Discovery - Judo-Tokui Waza 07

DISCOVERY OF JUDO’S
“TOKUI-WAZA”___
Ronald Désormeaux, Kodokan 5th dan
Technical Director Chikara Dojo
Private collection-2007
Tokui Waza by Ronald Désormeaux 3
DISCOVERY OF JUDO’S TOKUI-WAZA
Copyrights to Ronald Désormeaux
ISBN-2-9806269-2-0
National Library of Canada
2007
Acknowledgements
I wish to thank Marie-Claire, Marc and Nathalie for their support and input
regarding this project.
To my former teachers, instructors, students and judoka colleagues, a special

thank you for your friendship and your precious advice over the years. I want to
signal my cordial appreciation to those involved with the photographic sessions
and the editing, in particular: John Huntley of the Aberdeen Judo Academy, as
well as Corinne Critchlow, Nathalie Dupuis-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

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-no-
waza. The gokyo has evolved but its essence remains.
The main content of this book covers various applications of a number of select tokui-
waza, 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, Go-
no-Sen, and Sen-no-Sen. The book concludes with auto-evaluation and bio-mechanical
dimensions.
Ron covers a lot of material in 100 pages, material that is pertinent to all judoka but, as
indicated in its conclusion, will prove invaluable to the contest-oriented judoka. Working
hand in hand with a competent instructor a judoka will discover new approaches to waza
application.
I highly recommend this book!
John A. Huntley, 7th dan

Aberdeen Judo Academy
Kamloops, British Columbia
Table of content
Part One
JUDO’S TOKUI-WAZA 7
INTRODUCTION TO HISTORICAL DIMENSIONS 8
LEGACY FROM SHIHAN JIGORO KANO 10
KODOKAN JUDO INSTITUTE; ORIGINAL SCHOOL 13
GOKYO-FIVE ELEMENTS 14
ADAPTATION AND MODIFICATION OF GOKYO 14
THE COMMON REPERTORY OF JUDO WAZA 15
TACHI WAZA OR STANDING TECHNIQUES 15
KATAME WAZA OR GRAPPLING TECHNIQUES 18
Part Two
STATISTICAL ANALYSIS 22
THE APPLICATION CONTEXT 25
TEN ESSENTIAL ELEMENTS 27
TOKUI WAZA AND SHIAI 41
THE LEARNING PROCESS 43
Part Three
SELECTED TOKUI WAZA 46
First Selection: Seoi-Nage Connections 47
Second Selection: Uchi-Mata Connections 53
Third Selection: Tai-Otoshi Connections 57
Fourth and Fift Selection: O-Uchi and Ko-Uchi Gari Connections 60
Sixth Selection: Harai-Goshi Connections 64
Seventh Selection: O-Soto-Gari Connections 67
Eight Selection: Kata-Guruma Connections 69
Ninth Selection: Uki-otoshi Connections 72
Tenth Selection: Te-Guruma Connections 74
TOKUI WAZA TRAINING RECOMMENDATIONS 76
SUGGESTED TRAINING SESSIONS 77
Part Four
AUTO-EVALUATION 80
ABOUT BIOMECHANICAL DIMENSIONS 83
CONCLUSION 86
Annexes
A. UNDERSTANDING THE CONTEXT 87

B. REFERENCES 96
C. GLOSSARY 100
D. AUTHOR’S PROFILE 101
Preface
Judo has been a way of life for me for over 50 years. In my early apprenticeship and
competitive days, I practiced hard and tried to absorb all the good counsel received from
my peers and teachers.
Having become a teacher and a coach, I was blessed with more time to analyze and
reflect upon the many judo techniques and their principles. This book is the fruit of my
reflection and research and I wish to share it with others who may have an interest in
pursuing the study of judo.
Have a pleasant reading.
Ronald Désormeaux, 2007
Should the reader have suggestions, comments or questions about this text, please Email them directly
at ronalddesormeaux@ yahoo.ca
Part One:
JUDO’S TOKUI-WAZA
JU: meaning soft, flexible, supple, pliancy.
DO: referring to the way of progress or path of conduct.
The essence of Kodokan Judo is to perfect oneself physically, mentally

and morally in order to use those strengths to the benefits of society.
The Kodokan techniques aim at returning an opponent’s strength

against himself and overcoming him through skill rather than force.
The use of Tokui-waza will be our strategy.
Ju Do
Tokui-waza: from the verb toku-yo-no, to be economical,

From the adjective toku-yu meaning unique,
From judo dictionary expressing the preference
or favoritism towards a technique.
Tokui-waza: a preferred or favorite technique. Any

technique that an individual finds particularly
effective and therefore uses frequently.1
1
Teizo Kawamura, Toshiro Daigo, Kodokan Dictionary, 2000
Introduction to Historical Dimensions

Within the dynamic process of nature, all things develop particular methods to
defend themselves. All living forms are provided with a defense mechanism to
ensure their survival. The human being is no exception. It too has developed
methods of self-defense. Martial arts systems followed various trails of human
conflicts and wars. There are many heroes and war episodes that became famous
and which were transformed with time into legends and religious festivities. The
Europeans have their share of folklore and the Asian populations have also their
traditions that mutated from one country to the other. The various arts of
grappling and self defense skills are no exception. Hereunder are a few
illustrations depicting systemic approaches in the art of fighting found in Europe
in the 15th and 16th century.
For the purpose of this book, the Asian and the Japanese trail in particular will be
of more of interest to the judoka as Judo not only evolved from ancient Asian
jujutsu techniques. The Asian art of self-defense was elevated to the level of a
scientific and philosophical art, based upon the study of human anatomy,
psychology and the laws of nature. It was practiced in war and in peaceful times.
Favorite techniques illustrated in 1674 in the book by Nicholas Petter “Handbook of Wrestling”
showing the existence of some sort of self-defense and grappling studies in Europe during the
Medieval and Renaissance times.
A collage from the German print book on Wrestling dated 1553.

By the printer Wurm depicting hip and arm techniques.
“The original purposes of jujutsu were to throw and kill the opponent, to capture him or strike his vital
points. Certain schools and styles came to be studied as something quite removed from the concept of
combat. While combat may have been at the core of jujutsu practice, it also had related goals of physical
education and mental training”2
2
Naoki Murata, Mind Over Muscle, 2005, p-17
LEGACY FROM SHIHAN JIGORO KANO
Shihan Jigoro Kano His Kodokan Emblem (The cherry blossom)
Shihan Jigoro Kano, the founder of modern judo was born in Japan, on October 28th, in
Mikage near Kobe in 1860. He followed his family to Tokyo in 1871 when Japan was in
the midst of a cultural transformation from a feudal country to a modern nationhood. He
began his university education at the Imperial institution and like many students he
sought to learn jujutsu. As Japan was coming out of its long journey of internal wars,
many combat schools had survived and were attempting to establish themselves as public
establishments. From the many schools available to him, he approached the most
reputable masters to teach him the best skills in the art of self-defense.
His first teachers were Sensei Yagi and Karagiri of the Yagyu School which was a
fencing (Kendo) and jujutsu Ryu. He then moved on to attend the Takenouchi, the Kito
and the Tenshin Shinyo schools. He became a personal student of Master Hachinosuke
Fukuda, Tozawa Tokusaburo, and Masamoto Isohizue and of Iikudo Tsunetoshi.
Not fully satisfied with the combat techniques and the physical training skills he received,
Shihan Jigoro Kano pursued his Doctorate degree from the Imperial University and
continued his researches into the philosophy and teaching methods of jujutsu and their
tactical approaches. He was somewhat influenced by his own studies of Buddhism,
Daoism and Confucianism. He attempted to link the jujutsu teaching with the Japanese
cultural dimensions. He embarked upon the studies of old documents called Kudensho
which were transferred to him by his former masters. He analyzed other documents
located in several libraries.
Back in the training room, he refined techniques, questioned purposes and usefulness. He
codified and realigned them in accordance with known basic natural laws of nature. He
further challenged some theories expressed by colleagues and other jujutsu masters. He
recognized the values of jujutsu but challenged the pedagogy.
When ready, in 1882, he formulated a new approach and complete educational program
based upon those key natural principles he had tested in his remote dojo. “I took the
name judo that already existed and added the name of my dojo to it”.3 The name judo
was most likely taken after the jujutsu Chokushin-ryu-judo (also known as JIKISHIN)
located in the city of Izumo.
3
Jigoro Kano, Naoki Murata, Writings from the founder of judo, Mind over Muscle, Tokyo, 2005
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.
Mutual benefits and prosperity for self and others.

Shihan Jigoro Kano’s program contained three parts: The physical training and
development of the body known as Renshindo; the accrued proficiency in combat and
fighting called Shobuho and the mental development and culture known as Shushinho.
These three objectives were later simplified to become: Shin-Gi-Tai. (Mental-technique-

physical). Inspired by the bushi culture of yesterdays, Shihan Jigoro Kano was able to
provide a different path for the Japanese people to link up with their past, train their
physical and mental abilities and become part of the League of Nations.
Shihan Jigoro Kano and some of the Kodokan earlier teaching staff-1933
(Kodokan archives)
The above were the first group of teachers of the Judo theory: “Ju Yoku Go O Seisu”
usually translated as “softness overcomes hardness” and “ flexibility overcomes
stiffness”. The central principle of the martial system was being receptive, alert and in
control of the situation in order to yield to the opponent’s attack and reverse it to your
advantage.
Shihan Jigoro Kano went beyond the physical attributes of the jujutsu and introduced a
higher mental dimension with social ramifications.
“While respecting and valuing jujutsu traditions, Kano’s judo

incorporated a new concept of morality, and fulfilled the purpose of
health education while emphasising science and logic”4
4
Naoki Murata, Mind over Muscle, 2005, p 145
KODOKAN JUDO INSTITUTE: ORIGINAL SCHOOL

In May 1882, Shihan Jigoro Kano decided to open his independent school. It was a
modest beginning in the annex of the Eishoji temple in the Shitaya district of Tokyo.
There, he began his work with very few students. A dozen or so assistants quickly joined
him. It is there that he officially declares that his Kodokan Judo would now replace the
old jujutsu. The main reason for the change of name was that he would now focus his
Kodokan teaching upon the “way” involving the three aspects Shin Gi Tai for the
betterment of society.
His new school took roots and more students with like-mind attended. Not satisfied of
being one of the many school in the region, he desired to prosper and expand his
philosophy of intelligent use of strength to society’s benefits as the number of students
grew. To realize his dreams, he lobbied and made presentations to the political elite and
to the higher society of Japan. His messages were heard. The influential milieu would in
turn help him secure his political ground against other schools and systems who were also
trying to gain a hold.
As was the practice at the time, his school was often challenged by groups of dojo
yabushi, so-called fighting experts looking to destroy the reputation of other schools
through open challenges. Shihan Jigoro Kano did not seek nor avoided challenges; he
would rely upon the abilities of his pupils and colleagues to rebuff them. Masters
Yamashita, Nagaoka, Hiratsuka, Takamatsu, Fukuda, Totsuka and Isogai were the prime
fighters involved in ensuring supremacy of the Kodokan system. With victories, came
new students and Shihan Jigoro Kano recruited other masters who shared his ideals and
invited them to join his Kodokan.
In 1883, he presented several theses to the Ministry of Education illustrating the

educational merits and values of his new physical education system. He convinced the
Ministry of Education to make use of Kodokan Judo training methods to promote
individual self-discipline and character building in the Japanese Youth society. Shihan
Jigoro Kano provided convincing arguments using students engaged in Kata (pre-
arranged form) demonstrations and free practices or Randori. His Kodokan Judo was
indeed different and considered relatively safe to practice. The physical and social
programs of the Kodokan Judo was appealing and its moral education of practicing what
is good and right could be applied to complex situations in everyday life. It got the
necessary endorsement and his system soon became the replacement to the Bujutsu
curriculum previously taught in public schools.
GOKYO-FIVE- ELEMENTS
In his first school curriculum or training package, Shihan Jigoro Kano made provisions
for the Nage-waza, the Ne-waza and the Atemi-waza. They are the three dimensions of
the combat skills training: throwing, holding and striking. He limited his initial throwing
techniques (Nage) to about 40 standing units. The mat techniques or holding were
originally covered in the Katame-no-kata, or pre-arranged form to develop the
understanding. His Atemi-waza were included into several other Kata training since they
required special care and attention in training exercises in order to avoid major accidents
or injuries.
By limiting the initial curriculum, he intended to guide his students towards a greater
appreciation and mastery of the physical principles and components involved with
specific waza. These essential dimensions were: Kuzushi, placing the opponent into a
broken posture; Tsukuri, the body movement and the placement of one into the right
angle for attack and posture for the throw; Kake, the proper placement or manner to
execute the throw with maximum impulse.
The initial 40 techniques became known as the Gokyo of 1895. The five groups of eight
techniques represented the actions and reactions taking place between two opponents.
The technical skills used by both players would facilitate the transmission of power from
one onto the other.
The first and second groups of techniques demonstrate the use of the various segments
located in the upper body to accomplish the displacement of the opponent.
The third group makes reference to the use of the trunk muscles and central joints best
represented by the hip power or Hara.
The fourth group illustrates the influence of the legs and feet as they are used as lever,
fulcrum or instrument of sweeping.
The fifth group shows how the total body weight can be used to attract and guide the
opponent into a fall or throw. It also reflected the risk taking involved in the use of one’s
balance to affect a throw.
The practice of the Gokyo techniques was generally conducted through randori or free
practices and complemented with kata or form studies. Since its inception, Judo
techniques and styles have been remodeled to meet demanding international expansion.
The mat work became randori style training and linked with the competition scoring
system.
ADAPTATION AND MODIFICATION OF GOKYO

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

THE COMMON REPERTORY OF JUDO WAZA

For those tenacious enough, the process of learning judo must be a committed effort over
several years. One cannot achieve mastery in a few months or through lectures of
technical material alone. It is a process of a lifetime. Sensei Sakujiro Yokoyama wrote in
1908:5 “It is beyond the power of the pen to explain the delicate points of judo and the
mysterious mental action it brings out.”
“Not everybody grasps the full meaning of judo, but there are some who do.”6
Achieving mastery in judo demands intensive and demanding training over an
extended period of time under the guidance of experienced sensei.”
TACHI WAZA OR STANDING TECHNIQUES
Te-waza- 15 techniques of the hands
The following techniques demonstrate how the energy contained in the upper body can
be used against the opponent. The lifting, blocking, pressing, pulling and pushing actions
of the hand and shoulders against the opponent are best seen in:
Ippon-seoi-nage, Seoi-otoshi, Tai-otoshi, Seoi-nage, Kata-guruma, Uki-otoshi, Sumi-

otoshi, Sukui-nage, Obi-otoshi, Morote-gari, Kuchiki-taoshi, Kibisu-gaeshi, Kouchi-
gaeshi, 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
Sakujiro Yokoyama, Judo Kyogi, 1908
6
Jigoro Kano, writings compiled by Naoki Murata, Mind Over Muscle, 2005
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, O-
guruma, 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, Yoko-
wakare, Hane-makikomi, Soto-makikomi, Uchi-mata-makikomi, Daki-wakare, Uchi-
makikomi, Harai-makikomi, O-soto-makikomi, Kani-basami, and Kawazu-gake.
Sensei Katanishi performing Ura-Nage and Tomoe-Nage movements

CHART: SAMPLE TECHNIQUES OF GOKYO 1895

KATAME WAZA OR GRAPPLING TECHNIQUES

These techniques were first contained in the formal Katame-no-kata in 1895 but were
seldom used in principal Shiai or competition until the 1930.s. There has been a
comeback to them in the last 15 years. Because of the current Shiai contest rules, the judo
contest starts with a standing posture. Entering into Ne-waza or ground work is normally
associated with an imperfect throw by either opponent or continuity to a waza.
We generally identify four options to enter into Ne-waza:
1. Following a Tachi-waza attack and pursuing to the ground in the follow-up

action.
2. Inviting the opponent to the ground via a strong defensive posture.
3. Enticing the opponent with dragging and toppling techniques known as Hikomi.
4. Applying a standing Shime or Kansetsu (strangulation or lock) and bring the
opponent down with it.
Neil Ohlenkamp, a senior coach of the United States Judo Association recommends that
judoka should master transitions techniques from standing to ground techniques. We refer
to this latter group as Hikomi or toppling forms. “The focus of osae komi waza is to learn
the basic control and how to maintain a superior position on the ground. Knowing the
final hold is only a small part of the skill needed to get an opponent into a vulnerable
position.”7
Osae-komi-waza- holds or pins
These techniques are used to control the opponent while fighting on the ground. The
judoka tries to maintain a fluid displacement, keeps his center of gravity low, envelopes
the opponent from a superior position and uses leverage and balance to keep him under
control for a given time lapse.
The techniques are: Hon-kesa-gatame, Kuzure-kesa-gatame, Kata-gatame, Kami-shiho-

gatame, Yoko-shiho-gatame, and Tate-shiho-gatame.
Variations of traversing holds- makara- kesa gatame
7
Neil Ohlenkamp, Judo Unleashed, 2006. p 117
Shime-waza- strangulations and chokes
These techniques are intended to force a submission from the opponent. Applied to either
the carotids arteries (strangulation) or the windpipe (choke) with speed and accuracy they
should not last longer than 10 seconds. Carotid strangulations are safer and quicker and
produce less pain to the opponent. If properly applied, they do not represent a severe
danger. A loss of consciousness will occur if a submission is not signaled. Recovery from
strangulations occurs normally within release or during the following 20-30 seconds. A
longer lap’s time in a state of unconsciousness may necessitate the recourse of medical
help. When used in Shiai, the referee will watch for signs of submission (tapping or
unconsciousness). When practicing in the dojo, both opponents should be careful not to
apply the technique beyond early signs of effectiveness. These techniques are:
Nami-juji-jime, Kata-juji-jime, Gyaku-juji-jime, Hadaka-jime, Okuri-eri-jime, Kata-ha-

jime, Kata-te-jime, Ryote-jime, Sode-guruma-jime, Tsukkomi-jime, Sankaku-jime, Do-
jime.
The most important safety rule when applying a shime waza is to release the pressure
after the opponent submits or when he begins to feel the effect. (Discoloration,
difficulty in breathing or numbness)
Standing strangulation being attempted

Kansetsu-waza-locks applied against the joints
Arm locks or arm bars may be applied in a standing posture and when fighting on the
ground. Because one has a better control over the opponent’s movement on the ground,
these techniques are principally used in the mat work to obtain a quick submission from
the opponent. These arm bars or locks are applied principally against the elbow joint. The
technique involves manipulating the opponent elbow joint by twisting, stretching,
separating or bending it beyond its normal range. Kansetsu waza frequently accompanies
a tachi waza (standing) to permit the continuation of the fighting and maintain control
over the opponent when reaching the mat.
Safety precautions: Like the shime waza group, these techniques are learned and
practiced under close supervision and should not form part of the curriculum for children
training. Standing arm locks are normally applied faster and therefore present a higher
risk of injury.
Included in this group are: Ude-garami, Ude-hishigi-juji-gatame, Ude-hishigi-ude-

gatame, Ude-hishigi-hiza-gatame, Ude-hishigi-waki-gatame, Ude-hishigi-hara-gatame,
Ude-hishigi-ashi-gatame, Ude-hishigi-te-gatame, Ude-hishigi-sankaku-gatame, and Ashi-
garami.
“In learning judo, sincerity of min.
Kokoro is indispensable.
Without it only a limited technique remains”
Attributed to sensei K.Mifune
Sample techniques from a group of Katame waza abstracted from a German Chart circa 1950
PART TWO
STATISTICAL ANALYSIS
Background
Various researchers worldwide have kept an accurate account of the techniques that have
proven successful in competition. Over the years, they have gathered many statistical
data. It is interesting to note that there may be a tendency related to the most frequently
used techniques. Sensei Otaki Tadao made a census of the 10,552 contests during the first
part of the Showa (1926-1950-1989) period.8 He found that 83% of contests were won by
a clear Ippon. He confirmed that the ratio of tachi-waza to ne-waza was 7 to 3. The most
popular tachi-waza of the period was: Uchi-mata (16%) followed by O-soto-gari (13%)
and Harai-goshi for 10%. Counter techniques had a 7% rate of usage.
Most recent statistics obtained from past Olympics, World and European championships
revealed the use of less than 20 techniques per event. The Polish study of Sikorski and
Keseck of 1996 was chosen to represent our study base. Their study of 876 judo matches
at the international level identified that there was an evolution and a progression in the
use of standing techniques: of the techniques used, 90% came from the Tachi-waza
group. When applied in singular mode or in combination, they scored full mark or Ippon
62% of the time. Another 10% of the maximum score awarded came from a mixture of
Ne-waza (ground or mat work) or superiority awarded by decision of the officials.
Of the 67 techniques available in the Gokyo Tachi-waza, they further identified that some
techniques proved to be more popular than others. The frequency ratio was as follow:
10% resulted in Seoi-nage combination.
9% attributed to Uchi-mata.
9% performed Tai-otoshi.
Champions performed this winning trio either on their right or left side.
A second group of powerful waza was used very effectively in 3 to 4% of the time.
They are represented by: O-uchi-gari, Ko-uchi-gari, Harai-goshi, Uki-otoshi and O-soto-
gari. Three other techniques re-appeared at a frequency of about 1%, they are: Kata-
guruma variations and counter techniques variations of Te-guruma and Sukui-nage.
Judoka of all ranks and levels have learned the aforementioned techniques from their
early judo lessons. They are studied as part of the first and second grouping of the Gokyo.
Past champions, the like of sensei Kimura, Natsui, Sone, Geesink, Inokuma, Ruska, Sato,
and Yamashita and numerous others had ample time to practice them in various fighting
situations during their long competitive careers. (Some of those champions practiced
daily for more than 10 hours.)
8
Otaki Tadao, Contest and technique, Judo International, 1950
In 2001, a similar research conducted by Stanislow Sterkowicz of the Krakow University

concluded 9 that: of the 283 matches of the Sydney Olympics, 246 were won by the use
of a tachi waza movement while 36 victories were determined as a result of applying a
form of grappling techniques. The most popular techniques of the tournament were:
Uchi- Mata, Seoi- Nage, Ko- Soto- Gake, Sukui- Nage, O- Soto- Gari, Kata- Guruma,
Ura- Nage and Harai- Goshi. The favourite mat technique was the Juji- Gatame.
Again, we can observe that the favourite techniques are not hybrids but form part of the
regular training and preparation undergone by serious judoka. The miracle solution
appears to be: TRAIN, TRAIN HARD AND TRAIN INTELLIGENTLY.
Sensei Isao Okano, the 1960’s champion and former trainer of the Japanese national team
once said: To accomplish a superior brand of judo, it is necessary to master all the
fundamental techniques and to train hard daily.10. No judoka can hope to reach
perfection unless he is thoroughly familiar with the basic movements.
In 1983, Pierre Albertini presented a major paper about the judo learning process. He
pointed out the inadequacy of the classical training methods of conducting static
repetitions and embarking into shiai without intelligent preparation. He stressed the need
to take into account, the reality of fighting situations and suggested to introduce them into
the special randori training used in preparation for major fights. For him, the judoka is no
longer seen as an individual but as a member of a couple engaged in bettering their skills.
He recommended the adoption of new learning processes and the development of mutual
benefit exercises exploring the intelligent use of work done in pairs. Combinations and
follow-up techniques performed at incremental speed were recommended for both ne-
waza and as tachi- waza drills.11
Michel Brousse, a former European and French champion and now a senior national
trainer for France, made several studies on the technical aspects of judo.12 In the noted
reference, he identified a relationship between the effectiveness of throws and the scoring
of Ippon. He confirmed that some judo techniques having a high performance ratio or
used to score Ippon had previously been performed extensively in training sessions
against multiple opponents before the actual contest. He concluded that such situational
training is a very effective way of gaining déjà vu situations and worth pursuing. He also
noted that such devoted training was not equally applied to minor waza who that did not
produce a major score. He recommended the use of different training programs where
emphasis would be placed on: gaining impulse and speed, improved timing, tai-sabaki
and seeking opportunities while on the move.
9
Stanislow Sterkowicz and Wieslow Blach, IJF Research paper 2001.
10
Okano Isao, Le judo vivant, page 9
11
Albertini Pierre, Pour une pratique et une Pédagogie de l’Opposition, Revue judo no 59, 1983
12
Brousse Michel, Judo Performance, A Study of Technical Aspects, STAPS, 1986
The detailed analysis of training regimen is not covered in this manual. Other good books
are available for that purpose. If we reflect upon what sensei Kyuzo Mifune wrote: There
are no limits in the application of judo techniques13. Our task would lengthen both our
time and purpose.
Our concentration will therefore cover the ten techniques identified above and their
combination training as Renraku-waza. (Combination or application in rapid succession,
moving from one to the next in a smooth and unbroken fashion).
Hiza-guruma (knee wheel) performed by sensei Bernard Gauthier
“ At the Kodokan, we study and practice techniques with the purpose of

using mental and physical energy most efficiently in order to achieve one’s goal
no matter what the endeavour, which is the basic principle of judo. So those in
training do not merely imitate the actions of the master or practice without
understanding the reasons behind what they are doing, but rather consider
methods and train in accordance with detailed principles.”14
13
Kyuzo Mifune, Canon of Judo, 1956
14
Jigoro Kano, Mind over Muscle, 2005, p 34
THE APPLICATION CONTEXT

We can normally identify three situational contexts where Tokui-waza can best be used
either in Randori (free practice) and Shiai (contest):
In a Sen or Go situation, the judoka takes the initiative and starts the
attack, breaks the opponent’s posture and applies his technique. The basic
elements in this offensive strategy are: Imposition and control. The judoka
must have the capacity to adapt to changing situations without loosing the
focus. He needs the perseverance to seek and produce action-reaction. He
has to maintain psychological and physical control over the opponent and
take advantage of the various forms of Kuzushi.
In a Go-no-sen situation, the judoka’s own posture is attacked by the

techniques of the opponent; yet, he has the time and the reflex to identify
the weaknesses in the attacks and turns them to his advantage. The judoka
is in an apparent defensive stance. This situation is normally identified as
the counterattack. The basic elements are: The ability to measure and
skilfully use your own weight and body mass to quickly resolve a
dangerous situation or make use of the technical impurities of the
opponent’s techniques.
In a Sen-sen-no-sen situation, the judoka foresees the attack at the very

initial stage of the energy-gathering process undertaken by the opponent.
He anticipates the forthcoming displacement and launches his own
offensive before the other. The major elements are: Keeping a relaxed
posture and open mind: seeking the right moment or opportunity and
retaining the ability to switch from defense to offensive tactics
spontaneously.
The judoka must move about skilfully and keep the right balance. He must
play on the engagement distance between the opponents, lure the opponent
into emptiness by yielding or following and use an explosive force against
the weakest point when required.
Being able to identify the opponent’s intentions needs lots of practice and
experience. The Chinese master Lu Shengli identified the critical aspect of
the training when he said: “the most important thing to understand in your
training is the relationship between dynamic and static states, between
movement and stillness.”15
15
Lu Shengli, Combat techniques, p 69
To be able to feel and observe correctly the opponent, you need to be in a

proper vantage point, have a relaxed mind and be receptive to all kinds of
signals that may be perceived by your eyes, ears, nose and hands (visual
signals, noises, concentrated smell or odour and tactical feeling). These
are your perception, identification and assessment tools. You have to
acquire the sensitivity to feel small movements, assess strength and power,
identify situations when the opponent’s balance is stable or unstable,
determine when and in which direction you can easily gain control over
him. The Japanese call this state of awareness Mizu no Kokoro meaning
the reflective mind like the surface of the water.
¨Secrets are just like your eyebrows, though they are near you,
you can not see them. When you understand a secret, you will find that it
was quite near you or very simple¨16
The proper application of the listed Tokui-waza is no different than the other techniques
left out of this text. They are all constructed around 10 essential elements that we have
described at length in our previous work of 2005 entitled Discovery of Judo.
We are hereafter presenting them in a summary review, because we consider them to be

essential towards the comprehension of the principles of all waza regardless of you
choice.
LEARN THE BASICS,

THEY WILL LEAD YOU TO HIGH LEVEL MASTERY
If you have things of value

You should pass it on to others.
16
Sakujiro Yokohama, Judo Kyogi, 1908
TEN ESSENTIALS ELEMENTS
“We have to seek to understand everything, from the global picture to the minute details
and work our way up from the smallest to the biggest element”.17
The above quote is from a 1640 message by fencing Master Miyamoto Musashi
encouraging his followers to persevere with an open mind. He warned that learning new
techniques for the first time could be difficult. With practices and repetitions, the
techniques will become easier. Hundreds of Sensei that followed this great sword fighter
repeated similar messages and placed the same importance to teaching judo fundamentals
elements as prerequisites to all other form technical training. The 10 essentials elements
of a waza are: Breaking the fall, the standing posture, moving the body about, placing the
opponent in an unbalanced position, turning motion, grasping the costume, making the
entry, applying the technique, keeping contact with the opponent and applying constant
harmony.
First element: Ukemi. Breaking the fall.
Ukemi means to use one’s body to break the fall. It is a method by which pain and
fear can be mastered. Sensei Ichiro Abe mentioned in his recalls of judo souvenirs
that when we witness someone making a break fall, we can determine the level of
his or her expertise.
With good break falls comes good Tai-sabaki. The body becomes supple and
relaxed. To be able to make a good technique and control all its elements, it is
necessary for the judoka to feel the fall, understand the impact with the mat and
visualize its natural trajectory. Having practiced the different ways to break the
fall, he will be able to modify his throwing technique and develop defensive
means to minimize the scoring attributes. It is said that when you can take a throw
without discomfort, you can attack with confidence.
The American coach Neil Ohlenkamp made this observation of Ukemi: “Being
able to fall comfortably and with confidence frees the mind and relaxes the body
so you can attempt more difficult moves.” 18
17
Miyamoto Musashi, Go-Rin-No-Sho, 1983
18
Neil Ohlenkamp, Judo Unleashed, New York, 2006
Second element: Shisei. Standing posture.
There are several stances used in judo. The recommended posture for best judo
practice is the upright natural posture. This is the starting posture for any given
contest. It consists of placing oneself in a natural stance where you are free and
able to move at will without being entangled with the opponent. The posture is the
foundation for every movement once said Sensei Sumiyuki Kotani.
“My body is linked with my centre. My centre is full of energy.

My energy makes one with my intention. My intention is free of everything.”
Extracted from the Munen-Mushin principle meaning: pure and simple.
Since the judo match will begin in a standing posture, it is important to

understand all the possibilities of using body weight and displacement to close in
on the opponent for the eventual throw or to secure a solid defense by lowering
the center of gravity or stepping out of the critical throwing path. When your
posture is bad, you can neither move freely nor take positive action comfortably.
“You should train as much as possible by maintaining a natural stance without

tensing your body, particularly your arms and legs, and remaining very relaxed
so that you can move freely”.19
In the natural posture, the head must be held erect as if suspended. The centre of
your head should be aligned with your centre of gravity. The chest should be
slightly drawn back and kept natural (not inflated). Your back should be straight
and not hunched forward or permitted to sway backward. You hips and waist
areas should be relaxed. The buttock should be tucked in and kept under your
lower back so that it does not protrude. Your legs should be slightly bent at the
knee to that the front of the knee is aligned with your forward toe line. Your feet
should be slightly apart and the whole weight resting comfortably somewhere in
the middle of the foot.
Training slowly teaches you to move slowly.

When applying techniques, you should speed up after you have
grasped the initial understanding.
19
Jigoro Kano, Mind over Muscle 2005, p 139
Third element: Shintai. Moving the body.
With most judo techniques, you are required to maintain your own balance even
when the opponent is trying to tip you over. For most of your techniques, you will
make use of the upper portion of the body yet all techniques will require of you to
use your feet properly. How to keep your balance is important and how to move
about is crucial to your success.
There are two methods in use for advancing or retiring. They are called: Ayumi-
ashi and Tsugi-ashi. (Normal foot advancing or alternating foot and sliding foot
preceding or successive). They form part of the ashi-sabaki of foot work
techniques.
Sensei Yoshimi Osawa reflected on the displacement of the body in the following
expression: “The skillful way of walking is closely related with correct and
manipulatory movement of the body. The correct way of walking is by moving the
feet, waist and upper body in good coordination. For this, it is necessary to keep
the natural standing posture all the time and walk with sliding steps. E.g., walking
by making one foot succeeds the other.” 20
The judoka has two principal weapons: one overt, which is his body, and a covert
one, which is his mind set. Observation tells us that between two opponents, it is
the quicker and more agile of the judoka that has the greater ability to regain
balance faster and easier and it is the most determined that will have the greater
chance of success.
Since the judo match will be won by the use of both weapons, it is necessary to
surprise the opponent and make maximum use of both at the right moment. The
body mass is the most visible, therefore, caution will be needed to use it
intelligently to secure necessary energy sources, to defend and block incoming
attacks, to go on the offensive and elude the opponent, to generate impulse and
add to the strength by way of a kuzushi.
The posture will also determine the way the judoka makes contact with the
opponent. The hands touching the opponent will become the key conductor. They
are the end of the reaching poles or fulcrum permitting the necessary leverage to
be applied. Meanwhile, the employment of the entire body displacement known
as tai-sabaki will be used to secure or keep out of the entanglement and permit the
wise escape from a trap.
Juban-no- ma- ai is the capacity to hold a correct and safe

distance. Your posture will determine your freedom.
20
Yoshimi Osawa, Formal techniques of Kodokan Judo, 1959
Fourth element: Tai sabaki. Turning motion of the body.
The judoka needs to move about and constantly change his position to prepare his
attacks or defend himself. The ability to turn, rotate, twist and place the body at
the right angle and right time will prove essential. During ground work grappling
or pinning maneuvers and while performing tachi-waza, he needs to realize his
whereabouts in relation to his opponent. In performing both the natural and
defensive positions, the judoka will need to practice his moving abilities and fine
tune his spatial orientation.
In the standing posture, he has to become conscious of his ability to use his toes to
reinforce his balance and guide his displacements. The inside and outside of his
feet will require adjustments when he is pushing or pulling. His knees have to be
exercised to absorb shocks and quickly spring up to produce lifting impulses
when required. When moving about on the tatami, the player must be able to
travel the space with suppleness, elasticity and freedom without telegraphing his
intentions. Direct, angular and rotational displacements must give greater
maneuverability and permit securing of the free space needed to launch the attack.
Like a sudden wind, the attack must come as a surprise to the opponent. It may
take any direction to best overcome the opponent or engulf him by a combination
of forces gathered to make the throw.
In moving about or during the execution of the throw, the judoka will try to keep
his balance as long as possible in order to avoid being a target for the opponent.
Forfeiture of balance can only be done in extremis such as when the judoka feels
that the opponent can no longer regain his balance, that he has committed all his
power and has no more reserve tricks and that the judoka’s sudden and total
shifting of weight in the direction of the fall will make the final difference.
When performing ground work, the judoka has to train his body and mind to
locate the pressure points, to estimate the distance between his body and that of
the weakest part of the opponent. He has to create moving space and estimate how
he can profit from that whole to twist and turn around and secure his position or
escape.
Fifth element: Kumi-kata. Grasping the costume.
Sensei SakujiroYokoyama recommended a light Kumi-kata when describing the

Judo Kyohan: When you take hold of a part of the clothes of your opponent, you
should hold him as lightly as possible.21
Gripping methods vary with the style and easiness of each player. As a matter of
principle, there is no strict rule other than holding the costume on the same side
for more than four seconds. The judoka can choose a holding pattern to best suit
his style. At the mudansha levels, the natural hold is recommended because it
facilitates the learning skills.
A natural grip consists in the normal extension of the arms, slightly bent and
placed at the breast level and at the elbow of the opponent. A right or left natural
posture will favor the loose grip and offer a lesser surface for the opponent to
make use as a target area or fulcrum. Similarly, holding on the sleeves ends
produce a different psychological mind set and frequently confuses the opponent.
Another grip set has been recommended by sensei Masahiko Kimura: holding of
the sleeve with five fingers. “in judo,, when one grabs the opponent’s sleeve or
lapel, one uses 4 fingers of each hand with extending thumbs. Whether one pushes
or pulls the opponent, without pressing the thumb hard, one can not grasp firmly
and the speed is reduced. The 4 fingers generate an inner force and the thumb
(Fift finger) creates the opposing force, developing a firmer grip. Therefore, not
using the thumb goes against the principles of dynamics.”22
A study by George Weers of the USA made from videos of the 1996 Olympics
revealed four common types of gripping:
A. Same grip; when both players took either a right or left power hand
position from the start.
B. Opposite grips; when players adopted a right against a left or vice

versa.
C. Sleeve end grips; when the dominant player gripped both the
opponent’s sleeve ends.
D. Gripping without form; the dominant player not revealing his power
hand and not allowing the opponent to secure a power hand until the last
instant.
21
Sakujiro Yokoyama, Judo Kyohan, 1908
22
Masahiko Kimura, Fighting Recollection, EJU bulletin, 2001
George Weers found that gripping without form was the preferred option in 63%
of the more advanced and elite rounds. That loose grip is considered as a natural
element adapted to the attack sequence and integral to the last minute attack. It
was not an action standing alone and persistent during the match strategy. Elite
players seemed to move more about the mat and go about prying and probing
while keeping constantly on the look out for an opening. This tactic is used to
identify weaknesses without committing to a definite approach. It requires a very
high level of both defensive and offensive mobility. Gripping without form means
that the judoka has minimal contact with maximal space thus allowing more
flexibility to enter into offensive or defensive tactics.
Sensei Michel Novovitch demonstrating different kumi kata or gripping style
Standard kumi-kata hold

Sixth element: Kuzushi. Breaking the balance.
This is the most important of all the elements and is the cornerstone of the judo
philosophy. On one side, you have an opponent who tries to remain in balance and in
control while his opposite is trying to make him adopt an unstable posture and make him
loose his balance.
In a standing posture, the human body is said to be in balance when the maximum weight
rests around his trunk area and the latter is held directly above the feet. Total balance also
comprises the mental or spiritual tranquility or balance. A disturbed mind cannot function
properly and will not be in full control of the body actions-reactions.
Judo originates from dynamic mental and physical actions. No throw or lock can be
applied effectively against an opponent who retains his complete state of balance. One of
the most important and first fighting principles of the Kodokan judo is to break the
opponent’s balance while retaining one’s own and use that moment to your advantage.
During a match, players must observe each other‘s movements and determine when it is
the right time to place the attack. That moment will occur when the opponent is most
vulnerable, less powerful or preoccupied and disturbed. This vulnerability can happen by
the sheer noise distraction, the lack of concentration, the fact of moving about, the
incidence of lifting a leg too high, over bending to the side, outstretching the legs too
much or turning the head in the wrong direction. Small actions may produce sufficient
inattention or force the displacement of the centre of gravity to imperil the entire balance
or equilibrium.
If the opponent maintains his composure and keeps his balance most of the time,
other occasions must be found to break his balance by incitation or by making
him lean or place himself into vulnerable positions. The overall process is called
Kuzushi.
The ideal occasion to apply a Tokui-waza is when the opponent is in a self

induced broken posture or subject to be influenced by a pull or push action. Other
circumstances are: when one of his feet is in motion and he is transferring his
weight from side to side. Another favorable moment is when one of his feet is off
the mat and his weight is resting on one leg.
We refer to Happo-no-Kuzushi as the method to initiate and accomplish braking

balance in eight potential directions or axis. Performing Kuzushi by direct action
is to apply a certain amount of force to the opponent’s upper and lower parts in
order to make him move his centre of gravity by forcing him to lean forward or
backward, or have him step sideways.
The applied force can either render him uncomfortable or make him rotate around
his own centre of gravity (around an axis) either horizontally or vertically. Once
his normal posture is broken, the direction of the force must be maintained to
effectively produce the turning or pivoting effect.
In the following diagram, we demonstrate the current axis or direction that can be
taken by the opposing partner when forced to make a rotation. The body rotation
is frequently referred to as angular motion.
For the Kuzushi to be really effective, it is important to apply the pushing or

pulling actions along the natural path and not attempt to twist the opponent’s body
segments against their own joints. The applied forces must be coordinated and
follow the same direction. In theory, for maximum impulse, all parts of Tori’s
body should commence their acceleration and build a momentum or displacement
simultaneously.
In practice, we soon discover that the slower and stronger muscles groups
(normally around the trunk area) are the first to move. They are followed by the
thighs muscles and then the weaker and faster muscles at the extremities are
added as complementary action. All muscle activities being applied should then
end their action when the opponent has attained his zero gravity status. (When the
forces being applied equal the forces of gravity).
Illustration from The Mechanics of Athletics by G Dyson23
When you face the opponent, you can apprehend several potentially axis or
directions to apply the Kuzushi. For purpose of orientation we can says that: the
longitudinal axis (Z) is vertical and both the medial (X) and transverse axes (Y)
are at the horizontal. This axis of orientation can be used to understand the angle
of attack and the potential results to be expected.
23
Dyson Geoffrey, The Mechanics of Athletics, Hodder, Toronto, 1975
When applying a push or pull action with the hands against the upper part of the
opponent, you will in fact displace him along a medial-transversal axis. Should
your pushing, lifting or pulling actions be exercised by your entire body and
applied against several segments of the opponent, you should be able to move him
along several complementary axes.
When the opponent begins to move in the direction of the applied forces, he will
normally follow a single direction. Nevertheless, you may find that some of his
body segments may perform minor rotation on their own around different joints
such as the elbow or knee areas. This phenomenon is natural. The overall force
being applied will remain sufficiently strong to carry and synchronize all the
minor moving segments along its principal direction. If the stronger force is not
sufficient there is likelihood that some of the minor movements will negate each
others.
There are instances where the Judoka can accomplish angular displacement by
himself. Such is the case when he is using the hands, shoulders or buttock as
touching points with the mats instead of using his feet. The technique of Kani-
basami is a good example and so are some varieties of sutemi-waza.
The next diagram attempts to illustrate the precarious conditions of the judoka
moving along an axis and attempting to maintain his balance. When his
displacement is symmetrical, (identified in (a) and (b)), we find that one side of
the axis is a mirror image of the other side and the imaginary line of balance
passes through the center of gravity and comes to rest at the base of his feet.
His body is also in balance when the various weight centers are equally
distributed along this imaginary axis. This is referred to as the normal standing
posture or natural stance.
The posture is broken (Asymmetrical) when we apply a kuzushi. Such is the case
in C. The weight components or masses are distributed unequally. In this case, the
balance line or axis is not centered.
Such a balance line passes through the base but avoid the centre of gravity located
at (X). This kind of posture is quite unstable and will require additional muscle
strength from the opponent or find other external forces to keep it in balance.
In judo contest or when applying a waza, the posture represented in © must be

sought after and managed by the judoka who must follow up the kuzushi with a
tsukuri. On the other hand, if it is Tori who find himself in such a fragile state, he
will need to quickly readjust is alignment with complementary forces and use is
pending fall to launch his final attack.
Movement while airborne
It is to be noted that movements originating in the air have similar pattern in that
they follow distinctive axis and one cannot change the total arc of angular
momentum nor the landing target.
Sometimes, it may appear that it is impossible to turn the whole body in the air
without a fulcrum arm or “point d’appui”. In practice, 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. We see these possibilities more and more
when judoka perform non orthodox techniques such as Makikomi (roll) or
Hikkomi (topple) style waza.
When being thrown, the judoka will follow a definite line of movement in his
trajectory towards the mat. While in the air, and still attached to the opponent by
way of the kumi kata or similar grip it will be possible for him to make rotational
movements about that axis of momentum and those possibilities will last as long
as he is in a state of suspension.
It is to be remembered that one can twist and turn like a cat to avoid falling on the
back or turn some extremities in the opposite direction to slow down the effects or
cause a serious break in the momentum thus avoiding a major score against him. .
It is therefore essential for Tori to properly control the fall of the opponent.
The following picture gives a good indication of both the rotational potential of
Tori and the counter rotation possible by the Uke.
"In action, balance must be retained: yet, to achieve an object, one must risk of
losing it.”24
24
G.Koizumi, 12 Judo Throws, Budokwai, London, 1948
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. We
can observe that the force passes through the hip joint and under the centre
of gravity. All his body segments follow the same trajectory while UKE is
attempting a Dome technique to avoid being caught along the axis of
momentum by rotating his body counter clockwise and adding a smaller
rotation outwardly with his flexed arm. Note that Tori is still in control of
the technique because a point of contact with the ground is maintained.
Seventh element: Tsukuri. Making the entry or fitting in.
One of the difficult elements to master is the Tsukuri, a word derived from the
verb Tsukuru meaning to obtain a position, to follow, to pursue, or make the
entry. This phase of the waza is very critical. Now that Uke is placed off-balance,
you need to turn him on his toes or heels while in a continuous movement, enter
into position to throw while retaining your own balance.
In order to throw a well balanced opponent, the judoka needs to destroy the
equilibrium of the opponent and assume continuous control of the attack. The
judoka must choose his timing and the angle of entry in order to keep Uke in a
state of suspension until the Kake is made. During that quick lapse of time, Tori
will need to get closer to the opponent and make maximum use of the space in
between them.
In this preparatory phase, Tori must make a quick displacement in order to

surprise the opponent and gain his power. Upon taking the initiative, the judoka’s
movements should produce kinetic forces capable of being mustered and applied
to the throwing technique. Tsukuri will be influenced by Uke’s reactions and
displacement and by the facility with which Tori can sustain the Kuzushi. When
moving in a circular motion or in spiral, the judoka becomes the instigator of a
centripetal force giving further propulsion and power to his technique. The
rotation or spinning action can take several forms: circular, angular, zigzag,
horizontal or vertical. The actual turning action of the body is called the Tai
Sabaki and must be addressed either with the Shintai or Tsukuri.
Sensei Kyuzo Mifune emphasized the turning movement. He said: “It is a special
technique that must be learned. It is not a spontaneous move. It is a rotation done while
keeping proper balance. Turning movements are natural thus more basic, yet, the very
basic things are frequently the most important.”25
The rotational moves can be accomplished by jumping around, switching the

weight from leg to leg, advancing or retreating along imaginary circle lines. Tai-
sabaki is made stronger when the entire body is working to create the rotation.
The legs, the hips, the torso and the head should be aligned on the same arc and
move in the same direction. Additional speed and momentum will be gained by
keeping the centre of gravity low and by retracting the arms closer to the centre.
Sensei G. Koizumi said in 1948 that: “It is impossible to over emphasize the
importance of tsukuri, for it is estimated to represent 70% of the throw’s
effectiveness. Tsukuri in a throw is like courting in love, without it, the result will
be a disaster”26
25
26
G. Koizumi, 12 Judo Throws, The Budokwai, London 1948
Eight element: Kake. Applying the selected technique.
In Kake, the mind and the body unite to seize the fleeting opportunity and
deliberately and speedily apply the technique that will secure the victory. It is the
use of the body as the lever or the fulcrum to ensure the opponent is turned around
its axis. It is the moment of no return and of total commitment. Kake can be
performed on several planes: horizontal, vertical, angular, or spiral depending on
the chosen course of action already prepared by the preceding elements. Kake will
give form to the intent. It should be accomplished with speed, determination and
with the intelligent use of force.
For that purpose, we normally identify three elements in the Kake: the control
over the opponent, the approach or positioning and the application of vector
forces in the intended direction or arc. If Kake is carried out badly, the judoka
cannot control the opponent’s body nor for that matter, his own. There must be a
continuum in the direction of the throw both in the horizontal and vertical planes.
The intended technique is stored in memory and executed only at the last minute.
Its careful and secretive preparation will begin with the displacement of the entire
body either in advancing (Tsugi- ashi-tobi- komi) or by withdrawing. (Tsugi- ashi-
hiki- dashi). It will take momentum in the rotational or angular approaches and
will explode in the bending, arching or lifting actions. (Kake is similar to the crest
of the wave; it can only follow the preceding actions).
In the Kake phase, the judoka will have make use of his transference abilities. He
will need to displace all his hidden energy stored in several points of origin or
muscle groups and develop the maximum impulse possible to be applied towards
one contact point on the opponent. You need to make use of explosive movement.
Ninth element: Sesshoku. Keeping the contact to control the fall.
Sesshoku is the action of maintaining contact and control over the opponent’s fall.
We previously discussed the potential of Uke to turn and roll within the trajectory
taken by the fall.
The ancients referred to the state of Zan Shin the maintaining of awareness till the
end of a throw. Sesshoku is considered the end phase of the throw. It is sometime
captured within the definition of Kake. It is a safety net deployed to prevent
serious injury to the opponent and guard against sudden actions by an opponent
refusing to accept the throw and trying at all cost to avoid the fall. The follow-up
action should guide the fall, maintain the rhythm and place the judoka in a state of
readiness for the next action or opportunity with a follow-up waza to the ground.
Tenth element: Ju. Applying flexibility and harmony.
This element is added to summarize the spirit of the waza. Going with the flow is
important. Sensei Mifune would say to enter into the WA by opening the gate and
closing it when the opponent is trapped.
This fighting principle aims for you to take control of the match with a certain
degree of secrecy. An initial attack can ensure the early visible control, yet if you
wait for the opportunity to take advantage of the opponent’s moves and follow up
with your own technique, you are then exercising a better control as the opponent
has committed himself and has no more recourse. This strategy is also called
“using quietness to defend” or “yielding yourself to follow the opponent”.
In randori or shiai events, it is not always possible to gain and maintain total
control all the time. The judoka should seek to control the opponent by
understanding his movements and intentions. Too many players forget this
important dimension. As soon as they feel a bit of resistance or strength from the
opponent, they respond with similar use of strength and rigidity. The end result is
an endless struggle to make the Ippon. While practicing judo, such a habit must be
discarded and make way for a better and intelligent use of strength. Let us round
up the above reflection by extracting three lessons from Randori practices.
“In order to develop the strength to win someday, you must be satisfied with
practicing losing for a time. And even if you are at risk of losing you must take the
offensive. Try various waza and train hard.”27
Randori practices are not meant to gain victories over the opponents but to learn to better
apply techniques and outwit the partner. Shihan Jigoro Kano explained its purpose in the
following remark: “The correct practice of randori is to learn to slip dexterously away
from the opponent, adapt to his strength, cause him to lose his balance while stepping
back and then, take advantage of that opportunity to perform your waza.”28
Teachings found in Randori
1. Saki O Tore. To anticipate and be on the offensive

2. Jukuryo Danko. To act without delay
3. Tomaru Tokoro O Shire. To know when to stop
4. Zenshu WA Zenko Ni Shikazu. Attack is the best defense.
5. Shin Shutsu Ki Botsu. Appear and disappear unexpected.
27
28
Jigoro Kano, Mind Over Muscle, 2005, p 137
TOKUI-WAZA AND SHIAI

Now that we have described the ten basic elements forming a technique, we have to
understand the milieu into which they will be applied. The ultimate venue for the trail is
the competition or Shiai. Sensei Isao Inokuma regarded by many as one of Japan’s
greatest fighters and outstanding coach had this to say regarding the reasons for doing
Shiai:
“Judo is a combative sport. It is a martial art aimed at defeating your opponent.

Other purposes of judo involve developing physical strength and mental spirit.
But when you are against an opponent you must never forget the combative
aspects of the sport. You fight against the opponent, throwing him down on the
mat to achieve victory.
At the same time, you fight against yourself. If you think the opponent is stronger
than you and get the jitters, or if you are in a difficult position and feel that you
must give up, then it will be impossible to win.
You must not give up the bout until the last instant, no matter how strong your
opponent may be. You must have the fighting spirit which will urge you on to
attack and attack again to the very end”.29
The Tokui-waza will become your personal weapon and must be used wisely. It will not
do miracles if the body and the mind are not linked with your technical skills. An alert
mind will make use of the body to draw upon its inner energy and use its best parts to
defend or block, to attack or elude, to generate counter forces, to build on strong points
and to care for the weaknesses. Your technical skills applied through the Tokui-waza will
translate that into a successful match.
At the beginning of the match, and during its process, we repeat the tactics: the judoka
will need to identify the opportunities at hand, find the right angle to get closer to the
opponent and place himself in the right position to launch his technique with speed and
determination. If a bad angle is chosen, and there is little or no dynamics involved, there
will be a greater need to use additional forces in order to gain superiority or throw. If the
Kumi-kata is too rigid or tense, there will be less sensitivity at the wrist level and less
flexibility to adapt the grip to changing postures.
Transform the opponent strength and turn it to your advantage while

returning it with value added energy.
29
Isao Inokuma, Nobuyuki Sato, Best Judo, 1986
When both judoka are in contact, they form a small world of their own with its energy
center. This new sphere is moving about and in it, other spheres are making gravitational
and magnetic influences. The judoka has to keep moving by enlarging or reducing his
strides thus influencing the dynamics to his advantage. He has to generate sufficient
power through constant acceleration. Smooth circular, angular and direct approaches will
require good balance and body movement. The push and pull with the hands has to be
coordinated with the hip displacement and leg movement in order to make the sphere turn
and roll in a desired direction.
In the final stage of his Tokui-waza, the judoka will have produced sufficient energy to
repulse or attract the opponent into a throwing direction and his final touch or contact
will produce the desired impulse to set free the opponent. The techniques of great master
Kyuzo Mifune illustrate such coordination of the entire body.
¨Beauty in judo reside in the execution of a perfect waza, accomplished in

harmony with the energies of the moment¨30
In the next chapter, we will analyse the various Tokui-waza connections as follow:
1. SEOI-NAGE 2. UCHI-MATA
3. TAI-OTOSHI 4. O-UCHI-GARI
5. KO-UCHI-GARI 6. HARAI-GOSHI
7. O-SOTO-GARI 8. KATA-GURUMA
9. UKI-OTOSHI 10.TE-GURUMA
30
THE LEARNING PROCESS

You must find a good teacher and work hard to train both your physical and mental skills.
The learning process for the Tokui-waza is similar to other learning practices. It is made
up of a discovery phase, followed by a maturity period where trials or experiments are
made. From the first attempts, there are corrections and refinements to follow. Improved
grip, angle or timing will be necessary. Adding more body power and speed should be
your focus at every opportunity. When first attempted in shiai, its success rate needs to be
evaluated. The subsequent use of the Tokui-waza will be subjected to further analysis and
more adaptations will be made. The improved technique is then reintroduced into the
training cycle to cleanse it from its impurities.
We can best represent this process by its various steps as follow:
1. Make the first discovery of the technique.

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

concentration.
It should be used only after finding the weakness of

your opponent and then applied to that neuralgic
point.
All your actions should be accomplished naturally

and be united with your intentions, your body and
with the actions of your opponent.
Part Three
SELECTED TOKUI-WAZA
Ippon-Seoi from Judo International 1950 Preliminary phase of Ippon Seoi Nage
First SELECTION. Seoi-nage connections
Shoulder techniques are very impressive and well liked by many young judoka. It is a
group of virile techniques difficult to counter and easy to combine with others. The gist
consist in placing Uke on his toes. Following a forward pull, Tori lowers his body under
the centre of gravity and makes an arc with his body, placing Uke along his back and
pushes with his buttock to effect the throw.
Because of the resemblance between techniques, we have chosen to address the first
group of shoulder and hand techniques as one entity called Ippon Seoi-nage. There are
numerous approaches: with one hand, with both hands, with the leg outside, holding one
lapel only and wrapping oneself up with the opponent. We will explain four waza in this
group: Ippon-seoi nage, Seoi-nage, Seoi-otoshi and Yama-arashi.
Ippon-Seoi nage is normally approached with four styles:
Kata Style:
Parry the blow, grasp inside the opponent right elbow, and break his balance forward.
Make a pivot with the body and turn you back to the opponent, slide your right arm to
fully grasp and enrol his right shoulder, both of your feet will be in the triangular space
with toes facing forward. The bending action of the knees will carry the opponent on the
shoulder and awaits the straightening of the legs as the same time as you bend forward
and pull the opponent straight down in front.
Side twist style:

You go towards the opponent and step in. You force a kuzushi by using the left hand pull
to the right front and encircle the opponent’s right arm under the shoulder. You then
rotate your shoulder and body in an outward twist, the head looking to the side or slightly
down as to ensure that the entire body is committed in the upward twisting action. You
keep strong body contact with your upper back and bend down to the front corner for the
kake.
Kimura-collar style:
You grab the right collar with your left hand over the opponent’s arm or the inner portion
of his biceps. The pull for the kuzushi is done at the collar. With the right hand, you
encircle the opponent arm at half point between the elbow and the shoulder. The body
rotation or twist is the same as in the side twist style. The encirclement of the arm is not
an absolute but preferable component. When the encirclement is not done, the resting
right arm of uke can complement the throw when you start bending down with an action
of lifting the opponent with a brushing action to the rear against his upper portion of the
right leg.
Wrapping arms style

At the beginning of the kuzushi phase, you may keep control of Uke’s left arm by
pushing it in between you and him as crossing your body to reach out under his own
armpit. You make the twisting action to the preferred side as required and proceed to do
the other actions as described above. You may place both legs inside the free space
between you and the opponent, one leg inside and the other out, or one inside and the
second extended either inside or outside.
Seoi-nage contains certain points of interest. These are breaking the balance and using the
reaction of Uke to get into position, make sure you support the weight of Uke with both
your feet and get under his center of gravity. Trap his arm at the armpit level and push
your shoulder against him using a good contact with at least your rear shoulder blade and
make an upward push before bending. Do not forget to spring the knees, place your
centre of gravity on the toes or in the middle of the line of the toes and keep your head
straight up until the kake phase. Sensei Sumiyuki Kotani 10th dan often suggested to
place the shoulder in contact with Uke at the lowest point possible against his stomach.
Hereunder are some of sensei Kimura’s Seoi-nage styles.
Secrets are just like your eyebrows, though they are near you, you can not see them.33
Renraku- waza or combination techniques can easily be applied with Ippon-seoi nage.
This shoulder technique is well suited to embark upon the Renraku combinations on
either side of the opponent. Using the principle technique as the centre of the offensive
building strategy, the judoka can proceed to apply other techniques in rapid succession
and moving from one unto the other as required in the pursuit of the objective.
33
Sensei Yokoyama, Judo Kyohan, 1908
The succession must nevertheless be smooth and harmonious and preferably with no
unbroken sequence.
O-soto-gari Sukui-nage
(Switch direction) Ippon (Go under the arm and reverse)
Seoi
Nage
Ko-uchi-gari O-uchi-gari
(Attack the leg) (Withdraw to the front)
Seoi-otoshi Kata guruma

(Drop fast forward) (Keep turning and enter)
Ippon-Seoi-makikomi Tomoe-nage
(Continue the rolling) (Returning to centre)
Tai-Otoshi
Go-no-sen or countering the Seoi nage can be accomplished by using the following
techniques: Sumi-gaeshi, Ushiro-nage, Ura-nage, Yoko-guruma and Te-guruma. These
techniques can be entered into even when the judoka’s posture is broken by a strong
kuzushi by the attacking opponent. With quick reactions, it is still possible to turn his
technique against him as he will most likely have committed all his power to the
technique at hand and placed himself off-balance in doing so.
With some practice, it is also possible to anticipate his moves by remaining alert and
ready (Zan-Shin) and by adopting a natural posture. Having a soft Kumi-kata and holding
on the judogi with a light grip will permit the reception of signs of tension; stiffening and
flexing of muscles which can then be turned to your advantage in an anticipation move
known as sen-no-sen.
Morote-Seoi-nage is a variation technique to Ippon-seoi-nage. Its essence is to break the

opponent’s balance forward or to his right. From the natural posture and with a regular
Kumi-kata, Tori will twist his right wrist and cross over his right arm under the
opponent’s shoulder ensuring he maintains the same grip on the collar. With the push of
the right arm and the back of his shoulder, he will lift the opponent on his back and throw
him forward or sideways as chosen. There are several variations of the technique but we
generally find three practical styles in use in competition:
Waki-style or inserting the arm under the armpit.

In this style, Tori push the opponent and await a reaction. Tori controls the return with
both his hands placed on the forearm and at the collar of the opponent. Tori’s left hand
pulls the opponents at the height of his chin, permitting to introduce the necessary space
to place his incoming right elbow under the armpit of Uke. The action is followed by a
pivot of Tori’s body and the placing of both of his feet in the triangle of space between
the two opponents. Tori may jump in or pivot into the position. The knees are well bent
so that Tori is now placed under the centre of gravity and in a position for pushing up the
opponent. Then, a coordinated whipping action is introduce by simultaneously stretching
the knees, pushing back and upward with the trunk as the right elbow push upward and is
transferred into a forward drive. The left hand undertakes a similar and circular push that
will bring the opponent to the top of Tori’s shoulder and in the front for his eventual fall.
In this style, it is the right shoulder that performs the role of the fulcrum. The opponent is
not carried undo the back but is rolled around the shoulder.
Note: If Tori simply throws the opponent down and forward without loading him around
his shoulder and that his legs are placed inside the centre and either one or both of his
knees touch the mat, the technique becomes known as Seoi-otoshi.
The outside style

This style is referred to when Tori, using the technique above, steps outside the triangular
space and places one leg on the outside of Uke’s right leg. Tori is approaching the
opponent by placing his right foot in the middle of the space in between the opponents.
The kuzushi is similar to the Waki style, yet, when making the entry or producing his
body movement known as Tai-sabaki, he either pivots in front to offer his back to the
opponent and replace the right leg for the left as the anchor leg or he may jump in the air
to accomplish his rotation of the body and land with feet largely separated. The left leg
bent to the front and the right one bent close to the mat and deep beyond the exterior of
the opponent’s leg. Tori then loads the opponent over his shoulder by continuing his
lower position in front of Uke and places his right leg close to the opponent knee cap.
Tori then rise up simultaneously with the legs, waist and arms. The rotation over the
shoulder then follows its course.
The same side style.

This method of doing Seoi-nage involves grasping the collar of the opponent and the arm
on the same side. There is no cross over of the arm and the elbow is placed directly into
the armpit for a quick entry. The hand that grips the collar is holding the opponent with
all fingers inside and the thumb on the outside. A twist of this upper wrist is necessary to
introduce the elbow under the armpit of the opponent. The body rotation is similar to the
Waki style and the legs are placed in the centre of the triangle. This style is frequently
associated with a quick push at the shoulder and upon the returning action of the
opponent. The twist of the wrist is executed at the same time as the body rotation takes
place. The lowering of the body and the lifting of the opponent is also similar and to the
front.
Renraku-waza or combinations possible with the Seoi-nage as the centre of the strategy
are numerous as was this related technique the Ippon-seoi-nage. In order to maintain
superiority, one must also strive to combine Tachi-waza with Ne-waza by making the
liaison with Ikomi techniques (come down). This kind of liaison is encouraged for all our
selected Tokui-waza. Here under, are a few possibilities using other Tachi-waza:
Morote Seoi Ude-Gatame
Yama-arashi Seoi-nage Sukui-nage
Ko-uchi-gari Waki-otoshi
(Encircling the leg) Tani-otoshi
O-soto-otoshi O-uchi-gari
(Rear reversing and drop) (Returning side)
Hane-goshi Tomoe-nage
(Using the inner leg Uchi-makikomi
Seoi-makikomi Seoi-otoshi
(Completing the roll) (Dropping on the knees)
Kata-guruma Ikomi with liaison to the mat with:

(Sideways by returning inside) Kuzure-keza, Yoko-shiho-
gatame
The best defense against this technique is still Te-guruma, Sumi-gaeshi, Ko-soto-gari,
Uki-waza, Yoko-wakare and Okuri-eri-jime.
Uchi-mata from Judo international, 1950 Uchi-mata in Shiai photo Bob Willingham, IJF
SECOND SELECTION: Uchi-mata connections
Uchi-mata has been considered a dangerous yet a very effective waza in Shiai for many
years. The more it is being used, the more there are counter techniques for it. The judoka
who takes Uchi-mata has a Tokui waza must become an early expert at it and keep on
adding speed to his Tai-sabaki for he will face many opponents who are just waiting for
him to introduce it in the next shiai so they can counter it. We will address the Go-no-sen
in the following paragraphs.
First, its description; Uchi-mata has been part of the Gokyo ever since the beginning of
the Kodokan Institute. There is a reference to a Sumo technique called Kate-nage where
the fighters are hooking the inner thigh of the opponent.
It was practiced in several jujutsu schools and was adopted by Shihan Jigoro Kano.
Sensei Shozo Nakano best described this technique in the following terms: This technique
uses the chest and waist. You do not thrust out with the leg that much. Even if you do not
thrust the leg out, it will naturally enter into position under the opponent when the latter
rises and will assist in throwing him down. His conclusion was that Uchi-mata was very
much akin to a Koshi-waza since it could be executed when the opponent’s legs are
spread out or place close together. In the early 1900, Sensei Shozo was observed
alternating between Uchi-mata and Hane-goshi as his favorite’s shiai techniques.
He always let the opponent take whatever grip and accommodated his tsukuri with it.
When facing a right hand natural posture, he would attack with Hane-goshi, against a left
hand grip; he used Uchi-mata on the right side. Uchi-mata is performed under many
styles. The most current are: the Nage-no-kata style, the inner-thigh form, the deep hip
style and the leg roll form.
Nage-no-kata style
Tori will take the initiative and occupy the inner circle of the closed-in space between
opponents. With three successive steps, he harmoniously closes the circle tighter around
Uke while maintaining a horizontal and circular pull with the hands. On the third step,
when Uke is about to shift his weight, Tori completes the breaking of the balance of Uke
forward ensuring that the latter is on his toes. Tori then make contact with Uke with the
hips and side of the rib cage and start lifting or sweeping the opponent with the extension
of the leg, the raising of the hip and the pull of the hands. When Uke is secure on the rear
upper thigh of Tori, the leg is raised against the inner thigh of Uke and the hands continue
their forward and downward actions.
Uchi-mata is more a pulling action with both hands at the horizon then a pull-push action
of the kuzushi. The pushing up action is done more with the leg sweep.
The inner-thigh style
In this application of Uchi-mata, Tori force the opponent to step sideways then enters
deeply in the free zone with first his left leg and pivoting his body so that the toes of the
resting foot are pointing directly out. He shortens the distance between the two opponents
with the application of his forward kuzushi and uses his approach to gain momentum.
When pivoting, the right leg is making an arc or pendulum from the front to the rear.
When the action of the right leg reaches Uke, he maintains the momentum of the
pendulum directing the rear action in between the inner thigh of Uke forcing the latter to
roll around his right rear thigh.
In this style, it is frequently seen that the judoka will jump in directly under the centre of
gravity and into the inner space before launching his right leg deep inside and under the
opponent. A major rotation of the body similar to the Ashi-guruma can also be performed
in the Tsukuri stage.
The deep-hip style
This application is akin to the Nage-no-kata style with the difference that there are no
horizontal circles made to approach the opponent. Tori use a direct approach. When Uke
adopts a defensive posture, Tori change his natural Kumi-kata to secure a grip at the rear
collar with his right hand. Stepping back, he increases the distance between the
opponents and pulls Uke down to benefit from the incoming reaction by Uke who will
likely try to straighten his body. Taking this opportunity, Tori pivots in the circle and
jumps in the centre with legs bent and ready taking their respective momentum. The left
leg is flexed and will be used to support both their weight. It acts as the support leg and
must be directly under the opponent gravity centre. The right leg is then raised to assist
the strong push-lift effect of the hip and may be placed in the centre of
Uke or extended to the underside of his right leg and guiding Uke over the hip joint.
The leg roll style
This style makes use of the inner thigh application but concentrates on the Tori making
the leg lift near the inner knee of the opponent. Uke is rotated around more by a hook on
the inner leg than by a lifting of the hip. The Tsukuri is produced by the rotation of the
body in a whirling action on his left. Tori is not in contact with the hip area of the
opponent but he is to his left side, closer to the leg. His right leg hooks the left leg of Uke
behind the knee and he then starts to rotate and lift the leg up.
Remarks about Uchi-mata
This technique may easily fall under either the Koshi-waza or the Ashi-waza categories
depending on where is the emphasis or fulcrum. It is most successful when the opponent
is drawn out and placed unfavorably on the tip of his toes. Tori must drive in with speed
and determination. There are almost no return possibilities after the commitment. The
strategy is linked to the old saying: You go for the Ippon and nothing else. In the deep hip
style and in the Nage-no-kata style, the lift of the opponent is accomplished more with
the hip and waist area. The best fulcrum remains under the waist of the opponent and in
between the legs. In the leg roll and inner-thigh styles, the technique is made easier when
the opponent has the legs wide apart. In all cases, the pendulum leg must spring in deep
inside the target area.
Renraku-waza or combination techniques with Uchi-mata are possible with Harai-goshi

or Hane-goshi for the deep hip style and the Tai- otoshi in the leg roll style. The
commitment being so intense, it is likely that the judoka will resort only to Uchi-mata
makikomi.
O-uchi Uchi-mata makikomi

(Used to entice) Uchi- Mata (To complete)
Sumi-gaeshi
(From leg-roll)
Hari-Goshi Hane-Goshi
(From deep hip) (From deep hip)
Tai-otoshi
(From inner-thigh)
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. Tani-otoshi can also be effective when securing the sweeping
leg and falling rearward in the direction of the supporting leg. Because the preparation of
the technique is done further away from the opponent, it is possible to anticipate the
movement in a Sen-no-sen mode and after identifying the inward thrust, simply twist the
hip to the rear to avoid a direct confrontation and thus make the attacker rotate in the
void. Tori can further add to the spinning action by using his hand to grasp the pendulum
leg and lift the opponent in a full circle.
THIRD SELECTION: TAI-OTOSHI connections
Tai-otoshi is a front body drop technique. The gist is to make a pivotal move in front of
the opponent and both thrusting and stretching out a leg in front oh his tibia. It is
considered a hand technique (Te-waza) where rhythm and timing are needed to draw the
adversary forward. The opponent’s balance should be broken so that the bulk of his
weight rest on the front of his toes. There is little contact with the opponent’s body. The
action is more a pull-push or pull-punch with the hands accompanied with a front whip
down action the opponent is somewhat lifted from the ground and thrown over the lower
leg of Tori which is placed in front of the opponent. We know of three styles: The frontal
drive, the side drive and the crossed-arms style.
Frontal drive style
The opponent is retreating from a push given by Tori using his normal Kumi-kata. Tori
uses the come back action to place a high Kuzushi at the eye level with his left hand,
pulling in the direction of an outer circle. The right hand pushes up the opponent at the
collar (pushing close to the opponent ear). The opponent is off balance on his tip toes.
Tori pivot to the front, his feet are pointing in the direction of the throw. He lowers his
waist and sticks his chest out slightly. In a wide open stride position, he then places his
bent leg (his calf) in front of the 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 waist and the legs for the throw around his ankle. The throw can be directed to
the front or toward the front right angle.
Side drive style
The side drive style is frequently accomplished after trying an O-uchi-gari with limited
success or when dodging an Uchi-mata attempted by the opponent. Tori begins with a
less powerful attempt at O-uchi-gari and when Uke is transferring his weight to his right
leg to recuperate his balance, Tori moves his leg outside and in front of the opponent in a
deep bending action that is complemented with an extension of the leg or spring upward
of the leg against the opponent lower front leg. The action of the Kuzushi is similar to the
frontal style. When dodging the Uchi-mata, Tori move in close to the opponent after
having twisted his hip outward. He makes a large step crossing the space and placing
himself lower than his opponent’s centre of gravity and to the outside of the opponent.
Tori’s push and whipping action is more to the side of the opponent.
In the side drive, we may see the occasional same side grip whereby Tori grasp the collar
on the same side as the hand doing the pull. In this case, the push is against the front
deltoid muscles region of the shoulder; otherwise, the technique follows the same pattern.
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. Instead
of grasping the collar with the right hand, Tori seek to grasp the left sleeve of the
opponent near the wrist. He pushes the arm inside and in the free space between both
players. It is possible to place the arm of the opponent over or under his own left hand.
He then pivots to the front, extending his leg as he lower his hips and pushes Uke to
either the front or the front corner. The seizure of the 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. The Kake
phase remains the same as in the side drive style.
Renraku-waza or combinations frequently seen with the Tai-otoshi are Seoi-otoshi, Ko-
uchi-gari, O-uchi-gari, Uchi-mata, Morote-seoi-nage, O-goshi, Ko-soto-gari, Uki-otoshi
and O-soto-gari. One must keep in mind not to place the opponent in a Kuzushi or off
balance posture with the use of the arms only or by pure force. Kuzushi must be
accomplished with the entire body.
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. 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.
FOURTH SELECTION: O-UCHI-GARI

FIFTH SELECTION: KO-UCHI-GARI connections
We have grouped these two waza as they are performed similarly. The former, O-uchi is
performed directly against the inside leg of the opponent and Ko-uchi is accomplished by
crossing over Tori’s leg and attacking the inside of the far away leg of the opponent. Both
techniques have for results the rear fall of the opponent.
It is somewhat difficult to score the perfect Ippon with either of them in their pure form
as the opponent will generally slide down on his rear or back and the officials are unable
to define the nature of the impact with the ground and classify the impact of the fall as a
sufficient amount to score Ippon. Both techniques are efficiently used in combination and
as individual style Makikomi. Both are recognized by their three styles; rear reaping at the
heel, the calf and the back of the knee.
All three can be pursued into a makikomi waza. Tori will tackle Uke with his shoulder
and head tucked in the 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.
O-uchi-gari, direct rear reaping of the heel style
The aim is to reap the leg of the opponent and make him fall to his back. Tori is using a
natural Kumi-kata and gets closer to the opponent. He pushes Uke to the rear and awaits
the reaction as he attempts to regain his composure. When Uke is pushing back, Tori will
assume control and start pulling front and down. Tori place the toes of his foot near the
inside of the opponent’s foot. Tori change his lift by entering into a pushing action with
his right hand on Uke left shoulder. He breaks the balance to the rear and pushes his left
hand against Uke’s body while bringing with him Uke’s elbow closer to the body.
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.
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, leans upon Uke and pulls him down.
The important factors to consider first is to keep control of Uke and prevent him from
lifting the target leg or foot from the mat, then, try to induce Uke to make a large
recuperating step from the initial push and finally, be alert to the timing in the
application.
O-uchi-gari, calf to ankle style
This style involves the general kuzushi and Tsukuri as above. The difference is in the
Kake, where Tori places the reaping leg more to the side of the opponent’s leg having his
ankle touch the inside of Uke’s ankle. Tori pushes the target leg outside to force an over
extended posture. Tori is facing the opponent but the body is slightly at an angle. When
the opponent’s weight is transferred, he then pulls Uke down and reaps the heel with his
calf.
O-uchi-gari, back knee style
The difference is in placing the reaping leg deep inside the leg spread of the opponent and
turning it outside so that Tori’s knee is touching the back of Uke’s knee. The pull down is
accomplished during the push back action when Uke’s weight falls over his heels. 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.
Renraku-waza and combinations are numerous with this technique: Morote-seoi, Ko-
uchi-gari, Tai-otoshi, O-soto-gari, Uchi-mata and Tai-otoshi are most common.
Morote-seoi O-uchi-gari Ko-uchi-gari
Tai-otoshi O-soto-gari
Uchi-mata Hiza- guruma
Tani- otoshi
The go-no-sen techniques regularly applied against this waza are the O-uchi-gaeshi
where the defender sweeps both legs of the attacker from the outside and rear. He can
also raise the attacked leg to avoid the reaping and then proceed with Uki otoshi. Another
form of defense is to twist the body counter clock-wise to the incoming attack or jump
over the leg and enter into a sutemi waza such as Yoko-wakare or Sumi-gaeshi.
Ko-uchi-gari heel style
Tori will reap the inside right heel of the opponent with the sole of his foot and make the
opponent fall on his back. Tori push first and await the return from Uke. While facing the
opponent, Tori make a small step back forcing the opponent to make a long forward step
and pull forward. With the inside of the foot placed against the heel, he starts reaping by
drawing the opponent’s leg toward him to the front. He then transfers his action into a
push down and leans over the opponent to force him into a back sitting posture. Having
his leg removed under his weight, Uke falls to his back.
To be effective, the technique needs timing and Uke must be controlled so that he is
prevented from raising his leg up from the mat. Tori’s little toe is touching the mat as the
push is being applied to the heel.
Ko-uchi-gari, calf style
The technique is similar to the one above, yet Tori is more to the side. He is forcing Uke
to overstretch his legs and attacking the outer leg with his calf. He then withdraws his leg
while making in a circle around Uke’s support leg. Both opponents have their calf
touching during the reaping action. Tori must maintain balance and lower his position to
bring Uke with a downward pull.
Ko-uchi-gari, knee style
Tori is facing the opponent, he attempts a tackle by pushing Uke back with his body by
placing his shoulder and his head to the side of the opponent. The right leg is push deep
inside the opponent standing position and turned outside hooking the knee from the rear.
Tori’s right hand is used to assist by encircling the outside of the target leg and in a
continuous movement, Tori makes a roll to the side, bringing the opponent down with
him. Note that an O-uchi-gari can also be performed on the support leg if needed.
Sensei Toshiro Daigo identified three possibilities to carry out Ko-uchi-gari:

1. At the moment when Uke moves his right foot forward and his foot touches the
mat.
2. When uke is in a defensive posture having his weight resting on his heels
3. When uke moves backward and his right foot is placed in his back.
Renraku waza and go-no-sen techniques are similar to that outlined for the O-uchi.
Do not make abrupt shift in behavior.

Go with the flow and use the combined energy
To counter attack swiftly
SIXTH SELECTION: Harai-goshi connections
Harai-goshi is a technique refined by Shihan Jigoro Kano to prevent opponents from

jumping over or slide away from his favorite Uki-goshi. A very popular technique used
by former great champions such as Rougé of France and Matsushita of Japan in the
1970’s; Van de Walle of Belgium in the 1980’s and Traineau of France in the 1990’s. In
practice we find three styles of Harai-goshi: the kata style, the front entry and the side
entry. In all three cases it is possible to pursue the technique to a point of rolling forward
with the sweep into a makikomi.
Harai-goshi, kata style
As Tori withdraw, he maintains his natural Kumi-kata and pulls Uke with him. In his
second steps rearward, he places his right hand under the opponent’s arm and at the tip of
the shoulder blade. He breaks the balance forward using both his left and right hand to
pull. Tori takes a third step back, in a diagonal. He is followed by Uke. As he gets closer,
Tori make contact with his right hip touching the opponent’s abdomen. Tori places his
right leg forward and high in the air, at waist height if possible and in a sweeping action,
brings down the leg against Uke for a fall.
In the kata form, the Kake of the waza resembles more the one used for Uki-goshi,
whereby it is the hip that does most of the lifting and that the leg sweep only comes to
complement the push back. The Kuzushi is strong from both hands and the hand under
the armpit is constantly pulling Uke to the front. The Tsukuri is made by the action of
Tori getting closer to the opponent, yet not too deep inside as to loose his balance.
Harai-goshi with a front entry
Tori pushes the opponent back and awaits the returning reaction to break Uke’s balance
forward or in the direction of the front corner. With the natural hand grip or Kumi-kata,
Uke is pulled closer. His chest is held against Tori’s back. Tori lowers his body by
bending his knees and placing himself in a balanced position, resting first on his right leg,
then his left. When stabled on his left leg, Tori will use his right hand to pull and lift high
close to the opponent’s ear. His left hand will also pull out and upwardly. Keeping
contact with the chest, Tori start lifting the opponent with the straightening of the body
and sit Uke on his hip. Supporting both weights on his left leg, he slides his right leg to
the front, toes pointing and in a large sweeping action upward, throws the opponent.
In this style, it is not necessary to go deep under the opponent lower body. It is also
possible to make use of your right elbow to lift under the opponent’s armpit or even grasp
at the rear of his belt for more lifting power.
Harai-goshi with a side entry
Tori pushes Uke back and awaits his frontal reaction to begin his pulling upward and
forward actions. Tori introduces a high position for his lifting Kumi-kata hold. He crosses
over his body in front of the opponent by placing his support leg vis-à-vis the outside of
Uke and makes a pivot inwardly like an Ashi-guruma or O-guruma. He wraps the
sweeping leg on the outside of Uke and applies a lifting action with the sweeping leg
when Uke attempts to transfer his weight from one leg to the other.
In this style, the Kuzushi must be kept constant to the front corner. In twisting your body,
place your hip against the navel of the opponent and hold him tight near you. In the
lateral entry, the hands can be used either near the armpit or at the position to do Tsuri-
komi-goshi. Tori can spin inside or outside providing he keeps his balance on the support
leg. It is sometimes important to loose or sacrifice a little of your own balance to better
distribute your weight towards the sweeping leg action for it to perform at maximum
power.
Renraku waza normally observed with the Harai-goshi are: Sasae-tsuri-komi-goshi, Ashi-
guruma, Hane-goshi, O-soto-gari, Ko-uchi-gari, O-uchi-gari, Uchi-mata, and Sukui-nage.
O-soto-otoshi and Harai-makikomi are also associated with this waza.
Sasae-tsuri-komi-ashi Harai-goshi Ashi-guruma
Hane-goshi O-soto-gari
Ko-uchi-gari Sukui-nage
O-soto-otoshi Harai-makikomi
Uchi-mata O-uchi-gari
Ko-soto-gari
Go-no-sen techniques against the Harai are: the Ura-nage, the Te-guruma and Tani-
otoshi. Also very effectives are: Ushiro-goshi, Utsuri-goshi, and Ko-soto-gake.
There are three other forms of counter accomplished with the straightening of the body
and pushing the Hara forward. First, when attacked, straighten the body slightly to the
rear of opponent, apply left leg lift against the back of Uke’s thigh and lift him by pulling
to the rear. The second method is similar, after straightening the body, twist counter clock
wise and push Uke to the side and back to make him fall. The third form is to straighten
the body, disengage the right arm from its Kumi-kata and grasp Uke’s inner thigh with
the hand. Lift his leg above your waist-line and push your Hara forward, arching to the
rear to make him fall. You may make additional assistance for the lift by using your left
leg against his rear thigh at the left and push up the body before exercising the rear pull
action.
SEVENTH SELECTION: O-soto-gari connections
O-soto-gari is a leg movement demanding quick action by the hooking and reaping leg.
It must become a surprise attack and not be used as a technique to linger on fighting the
opponent’s extended legs in order to hook it in the back. You should always know where
you place your feet around the opponent and be able to move lightly around your support
leg before you go for the powerful and deep attack.
The Kuzushi for this technique is important. It is a pushing action to the rear or to the
side depending on the style. The tsukuri must ensure that Uke is immobilized on his heel
or on the side of his foot. Tori pull the Uke hand (right) down and outward while his own
right hand pushes upward and back of the opponent. (Near the neck). The support leg
should be out and to the side of the opponent. The small toes are near the heel of the
opponent’s foot. Your own weight should rest on the big toe of the reaping leg and with a
major lift of the leg beyond Uke, reap the rear of the knee and calf area of the opponent to
make him fall.
There are three styles associated with this technique, the rear approach, the right rear and
the side style.
O-soto-gari, the rear or right approaches style
Tori advance with his left foot. He brings Uke off balance by applying a strong rear
Kuzushi that force the opponent to temporarily place his weight on his heels or slightly
beyond. Tori traverse the line of gravity and to the side of Uke, passes his right leg over
and close to Uke’s body. He extends that leg to point the toes and raises it to about the
belt level. The leg is then pushed to the ground behind the knee or calf of Uke at the same
time that the Kuzushi is being transformed into a push down of the upper part of Uke.
Tori prevent Uke from transferring his weight in order to recuperate his balance. He
completes his sweeping action so that Uke falls to his side or under him.
O-soto-gari side style
Tori steps out to the side of Uke. Tori is enticing Uke to follow. Tori then apply a
Kuzushi by pulling outside with the left hand hard and high while the right hand pushes
Uke under the chin along the ear line. Tori steps side way ensuring his support leg rest
near the leg of Uke and extends his right leg at hip level and around Uke’s leg.
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 leg action of Tori is then similar to the style above. The
technique can also be performed when Uke has his legs wide apart. Tori perform a
Kuzushi to the front corner forcing the opponent to over-extend. Tori then pass his right
leg over and hook the extended leg behind the calf and lift the imprisoned leg to his rear.
There are various Kumi-kata to be used to affect the kuzushi: push under the chin and to
the rear, push the shoulder and neck area to the rear, push the outside shoulder to the back
or encircle the neck before pushing down.
In O-soto-gari, it is important to place Uke in a position of no return. Tori must place

himself very close to the support leg of the opponent and touch and push with the side of
his chest against Uke in the Tsukuri phase. The leg must gain impetus by making a large
reaping arc to make contact with the opposing leg behind the opponent. If the leg trails
too much or just extend, it may become an O-soto-otoshi.
Renraku waza associated with this technique are:
Tai-otoshi O-soto-gari Sasae-tsuri-komi-ashi
O-uchi-gari Uchi-mata
Ippon-seoi-nage Ikomi to ne waza
O-soto-otoshi Soto-makikomi
O-soto-guruma Hane-Goshi
Harai-goshi O-soto-gaeshi
Go-no-sen techniques applied against this waza are: O-soto-gaeshi or an Hikomi-waza

(toppling) rolling your body in the back of Uke and under his legs,
Right side O-soto gari by the great fighter Masahiko Kimura (1917-1993)
Kata guruma from Judo International 1950 (Pierre Roussel)
EIGHT SELECTION: Kata-guruma connections
Kata-guruma is a technique in the form of a wheel over the shoulder. It is done standing,
kneeling and way down under the opponent. The standing style is less performed and a
lower approach is appearing more frequently in international competitions. There are
several styles, namely: the kata or standing style, the frontal drop and the knee drop.
Kata-guruma, kata style
Tori take a natural Kumi-kata and stance and entice Uke to come forward while he is
moving back. Tori make several steps back.
As he proceeds, he increases the forward Kuzushi on the opponent. On the second step,
he lowers his body by bending the knees and grips the outside of right elbow of his
opponent and traces a long forward arc towards his shoulders. (In kata demonstration, the
grip is made to the inside of the elbow). On the third step, he reaches under, places his
head and shoulder deep in the side of the abdomen, near the belt of the opponent and
stretches his leg sideways to have a good support base. He lifts and pushes the opponent
with both the shoulder and the left hand. The support legs are straightened and the
opponent is raised straight up on his shoulder. The latter is then rotated on his shoulders
for a side drop over and in front of his own left leg. The opponent is thrown sideways.
Kata-guruma, front drop style
The Kuzushi and Tsukuri phases of this style are similar to the above. When the opponent
is raised and placed on the shoulder plane, Tori execute a twist of the body by rotating his
left hand in front while is right hand makes a small rotation backward to accompany the
gesture and Uke is thrown over the shoulder and in front. Tori may bend forward to
deposit the opponent down in front and between his legs or stay in an erect posture and
throw over one shoulder and around his head.
Kata-guruma, knee drop style
The Kuzushi and Tsukuri are similar than above. Tori approaches the opponent with his
right knee bent and touching the mat. He then lifts the opponent with his shoulder placed
deep inside the abdomen and straightens his legs. Once Uke is loaded on the shoulder, he
completes the body twist and bends forward or slightly to the side and unloads Uke in
front of his support legs. Another variation of this knee drop consists of staying very low
under the opponent, and placing the left leg on the outside of Uke’s right leg and
extending it like a Yoko-wakare movement. The opponent is projected close to the mat
and Tori can follow up immediately with a Ne-waza technique.
Renraku waza associated with Kata-guruma are: Kata-guruma throwing Uke in the rear,
Kata-guruma starting like a Sukui-nage or Morote-geri and lifting the opponent onto one
shoulder and throwing him directly over one of the shoulders.
Go-no-sen applications involve turning over when in the air and applying a Sutemi-waza
or withdrawing the right leg as the opponent tries to grasp it and leaning unto his back
then throwing the left leg inside and in front of the opponent and twisting the opponent
into a Sutemi-waza.
Uki-otoshi from Judo International 1950
NINTH SELECTION : Uki-otoshi connections
Uki-otoshi is a hand technique that is often used to counter others. It makes use of the
opponent’s displacement to amplify the power of the throw. It is an important waza to
understand the relevant judo principles of Kuzushi, Tsukuri and Kake. It is the first
technique seen in the Nage-no-kata and it is demonstrated with these three phases. The
variations adopted the principles and rendered the technique more competitive. We know
three different styles: kata form, standing with a twist to the side and the elbow grip.
Uki-otoshi, kata style
Tori steps back and draws Uke in his path. He applies his Kuzushi on the right front
corner. He takes a second step back and increase slightly the distance separating him
further from the opponent. Uke follows after Tori as he tries to neutralize the Kuzushi.
A longer third step back is taken by Tori and at the same time, he drops his left knee to
the mat at an angle of 30-45 degree from the opponent’s right foot. While his knee is
resting on the mat, his toes are raised and in control of the balance. He is in an oblique
direction to the opponent. He fills the void created by his displacement by pulling firmly
with his hands to draw them in a descending angle towards his belt. The swift pull in the
downward direction is carrying the opponent to a fall.
Uki-otoshi standing twist style
In the standing style, the same Kuzushi is applied with the normal Kumi-kata. Tori steps
back with a large stride to obtain more distance between himself and the opponent. He
lifts and pulls with the left hand and pulls up with the right hand while grasping the
opponent’s sleeve high near the elbow and raises it to his eyes level.
Tori makes a small pivot to the side, lowers himself by bending the knees and places his
left leg to his rear (The leg is half-bent and at the ready to spring into action). Tori pulls
down the opponent using in a swift arc movement of the hands and throws the opponent
down.
Uki-otoshi with the elbow grip
In this form Tori advances towards the opponent with his right leg and pushes his
abdomen or Hara forward to get closer to the opponent. At the same time, he is lifting
simultaneously Uke with both his right hand and left which are holding their grips on the
opponent elbows.
Tori make a pivot to the side and bring in his left hand close to his chest or belt level
applying a strong pull down. Meanwhile, the right hand is securing its hold over Uke’s
left elbow and using the armpit as an extra zone to push at an angle, he proceeds to push
Uke up in the direction of the opponent’s ear. Note that in this style, Tori is not facing
Uke when throwing but looks to the side in the direction of his pivot.
Renraku waza with Uki-otoshi are possible with Harai and Hane-goshi, Tai-otoshi, O-
soto-otoshi and Hiza-guruma.
Go-no-sen techniques most seen associated with this technique are: Uchi-mata performed
on the leg when avoiding the standing style,
As Chief instructor of the London Budokwai in 1948, sensei G.Koizumi made a remark
concerning winning. He said: “In action, your balance must be retained, yet, to achieve
the objective, one must risk of loosing it.”
“When equilibrium is lost, all actions are restricted.

Forceful action is only possible when the body is stable.”
TENTH SELECTION : Te-guruma connections
We address the Te-guruma connections as our final group of Tokui-waza for they are
techniques used extensively as counter techniques in Shiai. Te-guruma per se is not
identified in the nomenclature of the standard Gokyo. Reference to it came about from its
use in international matches by Eastern countries judoka who favored low entries and leg
grip. They have been branded as Georgian pick-up. Many senior European sensei
recognize this technique as an individual waza. At the Kodokan Institute, it is studied as a
variation of similar techniques: Utsuri-Goshi, Ushiro-Goshi and Tani or Uki-Otoshi.
The technique consists of lifting the opponent straight up by placing one hand in between
the legs of the opponent and raising Uke with both Hara and the hand lift combinations.
Te-guruma is one of the few techniques that can be adapted to the Sen-sen-no-sen or
movement by anticipation. It is started as soon as Tori perceive the energy being
mustered by the opponent and he anticipates the coming contact of the opponent. He
activates the combined lift as soon as the contact is made and turns the opponent upside
down after reaching shoulder height.
In his 2005 treatise on judo techniques, Sensei Toshiro Daigo of the Kodokan Institute
refers to this technique as variations of the makikomi style or as modifications to the
Tani-otoshi. We will describe two styles: the rear offensive and the defensive forms.
Te-guruma, rear offensive style.
Tori first attempt an Ippon-Seoi Nage or Uki-otoshi technique. He sides-steps and

follows with a roll to the side of the opponent. First, lowering himself, he seizes Uke’s
right knee at the rear with his left hand and holds on to the opponent’s right arm. He gets
very close to the opponent and places his Hara to the rear of Uke’s lower parts. He traps
the opponent’s right arm in his armpit and proceeds to throw himself to the rear, thereby
lifting Uke with his Hara and hand lifting the leg.
Te-guruma, defensive style.
Tori grip the opponent’s lower left sleeve by crossing over his left hand. He pulls Uke’s
arm towards his belt and centre of his abdomen. He lowers himself, places his right hand
over Uke’s arm and deep down under the back of the opponent’s leg. Tori make contact
with Uke’s chest with his head and shoulder. With a swift lifting action from the right
hand, he lowers his body and while crouching down, lifts the middle section of Uke and
throws himself backward.
If Tori is unable to place his right hand deep under the opponent’s leg, he may use a grip
by the belt while still ensuring that one of his legs is placed deep under the opponent
stance. Both styles can be accomplished without crouching down. Tori can seize the
opponent in the middle section with his hand facing inward or outward and still
remaining standing.
There are no standard Renraku waza associated with this technique except to say that
while the opponent is being lifted, he can be transferred to a changing hip. Tori can try to
sweep the leg lift by either attempting an attack to the front or to the rear or rolling
forward into a returning technique such as an Ura-nage style. To prevent it, in Go-no-sen
format, one can always resort to a leg hook to stop the lifting.
TOKUI WAZA TRAINING RECOMMENDATIONS

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

In your training sessions, try to keep the dynamism going. All your lesson time should be
well spent towards your goal. Some dojos have signs posted that say:
No parking here / No loitering.
These are physical and mental indications that the sensei mean business weather he
conducts a 60 minutes lesson or a three hours intense training period.
After a good warm-up to raise your body temperature, follow up with several muscle
stretching exercises before practicing various forms of Ukemi to tone up your spatial
orientation and your flexibility. Your Ukemi should pave the way to eliminate the
hesitation to do Makikomi or rolling techniques and follow-up into Ne-waza. Once used
to the dojo ambiance and the working surface, proceed with other judo specific exercises
along a progressive training rhythm that will make you work faster and with more
precision.
Having completed the above, you should attempt entries without opposition, while
moving freely about the mat. Try to find opportunities and practice your Tai-sabaki on
the right and left sides and develop entries with several loose forms of Kumi-kata. Try to
work with and against regular and irregular grips. Attempt your techniques from all
directions. Adjust your technique to profit from the different opponent’s grips or kumi-
kata and postures (high-low-sideways). Then, ask your opponents to defend themselves
by doing Dome and side steps or blocking in certain ways and develop a cognizance of
these moves and a feeling for them.
“It is generally agreed that if you do not have a good foundation,

your application skills will never reach a high level of mastery”34
You are now ready to embark upon light Randori where you can practice taking turn
dominating and controlling the free space. Work on your distance and timing. You need
to know the safe distance from where you can best observe the opponent and not feel
threatened by him. You can then estimate what is the best distance for you to take in
order to deliver your Tokui waza. Ask the opponent to limit his counters or employ
different angles of displacement. Do not disregard the possibilities of both of you doing
Hikomi techniques, pull down and toppling movements and Kaeshi-waza or counters.
Follow up to the mat work when you can for you should never assume that you have
scored the IPPON and seize the opportunities to enter, control and escape from holds as
much as you can.
34
Lu Shengly, Combat Techniques, 2006, p 357
When performing light Randori, do not disregard the use of Ashi-waza as complementary
and transition techniques, they are excellent tools to improve your balance and speed.
Likewise, do not limit yourself to one major Tokui-waza; consider adopting several and
linking them with other minor techniques that could pull you out of tight situations These
connecting and combinations known as Renzoku and Renraku-waza are indispensable in
Randori and Shiai.
These are good opportunities for you to assess the opponent’s capabilities and test your
technical skills against them. Each opponent has a unique set of skills and abilities and
you should try to identify their habits, their body conditioning levels, their preferences for
certain waza or displacement and not last, identify their personalities. You can test them
by luring them into your trap or by observing their reaction to your attacks.
“It is said that if you know both yourself and your opponent well, you will
never be in danger.”35
Sun Tzu is reported to have said that to subdue an enemy without fighting is the greatest
of skills. Try to cultivate an atmosphere of mastery around you.
Precision training drills can also be worked upon by performing Uchikomi in all four
directions and with deep Kuzushi. Repetitions alone are not guarantees for success. You
should attempt to perform your repetitions without telegraphing your intentions. Note that
your initiative is foreseen when the opponent see you or hear you count aloud your entry
steps, when you are disengaging one of your arms before attacking, cocking you rear leg
to get an impulse, make mimics such as head turning and breathing differently. Even
raising your eyebrows can give you away.
You should try to perform 10 to 15 repetitions within a given time limit then switch
opponent. Repeat the process with at least 5 different opponents.
The next training mode is the more dynamic forms of entry. It is called: Nage-Komi and
Kakari-geiko or free training exercises with some pre-arranged rules. The first has no
time limit. In the latter, you should be able to perform against a number of opponents
within a set time limit.
Do not loose patience, do your best now, try again and again. Make corrections often,
improve your style by small increments and try to learn more from each repetition. End
the session with a light or moderate Randori followed by warm down exercises and a
period of mondo (Reflexion and meditation with the sensei).
Donn F Draeger, the American trainer and researcher made the following remark
pertaining to randori practice: “A few minutes of serious Randori is worth more than an
hour of puttering about the mat”.36
35
Lu Shengly, Combat Techniques, 2006, p 361
36
Donn F Draeger, Judo Training Methods, Charles Tuttle, Tokyo, 1962
When training to improve your Tokui-waza be aware that boredom is just around the
corner. Throughout your training periods you should pay attention to details for when we
think that we have mastered a technique, we frequently close our eyes and heart and will
soon loose interest in taking risks and learning anew. Be patient and determined. With
every frustration and disappointment you must renew your commitment to do it once
more. Do not try to control everything, try to behave effortlessly, go with the flow. Watch
for fatigue and stress signs and adjust the intensity and length of your training session
accordingly.
If all seems to fail, return to the Kata training and try to absorb the fundamentals (kihon).
Take time to engage into a frank discussion with your sensei or trainer about your state of
preparedness and your results. Redefine your goals.
Shihan Jigoro Kano was frequently reminding his students to master one self before
attempting to overcome the opponent. He is quoted as having said: “Know when to
commit and when to let go”.37
When sensei Ichiro Abe wrote about his early judo training memories38, when referring to
his Tokui-waza as being Tsuri-komi-goshi, O-soto-gari, Ippon-seoi-nage and Ko-uchi-
gari, he cautioned on their application in Randori and of their strategic use during Shiai.
”The Shiai mindset is clouded and preoccupied with winning and the fear of loosing” he
said and the judoka must be able to cope with such a stress. “Improvements in techniques
can only come from the hard and frequent practices followed with period of reflection
and analysis. Once the performance status has been re-established, the training has to
begin anew and with much vigor.” 39
REMEMBER THAT THERE ARE NO BAD TECHNIQUE

IF THE PRINCIPLES ARE RESPECTED
We finish this chapter with a reflection by M. Calmet a researcher of the University of

Picardy who in 2002 declared: “Faut-il enseigner le judo ou le savoir de combattre?”40
Meaning: should we teach Judo (philosophy) or combat methods? This is one of the
many challenges we now face. Ancient masters used to say:” if one has been your master
even for only one day, you should treat him like your father for the rest of your life.”41
The final words are left to Shihan Jigoro Kano who devoted his lifetime to education and
judo. “Superior teachings are passed down from teacher to student fostering many other
people and in this way, improving the world”. 42
37
J. Kano, Writings compiled by Naoki Murata, Mind Over Muscle, 2006
38
I. Abe, Souvenirs de judo, 1953
39
I. Abe, Souvenirs de judo, 1953
40
M.Calmet, Thèse de nouveau Régime, U of Picardie, Amiens, 2002
41
Lu Shengli, Combat Techniques, 2006,
42
Part Four
AUTO-EVALUATION
One of the great judo competitors Yasushiro Yamashita referred to the discovery of one
self as follow: “If you have evident disadvantages, you should not give up. If you are
much superior to your opponent, you should not be off your guard.”43
We have identified the various Tokui-waza in the previous pages. To help improve on
their performance, and assist the judoka with his personalization of the techniques, we
will now discuss some auto-evaluations processes and certain bio-mechanical factors that
need to be considered during the analysis and the reshaping phases.
Not only is it important to feel good in the performance of a Tokui-waza, the judoka must
be capable of maintaining the attitude of a learner after its use and be prepare to receive
criticisms from his trainers and teachers. What can be improved? How can IT get better?
What can be changed or consolidated. To that effect, photos, video clips and notes taken
during the performance should be attentively reviewed and compared with previous
performances and styles.
Self-questioning
No one is a better judge of the actions done but the performer. Others may be able to see
with a different perspective and point of view but can not feel and internalize the true
dimensions. Their observations will nevertheless be very helpful. To augment his
sensitivity and comprehension of what he accomplished, the judoka can embark upon an
introspective analysis.
In a quiet moment, he can mentally review his accomplishment and go over a list of
questions that will guide him in his reflection. Hereafter is a sample of such a list.
43
Yamashita Yasushiro, The Fighting Spirit of Judo, Ippon Press, London 1999
Questions that may lead to some improvements in your performance:
Was I well prepared for this contest?

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

Chemical imbalance produced by stress or other substances
Strong emotions such as fear, anger, sympathy or greed
Psychological concerns about doubts and mental symbols
Socially imposed restrictions such as taboos or religious archetypes
“Goad your foe into attacking before he is ready and you will always gain the advantage
over him” attributed to the samurai Kojiro Okinaga
ABOUT BIOMECHANICAL DIMENSIONS
In the heat of battle, there is no time to identify all the sequences and point out what
works for you and what has remained at rest. The high intensity workout and the bursts of
energy provided were the results of your preparation.
This section is intended to provide a review of what might have taken place. For your
tokui waza to be effective, we already identified the ten basic elements. Here, we try to
analyze what parts of the body should have participated in an effective, sudden and
vigorous waza and in what order if any.
We turn out attention to body joints and their relationships with the various muscles
groups acting upon them. Seven large body joints are of particular interest: the head, the
shoulder, the elbow and the hand play a vital part in the direction and amount of energy
deployed. The hip, knee and foot joints are important for the displacement and
equilibrium. Both groups work in unison, the former detect and send the action-message
down the spine and the latter respond by producing the energy to act swiftly. Our whole
body seems to work as a team to produce the necessary power or force needed to both
displace the opponent and ensure we enter in the right space for the defensive or
offensive actions.
The head must stay upright to gain the vantage point and facilitate the transmission of
action-messages. Sensory faculties and contact points on the opponent will identify the
distance; assess the amount of power and the direction of the opponent’s movement.
Decisions will need to be rendered as to the safe distance and the attacking angle.
The primary movers constituted by the shoulder, elbow and hand will need to be
activated to be able to turn the opponent about a given axis. A degree of force will be
judge satisfactory to be applied at the chosen distance from the opponent. The greater the
distance from its centre, the greater will be the corresponding rotational effect. The hip,
knee and foot joints with provide the necessary rapprochement or distancing adjustments
to effect the Kuzushi. More efficient results are to be expected when several large
muscles groups are excited and combined with each others to share the workload as they
apply their respective torque to the joints.
When seeking technical mastery, experience also tells us that we are less satisfied with
our performance of a waza when the principal muscles groups have been isolated or that
they acted independently in a restricted area or when we used the wrong muscle groups to
do the chores. A waza not providing the total level of satisfaction may still score the
Ippon but will be less powerful.
It is to be understood that maximum power is associated with large muscles groups acting
concomitantly in the same direction. To that purpose, legs, trunk, arms, neck and head
muscles must be aligned and used in the same power curve, arc or direction. Both the
arms will need to form a unified curve around Uke’s body like a truck driver holding on
to his drive-wheel and making a sharp turn. Such an alignment has a major impact on the
efficiency of the Kuzushi, Tsukuri and Kake. When cumulative power is transported
along the same axis, it becomes exponential and very powerful.
To make use of an independent force produced only by the arms or the isolated power of
the legs thrust brings about too many interruptions or breaks in the angle of the throw and
will tend to reach out for help from additional forces. When the level of sufficient force is
being surpassed, there is a waste of power and energy. This condition is not following the
judo principle of intelligent use of force.
While doing the Kuzushi, the complementary push-pull actions accomplished at the
horizontal level may be transformed into a lift and press actions when the forces are used
along the vertical plane. The activities of the wrists, elbows and shoulder joints are to be
supported by the actions of the hips, the trunk and the legs. The judoka must enter the
free space between the opponents and place oneself at the right distance to make his
waza. One can not properly enter under the opponent’s centre of gravity with the use of
the arms alone. The foot, knee and hip joints will play their respective roles at various
contact points and fulcrum around the opponent’s body in order to throw correctly.
During the Tsukuri and Kake stages, Tori will need to maintain the continuum of his
actions by performing quick movements of the legs who will push his trunk up and
forward. When advancing he should lower his body and when retracting, raising it. This
wave-like action will provide the impetus to make a strong contact with the 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. In fact, the Kake
should resemble a powerful bowling ball reaching and hitting the 5 or 10 pins target in a
bowling alley.
In its final stage, the Kake needs to explode from its base and reach its target along a well
defined trajectory. A sudden change in direction may result in the creation of different
and unexpected counter forces which may result in injuries to either judoka.
There must be total commitment into a Tokui-waza, and one must even risk the point of
no return in order to achieve the objective.
Reliance on speed and accuracy will be of prime importance considering that when on the
move, the judoka will have less weight on the ground yet he will benefit from a greater
force of impact. There is danger here of not being able to adequately react to a lateral
force being applied by the opponent as a counter measure, yet, the surprise, the speed and
accuracy should alleviate this imminent danger.
A judoka may gain from observing how speed and power are increased by the actions of
the javelin thrower trusting or crossing his legs in front of the other while on the move.
One can surmise that the weight of the crossing leg gives greater impetus to the rest of
the body as it is stretched in the direction of the throw.
Should the opponent be on the attack mode first, Tori will have to counter attack. He
needs speed and acceleration to move his body out and about. Only a faster speed can
overcome the incoming attack. Having anticipated the direction of the incoming attack,
he will need to estimate the opponent’s speed and at the last minute will sidestep. This
sudden change in the location of the target will unbalance the opponent and offer an
opportunity for Tori to turn the challenge into an opportunity.
Tori can also absorb the opponent’s energy by relaxing the maximum of his muscles
groups and enveloping the incoming energy. When adding his own power to the
incoming force it will be possible to throw the opponent in the same incoming direction.
If unable to overtake the incoming speed of the opponent, Tori may consider making a
reverse movement when the contact is actually made. He may initiate a pull away
movement to release parts or the whole of his body from the line of attack. This inverse
rotation is sometime called DOME. It is the initiation of another movement in the
direction away from the opponent thus reducing the power of the impact of the attacking
force.
Another alternative counter is to take an extreme defensive position by lowering his

knees and trunk thus producing a major shift in the location of the centre of gravity and
rendering the execution of a lift more difficult. From this low posture, the judoka may
entertain getting into a Hikomi, an unorthodox and toppling technique.
When engaging the opponent, the judoka must be familiar with the characteristics of his
natural weapons that are his muscles groups and joints. More leg work is encouraged
since the normal leg muscle groups have about three times the power of the arms to
accomplish extension and flexion functions. When activated, they will transfer the
necessary kinetic energy to the trunk area where abdominal muscles and tendons are
more numerous per square inch and then, together, will ignite other parts of the body.
This accrued energy and power will facilitate all forms of displacements activities such as
pushing, advancing, turning, tucking in, twisting, rolling and bending, rotating, lifting or
blocking.
The power of centrifugal and centripetal forces should not be ignored. When judoka
perform rotating and spinning actions, these two forces will come into play. At times,
Tori may result into crouching postures or curling attitude to gather some energies. By
adopting a ball shape figure, he is developing circular energies around or over witch he
can make the opponent move. By accelerating the rotation of oneself, Tori will produce
centripetal forces by being the center of an interior sphere and using the outward and
fleeting effects of the centrifugal forces can then displace the opponent with greater ease.
CONCLUSION
We have discussed many aspects pertaining to the tokui waza and the training systems.
These notes should encourage you to persevere in your quest towards a better judo.
Obtaining some degree of expertise in these tokui waza does not necessarily mean that
you are ready to win all your contests. There are still many other things to learn from
your sensei and practice.
Should you decide to follow the competition route, you will need to work on your mental
and psychological preparations. Fear, nervousness and unknown factors associated with
the opponents and the shiai-jo (contest area) will require your attention. You will need to
use all psychological factors to your advantage and not lose your patience or focus.
If you want to become a good fighter, you will need to adhere to the principles of judo.
You will need to enter and fight hard in contests of all kinds and gain the necessary
experience. It is the only way to make substantial progress. Whatever tokui waza you will
attempt, keep in mind that you should follow the principles correctly. By practicing
frequently and trying to do your best all the time, you will achieve your goals.
Shihan Jigoro Kano once said: “I hope that students of judo will master their own waza
and enjoy watching the waza of others. I hope they will come to appreciate the beauty in
their own movements and come to appreciate the graceful and dynamic movements of
others.”44
44
Kano Jigoro, Naoki Murata, Writings from the founder, Mind over Muscle, Tokyo 2005, p-109
Annex “A”
UNDERSTANDING THE CONTEXT
As humans, our principal physical activities are about walking, jumping, lifting and
throwing; striking, bending, curling up, stretching and resting. Judo training also involves
similar activities like walking, jumping, twisting, pivoting, rolling forward and backward.
When we become familiar with our surroundings, we have a tendency to rely on
automatic reflexes to guide us through desired activities. In unfamiliar milieu, we need to
discover, learn and adapt to new circumstances. Hereunder are a few topics dealing with
biomechanics that we should try to understand and apply to our judo techniques.
Inertia:
The body is at rest and will stay at rest unless influence by another force. Three laws
were defined by the scientist Newton: First, the body continues in its state of rest, or of
uniform motion in a straight line, except in so far as it may be compelled to do otherwise
by an exterior force that will change that state.
At rest, there is no judo match. To get an object to move, one must overcome inertia. It is
more difficult to start making an object move than it is to keep it in motion. In judo
matches, one of the opponents has to be on the move, preferably both. Judo contests
begin with a dynamic step taken by either judoka. The initial force is the product of the
muscular actions or tension of the fibers and the up-thrust power from the ground that is
antagonistic to gravity. When performing the normal walk, the inertia of the body is
being changed constantly. It is the horizontal power driven by the propulsive forces of
legs that makes us walk.
During judo matches, moving about or walking is a key function. During that activity,
our body goes into series of translation actions where its centre of gravity is displaced by
a rotary motion occurring in the lower and upper extremities. This bobbling or bouncing
effect is more or less influenced by our weight distribution, the friction against the
ground and the interactions between our various muscle groups.
We call Ayumi-ashi the normal way of walking. In such circumstances, the forces being
applied (impulses) to the body are not uniformed in time or space. (One leg is moved
after the other and with different strides depending on the incline or speed). The centre of
gravity is experiencing short periods of fluctuations producing an imbalance that is
quickly recovered by our speeding up or slowing down steps.
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.
On the use of force:
There are several ways to deal with a force. You can address it head on by confronting it.
You can direct it towards a specific target or use a superior and faster force against it.
In Judo we tend to redirect the forces and harmonize with them. We can merge with a
force by following along its directional axis. We can displace it by focusing an action at
its points of origin or its impact area. We can avoid it or evade it by stepping out or we
can diffuse it when we absorb it with a complementary technique.
When considering the use of a direct technique or a counter, the judoka will need to pay
attention to his choice and method of entry keeping in mind that the kake phase must
comes as a surprise to the opponent. Adjustments to: his distance from Uke, the angle of
entry, the speed and timing of his attack are all needed to avoid early detection.
We can not avoid the use of force in judo. It used against and by the judoka. The key
element is to use it intelligently.
By definition, force is produced when an object is influenced by another. (Gravitational

or magnetic attraction, push-pull actions). We all produce force when a number of
muscles enter into contraction or extension which results in tension being produced at
joints and leverage takes place. We refer to this influence as “torque”. It is to be noted
that muscles by themselves have no capacity to push and they do not offer resistance to
compression. They come “alive” when ignited by a neuron-stimulus that makes them
vibrate and act upon the joint.
Judoka will also come alive when he identifies the proper technique to be applied at the
right angle, feels the exact opportunity to induce the kuzushi, moves from location A to B
without detection and is able to rebound, turn or apply a technique in a Sen- Sen or Sen
No- Sen patterns.
“Skillful judo movement needs the intelligent use of muscle groups”

Direction of force:
Observation tells us that to be the most effective, the performance of a linear technique
requires more speed over a given distance. Its power and effectiveness come from the
product of the body mass, velocity, displacement speed and impact.
When separated from Uke at too great a distance, all movements can be detected, avoided
or negated. Tai Sabaki or body movement and Kuzushi will require adjustments since
they can both be affected by speed and distance. Selecting the right angle is important to
be able to strike at the opponent’s weaknesses. It is used to cover the approaches (tsukuri)
and coordinate the direction or flow of the attack.
Mechanically, we refer to force vectors as the directions taken by various quantities of

forces traveling in the same direction and which can be added to each other to perform a
given task. Sometimes, we face a couple of forces developing into a system whereby the
two forces are of equal strength yet coming into opposite direction, When such forces are
applied against the axis, the object will not be moved as they normally annul each other .
(This is the 3rd law of Newton) but the object can be turn upon its medial axis.
We can observe such phenomena in the O-soto-gari when one force is produce towards
the back with the arms and upper chest while the other force is exerted with the leg action
is in a forward direction. Likewise, in a sutemi waza, we could have a force made up of
10 units by the leaning forward of the opponent to which a force of 5 units produced by
the falling Tori will be traveling in the same direction, the united force vector will be then
be of 15 units. This simple explanation was frequently used by Shihan Jigoro Kano to
illustrate the JU principle or Yielding.
In practice, the judoka should be able to use as much as possible of the opponent’s forces
and add his own to it. Likewise, he needs to coordinate his personal inputs so that they
amplify each other while keeping the same direction.
Work and volume of work
Work and volume relate to the ability to move things or objects with a certain amount of
force over a given distance. This is what judo is all about. When applying kuzushi, the
judoka displaces the Uke within the free zone or outside the support base. We need not
measure it in horse-power over inches. The quick push or pull is a demonstration on the
use of force required to make the initial displacement. We talk of making powerful
Kuzushi when it is done within a fraction of a second or during a flash moment.
If a continuous push is made against Uke and he is forced to withdraw, that work load
could also be measured in horse power and distance covered. Both the push-pull actions
can be viewed from a mechanical perspective. It is immaterial whether that push or pull is
a result of a succession of forces used independently or simultaneously as a group.
The end result is the same e.g. the displacement of Uke is being done. Forces emanating
from the arms and upper body can be sufficient to produce the work and many judoka
tend to use this upper strength for the making of kuzushi as the arms and shoulder
muscles are speedily place in motion. However, we must consider that in humans, the
strongest parts of the body are located in the middle and lower extremities. They are the
heaviest and the slowest. Yet, they are the more powerful.
Considerations should therefore be given to use the lower body displacement to produce
the Kuzushi. For many of the judoka, it will be a question of adjusting to using different
muscles groups to perform the required task
The translation force
When the whole body is on the move it is the product of a translation force acting upon it.
Such force is the result of the work produces by the thrusting action of the foot and leg
against the ground. It is to be observed that more effort is needed as we step out of a
position of rest. Once the body overcomes the inertia, a lesser amount of work will be
required to keep it on a steady pace. This continuous displacement ability should be
practiced by the judoka during a match.
Should the judoka wish to gain speed and accelerate, additional force will be required to
respond to the new demand. The greater the power of the leg drive the greater the motion
to be imparted to the trunk and the greater speed is to be attained.
It is to be remembered that the propulsive action of the legs is either following an oblique
or straight up line. That path is somewhat countered by a normal vertical force pulling
him down towards the ground. Since the propulsion force of the leg muscles is greater
than the opposing force, he shall enter into a forward movement. When moving, the
lower extremities will gain momentum and transfer their power to the upper body
producing the necessary kinetic energy (transfer from one group of muscles to another) to
be applied against the opponent for greater impact.
To take maximum advantage of the legs actions, the judoka should try to eliminate the
unnecessary natural obstacles such as cold muscles and tight tendons by having a good
warm up of the joints and lower extremities and keep moving.
One may also observe that longer strides will make you move more slowly, yet, you will
be heavier to displace. Shorter strides near the line of gravity will produce a continuum
and you will attain greater speed faster. Nevertheless, you will be lighter and fragile to a
side push or pull. Short strides will make you gain greater speed to initiate and pursue
your attack. (Long distance runner versus sprinter)
In the natural posture, if the judoka leans forward a bit, he will produce a slight shift of
the centre of gravity so that when he wishes to resort to the Kuzushi, he will have less
dead weight to move. Another consideration is the practice of using the pushing power of
the legs by slightly extending the support leg backward in order to gain better leverage.
By having semi-flexed muscles already at work against the joints should improve the
speed of the output.
Opposing forces
We discussed the third law of Newton in preceding paragraphs. Every action has an equal
or opposite reaction. It is important to understand that when applying a Kuzushi, extreme
push or pull are not necessary. When attempting to place the opponent on his tip toes or
outside of his foot, you will encounter a natural resistance of equal size and he will have a
tendency to lean backward and squat downward.
When applying a vertical and downward force against the opponent, such as performing a
hip lift, it is to be remembered that the smaller vertical component of the force will
liberate the trunk for a greater horizontal move. When the vertical and downward force is
too great and applied linearly, it would impair the horizontal movement of the opponent.
(Up and down motion without horizontal displacement)
Point of contact or fulcrum
In the first form of the Itsutsu-no kata, we can visualize the effect of concentrating the
force against a single point of contact. When pushing Uke with an alternate force from
the thumb and little finger, he enters into a wavering effect from side to side. When that
force is changed to the full power of the hand and directed to the centre of the axis, Uke
is projected directly to his rear. Physics principles tell us that when a force is applied to a
free movable object and is off centre, that object will have a tendency to rotate upon its
axis. This rotation is caused by the opposing or counter forces.
When applying the Kuzushi, it is important to consider not only where you grip the lapel
(upper centre, to the side or lower centre) and place your second hand of the opponent
(sleeve, elbow or back of the neck), but also in what direction the push or pull will take
place in order to have the opponent move in the desired direction.
Joints and movements
When you are trying to hold down, to stretch or place an arm lock you should consider
the weaknesses and the strong points of the targeted area. Not all joints perform the same
movement or function.
The ankle joint will flex and extend the foot as well as permit the internal and external
rotation. The knee joint is principally used for flexion and extension. The hip joint is
capable of flexion, extension, internal and external rotation as well as abduction.
(Outward displacement). The thorax region has no difficulties performing the flexion and
extension of the vertebras, accomplish internal and external rotations as well as perform
the abduction and adduction functions. (Inward displacement)
The shoulder joint provides the flexion and extension as well as the internal and external
rotation of the shoulder. It has a limited power to conduct abduction and adduction of the
arm. The elbow joint is principally used for the extension and flexion of the upper arm
and conduct internal and external rotation facilities. The wrist joints can be used to
exercise flexion and extension as well as abduction and adduction. It is interesting to note
that the majority of joints possess a variance of one to three degree of freedom to cope
with a limited amount of stress applied to it.
The sterno-clavicular region will facilitate the elevation and lowering of the head as well
as providing for the ante-pulsion and the retro-pulsing activities. The head joint can flex,
extend, rotate inward and externally as well as provide room for the abduction and
adduction of the head. There is an element of torque at all these joints. For maximum
results, the muscles groups should best function when they are at right angle to the
moving bone.
The forces of each joint must be combined to produce the maximum effect. This is best
done when all joints that can be used are indeed used. The important thing to remember is
that every joint must be used to get the most speed, power or acceleration out of the
movement.
Joints which have large muscles and are located in the middle of the body should be used
first.
Gravity
It is generally accepted that the force of gravity being exercised on the human body is
very negligible. It represent less then 0.000 000 000 033 pounds per square feet. As a
result, we are able to stand in balance on our two feet if undisturbed by an exterior force.
We also know that the earth attracts every tiny particles of an object with a gravitational
force proportional to the mass of each particle. All these separate attractions can be added
to describe the weight of the object. The central point where these forces are at play is
known as the Center of Gravity.
Not all of our segments are of equal size and length. Our weight is distributed throughout
our body. It comprises several hypothetical centers which are attracted to the ground by
the force of gravity. The agglomeration of these centers can be represented by imaginary
lines falling on each side of the body. By natural extension, these lines will contact a
point on the ground that is located along the middle of each foot. If the gravity line falls
outside the foot area, the body will lose its balance and topple over. Hereunder is a
NASA chart depicting these various centers of gravity and hinge points with their value
as normally found in a person of male gender. The female gender distribution may vary.
45
45
Webb P, Bioastraunautic Data Book, Weeb Associates, Yellow Spring, Ohio, 1964
Should we loose balance and start to fall, the speed of our free fall would be measured as
32 feet per squared second as a consequence, the judoka gains more speed from a
shoulder throw than a lower foot technique. Consequently, if you are thrown from a
higher distance you may have more time to turn around and twist in the air and land on
your feet.
If the opponent uses a lower form of throwing techniques such as a Hikomi, your ability
to use counter techniques will be restricted by the height limit. This observation will be
needed when choosing counter techniques or when applying speed to the Tokui-waza.
The changing coloration of the toes may reveal the additional weight being placed upon
them. The greater our weight the bigger will be the natural pull towards the center of the
earth. To remain in balance during the application of a waza, the support feet and leg
must be capable to absorb both opponents’ weight. Let us not forget the importance of the
foot.
The foot is used as a lever. It is a class 2 lever, meaning that the resistance is located in
the middle of the foot with the point of contact or fulcrum made by the toes and the
lifting power done by the calf muscles group who pull on the heel to make the body rise.
“Saya no ichi, no kachi saya”

To win the victory without drawing the sword
Ancient proverb
Let us close this section with the words of sensei M. Kawaishi:46
“The Tokui-waza or special is a key word, a kind of magic formula used to penetrate the
opponent’s defense system. It is a gift provided by the great judo spirit so that you can
continue to progress. It is from the special or Tokui-waza that you will be able to build
your personal style and find harmony with your inner strength.”
“Recourse to a Tokui-waza facilitates the keeping of the initiative, you will be able to
anticipate the opponent’s move and annihilate his attack on the spot.”
46
Kawaishi M, Enchaînements et Contres, page 9
ANNEX”B”
REFERENCES
Abe Ichiro, Souvenirs de judo, Édition Judo Toulouse, Robert Laserre, 1953
Arpin Louis, Le Guide du Judo, Édition de l’homme, Montréal, 1970
Bonet-Maury Paul et Courtine Henri, Le Judo, Que sais-je, 1425, Presses Universitaires
de France, 1975
Blonk Mas, Judo Combinations video, Amsterdam, 2005-2006
Cauheppe J.D. et A. Kuang, Les arts martiaux intériorisés, Édition de la Maisne, Paris
France, 1984
Cauheppe J.D. et A. Kuang, Le Jeu des Énergies dans la Pratique de l’Aikido,

Édition de la Maisne, Paris France, 1984
Cunningham Steven, The Root Arts of Judo, Http 152.163.26, 11 November 1996
Draeger Donn F, Judo Randori No Kata and Ju No Kata,

AAU-JBBF Judo Handbook, USA, 1966
Draeger Donn F, Ishikawa Takahiko, Judo Training Methods, Charles E Tuttle, Tokyo,
1962
Daigo Toshiro, Kodokan Judo Throwing Techniques, Kodansha, Tokyo, 2005
Désormeaux Ronald, The Discovery of Judo, Ottawa, Canada 2006
Dyson Geoffrey H.G, The Mechanics of Athletics, Hodder and Stoughton, Toronto, 1975
Fiore dei Liberi, Manuale di arte de combatti mento del xv seculo, ARMA, Cerchio, Italia,
2002
Gauthier Bernard, Canadian and American Modern Judo, CJF publication, 1949
Guillain Robert, Le Japon que j’aime, Édition Sun, Paris, 1965
Hirano Tokio, Judo Elements, video, Switzerland, 1956
Hoover Thomas, L’Expérience du Zen, Albin Michel, Paris, 1989
Inogai T, Habersetzer R, Judo Kata, Amphora Paris, 1995

Inogai T, Habersetzer R, Judo Pratique, Paris, 2002
Inokuma Isao and Sato Nobuyuki, Best Judo, Kodansha International, Tokyo, 1986
Inoguchi Matsunosuke, Shikatsu Jizai Sekkatsu Ryoho, Kaishin Shoro, Japan, 1901
Ira Freeman, Physics Made Simple, Maple Book, New-York, 1990
Kawamura Teizo, Daigo Toshiro, New Japanese-English Dictionary of Judo,

Kodokan 2000
Kano Jigoro, Kodokan judo, Kodansha International, Tokyo, 1994
Kano Jigoro, Naoki Murata, Mind over Muscle, Writings from the Founder of Judo,
Kodansha International, Tokyo, 2006
Kano Risei, Illustrated Kodokan Judo, Kodansha, Japan, 1955
Kawaishi Mikonosuke, Correspondance Personnelle, Académie Kawaishi, 1961-1964
Kawaishi Mikonosuke, Les Katas Complets du Judo, Publi-Judo France, 1956
Kawaishi Mikonosuke, Enchaînements et contre prises du judo debout, Le Plessis

France, 1959
Koizumi Gunji, My Study of Judo, Cornerstone New York, 1960
Koizumi Gunji, The Budokwai, Journal of Combative Sports, 2002
Kura Mitsuo, Samurai, an Illustrated History, Tuttle publishing, Tokyo, 2002
Kimura Masahiko, Judo Techniques, video (1917-93)
Kotani Sumiyuki, Otaki Tadao, Judo Kata, Fumido Publishing, Tokyo, 1971
Krieger Pascal, Ten Jin Chi, La boutique Japonaise, Switzerland, 2005
Leyshon Glynn A, Judoka, Tyrell Press Gloucester, Ontario, Canada, 1998
Le Berre Jacques, Champion de France 1963-64, Stage Gokyo, Werl, Allemagne, 1966
Leggett Trevor, The Dragon Mask, Ippon Books Ltd, London, UK, 1993
Lu Shengli, Combat techniques of Taiji, Xingyi and Bagua. Blue Snakes Book,
California, 2006
Masnieres J.L, Judo D’Attaque, Amphora, Paris, France, 1975
Mifune Kyuzo, Canon of Judo, Seibundo-Shinkosha, Tokyo, 1956
Musashi Miyamoto, Traité des Cinq Roues, Go-Rin-No-Sho, Éditions Albin Michel S.A.,
1983
Momose Meiji, Kano Jigoro, 1860-1938, Look Japan publication, 1985
Morvan-Denègre Frank, Le Judo, Techniques et Conseils, Solar 1976
Nihon Sumo Kyokai, Sumo Techniques, Sumo Kimarite, Japan, 2006
Novovitch Michel, Judo Gravity Zero, Publiday Media, Maroc, 2003
Ohlenkamp Neil, Judo Unleashed, McGraw Hill, New York, 2006
Payne Peter, Martial Arts, the Spiritual Dimension, Crossroad New York, 1981
Pelletier Guy et Claude Urvoy, Judo Supérieur, vol 1-5, Siderep, France, 1979
Petter Nicholas and Remeyn de Hooge, Art of Wrestling, Amsterdam, 1674
Plée A.H et Fédération Française de judo, Judo International, Édition A.M.I, Paris 1950
Ratti Oscar and Adele Westbrook, Secrets of the Samurai, Charles Tuttle, Tokyo, 1996
Rougé Jean-Luc, Harai-Goshi, Judo Master Class London, 1985
Roullet Jean, Historique du judo au Québec, Almanach des sports, 1970
Sato Nobuyuki, Ashi-Waza, Les Maîtres du judo, Chiron, Paris, 1993
Sogen Omori, T.Katsujo, Zen and the Art of Calligraphy, Penguin Group, New York,
1983
Suzuki Shenryu, Esprit Zen Esprit Neuf, édition du Seuil, 1977
Swain Micheal, Ashi Waza, Judo Master Class, Ippon Books London, 1992
Talhoffer Hans, Medieval Combat, Green Hill, London, 2000
Tomiki Kenji, Judo, JTB vol 22, Tokyo, 1956
Torbjorn Tannsjo and Claudio Tamburrini, Values in Sports, F.N. Spon, USA 2000
Tseu Lie, Le Vrai Classique du Vide Parfait, Édition Gallimard, 1961
Tzu Lao, Tao Te Ching, Vintage books, New York, 1972
Westbrook Adele, Ratti Oscar, Aiki-do and the dynamic sphere,

Charles Tuttle Inc, Rutland, Vermont & Tokyo, Japan, 1983
Watanabe Jiichi, Avakian Lindy, the Secrets of Judo, Charles Tuttle, Tokyo Japan, 1960
Yagyu Minenori, The Life Giving Sword, Kodansha International Tokyo, 2003
Yamashita Yasushiro, O-soto-gari, Judo Master Class, London, 1992
Yamashita Yasushiro, The Fighting Spirit of Judo, Ippon Book, London, 1999
Yamamoto Tsunetomo, Bushido, Square One Classic, USA, 2002
Yokoyama Sakujiro, Siguke Oshima, Judo, Nishido Press Tokyo, 1908
Zabinski Grzegorz, Codex Wallerstein, A Medieval Fighting Book, Paladin Press, 2002
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, compete fairly and respect others
Ju jutsu: General combat system also known as Yawara, kempô or Tai jutsu
Ju no Ri: Principle of flexibility in avoiding direct confrontation
Kakari renshu: Repetition training and Geiko, repetition practice
Kake: Application or action of throwing
Kano Jigoro: 1860-1938, Founder of modern judo
Kata: Formal movement pattern of idealized techniques
Kiai: Concentration of will and spirit expressed in a shout
Kodansha: Person having obtained the 5th dan and higher
Kodokan: The institution of Dr Kano established in 1882
Kumi kata: Engagement positioning
Kuzushi: The action of breaking balance
Mae Ukemi: Forward break fall in a plane position
Randori: Free practice or sparring
Renshu: Practice synonymous to Keiko
Seiryoku Zenyo: Maximum use of energy, first principle
Sesshoku suru: To touch or keep in contact with
Shiai: a judo contest held with specific rules
Shihan: Founding master, one who has obtained mastery in the art
Shin Gi Tai: Expression of unity of the mind-spirit and body
Shisei: Posture or natural stance
Shomen: Physical front of a practice hall
Tachi Waza: Techniques executed from a standing position
Tai wo sabaku: To shift and position the body
Tokui waza: A preferred or favorite technique
Tori: The giver or initiator
Tsukuri: Action to set-up a throw
Uchikomi: Repetition training
ANNEX “D”
AUTHOR’S PROFILE Ronald Désormeaux
1956 Beginning of judo practices in Hull, Québec with sensei Bernard Gauthier 4th dan.
1959 Promoted black belt, 1st Dan and became the secretary of the Canadian Judo Federation.
1959 Provincial champion FCJ and creation of the Ottawa School of Modern Judo.
1960 Provincial champion and finalist at national championships of the Canadian Judo Federation.
Casual sports writer for the newspaper: Le Progrès de Hull.
1961 USA New York State open judo champion.
1961 Acquired membership no: 41 at the Académie de judo Kawaishi of Paris.
1962 Promoted 2nd Dan and enters the Canadian Kodokan Black Belt Association.
Graduated in Physical Education from the University of Ottawa.
Created the dojo of Buckingham,Thurso and Gatineau in Quebec.
1962 Teacher’s assistant at the Victoria Dojo under Sensei Y.Inouye.
1963 Chief instructor at the Calgary dojo with Sensei H. Kanashiro.
1964 Created the Shilo military judo club in Manitoba.
1964 Worked towards the integration of military judo within the CKBBA.
1965 Overall Champion of the Canadian Armed Forces.
1966 Overall Champion of the British Army on the Rhine 1966-1967-1968.
1967 Member of the British Judo Association.
1968 Member of the British military team in several international tournaments.
1969 Finalist all categories, British Armed Forces. Promoted to 3rd Dan.
1969 Received the Jean Charles Daoust trophy for best French Canadian Athlete
1970 Opened the Val Cartier dojo in Québec.
1971 Member of the administration for Quebec Kodokan Judo Association 1972-76.
1975 Founder and technical director of the Gatineau dojo.
1980 Obtain the National Coaching Certificate, level one.
1988 Obtain Master’s degree in Public Administration from ENAP.
1993 Graduated to National Coaching Certificate, level two.
1998 Obtain National Coaching Certificate, level three.
1998 Promoted to 4th Dan by the Kodokan Institute of Japan and Judo Canada
2000 Invited teacher at the White Rock dojo in British Columbia with Sensei R. Clemas
2003 Technical director of Chikara dojo in Gatineau Québec.
2004 Served as President of judo zone “Outaouais”.
2004 Editorial member of the Yudansha magazine for Judo Canada.
2004 Promoted 5th Dan from the Kodokan Institute of Japan and Judo Canada.
2005 Zone president and technical director for the Ottawa region.
2005 Invited teacher at the Takahashi dojo in Ottawa
2006 Attended the Kodokan Institute international kata training certificate course
2006 Published reference books: “Les Mystères du judo” and “The Discovery of Judo”.
2007 Published a reference book “Tokui-waza”.

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DISCOVERY OF JUDO’S

Ronald Désormeaux, Kodokan 5th dan

Technical Director Chikara Dojo

DISCOVERY OF JUDO’S TOKUI-WAZA

Copyrights to Ronald Désormeaux

National Library of Canada

To my former teachers, instructors, students and judoka colleagues, a special

My appreciation is also extended to Sensei Naoki Murata of the Kodokan Institute

Ottawa, June 2007

I highly recommend this book!

John A. Huntley, 7th dan

A. UNDERSTANDING THE CONTEXT 87

Have a pleasant reading.

Ronald Désormeaux, 2007

DO: referring to the way of progress or path of conduct.

The essence of Kodokan Judo is to perfect oneself physically, mentally

The Kodokan techniques aim at returning an opponent’s strength

Tokui-waza: from the verb toku-yo-no, to be economical,

Tokui-waza: a preferred or favorite technique. Any

Introduction to Historical Dimensions

A collage from the German print book on Wrestling dated 1553.

LEGACY FROM SHIHAN JIGORO KANO

Shihan Jigoro Kano His Kodokan Emblem (The cherry blossom)

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

The intelligent use of energy.

Mutual benefits and prosperity for self and others.

These three objectives were later simplified to become: Shin-Gi-Tai. (Mental-technique-

“While respecting and valuing jujutsu traditions, Kano’s judo

KODOKAN JUDO INSTITUTE: ORIGINAL SCHOOL

In 1883, he presented several theses to the Ministry of Education illustrating the

ADAPTATION AND MODIFICATION OF GOKYO

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

THE COMMON REPERTORY OF JUDO WAZA

TACHI WAZA OR STANDING TECHNIQUES

Te-waza- 15 techniques of the hands

Ippon-seoi-nage, Seoi-otoshi, Tai-otoshi, Seoi-nage, Kata-guruma, Uki-otoshi, Sumi-

Koshi-waza-11 techniques involving the hips

Uki-goshi, Harai-goshi, Tsurikomi-goshi, Sode-tsurikomi-goshi, Hane-goshi, O-goshi,

Ashi-waza- 21techniques performed with the legs

Hiza-guruma, O-uchi-gari, O-soto-gari, Sasae-tsurikomi-ashi, Harai-tsurikomi-ashi,

Sutemi-waza-20 techniques involving the major sacrifice of loosing balance

Representative techniques are: Tomoe-nage, Ura-nage, Sumi-gaeshi, Hikikomi-gaeshi,

Sensei Katanishi performing Ura-Nage and Tomoe-Nage movements

CHART: SAMPLE TECHNIQUES OF GOKYO 1895

KATAME WAZA OR GRAPPLING TECHNIQUES

We generally identify four options to enter into Ne-waza:

1. Following a Tachi-waza attack and pursuing to the ground in the follow-up

Osae-komi-waza- holds or pins

The techniques are: Hon-kesa-gatame, Kuzure-kesa-gatame, Kata-gatame, Kami-shiho-

Variations of traversing holds- makara- kesa gatame

Shime-waza- strangulations and chokes

Nami-juji-jime, Kata-juji-jime, Gyaku-juji-jime, Hadaka-jime, Okuri-eri-jime, Kata-ha-

Standing strangulation being attempted

Kansetsu-waza-locks applied against the joints

Included in this group are: Ude-garami, Ude-hishigi-juji-gatame, Ude-hishigi-ude-

In 2001, a similar research conducted by Stanislow Sterkowicz of the Krakow University

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

“ At the Kodokan, we study and practice techniques with the purpose of

THE APPLICATION CONTEXT

In a Go-no-sen situation, the judoka’s own posture is attacked by the

In a Sen-sen-no-sen situation, the judoka foresees the attack at the very

To be able to feel and observe correctly the opponent, you need to be in a

We are hereafter presenting them in a summary review, because we consider them to be