is performed under many styles. . he used Uchi-mata on the right side.

Tori pivots in the circle and jumps in the centre with legs bent and ready taking their respective momentum. Taking this opportunity. Uke is rotated around more by a hook on the inner leg than by a lifting of the hip. Tori is not in contact with the hip area of the opponent but he is to his left side. Stepping back. 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. 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.Tokui Waza by Ronald Désormeaux 55 The inner-thigh style In this application of Uchi-mata. His right leg hooks the left leg of Uke behind the knee and he then starts to rotate and lift the leg up. In this style. 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. 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. 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. The Tsukuri is produced by the rotation of the body in a whirling action on his left. the right leg is making an arc or pendulum from the front to the rear. When pivoting. closer to the leg. A major rotation of the body similar to the Ashi-guruma can also be performed in the Tsukuri stage. Tori use a direct approach. . 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. When Uke adopts a defensive posture. It acts as the support leg and must be directly under the opponent gravity centre. The left leg is flexed and will be used to support both their weight. He shortens the distance between the two opponents with the application of his forward kuzushi and uses his approach to gain momentum. 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. When the action of the right leg reaches Uke. Tori change his natural Kumi-kata to secure a grip at the rear collar with his right hand.

Tani-otoshi can also be effective when securing the sweeping leg and falling rearward in the direction of the supporting leg. In the leg roll and inner-thigh styles. Because the preparation of the technique is done further away from the opponent. the lift of the opponent is accomplished more with the hip and waist area. There are almost no return possibilities after the commitment. In all cases.otoshi in the leg roll style. The best fulcrum remains under the waist of the opponent and in between the legs. it is likely that the judoka will resort only to Uchi-mata makikomi.Tokui Waza by Ronald Désormeaux Remarks about Uchi-mata 56 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 possible to anticipate the movement in a Sen-no-sen mode and after identifying the inward thrust. the technique is made easier when the opponent has the legs wide apart. 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. simply twist the hip to the rear to avoid a direct confrontation and thus make the attacker rotate in the void.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 Uke’s favor. O-uchi (Used to entice) Uchi. Renraku-waza or combination techniques with Uchi-mata are possible with Harai-goshi or Hane-goshi for the deep hip style and the Tai. The commitment being so intense. It is most successful when the opponent is drawn out and placed unfavorably on the tip of his toes. . 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. Tori must drive in with speed and determination. the pendulum leg must spring in deep inside the target area.

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. the push is against the front deltoid muscles region of the shoulder. his feet are pointing in the direction of the throw. The throw can be directed to the front or toward the front right angle. In the side drive. Tori pivot to the front. pulling in the direction of an outer circle. When dodging the Uchi-mata. The opponent is off balance on his tip toes. he then places his bent leg (his calf) in front of the opponent’s 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 technique follows the same pattern. the side drive and the crossed-arms style. 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 move in close to the opponent after having twisted his hip outward. The right hand pushes up the opponent at the collar (pushing close to the opponent ear). otherwise. . We know of three styles: The frontal drive. The opponent’s balance should be broken so that the bulk of his weight rest on the front of his toes. 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. 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. Frontal drive style The opponent is retreating from a push given by Tori using his normal Kumi-kata. the waist and the legs for the throw around his ankle. There is little contact with the opponent’s body. Tori uses the come back action to place a high Kuzushi at the eye level with his left hand. He lowers his waist and sticks his chest out slightly.Tokui Waza by Ronald Désormeaux 57 THIRD SELECTION: TAI-OTOSHI connections Tai-otoshi is a front body drop technique. In a wide open stride position. In this case. we may see the occasional same side grip whereby Tori grasp the collar on the same side as the hand doing the pull. 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. It is considered a hand technique (Te-waza) where rhythm and timing are needed to draw the adversary forward. Tori’s push and whipping action is more to the side of the opponent. He makes a large step crossing the space and placing himself lower than his opponent’s centre of gravity and to the outside of the opponent.

Uchi-mata. Kouchi-gari. He then pivots to the front. It is possible to place the arm of the opponent over or under his own left hand. 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. The Kake phase remains the same as in the side drive style. Tori seek to grasp the left sleeve of the opponent near the wrist. Morote-seoi-nage.Tokui Waza by Ronald Désormeaux 58 Crossed-arms style This style somewhat resemble the Ude-otoshi technique where Uke’s arms are crossed over the front before the latter is pushed to the side over the extended leg of Tori. extending his leg as he lower his hips and pushes Uke to either the front or the front corner. Ko-soto-gari. He pushes the arm inside and in the free space between both players. Uki-otoshi and O-soto-gari. The seizure of the opponent’s arm by Tori before crossing it over is sometime facilitated by an opponent who is trying to hold tight on Tori’s sleeve with both his hands on the same lower portion of the sleeve. O-goshi. Instead of grasping the collar with the right hand. Renraku-waza or combinations frequently seen with the Tai-otoshi are Seoi-otoshi. . O-uchi-gari. Kuzushi must be accomplished with the entire body.

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.Tokui Waza by Ronald Désormeaux 59 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 one’s balance or the control. .

The large toe is gliding onto the mat and around the opponent’s heel. Tori make a slight twist to the outside with his body. O-uchi-gari. Both techniques have for results the rear fall of the opponent. The former. rear reaping at the heel. leans upon Uke and pulls him down. He pushes Uke to the rear and awaits the reaction as he attempts to regain his composure. 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. Tori will assume control and start pulling front and down. He inserts his leg deep inside the Uke’s leg stand until the back of his knee makes contact with the back of the opponent’s knee and draws a large circle outward and to his rear. Tori is using a natural Kumi-kata and gets closer to the opponent. Both techniques are efficiently used in combination and as individual style Makikomi. 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. the calf and the back of the knee. .Tokui Waza by Ronald Désormeaux 60 FOURTH SELECTION: O-UCHI-GARI FIFTH SELECTION: KO-UCHI-GARI connections We have grouped these two waza as they are performed similarly. try to induce Uke to make a large recuperating step from the initial push and finally. Tori change his lift by entering into a pushing action with his right hand on Uke left shoulder. All three can be pursued into a makikomi waza. Tori will tackle Uke with his shoulder and head tucked in the Uke’s 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. He breaks the balance to the rear and pushes his left hand against Uke’s body while bringing with him Uke’s elbow closer to the body. O-uchi is performed directly against the inside leg of the opponent and Ko-uchi is accomplished by crossing over Tori’s leg and attacking the inside of the far away leg of the opponent. Tori place the toes of his foot near the inside of the opponent’s foot. When Uke is pushing back. Both are recognized by their three styles. direct rear reaping of the heel style The aim is to reap the leg of the opponent and make him fall to his back. be alert to the timing in the application.

. calf to ankle style 61 This style involves the general kuzushi and Tsukuri as above. 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 Tori’s knee is touching the back of Uke’s knee. The reaping is done more with the rear lift with the leg on the opponent’s target leg and its continuation into a large circle to the side. Morote-seoi O-uchi-gari Ko-uchi-gari Tai-otoshi O-soto-gari Uchi-mata Hiza. Kouchi-gari.guruma Tani. Tai-otoshi. Tori pushes the target leg outside to force an over extended posture. The pull down is accomplished during the push back action when Uke’s weight falls over his heels. When the opponent’s weight is transferred. he then pulls Uke down and reaps the heel with his calf. Uchi-mata and Tai-otoshi are most common. 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. O-soto-gari. Renraku-waza and combinations are numerous with this technique: Morote-seoi. O-uchi-gari.Tokui Waza by Ronald Désormeaux O-uchi-gari. where Tori places the reaping leg more to the side of the opponent’s leg having his ankle touch the inside of Uke’s ankle. Tori is facing the opponent but the body is slightly at an angle.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. The difference is in the Kake.

he starts reaping by drawing the opponent’s leg toward him to the front. Both opponents have their calf touching during the reaping action. Tori make a small step back forcing the opponent to make a long forward step and pull forward. yet Tori is more to the side. Tori must maintain balance and lower his position to bring Uke with a downward pull. Tori’s little toe is touching the mat as the push is being applied to the heel. calf style The technique is similar to the one above. Having his leg removed under his weight. the technique needs timing and Uke must be controlled so that he is prevented from raising his leg up from the mat. Tori push first and await the return from Uke. Ko-uchi-gari. To be effective. While facing the opponent. . With the inside of the foot placed against the heel.Tokui Waza by Ronald Désormeaux 62 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. He is forcing Uke to overstretch his legs and attacking the outer leg with his calf. Uke falls to his back. He then withdraws his leg while making in a circle around Uke’s support leg. He then transfers his action into a push down and leans over the opponent to force him into a back sitting posture.

Tori’s right hand is used to assist by encircling the outside of the target leg and in a continuous movement. knee style 63 Tori is facing the opponent. Sensei Toshiro Daigo identified three possibilities to carry out Ko-uchi-gari: 1. When uke moves backward and his right foot is placed in his back. Go with the flow and use the combined energy To counter attack swiftly . The right leg is push deep inside the opponent standing position and turned outside hooking the knee from the rear. bringing the opponent down with him. Do not make abrupt shift in behavior. 2. he attempts a tackle by pushing Uke back with his body by placing his shoulder and his head to the side of the opponent. Renraku waza and go-no-sen techniques are similar to that outlined for the O-uchi. Note that an O-uchi-gari can also be performed on the support leg if needed. Tori makes a roll to the side. When uke is in a defensive posture having his weight resting on his heels 3.Tokui Waza by Ronald Désormeaux Ko-uchi-gari. At the moment when Uke moves his right foot forward and his foot touches the mat.

in a diagonal. the front entry and the side entry. Tori make contact with his right hip touching the opponent’s abdomen. Tori takes a third step back. The Kuzushi is strong from both hands and the hand under the armpit is constantly pulling Uke to the front. kata style As Tori withdraw. 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. In the kata form. at waist height if possible and in a sweeping action. he maintains his natural Kumi-kata and pulls Uke with him.Tokui Waza by Ronald Désormeaux 64 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. yet not too deep inside as to loose his balance. He is followed by Uke. Harai-goshi. He breaks the balance forward using both his left and right hand to pull. In all three cases it is possible to pursue the technique to a point of rolling forward with the sweep into a makikomi. . In practice we find three styles of Harai-goshi: the kata style. In his second steps rearward. Tori places his right leg forward and high in the air. Van de Walle of Belgium in the 1980’s and Traineau of France in the 1990’s. brings down the leg against Uke for a fall. As he gets closer. he places his right hand under the opponent’s arm and at the tip of the shoulder blade. The Tsukuri is made by the action of Tori getting closer to the opponent. A very popular technique used by former great champions such as Rougé of France and Matsushita of Japan in the 1970’s.

then his left. His chest is held against Tori’s back. Supporting both weights on his left leg. His left hand will also pull out and upwardly. Tori will use his right hand to pull and lift high close to the opponent’s ear. 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. it is not necessary to go deep under the opponent lower body. With the natural hand grip or Kumi-kata. Tori start lifting the opponent with the straightening of the body and sit Uke on his hip. Tori introduces a high position for his lifting Kumi-kata hold. . he slides his right leg to the front. toes pointing and in a large sweeping action upward. Keeping contact with the chest. Uke is pulled closer. In this style. Harai-goshi with a side entry Tori pushes Uke back and awaits his frontal reaction to begin his pulling upward and forward actions. He crosses over his body in front of the opponent by placing his support leg vis-à-vis the outside of Uke and makes a pivot inwardly like an Ashi-guruma or O-guruma. Tori lowers his body by bending his knees and placing himself in a balanced position. When stabled on his left leg. throws the opponent. resting first on his right leg. It is also possible to make use of your right elbow to lift under the opponent’s armpit or even grasp at the rear of his belt for more lifting power.Tokui Waza by Ronald Désormeaux Harai-goshi with a front entry 65 Tori pushes the opponent back and awaits the returning reaction to break Uke’s balance forward or in the direction of the front corner.

place your hip against the navel of the opponent and hold him tight near you. apply left leg lift against the back of Uke’s thigh and lift him by pulling to the rear. Utsuri-goshi. The third form is to straighten the body. O-soto-gari. Renraku waza normally observed with the Harai-goshi are: Sasae-tsuri-komi-goshi. Hane-goshi.Tokui Waza by Ronald Désormeaux 66 In this style. and Sukui-nage. Harai-goshi Ashi-guruma O-soto-gari Sukui-nage Harai-makikomi O-uchi-gari . 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 Kuzushi must be kept constant to the front corner. and Ko-soto-gake. Tori can spin inside or outside providing he keeps his balance on the support leg. Ko-uchi-gari. O-uchi-gari. First. disengage the right arm from its Kumi-kata and grasp Uke’s inner thigh with the hand. Uchi-mata. 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. Lift his leg above your waist-line and push your Hara forward. when attacked. straighten the body slightly to the rear of opponent. In twisting your body. The second method is similar. Ashiguruma. There are three other forms of counter accomplished with the straightening of the body and pushing the Hara forward. after straightening the body. the hands can be used either near the armpit or at the position to do Tsurikomi-goshi. 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. twist counter clock wise and push Uke to the side and back to make him fall. the Te-guruma and Taniotoshi. arching to the rear to make him fall. O-soto-otoshi and Harai-makikomi are also associated with this waza. In the lateral entry. Also very effectives are: Ushiro-goshi.

The tsukuri must ensure that Uke is immobilized on his heel or on the side of his foot. The leg action of Tori is then similar to the style above. 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. 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. There are various Kumi-kata to be used to affect the kuzushi: push under the chin and to the rear. (Near the neck). He completes his sweeping action so that Uke falls to his side or under him. reap the rear of the knee and calf area of the opponent to make him fall. push the outside shoulder to the back or encircle the neck before pushing down. the right rear and the side style. It is a pushing action to the rear or to the side depending on the style. The small toes are near the heel of the opponent’s foot. Tori pull the Uke hand (right) down and outward while his own right hand pushes upward and back of the opponent. O-soto-gari side style Tori steps out to the side of Uke. the rear or right approaches style Tori advance with his left foot. 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. There are three styles associated with this technique. Tori perform a Kuzushi to the front corner forcing the opponent to over-extend. The Kuzushi for this technique is important. Tori steps side way ensuring his support leg rest near the leg of Uke and extends his right leg at hip level and around Uke’s leg. 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.Tokui Waza by Ronald Désormeaux 67 SEVENTH SELECTION: O-soto-gari connections O-soto-gari is a leg movement demanding quick action by the hooking and reaping leg. O-soto-gari. Tori traverse the line of gravity and to the side of Uke. The support leg should be out and to the side of the opponent. the rear approach. push the shoulder and neck area to the rear. The push is continued to the side and the left hand action is changed to a pull down circle close to Uke’s body. . The technique can also be performed when Uke has his legs wide apart. passes his right leg over and close to Uke’s body. Your own weight should rest on the big toe of the reaping leg and with a major lift of the leg beyond Uke. He extends that leg to point the toes and raises it to about the belt level. Tori is enticing Uke to follow. It must become a surprise attack and not be used as a technique to linger on fighting the opponent’s extended legs in order to hook it in the back. Tori then pass his right leg over and hook the extended leg behind the calf and lift the imprisoned leg to his rear. Tori prevent Uke from transferring his weight in order to recuperate his balance.

The leg must gain impetus by making a large reaping arc to make contact with the opposing leg behind the opponent. it is important to place Uke in a position of no return. Right side O-soto gari by the great fighter Masahiko Kimura (1917-1993) . If the leg trails too much or just extend. 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. 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. it may become an O-soto-otoshi.Tokui Waza by Ronald Désormeaux 68 In O-soto-gari.

The latter is then rotated on his shoulders for a side drop over and in front of his own left leg. 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. It is done standing. On the third step. The opponent is thrown sideways. near the belt of the opponent and stretches his leg sideways to have a good support base. places his head and shoulder deep in the side of the abdomen. As he proceeds. (In kata demonstration. Kata-guruma. the frontal drop and the knee drop. On the second step. There are several styles. kata style Tori take a natural Kumi-kata and stance and entice Uke to come forward while he is moving back. he reaches under. . the grip is made to the inside of the elbow). namely: the kata or standing style. he increases the forward Kuzushi on the opponent. He lifts and pushes the opponent with both the shoulder and the left hand. kneeling and way down under the opponent. Tori make several steps back. The support legs are straightened and the opponent is raised straight up on his shoulder.Tokui Waza by Ronald Désormeaux 69 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. The standing style is less performed and a lower approach is appearing more frequently in international competitions.

Kata-guruma. When the opponent is raised and placed on the shoulder plane. He then lifts the opponent with his shoulder placed deep inside the abdomen and straightens his legs. and placing the left leg on the outside of Uke’s right leg and extending it like a Yoko-wakare movement. 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. Another variation of this knee drop consists of staying very low under the opponent. knee drop style The Kuzushi and Tsukuri are similar than above. Tori approaches the opponent with his right knee bent and touching the mat. 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. Once Uke is loaded on the shoulder. front drop style 70 The Kuzushi and Tsukuri phases of this style are similar to the above. he completes the body twist and bends forward or slightly to the side and unloads Uke in front of his support legs. . The opponent is projected close to the mat and Tori can follow up immediately with a Ne-waza technique.Tokui Waza by Ronald Désormeaux Kata-guruma.

.Tokui Waza by Ronald Désormeaux 71 Renraku waza associated with Kata-guruma are: Kata-guruma throwing Uke in the rear. 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. 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.

It is the first technique seen in the Nage-no-kata and it is demonstrated with these three phases. It is an important waza to understand the relevant judo principles of Kuzushi. kata style Tori steps back and draws Uke in his path. Uki-otoshi. The variations adopted the principles and rendered the technique more competitive. . A longer third step back is taken by Tori and at the same time. He is in an oblique direction to the opponent. his toes are raised and in control of the balance. standing with a twist to the side and the elbow grip. While his knee is resting on the mat. He applies his Kuzushi on the right front corner. The swift pull in the downward direction is carrying the opponent to a fall. He fills the void created by his displacement by pulling firmly with his hands to draw them in a descending angle towards his belt. He takes a second step back and increase slightly the distance separating him further from the opponent. It makes use of the opponent’s displacement to amplify the power of the throw. he drops his left knee to the mat at an angle of 30-45 degree from the opponent’s right foot. We know three different styles: kata form. Tsukuri and Kake. Uke follows after Tori as he tries to neutralize the Kuzushi.Tokui Waza by Ronald Désormeaux 72 Uki-otoshi from Judo International 1950 NINTH SELECTION : Uki-otoshi connections Uki-otoshi is a hand technique that is often used to counter others.

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. all actions are restricted.” . Note that in this style. the same Kuzushi is applied with the normal Kumi-kata. he proceeds to push Uke up in the direction of the opponent’s ear. Forceful action is only possible when the body is stable.” “When equilibrium is lost.Tokui Waza by Ronald Désormeaux Uki-otoshi standing twist style 73 In the standing style. Tai-otoshi. to achieve the objective. Tori makes a small pivot to the side. Tori is not facing Uke when throwing but looks to the side in the direction of his pivot. As Chief instructor of the London Budokwai in 1948. the right hand is securing its hold over Uke’s left elbow and using the armpit as an extra zone to push at an angle. one must risk of loosing it.Koizumi made a remark concerning winning. Osoto-otoshi and Hiza-guruma. 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. He lifts and pulls with the left hand and pulls up with the right hand while grasping the opponent’s sleeve high near the elbow and raises it to his eyes level. yet. He said: “In action. Tori steps back with a large stride to obtain more distance between himself and the opponent. 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). 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. sensei G. Tori pulls down the opponent using in a swift arc movement of the hands and throws the opponent down. Go-no-sen techniques most seen associated with this technique are: Uchi-mata performed on the leg when avoiding the standing style. your balance must be retained. Renraku waza with Uki-otoshi are possible with Harai and Hane-goshi. Meanwhile.

Tori first attempt an Ippon-Seoi Nage or Uki-otoshi technique. They have been branded as Georgian pick-up. He gets very close to the opponent and places his Hara to the rear of Uke’s lower parts. places his right hand over Uke’s arm and deep down under the back of the opponent’s leg. he lowers his body and while crouching down. First. lifts the middle section of Uke and throws himself backward. He pulls Uke’s arm towards his belt and centre of his abdomen.Tokui Waza by Ronald Désormeaux 74 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. Tori make contact with Uke’s chest with his head and shoulder. He activates the combined lift as soon as the contact is made and turns the opponent upside down after reaching shoulder height. it is studied as a variation of similar techniques: Utsuri-Goshi. . Te-guruma. At the Kodokan Institute. Tori grip the opponent’s lower left sleeve by crossing over his left hand. Many senior European sensei recognize this technique as an individual waza. thereby lifting Uke with his Hara and hand lifting the leg. Te-guruma is one of the few techniques that can be adapted to the Sen-sen-no-sen or movement by anticipation. Reference to it came about from its use in international matches by Eastern countries judoka who favored low entries and leg grip. He traps the opponent’s right arm in his armpit and proceeds to throw himself to the rear. he seizes Uke’s right knee at the rear with his left hand and holds on to the opponent’s right arm. He lowers himself. 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. He sides-steps and follows with a roll to the side of the opponent. In his 2005 treatise on judo techniques. rear offensive style. defensive style. lowering himself. Sensei Toshiro Daigo of the Kodokan Institute refers to this technique as variations of the makikomi style or as modifications to the Tani-otoshi. Te-guruma. With a swift lifting action from the right hand. Te-guruma per se is not identified in the nomenclature of the standard Gokyo. It is started as soon as Tori perceive the energy being mustered by the opponent and he anticipates the coming contact of the opponent. Ushiro-Goshi and Tani or Uki-Otoshi. We will describe two styles: the rear offensive and the defensive forms.

Both styles can be accomplished without crouching down. he may use a grip by the belt while still ensuring that one of his legs is placed deep under the opponent stance. . To prevent it.Tokui Waza by Ronald Désormeaux 75 If Tori is unable to place his right hand deep under the opponent’s leg. Tori can seize the opponent in the middle section with his hand facing inward or outward and still remaining standing. he can be transferred to a changing hip. one can always resort to a leg hook to stop the lifting. in Go-no-sen format. There are no standard Renraku waza associated with this technique except to say that while the opponent is being lifted. 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.

Should you intend to embark upon the competition route. 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). then shortening the sequence with the aim of making a single displacement or explosion into the waza. you are now ready to embark upon your training regimen. 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. Go with the flow. YOU WILL BE HARD TO BEAT”. Should you seek enrichment through technical innovations and are more incline towards the recreational development for the next decade or so. 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. your approach to training should be oriented towards mastering the fundamentals and freely expressing them in all kinds of Randori. Do not rush to perform all the varieties of techniques at once. There are several types of judo contests available for you to display your savoir faire and try out your tokui-waza. You must be able to adapt to changing circumstances. 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). Remember that: “IF YOU TRAIN HARD. . After having identified the three key components. You need to work out the principles underlining each one and refine their applications to your personality. This is done by working intelligently with various opponents who can help each other overcome numerous attacking and defensive tactics and strategies. You must first determine your objectives. you must be prepared to train for speed.Tokui Waza by Ronald Désormeaux 76 TOKUI WAZA TRAINING RECOMMENDATIONS With the technical knowledge given above. then. 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. The linear approach is a good starter but you need to practice changing the angles and the approaches. Joining a more organized league. endurance. take it in stride and acknowledge your strengths and weaknesses as you gain experience. Which ever line of training you may choose. You may begin with the kata form rehearsal of the technique. so you will need to practice situational judo and taking the initiative. determination and Kokoro. 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. If you seek championship status. your mental attitude is the key.

Adjust your technique to profit from the different opponent’s grips or kumikata and postures (high-low-sideways). 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. You need to know the safe distance from where you can best observe the opponent and not feel threatened by him. After a good warm-up to raise your body temperature. “It is generally agreed that if you do not have a good foundation. All your lesson time should be well spent towards your goal. Ask the opponent to limit his counters or employ different angles of displacement. Once used to the dojo ambiance and the working surface. 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. Attempt your techniques from all directions. follow up with several muscle stretching exercises before practicing various forms of Ukemi to tone up your spatial orientation and your flexibility. pull down and toppling movements and Kaeshi-waza or counters. Combat Techniques. 2006. You can then estimate what is the best distance for you to take in order to deliver your Tokui waza. while moving freely about the mat. 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. proceed with other judo specific exercises along a progressive training rhythm that will make you work faster and with more precision. you should attempt entries without opposition. your application skills will never reach a high level of mastery”34 You are now ready to embark upon light Randori where you can practice taking turn dominating and controlling the free space. Some dojos have signs posted that say: No parking here / No loitering. Do not disregard the possibilities of both of you doing Hikomi techniques. Then. p 357 . Having completed the above. try to keep the dynamism going.Tokui Waza by Ronald Désormeaux 77 SUGGESTED TRAINING SESSIONS In your training sessions. 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. Work on your distance and timing. Try to work with and against regular and irregular grips. 34 Lu Shengly. Your Ukemi should pave the way to eliminate the hesitation to do Makikomi or rolling techniques and follow-up into Ne-waza. control and escape from holds as much as you can.

they are excellent tools to improve your balance and speed. Each opponent has a unique set of skills and abilities and you should try to identify their habits. Repeat the process with at least 5 different opponents. You should attempt to perform your repetitions without telegraphing your intentions. Tokyo. Note that your initiative is foreseen when the opponent see you or hear you count aloud your entry steps. Repetitions alone are not guarantees for success. It is called: Nage-Komi and Kakari-geiko or free training exercises with some pre-arranged rules. 1962 . Charles Tuttle. improve your style by small increments and try to learn more from each repetition. 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”. The next training mode is the more dynamic forms of entry. Even raising your eyebrows can give you away. you should be able to perform against a number of opponents within a set time limit. you will never be in danger. identify their personalities. Do not loose patience. p 361 Donn F Draeger. You should try to perform 10 to 15 repetitions within a given time limit then switch opponent. 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. Try to cultivate an atmosphere of mastery around you. “It is said that if you know both yourself and your opponent well. make mimics such as head turning and breathing differently. try again and again. Donn F Draeger. Precision training drills can also be worked upon by performing Uchikomi in all four directions and with deep Kuzushi. 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). when you are disengaging one of your arms before attacking. Combat Techniques. Likewise.”35 Sun Tzu is reported to have said that to subdue an enemy without fighting is the greatest of skills. cocking you rear leg to get an impulse. The first has no time limit. do not limit yourself to one major Tokui-waza. Make corrections often. Judo Training Methods. their preferences for certain waza or displacement and not last. do not disregard the use of Ashi-waza as complementary and transition techniques. You can test them by luring them into your trap or by observing their reaction to your attacks. their body conditioning levels.36 35 36 Lu Shengly. 2006. do your best now. In the latter.Tokui Waza by Ronald Désormeaux 78 When performing light Randori. These are good opportunities for you to assess the opponent’s capabilities and test your technical skills against them.

Shihan Jigoro Kano was frequently reminding his students to master one self before attempting to overcome the opponent. Ancient masters used to say:” if one has been your master even for only one day. “Improvements in techniques can only come from the hard and frequent practices followed with period of reflection and analysis. improving the world”. Combat Techniques. U of Picardie. Souvenirs de judo. Mind over Muscle. Redefine your goals. Ippon-seoi-nage and Ko-uchigari. the training has to begin anew and with much vigor. Take time to engage into a frank discussion with your sensei or trainer about your state of preparedness and your results.Tokui Waza by Ronald Désormeaux 79 When training to improve your Tokui-waza be aware that boredom is just around the corner. when referring to his Tokui-waza as being Tsuri-komi-goshi. 1953 40 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.”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. Watch for fatigue and stress signs and adjust the intensity and length of your training session accordingly. Be patient and determined. Writings compiled by Naoki Murata.” 39 REMEMBER THAT THERE ARE NO BAD TECHNIQUE IF THE PRINCIPLES ARE RESPECTED We finish this chapter with a reflection by M. 2006. Mind Over Muscle. Souvenirs de judo. Kano. 2006 I. p 147 . try to behave effortlessly. Throughout your training periods you should pay attention to details for when we think that we have mastered a technique. He is quoted as having said: “Know when to commit and when to let go”. return to the Kata training and try to absorb the fundamentals (kihon). ”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. go with the flow. 2002 41 Lu Shengli. 42 37 38 J.37 When sensei Ichiro Abe wrote about his early judo training memories38. 42 Jigoro Kano. Do not try to control everything. he cautioned on their application in Randori and of their strategic use during Shiai. Abe. Amiens. 2005. 1953 39 I. With every frustration and disappointment you must renew your commitment to do it once more. we frequently close our eyes and heart and will soon loose interest in taking risks and learning anew.Calmet. you should treat him like your father for the rest of your life. Abe. O-soto-gari. If all seems to fail. Thèse de nouveau Régime. Once the performance status has been re-established.

To augment his sensitivity and comprehension of what he accomplished. To help improve on their performance. 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. photos. video clips and notes taken during the performance should be attentively reviewed and compared with previous performances and styles. If you are much superior to your opponent. 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. Others may be able to see with a different perspective and point of view but can not feel and internalize the true dimensions.”43 We have identified the various Tokui-waza in the previous pages. In a quiet moment. The Fighting Spirit of Judo. you should not be off your guard. Not only is it important to feel good in the performance of a Tokui-waza. Their observations will nevertheless be very helpful. To that effect. Hereafter is a sample of such a list. he can mentally review his accomplishment and go over a list of questions that will guide him in his reflection. Ippon Press.Tokui Waza by Ronald Désormeaux 80 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. Self-questioning No one is a better judge of the actions done but the performer. you should not give up. the judoka can embark upon an introspective analysis. What can be improved? How can IT get better? What can be changed or consolidated. 43 Yamashita Yasushiro. and assist the judoka with his personalization of the techniques. London 1999 .

The presence of known great fighters. When facing his opponent. coaches or parents may make him uncomfortable.Tokui Waza by Ronald Désormeaux 81 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. The strangeness of the hall and physical layout may be intimidating. 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? . had he seen him in matches before. the judoka will relive the different paths of the match and identify areas and moments that had an influence upon his behavior. was he cool and receptive. did he know of his past records. 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. did he fight him before or saw him in action? Were the intents of the opponent apparent. of his favorites techniques. was he is dealing with some unknown fighter.

Still. some of whom they may know by reputation or by affiliation. For others. 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 . They may feel harassed by the comments or questioning from foreigners about their way of life and training. anger. There are five general weaknesses making us vulnerable to an opponent’s attack: Physical defects you may display Chemical imbalance produced by stress or other substances Strong emotions such as fear. If any of the above presents a challenge.Tokui Waza by Ronald Désormeaux 82 Many judoka have developed a mental protection against the Shiai-jo atmosphere. In consultation with his trainers. there is a moment of great nervousness stepping on the tatami and facing the judges and officials. 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. He will need to build abilities and develop alternate resources to cope with the stress and sharpen his retro feeder mechanisms. another moment of distraction may be the shouts and cheers from the crowd and colleagues notwithstanding the activities of side coaching done by trainers. Such a goal may read: Discard less meaningful movement but seek maximum yield. 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 have to set new goals.

The hip. Decisions will need to be rendered as to the safe distance and the attacking angle. 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. the elbow and the hand play a vital part in the direction and amount of energy deployed. there is no time to identify all the sequences and point out what works for you and what has remained at rest. 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. we try to analyze what parts of the body should have participated in an effective. When seeking technical mastery. The greater the distance from its centre. The high intensity workout and the bursts of energy provided were the results of your preparation. the shoulder. . 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. Seven large body joints are of particular interest: the head.Tokui Waza by Ronald Désormeaux 83 ABOUT BIOMECHANICAL DIMENSIONS In the heat of battle. Here. The head must stay upright to gain the vantage point and facilitate the transmission of action-messages. Both groups work in unison. the greater will be the corresponding rotational effect. 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. sudden and vigorous waza and in what order if any. we already identified the ten basic elements. We turn out attention to body joints and their relationships with the various muscles groups acting upon them. The primary movers constituted by the shoulder. This section is intended to provide a review of what might have taken place. Sensory faculties and contact points on the opponent will identify the distance. knee and foot joints with provide the necessary rapprochement or distancing adjustments to effect the Kuzushi. the former detect and send the action-message down the spine and the latter respond by producing the energy to act swiftly. knee and foot joints are important for the displacement and equilibrium. For your tokui waza to be effective. assess the amount of power and the direction of the opponent’s movement. The hip. A waza not providing the total level of satisfaction may still score the Ippon but will be less powerful.

There is danger here of not being able to adequately react to a lateral force being applied by the opponent as a counter measure. Reliance on speed and accuracy will be of prime importance considering that when on the move. the Kake needs to explode from its base and reach its target along a well defined trajectory. When the level of sufficient force is being surpassed. the speed and accuracy should alleviate this imminent danger. When cumulative power is transported along the same axis. the surprise. yet. elbows and shoulder joints are to be supported by the actions of the hips. 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. knee and hip joints will play their respective roles at various contact points and fulcrum around the opponent’s body in order to throw correctly. 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 Kake should resemble a powerful bowling ball reaching and hitting the 5 or 10 pins target in a bowling alley. arc or direction. One can not properly enter under the opponent’s centre of gravity with the use of the arms alone. the trunk and the legs. trunk. there is a waste of power and energy. neck and head muscles must be aligned and used in the same power curve. In fact. Such an alignment has a major impact on the efficiency of the Kuzushi. A sudden change in direction may result in the creation of different and unexpected counter forces which may result in injuries to either judoka. 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. it becomes exponential and very powerful. In its final stage.Tokui Waza by Ronald Désormeaux 84 It is to be understood that maximum power is associated with large muscles groups acting concomitantly in the same direction. The foot. This wave-like action will provide the impetus to make a strong contact with the opponent’s 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. the judoka will have less weight on the ground yet he will benefit from a greater force of impact. This condition is not following the judo principle of intelligent use of force. The activities of the wrists. and one must even risk the point of no return in order to achieve the objective. When advancing he should lower his body and when retracting. legs. arms. The judoka must enter the free space between the opponents and place oneself at the right distance to make his waza. While doing the Kuzushi. . There must be total commitment into a Tokui-waza. Tsukuri and Kake. raising it. To that purpose. During the Tsukuri and Kake stages. Both the arms will need to form a unified curve around Uke’s body like a truck driver holding on to his drive-wheel and making a sharp turn.

This inverse rotation is sometime called DOME. rolling and bending. At times. advancing.Tokui Waza by Ronald Désormeaux 85 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. Should the opponent be on the attack mode first. he is developing circular energies around or over witch he can make the opponent move. he will need to estimate the opponent’s speed and at the last minute will sidestep. lifting or blocking. Tori can also absorb the opponent’s energy by relaxing the maximum of his muscles groups and enveloping the incoming energy. Tori may consider making a reverse movement when the contact is actually made. turning. . 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. 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. 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 judoka perform rotating and spinning actions. will ignite other parts of the body. 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. they will transfer the necessary kinetic energy to the trunk area where abdominal muscles and tendons are more numerous per square inch and then. From this low posture. an unorthodox and toppling technique. Tori may result into crouching postures or curling attitude to gather some energies. If unable to overtake the incoming speed of the opponent. 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. When adding his own power to the incoming force it will be possible to throw the opponent in the same incoming direction. When engaging the opponent. 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. together. This accrued energy and power will facilitate all forms of displacements activities such as pushing. the judoka may entertain getting into a Hikomi. The power of centrifugal and centripetal forces should not be ignored. Tori will have to counter attack. By accelerating the rotation of oneself. the judoka must be familiar with the characteristics of his natural weapons that are his muscles groups and joints. He needs speed and acceleration to move his body out and about. Having anticipated the direction of the incoming attack. When activated. twisting. Only a faster speed can overcome the incoming attack. these two forces will come into play. rotating. By adopting a ball shape figure. tucking in. He may initiate a pull away movement to release parts or the whole of his body from the line of attack.

Tokui Waza by Ronald Désormeaux


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


Kano Jigoro, Naoki Murata, Writings from the founder, Mind over Muscle, Tokyo 2005, p-109

Tokui Waza by Ronald Désormeaux


Annex “A”
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.

Tokui Waza by Ronald Désormeaux


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.

turn or apply a technique in a Sen. It is to be noted that muscles by themselves have no capacity to push and they do not offer resistance to compression. We can merge with a force by following along its directional axis.Sen patterns. When considering the use of a direct technique or a counter. force is produced when an object is influenced by another.Sen or Sen No. the speed and timing of his attack are all needed to avoid early detection. Judoka will also come alive when he identifies the proper technique to be applied at the right angle. You can direct it towards a specific target or use a superior and faster force against it. The key element is to use it intelligently. feels the exact opportunity to induce the kuzushi. They come “alive” when ignited by a neuron-stimulus that makes them vibrate and act upon the joint. We can avoid it or evade it by stepping out or we can diffuse it when we absorb it with a complementary technique. 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.Tokui Waza by Ronald Désormeaux On the use of force: 89 There are several ways to deal with a force. 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. push-pull actions). moves from location A to B without detection and is able to rebound. We refer to this influence as “torque”. We can displace it by focusing an action at its points of origin or its impact area. By definition. Adjustments to: his distance from Uke. “Skillful judo movement needs the intelligent use of muscle groups” . In Judo we tend to redirect the forces and harmonize with them. You can address it head on by confronting it. (Gravitational or magnetic attraction. It used against and by the judoka. the angle of entry. We can not avoid the use of force in judo.

. Likewise. the object will not be moved as they normally annul each other . velocity. 90 When separated from Uke at too great a distance. Mechanically. Its power and effectiveness come from the product of the body mass. 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. Selecting the right angle is important to be able to strike at the opponent’s weaknesses. displacement speed and impact. Tai Sabaki or body movement and Kuzushi will require adjustments since they can both be affected by speed and distance. in a sutemi waza. When such forces are applied against the axis. avoided or negated. This simple explanation was frequently used by Shihan Jigoro Kano to illustrate the JU principle or Yielding. the judoka should be able to use as much as possible of the opponent’s forces and add his own to it. Sometimes. Likewise. In practice. we face a couple of forces developing into a system whereby the two forces are of equal strength yet coming into opposite direction. It is used to cover the approaches (tsukuri) and coordinate the direction or flow of the attack.Tokui Waza by Ronald Désormeaux Direction of force: Observation tells us that to be the most effective. the united force vector will be then be of 15 units. (This is the 3rd law of Newton) but the object can be turn upon its medial axis. he needs to coordinate his personal inputs so that they amplify each other while keeping the same direction. 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 performance of a linear technique requires more speed over a given distance. 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. all movements can be detected.

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. a lesser amount of work will be required to keep it on a steady pace. Such force is the result of the work produces by the thrusting action of the foot and leg against the ground. The quick push or pull is a demonstration on the use of force required to make the initial displacement. It is immaterial whether that push or pull is a result of a succession of forces used independently or simultaneously as a group. That path is somewhat countered by a normal vertical force pulling him down towards the ground. the strongest parts of the body are located in the middle and lower extremities. However. For many of the judoka. Yet. We talk of making powerful Kuzushi when it is done within a fraction of a second or during a flash moment. Should the judoka wish to gain speed and accelerate. It is to be observed that more effort is needed as we step out of a position of rest. that work load could also be measured in horse power and distance covered. They are the heaviest and the slowest. . Both the push-pull actions can be viewed from a mechanical perspective. Once the body overcomes the inertia.Tokui Waza by Ronald Désormeaux Work and volume of work 91 Work and volume relate to the ability to move things or objects with a certain amount of force over a given distance. When applying kuzushi. we must consider that in humans. The end result is the same e. It is to be remembered that the propulsive action of the legs is either following an oblique or straight up line. 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. 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. the judoka displaces the Uke within the free zone or outside the support base. If a continuous push is made against Uke and he is forced to withdraw. additional force will be required to respond to the new demand. he shall enter into a forward movement. We need not measure it in horse-power over inches. 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. Since the propulsion force of the leg muscles is greater than the opposing force. This continuous displacement ability should be practiced by the judoka during a match. they are the more powerful. the displacement of Uke is being done. This is what judo is all about.g. Considerations should therefore be given to use the lower body displacement to produce the Kuzushi. When moving.

that object will have a tendency to rotate upon its axis. Every action has an equal or opposite reaction. you will be heavier to displace. it would impair the horizontal movement of the opponent. When the vertical and downward force is too great and applied linearly. (Long distance runner versus sprinter) In the natural posture.Tokui Waza by Ronald Désormeaux 92 To take maximum advantage of the legs actions. By having semi-flexed muscles already at work against the joints should improve the speed of the output. yet. (Up and down motion without horizontal displacement) Point of contact or fulcrum In the first form of the Itsutsu-no kata. One may also observe that longer strides will make you move more slowly. Nevertheless. When pushing Uke with an alternate force from the thumb and little finger. extreme push or pull are not necessary. he enters into a wavering effect from side to side. 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. such as performing a hip lift. he will have less dead weight to move. When applying a vertical and downward force against the opponent. . Opposing forces We discussed the third law of Newton in preceding paragraphs. you will be lighter and fragile to a side push or pull. 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. When attempting to place the opponent on his tip toes or outside of his foot. When that force is changed to the full power of the hand and directed to the centre of the axis. we can visualize the effect of concentrating the force against a single point of contact. Uke is projected directly to his rear. it is to be remembered that the smaller vertical component of the force will liberate the trunk for a greater horizontal move. This rotation is caused by the opposing or counter forces. Short strides will make you gain greater speed to initiate and pursue your attack. It is important to understand that when applying a Kuzushi. he will produce a slight shift of the centre of gravity so that when he wishes to resort to the Kuzushi. Shorter strides near the line of gravity will produce a continuum and you will attain greater speed faster. Physics principles tell us that when a force is applied to a free movable object and is off centre. you will encounter a natural resistance of equal size and he will have a tendency to lean backward and squat downward. if the judoka leans forward a bit.

extension. The head joint can flex. It has a limited power to conduct abduction and adduction of the arm. The hip joint is capable of flexion. Joints which have large muscles and are located in the middle of the body should be used first. internal and external rotation as well as abduction. For maximum results. but also in what direction the push or pull will take place in order to have the opponent move in the desired direction. it is important to consider not only where you grip the lapel (upper centre. to stretch or place an arm lock you should consider the weaknesses and the strong points of the targeted area. rotate inward and externally as well as provide room for the abduction and adduction of the head. extend. elbow or back of the neck). The wrist joints can be used to exercise flexion and extension as well as abduction and adduction. 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. (Outward displacement). 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. power or acceleration out of the movement. 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. accomplish internal and external rotations as well as perform the abduction and adduction functions. This is best done when all joints that can be used are indeed used.Tokui Waza by Ronald Désormeaux 93 When applying the Kuzushi. Joints and movements When you are trying to hold down. The important thing to remember is that every joint must be used to get the most speed. The thorax region has no difficulties performing the flexion and extension of the vertebras. (Inward displacement) The shoulder joint provides the flexion and extension as well as the internal and external rotation of the shoulder. There is an element of torque at all these joints. Not all joints perform the same movement or function. to the side or lower centre) and place your second hand of the opponent (sleeve. The elbow joint is principally used for the extension and flexion of the upper arm and conduct internal and external rotation facilities. 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 agglomeration of these centers can be represented by imaginary lines falling on each side of the body. the body will lose its balance and topple over. Our weight is distributed throughout our body. 45 45 Webb P. Weeb Associates. Not all of our segments are of equal size and length. 1964 . It represent less then 0. The female gender distribution may vary. If the gravity line falls outside the foot area. By natural extension. these lines will contact a point on the ground that is located along the middle of each foot. we are able to stand in balance on our two feet if undisturbed by an exterior force.000 000 000 033 pounds per square feet. Yellow Spring. Bioastraunautic Data Book.Tokui Waza by Ronald Désormeaux Gravity 94 It is generally accepted that the force of gravity being exercised on the human body is very negligible. We also know that the earth attracts every tiny particles of an object with a gravitational force proportional to the mass of each particle. 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 central point where these forces are at play is known as the Center of Gravity. It comprises several hypothetical centers which are attracted to the ground by the force of gravity. All these separate attractions can be added to describe the weight of the object. As a result. Ohio.

the speed of our free fall would be measured as 32 feet per squared second as a consequence. the support feet and leg must be capable to absorb both opponents’ weight. To remain in balance during the application of a waza. Let us not forget the importance of the foot. This observation will be needed when choosing counter techniques or when applying speed to the Tokui-waza. The greater our weight the bigger will be the natural pull towards the center of the earth. Consequently. The foot is used as a lever.” “Recourse to a Tokui-waza facilitates the keeping of the initiative.” 46 Kawaishi M. 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. you will be able to anticipate the opponent’s move and annihilate his attack on the spot. page 9 . “Saya no ichi. The changing coloration of the toes may reveal the additional weight being placed upon them. It is a class 2 lever. the judoka gains more speed from a shoulder throw than a lower foot technique. no kachi saya” To win the victory without drawing the sword Ancient proverb Let us close this section with the words of sensei M. Enchaînements et Contres. your ability to use counter techniques will be restricted by the height limit. 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. 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. It is a gift provided by the great judo spirit so that you can continue to progress.Tokui Waza by Ronald Désormeaux 95 Should we loose balance and start to fall. a kind of magic formula used to penetrate the opponent’s defense system. If the opponent uses a lower form of throwing techniques such as a Hikomi. Kawaishi:46 “The Tokui-waza or special is a key word.

video. 1962 Daigo Toshiro. Le Guide du Judo. 1949 Guillain Robert. Ottawa. Presses Universitaires de France. 1975 Blonk Mas. Judo Randori No Kata and Ju No Kata. ARMA. 1995 . 1966 Draeger Donn F. Paris. Switzerland. Amsterdam. Habersetzer R. Charles E Tuttle. Tokyo.26. Édition Judo Toulouse. Tokyo. 1975 Fiore dei Liberi.Tokui Waza by Ronald Désormeaux 96 ANNEX”B” REFERENCES Abe Ichiro. L’Expérience du Zen. Que sais-je. Le Judo. 1970 Bonet-Maury Paul et Courtine Henri. Édition de la Maisne.G. CJF publication. Édition Sun. Kuang. Judo Elements. Montréal. The Root Arts of Judo. Les arts martiaux intériorisés. The Discovery of Judo.D. Manuale di arte de combatti mento del xv seculo.163. Judo Training Methods. 2002 Gauthier Bernard. 11 November 1996 Draeger Donn F. Kuang. 2005 Désormeaux Ronald. Toronto. Kodokan Judo Throwing Techniques. Ishikawa Takahiko. Judo Kata. Le Japon que j’aime. The Mechanics of Athletics. Édition de l’homme. AAU-JBBF Judo Handbook. Hodder and Stoughton. Albin Michel. Judo Combinations video. Cerchio. Kodansha. 1956 Hoover Thomas. Édition de la Maisne. Le Jeu des Énergies dans la Pratique de l’Aikido. 1425. Paris France. Canada 2006 Dyson Geoffrey H.D. Http 152. 1989 Inogai T. et A. Robert Laserre. Paris France. 1984 Cunningham Steven. Italia. et A. Paris. 1965 Hirano Tokio. 1953 Arpin Louis. Souvenirs de judo. 2005-2006 Cauheppe J. Canadian and American Modern Judo. 1984 Cauheppe J. Amphora Paris. USA.

Judoka. Tokyo. Mind over Muscle. Combat techniques of Taiji. 1998 Le Berre Jacques. 1961-1964 Kawaishi Mikonosuke. Daigo Toshiro. Judo Kata. Ontario. Champion de France 1963-64. UK. 1990 Kawamura Teizo. Tyrell Press Gloucester. 2002 Kimura Masahiko. 2002 Inokuma Isao and Sato Nobuyuki. an Illustrated History. Shikatsu Jizai Sekkatsu Ryoho. Tokyo. Otaki Tadao. Japan. 1994 Kano Jigoro. Physics Made Simple. Kodansha. video (1917-93) Kotani Sumiyuki. Habersetzer R. 1971 Krieger Pascal. Kaishin Shoro. La boutique Japonaise. 2005 Leyshon Glynn A. 1959 Koizumi Gunji. Correspondance Personnelle. Werl. 1966 Leggett Trevor. The Dragon Mask. 1901 Ira Freeman. Tuttle publishing. Kodokan judo. Cornerstone New York. Paris. Publi-Judo France. Judo Techniques.Tokui Waza by Ronald Désormeaux Inogai T. Journal of Combative Sports. Samurai. Ippon Books Ltd. Les Katas Complets du Judo. Le Plessis France. 2002 Kura Mitsuo. 1960 Koizumi Gunji. 1986 Inoguchi Matsunosuke. My Study of Judo. The Budokwai. 1956 Kawaishi Mikonosuke. Tokyo. Japan. Naoki Murata. Switzerland. Kodansha International. 2006 97 . Xingyi and Bagua. London. Fumido Publishing. Kodokan 2000 Kano Jigoro. California. Kodansha International. 1993 Lu Shengli. Ten Jin Chi. 2006 Kano Risei. New-York. 1955 Kawaishi Mikonosuke. Blue Snakes Book. Judo Pratique. Best Judo. Allemagne. Illustrated Kodokan Judo. Writings from the Founder of Judo. Stage Gokyo. Tokyo. Kodansha International. Académie Kawaishi. Canada. Maple Book. Tokyo. Enchaînements et contre prises du judo debout. New Japanese-English Dictionary of Judo.

JTB vol 22. 2006 Payne Peter. Judo Master Class. vol 1-5. Paris 1950 Ratti Oscar and Adele Westbrook. 2006 Novovitch Michel. 2003 Ohlenkamp Neil. Judo Supérieur. 1975 Mifune Kyuzo. Zen and the Art of Calligraphy. Le Judo. Historique du judo au Québec. 1956 98 Musashi Miyamoto. Judo Master Class London. Amphora. 1983 Suzuki Shenryu. London. 1956 Torbjorn Tannsjo and Claudio Tamburrini. Judo D’Attaque. 1979 Petter Nicholas and Remeyn de Hooge. Kano Jigoro. New York. Éditions Albin Michel S. 1860-1938. France. édition du Seuil. F. Tokyo. Paris.A. Canon of Judo. Esprit Zen Esprit Neuf. Secrets of the Samurai. Ippon Books London. Publiday Media. 1985 Morvan-Denègre Frank. Tokyo. Japan.M.Tokui Waza by Ronald Désormeaux Masnieres J. 1674 Plée A. Les Maîtres du judo. Seibundo-Shinkosha. Judo.. Judo Unleashed. Go-Rin-No-Sho. Sumo Techniques. Crossroad New York.H et Fédération Française de judo. Édition A. Tokyo. 1977 Swain Micheal. Medieval Combat. Techniques et Conseils. T. Penguin Group. Judo Gravity Zero. Ashi Waza. Traité des Cinq Roues. Chiron. 1992 Talhoffer Hans. the Spiritual Dimension. Harai-Goshi. Charles Tuttle.L. 1970 Sato Nobuyuki. USA 2000 . 1985 Roullet Jean. Judo International. Spon. Maroc. Amsterdam. Solar 1976 Nihon Sumo Kyokai.N. McGraw Hill. Green Hill. Martial Arts. France. 1983 Momose Meiji. 2000 Tomiki Kenji. Siderep. Art of Wrestling. Values in Sports. Almanach des sports.Katsujo. 1996 Rougé Jean-Luc. Paris. Ashi-Waza.I. 1993 Sogen Omori. New York. Look Japan publication. Sumo Kimarite. 1981 Pelletier Guy et Claude Urvoy.

Ratti Oscar. Japan. Charles Tuttle. Bushido. 2003 Yamashita Yasushiro. 2002 Yokoyama Sakujiro. Charles Tuttle Inc. 1992 Yamashita Yasushiro. Square One Classic. USA. Codex Wallerstein. London. Ippon Book. London. 1972 Westbrook Adele. Vermont & Tokyo. 1999 Yamamoto Tsunetomo. Judo. Édition Gallimard. the Secrets of Judo. The Life Giving Sword. Kodansha International Tokyo. Tokyo Japan. 2002 .Tokui Waza by Ronald Désormeaux Tseu Lie. 1960 Yagyu Minenori. Avakian Lindy. A Medieval Fighting Book. 1961 Tzu Lao. 1908 Zabinski Grzegorz. Judo Master Class. O-soto-gari. 1983 99 Watanabe Jiichi. Rutland. Aiki-do and the dynamic sphere. Le Vrai Classique du Vide Parfait. Nishido Press Tokyo. New York. Tao Te Ching. Vintage books. The Fighting Spirit of Judo. Paladin Press. Siguke Oshima.

first principle Sesshoku suru: To touch or keep in contact with Shiai: a judo contest held with specific rules Shihan: Founding master. repetition practice Kake: Application or action of throwing Kano Jigoro: 1860-1938. 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 . kempô or Tai jutsu Ju no Ri: Principle of flexibility in avoiding direct confrontation Kakari renshu: Repetition training and Geiko. compete fairly and respect others Ju jutsu: General combat system also known as Yawara.Tokui Waza by Ronald Désormeaux 100 ANNEX”C” 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. 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.

Promoted black belt. USA New York State open judo champion. Casual sports writer for the newspaper: Le Progrès de Hull. Invited teacher at the Takahashi dojo in Ottawa Attended the Kodokan Institute international kata training certificate course Published reference books: “Les Mystères du judo” and “The Discovery of Judo”. Obtain National Coaching Certificate. 1st Dan and became the secretary of the Canadian Judo Federation. level three. Teacher’s assistant at the Victoria Dojo under Sensei Y. British Armed Forces. Promoted 2nd Dan and enters the Canadian Kodokan Black Belt Association.Tokui Waza by Ronald Désormeaux 101 ANNEX “D” AUTHOR’S PROFILE 1956 1959 1959 1960 1961 1961 1962 Ronald Désormeaux 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. Promoted 5th Dan from the Kodokan Institute of Japan and Judo Canada. Obtain the National Coaching Certificate. Member of the British Judo Association. Finalist all categories. Founder and technical director of the Gatineau dojo. . Worked towards the integration of military judo within the CKBBA. 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. Graduated in Physical Education from the University of Ottawa. level two. Clemas Technical director of Chikara dojo in Gatineau Québec. Provincial champion and finalist at national championships of the Canadian Judo Federation. Overall Champion of the Canadian Armed Forces.Thurso and Gatineau in Quebec. Received the Jean Charles Daoust trophy for best French Canadian Athlete Opened the Val Cartier dojo in Québec. Kanashiro. Graduated to National Coaching Certificate. Zone president and technical director for the Ottawa region. Member of the British military team in several international tournaments. Obtain Master’s degree in Public Administration from ENAP. Created the dojo of Buckingham. Acquired membership no: 41 at the Académie de judo Kawaishi of Paris. Editorial member of the Yudansha magazine for Judo Canada.Inouye. Overall Champion of the British Army on the Rhine 1966-1967-1968. Created the Shilo military judo club in Manitoba. Published a reference book “Tokui-waza”. Chief instructor at the Calgary dojo with Sensei H. Member of the administration for Quebec Kodokan Judo Association 1972-76. Provincial champion FCJ and creation of the Ottawa School of Modern Judo. Québec with sensei Bernard Gauthier 4th dan. Promoted to 3rd Dan. level one. Served as President of judo zone “Outaouais”.

Tokui Waza by Ronald Désormeaux 102 .

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