The Discovery of JUDO Yield To Overcome 09

THE DISCOVERY OF JUDO
YIELD TO OVERCOME
Ronald Désormeaux, BA, MPA, Black Belt, 5th Dan

Technical Director, Chikara Judo Club, Gatineau, Canada
The Discovery of Judo Understanding the Principles
THE DISCOVERY OF JUDO
YIELD TO OVERCOME
Ronald Désormeaux, BA, MPA, Black Belt, 5th

Dan
Technical Director, Chikara Judo Club, Gatineau,
Canada
Edition 2006/Revised 2009
ISBN-2-9806269-0-2
Yield to Overcome 2
INTRODUCTION
The Discovery of Judo by my friend Ron Desormeaux, 5th dan, which I have been
privileged to preview, is unique amongst judo texts, in that it not only covers the principle
concepts of judo practice, but delves into the history and development of judo from its
formation in Japan, and as a worldwide entity, touching on expansion into Europe and with
development in Canada, from the early 1900's to the present day. Along the way, Kodokan
judo for most judoka has morphed from a martial art to an Olympic sport, and much of the
philosophical and moral aspects relating to overall personal development have been
neglected or lost over the years. The initial foundation of judo by Kano Jigoro Shihan
stemmed from his exposure at a young age to other martial arts as practiced in the ancient
bujutsu ryuha, primarily the Tenjin Shinyo Ryu and Kito Ryu schools of jujutsu. Present
dojo that teach more than the physical aspects of judo training are few and far between,
and it is refreshing to see an accurate source for further study.
This is an in-depth read, but don=t go looking for explanations of how to apply specific
techniques. This is a book for judoka who are looking beyond the physical aspects of
individual waza application; moreover it is about higher forms of judo study, with chapters
covering history, technical aspects of application principles, a summary of the ten
essential elements and application of butsukari, randori, competition and kata. Accurate
information on these topics is hard to come by, and the judoka looking for more than a
cursory explanation will find interesting vignettes to whet his appetite for more.
The book concludes with Walking the Path from which I quote: ” I hope the previous
pages provide the necessary information to grasp the essence of Judo. Secrets and
mysteries disappear when the knowledge and understanding are at the forefront. Other
mystical elements will be discarded through serious practice. With the guidance of a
good sensei the judoka will embark on a long journey of discovery, . .”
I feel my own personal martial arts journey (musha shugyo) would have benefited by such
a reference over the decades that the author and I have committed to The Journey.
Congratulations on a job well done!
John A. Huntley, 7th dan

Aberdeen Judo Academy
Kamloops, British Columbia
12 September 2006
Yield to Overcome 3
Acknowledgements
I wish to thank Marie-Claire, my lifelong companion for her love,

support and encouragement to all my projects. To Marie-Claire, Marc
and Nathalie Dupuis-Désormeaux a special appreciation for the inputs
regarding the concepts and logical flow of the document.
To my former teachers, instructors, students and judoka colleagues,

thank you for your friendship and your precious advices over the
years. Without such friends, I would not have grasped the true
dimensions of judo
A special thank you to the International Judo Federation and Bob

Willingham in particular for the use of his shiai photos and sensei
Naoki Murata of the Kodokan Judo Institute for the use of archival
materiel.
Ronald
ISBN-2-9806269-0-2
Dépôt Légal - Legal Registry

Bibliothèque Nationale du Québec
National Library of Canada
“Les mystères du judo”
Revised Edition: 2009
Yield to Overcome 4
TABLE OF CONTENTS
Acknowledgements 4
Foreword 7
My judo connection 8
Short History
The origins of judo 9
Judo a visual and practical affair 10
Major schools of influence 13
Teaching duality 14
Shihan Jigoro Kano synthesis 15
Kodokan Institute 16
Judo expansion in Europe 19
Canada and judo beginnings 21
Difficulties in war years 21
Canadian Judo Federation 22
Restructuring Canadian Judo 23
Technical judo
The Apprenticeship 25
Objectives of the Kodokan judo 27
First principle: Intelligent use of energy 28
About Yielding 29
Second principle: Mutual friendships and benefits 30
Learning judo 31
Judo Teaching 37
Teacher responsibilities 38
Training attitude 40
Macroscopic view of judo
Natural principles applied to judo 42
Form 1: Varying the intensity and direction 44
Form 2: Making use of momentum and gravity
46
Form 3: Centrifugal power of circular movements 49
Form 4: Superposition and forces of waves 51
Form 5: Use of emptiness - Avoiding confrontation 52
Combining forces and energy 53
Microscopic view of judo
The Ten Fundamental Elements 57
1. Ukemi- Breaking the falls 58
2. Shisei- Standing posture 61
3. Shintai- Movement of the body 63
4. Tai Sabaki- Turning motion of the body 65
5. Kumi Kata- Grasping and holding the costume
67
6. Kuzushi- Breaking the balance 69
7. Tsukuri- Displacement to make the entry
71
8. Kake- Doing the selected technique 72
Yield to Overcome 5
9. Sesshoku-Keeping contact 74
10. Ju- Applying flexibility and harmony 76
Practical Judo Training
Summary of the 10 essential elements

78
Judo in motion 79
Butsukari 79
Randori 81
Shiai or competition 83
About Shiai preparation 86
Kata- Return to forms and principles 88
Conclusion
Walking the path 92
Appendices
Annex A: Author’s profile

Annex B: References
Yield to Overcome 6
THE DISCOVERY OF JUDO: Yield to Overcome
Foreword
In this paper, I propose to follow three generations of judo teachers
who have influenced my judo career. They are: Shihan (original
master) Jigoro Kano the Japanese architect of judo, Sensei Mikonosuke
Kawaishi of France who made the study of judo an interesting
endeavour and Sensei Bernard Gauthier of Canada who was my first
immediate teacher. Without their contributions, my understanding of
judo would remain clouded in mystery.
By writing THE DISCOVERY OF JUDO, Yield to Overcome,

I wish to put to paper some of the lessons learned from these masters
and wish to outline
some complementary thoughts from my 50 years of active practice of
the art.
“Teaching without word and working without effort is understood by

few.”1
I hope the above booklet will eventually be helpful to other judoka in

their quest for continuous improvement. They may offer another
understanding of the canon of judo. These notes are not exhaustive
and final. Readers should take from them what is relevant and feel free
to build upon their contents.
Note: The words: Player, Judoka, Judojin, Opponent are used to denote
the person practicing and learning judo. Tori and Uke represent the
one with the initiative and the partner receiving the action. They are
meant to address both the masculine and feminine genders.
1
Lao Tsu, Le vrai Classique du Vide Parfait, p.43
Yield to Overcome 7
My judo connection
It was in 1956 that I was first exposed to judo. A classmate brought me

to the Club de judo Kano of Hull Quebec. For a full day, I observed
several classes being taught by Sensei Bernard Gauthier 4th Dan and
his kyoshi or assistant Bernard Blais. Witnessing the ease and
efficiency of their movements, I quickly fell in love with judo. I was
amazed to see small individuals making much larger ones tumble with
so little force! The exploits of women throwing and controlling
muscular adversaries fascinated me. Later in the day, in the segment
called open practice or randori, a group of students went all out and no
one suffered from their falls to the mat.
As I continued to observe the precision and the efficiency of the moves

and fighting techniques, I wanted to plunge into the action. At the end
of the day, I signed a formal membership. I had to wait three extra
days before I could begin the introductory class of judo and be known
as a mudansha-judoka, an apprentice of sort with no rank.
The beginner’s class was under the supervision of Sensei Bernard Blais
a 2nd Dan, a true specialist in flexibility, agility and suppleness. André
Dubé and Roger Gauthier both brown belt holders and patient
assistants took me under their wings. I soon began to learn the ways
to break a fall. Further diligent training help built my technical
foundation in judo and expanded my love for this physical education
system. Through the decades that followed, I tried to discover all the
possible facets of judo. My University degree in Physical Education was
centered on judo. I was then and remain now completely involved with
judo.
I was fortunate to cross paths with some outstanding teachers whose

counsels and advice has been of prime importance to my becoming a
better judoka. Masters Mikinosuke Kawaishi, Bernard Gauthier, Yeiji
“Lanky” Inouye, Jacques LeBerre, Frank Hatashita, Hiroshi Nakamura,
Hiro Katanishi, Michel Novovitch and many others provided courses,
clinics, master classes, discussions and interviews that influenced my
path. Personal readings, analysis of films, videos and various
correspondences with researchers were amongst other venues towards
my discovery. The tatami was no doubt my best laboratory.
As a competitor, teacher, administrator, manager and technical

director, my involvement in the world of judo was manifested in many
ways. However, teaching judo remains the element that provides me
with the most satisfaction. This is where I find the best opportunities to
share knowledge with others and hope to make the world of judo grow
a little more. I hope that you enjoy this first volume.
Yield to Overcome 8
Yield to Overcome 9
The origins of judo

“ On ko chi shin ”
“To understand new things, one must first study the old.”
Japanese proverb.
Judo is a simple sport or a discipline that can be mastered quickly. It is

a system made of high values and physical dimensions that may take
a lifetime to understand and pursue. Any judoka can acknowledge that
it takes thousands of hours to learn and practice some techniques
employed in this combative sport. Numerous technical rudiments and
philosophic foundations are far from being understood in the early
months. Some of the mysteries remain to be discovered by those with
curiosity and persistence. The path of discovery is long and tortuous
yet fascinating.
“Judo as for its highest goal: self perfection for the betterment
of society”2
When Japan began to transform itself into a modern society, the

founder of judo, Shihan Jigoro Kano introduced an educational system
that built upon the old martial arts structures. He saw the symbiosis of
daily physical and mental training as a mean to developing better
citizens and to encourage participation in the growth of a proud nation.
Shihan Kano created judo with the belief that practitioners of such an
art could continuously surpass themselves and transpose their
achievements into their contributions towards the betterment of
society.
“With a well trained body and cultivated mind,

You can apply your training for the benefit of society”3
In doing so, Shihan Jigoro Kano joined the thinking of the ancient
Chinese philosopher Lao-Tzu, who defined art as the realization of
internal energy.
“ Art is but the realization of a new internal force, the

expression
of a new consciousness. The importance is that humans
are built to receive, contain and transform all knowledge
into a potential power,
2
Jigoro Kano, Writings compiled by Naoki Murata, Mind Over Muscle 2006
3
Idem
Yield to Overcome 10
and that, of their own doing, the entirety of their lives can
become the expression of this power. “ 4
4
Idem
Judo a visual and practical affair
“It is wrong to assume that judo ends in the Dojo.”5 J.Kano
An understanding of the physical and visual aspects of judo will best

lead us towards its mysteries and philosophic dimensions. Shihan Kano
encouraged this path when he stated:
“ Learning by the execution of judo techniques is not the only

path to discover the great principles that govern the world (to be
supple and help others) but the way that I found and by which I
understood its breadth. It is also the means that I have used to
show this path to others.“6
For those seeking to reach the higher levels of judo, I would

recommend that they seek the truth beyond the sporting
demonstration and make the extra efforts to find the right teachers
that will guide them into the psychological, metaphysical and spiritual
aspects of judo.
Foreign Origins
It is difficult to trace back the exact original techniques found in judo

before the 1800’s since most of the ancient texts are vague when it
comes to this subject. One can always attempt to link judo to the
ancestral fighting systems known as the Pancrace of Greek-Egyptian
time, then to the Romans and their conquests in South Asia whereby
legionnaires taught combat methods to various subordinate armies.
Dependable documentation for this journey is nowhere to be found.
Legends and folks stories are numerous but cannot be relied upon for
accuracy.
With relative certitude based upon some documentation, we can say

that Indo-China region seems to have been the birthplace of many
martial arts systems found in Japan at the time of Shihan Kano. Some
scriptures detailing the actions and the clan’s legacies depicting the
many forms of martial arts were found in regional archives. Although
some written material has been embellished to glorify events or give
more credits to some great master’s work, we can partially identify
and attribute the systematic teaching of some fighting techniques to
the followers of traveling Hindu monk Bodhidharma (the Master of the
Law) who lived from 470 – 532 during the Northern Wei dynasty. It is
said that he and members of his entourage may have taught boxing
styles, wrestling and yoga to the chan-Zen monks during his nine
5
6
Idem
years stay at the Shaolin monastery (on Mount Shao-Shi in China).

These forms of physical activities were meant to complement the
meditation practices and serve as initial defence tools against
marauding gangs.
Ancient ju jitsu slate, (Kodokan archives)

At Shaolin temple and in numerous monasteries later founded by his
disciples, these physical and mental practices have been taught,
transformed and later transported to Japan. After 20 to 30 generations
of knowledge sharing between Chinese and Japanese monks, some
efforts were made to implant both the physical and meditative
elements of their training systems into the Japanese culture. Three
principal segments of the Japanese society had primary benefits from
these teachings: the noble class, the samurai and the monks.
Some Japanese authors tried to set the beginning of martial arts on

Japanese soil. It is stated in the Nihon Shoki (chronicles of Japan)
compiled in the years 712-720 that a fighting strength tournament
known as Chikara was held in the 7th year of Emperor Suini that is
around the year 230. It may be the first record of a sumo or ju-jutsu
match in Japan. Other ancient books such as the kokushôji, the
konjaku and the yukisenjo monogatari (Records and chronics, the
biographies of ancient masters) mentioned that during the Eisho
(1504-1520) period, the methods used for restraint and arrest were
numerous and very popular. There is mention of a Yawara school (ju-
jitsu and kumiuchi) being created within the Takenouchi clan in 1532
and an existing compilation of self-defense techniques by Sekishusai
Yagyu in the early 1600s. During the medieval period of Japan, civil
wars turned the country into experimental fields and testing grounds
for all kinds of martial disciplines while Zen philosophy made its stand.
During the Kamakura era of 1100s and in succeeding times until the
Tokugawa period in the 1600s, both the meditation styles and the
martial training methods flourished in Japan.
Sumo match print by Katsukawa Shunsho 1726-1792
Various ancient military training books describe key methods of

military skills to be developed during the medieval period of Japan.
These were: archery, spear throwing, sabre and sword handling, riding
and swimming. There were approximately 130 methods of hand-to-
hand combat being transmitted through various school instructions or
densho. These techniques were further refined and transformed by
elite samurai, clan elders and religious experts who devoted their life
towards achieving excellence in their arts. There is mention of a
Chinese master of martial arts by the name CHIN GEN PIN (or CHEN
YUAN PING) visiting southern Japan in 1659 and teaching kara-te or
empty hand style of boxing, kempô, and some forms of throwing and
immobilizing people. It is noted that his school was later established in
Edo (Tokyo) and had thousands of students. It may be related to the
Kito ryu.
We begin to gain more precision of the origins of empty hand fighting

methods during the feudal era of the Tokugawa (1600 to 1867).
During that time, noble families and temple priests hired fighting
experts and weapons masters to teach their clan members and
regional armies how to fight. It is known that certain religious orders
acquired sufficient combat expertise to start their own local armies in
order to protect the land handed down by the Emperor. The teaching
followed its course from generation to generation (Ishi soden) and
from master to student (Deiri soden) via Kuden-do the way of verbal
transmission with some periodic writing of school instructions called
Kudensho.
At the time of Shihan Jigoro Kano’s birth on October 28th 1860, there
were hundreds of combat schools, each with its own speciality and
name. Some of these schools were no longer restricted to clan and
family members but were open to the general public.
“My personal opinion is that Ju Jutsu was created entirely by Japanese”7 J.Kano
Samples of Kudensho or school instructions (Kodokan archives)
7
Jigoro Kano, Writings compiles by Naoki Murata, Mind Over Muscle 2006
Major schools of influence
According to Oscar Ratti, the most popular schools of the end of the
Tokugawa era were: Takenouchi, Tenshin-Shinyo, Sosuishitsu, Kito,
Yagyu, Sekiguchi, Shin-no-Shindo, Kyushin and Yoshin ryu. The founder
of judo, Shihan Jigoro Kano attended several of these schools. Three
main schools provided him with specific knowledge that he later used
towards the creation of his KODOKAN JUDO. They are:
Takenouchi: considered to be the oldest of the Japanese schools

dating back to the 1500s under the authority of Sensei Hisamori
Takenouchi, an elite samurai and master swordsman. Techniques of
arrest, immobilization, control and restraint of the opponent were
taught as well as 5 groups of techniques named Gokyo. Among the
500 plus combinations and techniques, several were hand picked to be
included in the future Kodokan Judo Gokyo.
Kito: is another institute having helped the blossoming of judo and

was founded around 1661 by the samurai Masters Fukuno, Isogai and
Miura who improved the training received by a monk of the Kokusei
monastery who was called Gempin. They developed mostly techniques
for throws and displacements. Within that school, repetitive
movements following strict guidelines were executed; these were
called “ kata”.
The technique of “Hontai” was also taught, which is a type of mastery

of the mind and body to detect the strengths and weaknesses of the
opponent by observation, analysis and anticipation. This school also
emphasized suppleness, harmony and the use of unbalancing the
opponent. It held open practices called “randori”. The term “judo” was
first used in this school in Izumo to describe unity in displacement and
the flexible method used to obtain synchronization of movements in a
Ju Jitsu style called Chokushin.
Tenjin-Shinyo or Tenshin Shinyo is the third school providing the

main roots of judo. It had as its principal pillar, the powerful samurai
Mataemon Iso who belonged to the fearsome Kii clan. The Master
taught suppleness and flexibility of movements in an environment that
was very disciplined and respectful towards the opponent. The school
was so popular that it became a provincial martial arts institute.
Ground controlling techniques (ne-waza) as well as hundreds of
dynamic holds and throws were taught. Blows to vital parts of the body
called atemi were also part of the curriculum. This rich compendium formed
part of the original Kodokan syllabus.
Teaching duality
The schools or Ryu frequented by Shihan Jigoro Kano had some

common approaches. They performed physical and mental training
exercises. As with some ancient schools headed by master samurai,
they trained in both the hard physical aspects of several martial
disciplines and the soft philosophical thinking and meditation
popularized by the Zen teachings.
Reviewing their school syllabus, one could almost detect the influence
of past Chinese Zen masters and strategists such as Hwang-Shihkon,
Lao-Tzu and Yi King who transcended the Yoritomo regime of Kamakura
and whose teaching permeated into the Shintoism, the Taoism and
Buddhism cultures. In the latter, the influence of Zen masters Hakuin
Hekaku and Takuan Soho was most felt. (Takuan had written a
philosophical book about the relationships between samurai way of life
and Zen in his 1632 work
“ Fudoshi Shinmyoroku”. (The mysterious record of unmoving wisdom)
Inside a Japanese Rinzai Zen temple in Kyoto.

A monk at work before a painting by Hekaku
Ideogram of Ju Do
(From the book: Le Japon que j’aime, 1965)
Shihan Jigoro Kano Synthesis
Shihan Jigoro Kano Kodokan Emblem (The cherry

blossom)
Shihan Jigoro Kano born on October 28th, in the small fishing village
of Mikage near Kobe in 1860. He followed his family to Tokyo in 1871.
Japan is at the beginning of a cultural transformation from feudal
period to a modern nationhood. He begins his university education and
like many other students, seeks to learn ju jutsu to improve his health
and stamina. There are several schools and independent teachers in
the suburbs but their reputations are somewhat dubious. Many
teachers, now independent of their lords following a decree of the new
Emperor, had opened public schools or gave public displays of their
martial abilities in order to gain a substantial salary. Dr Kano sought
and approached reputable masters from which he could learn the
techniques of defending himself.
His first teachers were Sensei Yagi and Karagiri of the Yagyu School. He
then moved on to attend the Takenouchi, the Kito and the Tenshin
Shinyo schools. He was a personal student of Master Hachinosuke
Fukuda, of Tozawa Tokusaburo, of Masamoto Isohizue and of Iikudo
Tsunetoshi.
Not fully satisfied with the physical training he received, Dr Kano

pursued his researches into the tactical approaches, sought to find the
true meaning of selected techniques and embarked upon the studies
of old Kudensho in his possession. He analysed many other documents
that he was able to locate in several libraries. Back in the training
room, he refined and elaborated techniques that had proven to
respond to the basic natural laws of nature. He challenged overtly
some theories expressed by colleagues and masters from different
schools.
When ready, in 1882, he formulated a complete educational program

based upon 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”. His approach was based upon the following two principles:
The best use of energy and mutual prosperity for self and others.
In doing so, Dr Kano was establishing a new pedagogical approach that
transcended his time. Inspired by the bushi culture of yesterdays,
(that same martial thinking and doing that lasted several centuries) he
elaborates a new way of challenging the physical and the mental
culture of Japan. He provided a challenging path for the Japanese
people to think, to live, and to adapt to the world with the use of a
natural principle: yielding to overcome.
Shihan Kano and some of the Kodokan earlier teaching

staff-1933
(Kodokan archives)
Kodokan Institute
In May 1882, Dr Kano decided to open his independent school. At the
Eisho-ji temple in Tokyo, he had less than ten 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 ju-jutsu. To realize his
dreams, he prepared his socio-political path by frequenting the higher
society of Japan and to help him secure his grounds against other
schools and systems that might challenge his judo, he relied upon his
pupils and colleagues such as Masters Yamashita, Nagaoka, Hiratsuka,
Takamatsu, Fukuda, Totsuka and Isogai.
In the earlier years, Dr Kano recruited other masters from other

schools who shared his ideals and invited them to join the Kodokan.
Amongst them, Sensei Tokano, Yano, Imei, Oshima, Mochizuki, Tanabe,
and Tomiki joined his school. Dr Kano and his team were able to gain
supremacy in many spheres and even created the later technical
sensation in the person of Kyuzo Mifune who would become the icon of
the Gentle Way for more than twenty years.
Shihan Jigoro Kano began teaching his Kodokan judo in selected

elementary schools and colleges. In 1883, he presented several
papers to the Ministry of Education whereby he illustrated the
educational values of his physical education system. He convinced the
Ministry of Education of the use of judo training to promote individual
self-discipline and its capacity to develop character building in the
Japan society. Seeking constant perfection in the technical aspects,
working in relative safety, the students would be trained to set moral
and social goals and help others in their quest for success. The process
would build a stronger nation and by extension, a better world. Shihan

Kano provided convincing arguments with demonstrations of students
engaged in kata (form) demonstration and free practices or randori.
The safety net imposed was quite different from the ju jutsu era. His
Kodokan judo was indeed different and became the replacement to the
Bujutsu curriculum previously taught in public schools.
Inner yard of the Eisho-ji temple, Edo (Tokyo, the cradle of judo)
As an educator and innovator, Shihan Jigoro Kano emphasised the

continuous development and training of his senior teaching staff and
junior instructors in order to provide consistency with the learning of
the Gokyo and the Kata. Meanwhile, he ensured that there were a
sufficient number of competitors in his school to fend off the numerous
challenges put forward by competing schools who wished to dominate
over the others. To become and remain the supreme judo/ju jutsu
school system in Japan, great efforts and dedication were demanded of
the earlier staff of the Kodokan.
In 1886, the Tokyo chief of police organized a special match between

the best martial schools in order to determine which system his force
would adopt. The Kodokan players met the Totsuka Ju-Jutsu School in
15 matches with no time limit. The Kodokan judo came out victorious
and from that date started its expansion throughout Japan and the
World.
In 1895, the Ministry of Education established the Dai Nippon

Butokukai, the Great Japan Martial Virtues Association commonly
referred to as the Busen. The Butokukai registered over 200,000 senior
ranks and masters in several disciplines in the course of its first years
of existence. In 1899, in Kyoto, the Butokuden or great training hall for
martial arts was opened. Shihan Kano attended with the best teachers
and masters of 12 different schools united under the umbrella of the

Butokukai. With some of his devoted teachers they participated in the
development of standardization in systems, grading and outlined the
promotion strategies for the teaching of both ju-jutsu and judo. The
Kodokan judo took center stage. Shihan Kano’s ideas and philosophy
were largely accepted. Sensei Kaishiro Samura and Sensei Shotaro
Tabata 10th dan of the Kodokan were kept there as instructors.
Back in Tokyo, Shihan Kano maintained his dedicated approach

towards a safer judo and opened up a female division (Joshibu) in 1926
at the Kodokan with particular emphasis on Kata training. He assigned
Sensei Mifune, Honda and Uzawa to assist him with the female
teaching classes. His first female students were: Ms Ashiya, Yasuda,
Morioka, Noboshi and sensei Keiko Fukuda who is now a 9th dan holder.
(There are over 6500 female Kodansha registered with the Kodokan in
2006)
In the early 1900, Shihan Kano devoted his time towards the
expansion of Kodokan Judo in the world. He visited several continents,
giving lectures, making demonstrations and conducting seminars. He
became the first Japanese member of the International Olympic
Committee. While doing so, he continued to recruit several masters
from the Butokukai and converted them to the Kodokan Judo approach.
On two occasions he came to Canada (British Columbia) in 1932 and
1938 and participated in activities of the local communities.
Upon his return from the International Olympics Committee meeting in

Cairo, on May 4th 1938, he died of pneumonia aboard the Japanese
trans-Atlantic ship the Hikawa Maru.
SHIHAN JIGORO KANO
Dr Jigoro Kano Founder of Kodokan Judo
1860 Birth at Mikage Japan, in the family of Jirosaku Kano. (Oct

28 )
th
1881 Degree from Imperial University Tokyo (Politics and

Economics)
1881 Post Graduate studies in Ethics and cultural domains
1882 Creation of the Judo System and Kodokan
1885 Doctorate degree in Literature and Ethics
1886 Famous police match that decided the fate of Kodokan
Judo
1891 Principal Consul for the Education Ministry
1893 Director of the National Superior teachers training
College
1907 Member of the International Olympics Committee
1911 Founder of the All Japan Sports Federation
1938 Passed away from pneumonia aboard the ship Hikawa
Maru. (May 4th)
Judo expansion in Europe
Europe was one of the first zones to become influenced by the

teaching of Kodokan Judo. Ju-Jutsu first appeared in early 1900 in
Berlin and some form of training was given to the police academy. The
literature attributes the early teaching to Sensei Katsukuma Higashi
residing in England and who, in 1905, following a request by
H.I.Hancock, published together one of the first English book on judo
called the Complete Kano Jiu-Jitsu by H.I Hancock & K. Higashi. It
preceded the book written by Yokohama and Oshima called Judo
Kyohan (precepts) in 1908 and translated in French in 1911 by Le
Prieur.
In those early days, judo was somewhat restricted to the police forces
and the armed forces. One of the first dojo to be opened to the public
was in London with Sensei Yukio Tani in 1905 at the Oxford Street Ju-
jitsu School. The next year, Sensei Gunji Koizumi previously from the
Tenshin-Shinyo ryu and of the Kodokan settled in London. He later
made a substantial contribution to the development of judo in Europe.
With E.J. Harrisson they opened the Budokwai of London, a dojo that
soon became the centre of activities for Great Britain and Europe. The
dojo is still standing today and was the host of Shihan Kano visits in
the years 1920, 1932, 1933, and 1936.
During the same period in France, Mr. Guy de Montgaillard also known
as Re-Nie began teaching Ju-Jutsu in 1905. Two Japanese teachers, MM
Ishiguro 7th Dan and Aida tried to implant a more judo-oriented
program in the early 1925, but had little success.
Judo in France became very popular in 1935 under the tutelage of

Sensei Mikonosuke Kawaishi a trained judo and ju-jutsu master of the
Kyoto Butokukai who opened his dojo called the Club Franco-japonais
and later renamed it the Ju Jitsu club de France. He later became the
technical director of the French federation and in 1961, he established
his own judo academy known as Académie de judo Kawaishi and wrote
several comprehensive books describing his approach to teaching
judo. These books are still available today.
What made Kawaishi’s approach a success was the congenial way of

teaching the techniques by groups and numbers. His original judo
program consisted of teaching the ancient techniques along major axis
of the body such as the arm, hip, shoulder, back or side sacrifice etc.
His method followed more the traditional techniques of ju jitsu with
combinations, arms and leg locks and a complete self-defence system.
His compendium contained 146 movements; almost double that of the
original Kodokan Gokyo of 1895. (First Kodokan grouping was made of
42 Tachi waza and 29 Katame waza).
He promoted the use of the belt coloring system to further identify the
junior ranks or mudansha. With the arrival of more Japanese sensei
from the Busen and the Kodokan in 1950, 1953 and 1960, the French
federation decided to adopt the more popular style expressed in the
Kodokan judo teachings as then taught by Haku Michigami, Shozo
Awasu and Ichiro Abe.
Sensei Mikinosuke Kawaishi 7th dan and Sensei Shozo Awazu 6th dan
In the 1980, the Kodokan introduced the Shimmeisho group of

additional techniques to fill the gap between the traditional Gokyo and
the competitive demands to accommodate the Eastern countries. The
added fifteen techniques and variations including counters,
combination and rolling waza consolidated Sensei Mifune’s previous
approach and received worldwide acceptance.
The Kawaishi and the Kodokan systems were merged within the new
French teaching syllabus. The Butokukai and Kawaishi’s tradition
including the more dangerous techniques of self-defence were moved
to the ju-jutsu component of the French training system while the
Kodokan free style randori and Gokyo techniques were adopted as the
main curriculum. Other countries soon followed in the same direction.
“Judo Wa Shinshin no Chikara, O Mottomo Yuko ni

Shiyo suru Michi de aru”. Judo is the way of using the
power of the mind and body most efficiently said
Shihan Jigoro Kano.
Canada and its judo beginnings
The birth of Canadian judo followed three influences. The cultural

influence of Japan and the various Kodokan teachers who visited or
settled on the West Coast of British Columbia made the first
contribution, followed by the French and British sensei that immigrated
in the 1930s
The principle influence was felt in the Vancouver area, as it was an

international port where a good segment of Japanese residents were
established. In 1914 Sensei Fujita and Sensei Takagaki made their first
attempts to start a dojo but it was Sensei Shigetaka Sasaki in 1922
that opened the first permanent dojo named TAI IKU and launched the
Canadian Judo initiative. From his pioneering efforts sprouted dojos in
several cities on the west coast. Amongst the Japanese sensei that
made substantial contributions in the early years were: Sensei Tamoto,
Kamino, Doi, Mori, Mitani, Nakamura, Katsuta and Akiyama. In1932,
the dojo TAI IKU had the visit of Shihan Kano and upon his
recommendation the name of the dojo was changed to KIDOKAN (the
house of internal strength).
Difficulties in war years
With the war years of 1939-45, the expansion of judo in Canada was
restricted. The political climate forced the internment of a large
portion of the Japanese population into the Interior BC, Prairies,
Ontario and Quebec. Most of the western dojos were closed or
operated on a very local and restricted manner.
Meanwhile the immigration from France and England proceeded in the

East. New families and mixed professionals settled in the Eastern
provinces and particularly in Ontario and Québec. Some of those
families had learned ju-jutsu or judo in Europe and began to organize
judo-like activities in communities. A British ju-jutsu teacher by the
name of Underwood taught ju-jutsu in the armed forces and to some
police forces. Other non-Japanese instructors arrived and began judo
activities at municipal clubs and public halls. Meanwhile, selected
members of the Royal Canadian Mounted Police who were earlier judo
graduates of the first generation of Japanese teachers (period of 1930-
38) offered assistance in opening various dojos in several cities.
In 1942, having had some courses from sensei M Kawaishi and J.

Beaujean of France, Bernard Gauthier opened a temporary dojo in Hull.
In 1947 a second dojo, and later a permanent dojo called the Kano
Judo Club in Hull Quebec in 1953. Sensei Gauthier was a former ju-
jutsu teacher at the University of Ottawa. He taught self-defence and
restraining techniques to the Y.M.C.A, municipal and provincial police

forces. He joined a group of enthusiasts amongst them: MM Scala,
Arpin, Taberly, Suro, Hopkins, Maynard, Lalonde, Dubé, Mercier and
Robinson. They formed a province-wide judo association that was later
incorporated under the federal legislation to become the nucleus of
the first national Canadian Judo Federation in 1949.
Canadian Judo Federation
In 1949, Sensei Bernard Gauthier and his group tried to fill the vacuum
left by the absence of the Japanese sensei and asked M Kawaishi to
become the technical director of the newly formed Canadian Judo
Federation. Sensei Gauthier’s goal was to try to unite all judo players
of all provinces under one Canadian organization without any
restriction of race or language. He obtained the Canadian company
Charters from the federal legislation and began his work of unification
across Canada.
As secondary objective of the Federation, Sensei Gauthier favoured the

promotion of Judo and not exclusively Kodokan judo. He organized
sporting events, national tournaments and international matches.
During the next ten years, the Federation continued to grow and
expand. Judo was then taught in the YMCA, the YWCA, colleges and
universities, the armed forces and the police academies. Private dojos
surfaced and judo was made available to both men and women. The
National Institute for the Blind had some courses ready made for their
pupils and Canada made the international scene with its participation
at the Pan American games. The Federation members took part in
some international bouts with Argentina and Cuba and sent
representatives to the first World Judo Championships in Japan in 1956.
Sensei Bernard Gauthier as the Canadian representative to the 1956 World

Championships with other great pioneers such as Geesink, Courtine and
Pariset.
(Extracted from the Kodokan Championship Bulletin, 1956)
Early members of the Canadian Judo Federation taken at the Ottawa School of Modern Judo in 1957.
Rear row: Renaud, Gauthier Sensei 4th dan, Gagnon, Ethier. Front row: Rocke, Dubé,
Désormeaux, Huneault.
In the early 1950’s, the Canadian political climate was modified and
some Japanese Sensei returned to their former residences and opened
regular dojo. The Vancouver area regained its popularity with Sensei
Sasaki, Sensei Doi, Sakai and Tamoto. In other locations, the
pioneering work was accomplished by: Sensei Katsuta in Raymond,
Yosh Senda in Lethbridge, Hatashita in Toronto, and Kamino in
Hamilton, Sensei Inouye in Victoria, Sensei Kimura, Damblant and
Lalonde in Montreal. Many other Japanese of second generation were
instrumental in creating the new Canadian Yudanshakai promoting
Kodokan style of judo. Some provincial associations were formed. At
some point, there were political clashes between the Kawaishi judo
syllabus and the Kodokan system particularly when trying to promote
standards for teaching, competing and grading held between
associations. As some provincial associations had shown signs of
relaxation in the formal Kodokan teaching methodology and in the
awarding of grades to competitors it was felt that a major restructure
was necessary.
Restructuring Canadian Judo
In 1956, a major restructure was necessary. The Canadian Yudanshakai

under the guiding arm of Sensei Sasaki, a close friend of Shihan Kano,
began the renewal process. The Canadian Kodokan Black Belt College
was created to oversee the national grade award began to standardize
the teaching under the Gokyo and imposed rigid rules for the grading.
The Canadian Judo Federation saw it as a form of administrative rivalry
and thus began a parallel governing body during the next three years.
In 1959, the Yudanshakai obtained its National Company Charters
under the new name of Canadian Kodokan Black Belt Association and
extended its offices across Canada when M Frank Hatashita followed
Sensei Sasaki at the helm and moved the Headquarters to Toronto.
In 1959 the National Sport Council and the Canadian Olympic Committee requested to
deal with only one national governing body in preparation for the upcoming restructuring
of Sports Canada. Both the Federation and the CKBBA had audiences before the
Committees and had the chance to present the case for their areas of influence.
After some deliberations, the CKBBA was found to be more representative of the total
Canadian scene and the CKBBA was given a National Status for judo affairs. Thereafter,
the Federation ceased its activities and its members were requested to join the CKBBA on
an individual basis. In the years that followed, the CKBBA became Judo Canada and a
unified structure now governs the national and international activities for Canada.
Judo Canada is now fully committed to the pursuit of judo goal as a practical learning
process as first introduced by Shihan Kano: “It is a theory of skill by which one trains the
body and mind, and as a theory of life it is an extremely practical methodology that directs
one thoughts to the right path.”8
8
TECHNICAL JUDO
JU meaning soft, flexible, pliancy
DO referring to the way of progress or path of
conduct.
The Apprenticeship
“I began and started to make progress. It became instinctive.
Now it is all-natural.”9
In his summary for the International Judo Federation, M. A. Plée

explained the significance of judo in the following terms: “For Sensei
Kano, the two characters seemed to be of equal importance. Ju as a
method of defence is a principle as important as the DO the process or
principle of achieving higher morale.”10
As a respected Japanese educational authority Shihan Kano rose to the

occasion of replacing the Bujutsu training with something of higher
morale and safety. As we have seen in the historical portion of this
text, his Kodokan JUDO represents his pedagogical approach towards a
new integrated physical education system for the modern Japanese.
Having recognized the efforts of thousands of teachers before him who
had taught the various martial arts, he managed to combine the
ancient and hard bushi training philosophy with a new intellectual
approach of yielding and seeking physical and social challenges that
would build the character of the modern Japanese man. “No matter
what the goal, in order to achieve it, you must put your mental and physical
energy to work in the most efficient manner”11 J.Kano
His views expressed the philosophical teaching of Lao Tzu, (Laozi or

Lao Tsu) the Chinese philosopher still very popular in the1800 in Japan.
Lao Tzu said:
“In our world, there are positive and negative paths. The positive
way is made of softness and gentleness while the negative one is
9
Myamoto Musashi, Traité des cinq roues,
10
M.A. Plée, La technique du Judo, Judo international, p.13
11
made of violence. Both need to be learned but mankind ignores them.

The violent person is in great danger when confronting his peers. Yet,
the other one knows no fear.”12
For Sensei Kyuzo Mifune 10th Dan, one of the early icon of the Kodokan,
Ju is also inseparable of Do. It means to be natural and to act in
accordance with the natural law, to go with the flow, to yield and act
spontaneously and responsibly. It is not a form of submissiveness or
weakness before events. It is rather a positive philosophical approach
to tackle the dimensions of life with the intelligent use of mental and
physical strengths.
“Seiryoku Zenyo- putting your energy to work most effectively is

the basic principle of defense against attack”13 J.Kano
Sensei Mifune like other senior sensei of the Busen (short term used
to identify the recognized Kyoto national teachers association) saw in
judo the accomplishment of three principles: Bambutsu Ruten or the
continuously changing of posture, the Ritsudo the smooth and
rhythmic flow in movements and the Chowa or the harmony necessary
in all action. In his book the Canon of Judo he described Ju14 as: “The
transformation of the person by being noble, just and reasonable while
seeking the truth and the beauty in nature and by giving oneself to
others.”
In his writings, he further solicits the readers to remain close to nature,

to observe its nuances and discover its harmony and functioning. It is
with the same principles that he would display his mastery of
techniques throughout his life.
The meaning of Do or Tao in Chinese contains the spiritual dimensions

and intensity normally found in to the Zen philosophy. Its symbol is like
a road leading to a battlefield, where lanterns and flags protect against
the dangers of the unknown. Shihan Kano provided such guidance.
The five basic instructions given when he delivered his lessons were:
1. Study hard and set some goals throughout your life.

2. Try to go beyond your perceived limits.
3. Go forward without being troubled with immediate obstacles.
4. Believe in the inner strength and use it to obtain positive results.
5. Help others to become social pillars for the nation and mankind.
12
Lao Tsu, Dao de Jung
13
14
Kyuzo Mifune, Canon of Judo, page 23
In a practical term, DO also reflect the hard and continuous path of

studies needed to make incremental steps in self-improvement. The
Kodokan judo student need not seek technical proficiency alone. To
succeed, he will require physical endurance and mental courage. The
early ways shown by the Kodokan training method was to train hard
daily, to correct and rectify personal weakness in techniques and in
character and then face the opponent with respect.
Calligraphy of Dr Jigoro Kano “Intelligent use of power”. Signed

Shinkosai
Objectives of the Kodokan JUDO

When Dr. Jigoro Kano departed from the ju jutsu hard lines to
implement his Kodokan judo, three major axis were defined which are
still being pursued today:
1. Transform ju-jutsu and use judo as a national physical

education system to rival with the popular gymnastic and
Bujutsu taught in schools throughout Japan.
2. Install moral principles to guide players towards respecting

and helping each other in reaching personal and group goals.
3. Export the Kodokan judo philosophy to all continents as a pure

Japanese product.
Shihan Kano frequently expressed his ideas through the calligraphy, as

did many other educated masters of the past. Above is his description
of the intelligent use of energy. One of his latter students, Sensei
Kyuzo Mifune (1883-1965) supported these higher goals in his book
and declared: “Judo is a Japanese cultural product reflecting our
statehood and which can be enjoyed by all nations.”
Master technician Sensei K.Mifune 10th Dan
First Principle: Intelligent use of energy (Seiryoku

Zenyo)
Kano’s first principle is more then a mere physical observation. The
intelligent use or better use of power is both psychological and
physical. It reflects the Zen teaching: unity of mind and body to excel
and to co-exist with nature. Through meditation and brainstorming, it
is possible for one to remove distractions and become more creative.
Physically, with the application of basic knowledge of physics and
biomechanics, one can apply the minimum of force to a combination of
vectors moving along rhythmically in the same direction and produce
sufficient strength or power to overcome a massive obstacle.
Shihan Kano made the effort to demonstrate that flexibility of mind

and body can overcome a stronger opponent. All his Gokyo techniques
make use of physical leverage, balance, inertia, gravity, rotational and
angular movements, centrifugal forces, combined power groups of
muscle joints and use the effects of attraction or repulsion of two
moving bodies.
Shihan Kano understood the need for an in depth analysis of each

movement and provided the opportunities to act out the principles.
The Kata and the Randori portions of his curriculum would permit the
linkages between theory and practice. Kata forms would be used to
demonstrate the principles, to permit observation, constant analysis,
and remedial actions in order to gain true efficiency. The Randori
aspects would be the regular way for trials and errors, for
experimentation and consolidation. He would note that through
intense meditation and observation one can identify the forces at play
in a contest and discover the natural laws needed to regulate the
movement between partners.
Randori techniques: Sweeping legs and inner thigh

techniques
About Yielding
Shihan Kano retained the old principle of yielding which was so popular
in the ancient jujutsu schools. Yielding attitude and making use of the
opponent’s movement was known since the Chinese Han Dynasty as
Jou Tao as means to defeat violence. He therefore demonstrated that
there was no clash or sudden break with the traditional principle and
the ones espoused in his Kodokan judo. He fully recognized the use of
natural strength and the power contained in natural phenomena. He
would refine his teaching on the proper and intelligent use of strength.
Use only the necessary amount of strength and discard the excessive
use of it. To the natural phenomena, he added the scientific principles
identified in biomechanics thus making judo a greater system than the
former. He also embraced the dimensions of mental and social
training, which in his time was the popular with the Zen meditation. It
can be summarized along the following lines:
Yield to overcome.
Bend and go with the flow.
Fill in the emptiness.
Make wise use of strength and keep fresh reserve.
Own little and try to accomplish many.
Master many fields of endeavour and stay open.
Have the strength of a man yet deploy it
gently like a woman.
Be one of the resources of the universe.
Shihan Kano further explained his yielding concept and the unity in
forces in the following terms: “If a strongman pushes me with all his
might, I will certainly be defeated if I only try to oppose him. But if I do
not push back but rather step back or turn with the direction of his
push, he will lean forward by being overextended and subject to loose
his balance. Using the strength of his push and applying my own
technique, it will be relatively easy to make him loose his balance and
fall. Sometime, he may fall by himself just by the action of my turning
action. ”15
Similarly, Sensei Kawaishi would explain that when the judoka takes
the initiative and uses surprise to put the opponent off balance, he can
better use the opponent’s strength to his advantage. We can now
understand that by adding one’s own strength to the one being
displayed against us by the opponent will add impetus to combined
powers and both will be used to overcome.
15
Jigoro Kano, Writings compiled by Naoki Murata, Mind Over Muscle, 2006
“What is flexible and soft, is life’s best friend. What is

hard, violent and rigid is the ally of death.”
Attributed to Lao Tzu
SECOND PRINCIPLE: Mutual friendships and benefits

(Jita Kyoei)
The second principle of judo is obtained by active participation in judo
activities according to Sensei Kyuzo Mifune who said: “ A judo randori
or shiai must be a demonstration of mental and physical preparedness
shown by both participants.”
Meanwhile, Zen master Omori Sogen encouraged the free expression of oneself in order
to reach spiritual perfection.
Shihan Kano aimed at such perfection through the Randori exercises. In that form of
training, the judoka has to demonstrate agility, mental alertness, and flexibility of mind and
body. He has to adapt to changing situations, make rapid judgements, stay alert and not be
tied down by formalities or obstacles. The randori is a form of mutual benefit obtained
through two willing and participating opponents. Its goal is not in being
able to make the other fall down with uncontrolled strength and power.
In randori, one must deal with the obstacles as presented during the
match and make use of natural laws mixed with mental power to
overcome them.
Mutual benefits are derived from having different partners to train

with, identifying weaknesses and strengths, helping each other make
corrections to techniques, controlling the use of power and caring for
their mutual safety. The training sessions help the players to multiply
their social contacts, exchange freely and support each other in their
quest for proficiency. The summary of this principle is best expressed
by Henri Courtine and Paul Bonet-Maury of the French judo federation
when they declared: “The final objective of judo as conceived by Dr
Kano is to implant in the human mind the importance of the intelligent
use of power and to seek mutual benefits by collaboration and giving.”
This principle of caring for the others starts at the Dojo and goes far
beyond in other aspects of social life. The student is taught to
acknowledge the place of honour and the teaching staff. His behaviour
on or off the tatami must be respectful to others and he must show
signs of personal discipline around others. Before and after each
training session salutations are made to request and thank partners
for their participation. The white training costume or judogi must be
maintained clean and adjusted according to the international rules.
When engaged in fighting matches and in combative training, the
players must take care to protect the opponents and avoid injuries.
Judoka are reminded to avoid acting selfishly and act considerately to
the needs and circumstances of other people in the group. Players will
be told to accept training sessions with different partners of various
sizes and ranks and assist others in performing better techniques.
Sempai or senior students will be expected to engage in the
administration or management of the dojo while the junior members or
kohai will take up some chores for the upkeep.
“The virtues and strengths of one can complement and foster those of
another.”16 J.Kano
Learning Judo
“Not everybody grasps the full meaning of judo, but there are some who do.”17 J.Kano
Kyotsuke/Attention: Many will pass through but few will remain.
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. The learning process is described in the
Japanese terminology as follow: Learning- Gakumon, the classroom- Gakkyu and learning
level – Kyu. The same ideograms have been used to represent the Kyo as in Gokyo, the
Kodokan system used by Shihan Kano to group his retained techniques.
Shihan Kano limited his initial basic techniques to about 40 standing

units. He grouped them around the five principles. By limiting the
initial curriculum, he intended to guide his students towards a greater
appreciation of the principles. He introduced techniques and kata
simultaneously. The Gokyo of 1895 has since evolved but the essence
has remained the same. Today, at the Kodokan Judo Institute there is
16
17
an enriched Gokyo syllabus with 67 tachi or standing wasa including

dozens of complementary techniques and a full compendium of
Katame or ne-waza techniques comprising 32 holddowns, arm-locks
and strangulations. A partial name-list is presented hereafter.
Tachi- waza - Standing techniques
Te waza- 15
Ippon-seoi-nage, 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
Uki-goshi, Harai-goshi, Tsurikomi-goshi, Sode-tsurikomi-goshi, Hane-goshi, O-goshi,
Ushiro-goshi, Utsuri-goshi, Tsuri-goshi, Koshi-guruma, Daki-age.
Ashi-waza 21
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, Tsubume-gaeshi, Kouchi-
gari, O-soto-guruma, O-soto-gaechi, Uchi-mata, Uchi-mata-gaeshi, Hane-goshi-gaeshi,
Harai-goshi-geachi.
Sutemi-wasa-20
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, Kawazu-gake.
Katame-waza or mat techniques
Osae-komi-waza
Hon-kesa-gatame, Kuzure-kesa-gatame, Kata-gatame, Kami-shiho-gatame, Yoko-shiho-
gatame, Tate-shiho-gatame.
Shime-waza
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.
Kansetsu-wasa
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, Ashi-garami.
Shimmeisho-no-waza (complementary group)

Morote-gari, Kuchiki-taoshi, Kibizu-gaeshi, Uchi-mata-sukashi, Tsubame-gaeshi, Dakiage,
O-soto-gaeshi, Ouchi-gaeshi, Kouchi-gaeshi, Hane-goshi-gaeshi, Harai-goshi-gaeshi, Uchi-
mata-gaeshi, Kani-basami, Kawazu-gake, Osoto-makikomi, Uchi-mata-makikomi, Harai-

Makikomi.
Ura-nage and tsurikomi-goshi being performed at the Canadian Kata Championships 2006
A limited presentation of the standing gokyo techniques (part one)
A limited presentation of the Gokyo standing techniques (part two)
Author’s note: There are numerous books illustrating the Gokyo. The best reference is still the Kodokan
Judo Jigoro Kano from the Kodansha Press International. (1994). (The book contains abstracts from Dr
Kano but was produced by a group of senior teachers from the Kodokan Editorial Committee.)
The details concerning the application of Katame or ne-waza consisting of hold-downs, strangulations
and arm locks is not addressed in this volume.
With the techniques listed above and the requirement to master each
one, there is no way that judo proficiency can be achieved within
months. Unfortunately, there are no short cuts. Judoka will need to set
individual and achievable goals in order to become free practitioners,
serious competitors or simply knowledgeable athletes.
Learning judo begins on the tatami or the practice area. To embark

upon a serious judo-training program, one must leave behind
preconceived ideas about what judo is or is not. Judo as a spectacular
sport, an extraordinary means of self-defence or a good wrestling and
grappling system should be discarded. Openness of mind and
willingness to learn must be expressed and demonstrated.
Normal judo proficiency and mastery are expressed in the grading

system composed of coloured belts for the junior ranked mudansha
and black belts for the senior ranks called Yudansha. Grades are
normally obtained by formal examinations at the dojo, provincial or
national levels.
Judo players are evaluated for technical skills, combat experience and
mental attitude. These elements are known as Shin-Gi-Tai. It is also
possible to be graded for outstanding performance during a high level
competition involving several equal and superior opponents. This
system is called Batsugun Sokujitsu Shôdan.
Reaching the level of black belt is considered quite an achievement. It

normally marks the moment of passage between the learning years
practicing and copying techniques and the beginning of a higher level
of understanding and comprehension towards the techniques involved.
True mastery will be felt in the soul. The black belt may be the envy of
all players yet it is not the end of the journey. There are thousands of
judokas reaching the first degree of Black Belt. The Kodokan judo
Institute and the International Judo Federation maintain the list of the
thousands who have reached the senior level of Kodansha. Yet, only
few have reached the supreme level of Judan (10th dan). These sensei
emeritus are listed hereunder as a reminder that all practitioners can
achieve the supreme rank:
Name of Holder Period of Age Awarded 10th dan
Yamashita Yoshiaki 1865-1935 1935 (posthumous)

Isogai Hajime 1871-1947 1937
Nagaoka Hidekazu 1876-1952 1937
Mifune Kyuzo 1884-1965 1945
Iizuka Kunisaburo 1875-1958 1946
Samura Kaichiro 1880-1964 1948
Tabata Shotaro 1884-1950 1948
Okano Kotaro 1885-1969 1969 (posthumous)
Nakano Shoso 1888-1977 1977 (posthumous)
Kurihara Tamio 1896-1979 1979 (posthumous)
Kotani Sumiyuki 1903-1991 1984
Abe Ichiro 1923 2006
Osawa Yoshimi 1925 2006
Daigo Toshiro 1926 2006
Sensei Osawa, Daigo and Abe
There are still some good judoka who have not appeared before
national or international examination boards and have attained great
mastery of the art. The majority of sensei will nevertheless present
themselves to be periodically examined by peers and superiors in
order to assess their abilities, refresh their skills and update their
knowledge to the international technical standards.
These examination platforms ensure unified training syllabus, provide

updates on technical standards and favour a renewal with the judo
rules and regulations. Grading opportunities are also occasions to
renew the personal lifetime commitment to judo known as Ichi Dai and
spirit called Seishin. The latter is meant to foster the attainment of
best technical performance. It was the samurai Musashi who encouraged
his pupils in the year1640 with the expression: “Jikishi Minshin” meaning:
Embarking upon the continuous road to self- discovery.
M. Musashi the legendary samurai

(Shimada Museum, Kumamoto)
Judo Teaching
“By what I did yesterday, I win today”

Hozoin Ryu, 1600
Shihan Kano adopted the Eisho-ji temple as his first training hall. In
this serious, religious and peaceful venue, students could undergo
serious physical and mental training. Considering the intensity of the
training lessons, it is reported that the temple master would often
scold Master Kano for the excessive noise made by the student falling.
The timing of religious instructions was changed to accommodate the
judo training sessions. For Shihan Kano, learning judo came through
hard work, heavy training schedules, determination and courage.
In these early periods, the learning of martial arts was done through
verbal transmission or Kuden and written instructions (Kudensho) were
scarce. Students had to be selected by headmasters or request
permission to be taught. They had to stay on the premises or nearby
and pledge allegiance to the senior master.
Shihan Kano maintained that tradition to a certain degree during the

first years of the Kodokan. Today things are much easier. The student
has to locate a certified training centre, judo hall or club, find out if the
training conditions and teacher (sensei) meet his expectations and
sign on for his or her membership. Students are free to leave that dojo
at any time to pursue other venues.
Still today, the hard training regime is necessary. The attainment of

physical and technical skills is reached by observing demonstrations,
performing repetitive movements, gaining incremental improvements
through various challenges met in free practices and with all kinds of
partners. To gain access to the spiritual dimension, the student must
be able to integrate the teachings, cope with the application of natural
principles and attempt to work in harmony with others on the tatami
and outside the dojo. Fear factors, lack of confidence, limited flexibility;
pride and humility, judgement calls, determination and courage must
all be addressed.
Sensei Nakamura 8th dan teaching tsukuri action
Teacher responsibilities
“With a well trained body and cultivated mind, you can apply
your training for the benefit of society.”18 J Kano
Since the beginning of Kodokan Judo, Shihan Kano has emphasized the
role and responsibility of the Sensei. In developing and delivering the
Gokyo, he had set the example to be followed thereafter. The first
group of Sensei sent abroad to teach on all five continents was an
exemplary class. They excelled in both teaching and technical skills.
The second and third generations of Sensei have followed their
footpaths and established the Kodokan teaching superiority on all
continents.
The Sensei still occupies the centre stage in all dojo. They are the
pillars of the Kodokan tradition, the nerve centres that regulate the
flow and the dynamic of the judo teaching experience. The teacher’s
mission is to transmit knowledge, to pass on the ideals and principles
of judo; to oversee its practice in a safe environment and to provide
leadership in character building for all students.
In Canada, the judo teacher requires a national certification by Judo

Canada. The diploma is obtained after a successful examination before
a group of seniors who verify that the apprentice has the knowledge
and understanding of the technical curriculum, that he possesses the
performance skills for selected movements and that he is displaying
the proper mental attitude on and off the tatami. (Training surface)
Back in the dojo, teachers will employ different teaching mechanisms

and techniques to fulfill their mission. They will select a basic skill to
be learned then plan the explanation and demonstration. They will
organize the best methods for its practice and provide feedback during
the session. There is the technical demonstration, a process whereby
students learn by observing the mechanics of displacement in slow
motion, and then, a much faster pace is obtained. Observation is
followed by repetitions and practices with different partners, at
different speeds and with some variations in combat situations. These
Keiko or training sessions are intended to make the student practice all
the technical requirements in a closed and non-competitive
environment.
Once the gist of the technique is understood, the teacher will introduce
the Yakusoku-renshu exercises. Here, the students will undergo
dynamic applications of the learned skill. They will attempt to profit
from opportunities arising in a light match between partners. During
18
those matches, a limited amount of resistance can be applied but the

end result must be to help each other perform and feel the techniques
from start to end.
The next training aid will be the Randori or the free practice. This
exercise is a skills oriented match between opponents. Both will
attempt their best techniques and profit from the opportunities to
outwit and take advantage of the other. It was Miyamoto Musashi who
once said: “ We must first train in tactics or means of securing
advantage so that we can use it at any moment and we must learn the
various ways to use the technique in all circumstances”.
Summarizing the essence of training, Dr Kano said in his 1889 lecture

to the Dai Nippon Kyoikukai:
“In the acquisition of knowledge, there is a difference depending

on weather you emphasize basic knowledge that can be applied
to anything, or emphasize practical specific knowledge that is
useful in actual terms. In the end, you must clarify your goal…
So you must proceed, taking care with your training, and embark
on the do with a sincere commitment to wasa and mental
development.” 19
19
Samurai training in winter by artist Kuniyoshi-1847
Training Attitude
The judo learning process is similar to other martial arts. The training
takes form in the dojo or training hall. For physical orientation, the
front of the dojo is known as the Kamiza or upper place. This is the
location for the chief technician or sensei and where pictures or
memento of Shihan Kano are affixed to the wall behind him. Opposite
to the Kamiza is the Shimoza or place where the students are located.
Looking from the Kamiza, we identify the right side as the Shimoseki or
place for the general assembly or spectators. To the left, there is the
Joseki, the formal area for presentations, lectures and training.
At the apex of the dojo organizational structure, we find the sensei

who holds the traditional knowledge and who is responsible to transmit
the techniques. Junior instructors called kyoshi assist the sensei in his
tasks. They are normally good technicians and performers who can
handle selected groups of students for detailed studies. At times, there
are other senior students, (enlisted before and called sempai,) who will
lead with various exercises performed by the mudansha or the no rank
holders.
At judo classes, a formal bowing towards the sensei is performed at

the beginning and at the closing to express gratitude for the skills and
knowledge taught. Standing bows are also performed between players
as signs of respect, trust and humility before and after each exercise.
It is important to remain open minded and free of spirit during the

lessons. As progress is made, the judoka has to refrain from adopting
an inflamed ego and overtly challenge the demonstrations. This
”better than you” attitude could lead him into trouble. Too much pride
is a false vanity that will mask the instruction explaining the principles.
There is an expression captured in a calligraphy of sensei Pascal
Krieger witch is worth reflecting upon here: SHO SHIN WASURU
BEKARAZU, meaning: Do not forget to maintain the spirit of the
beginner.
Spiritual gakku by Pascal Krieger Formal salutations- Rei
Students may rely upon the Sensei to transmit his knowledge and
provide the practical opportunities for the students to advance. Judoka
will find sufficient time in free practice (randori) and in competition
(shiai), to experiment with the techniques learned and adapt them to
their own personality. With time and proper guidance the judoka will
reach a stage whereby he can perform techniques as and when
desired.
At the end of each training session, the judoka has some moments to
reflect upon the movements and combat situations he encountered.
Reflexion period called Mokuso will provide time to review, analyse,
identify his weakness and strength and develop appropriate remedial
plans to pursue his training.
“Judo is not merely a martial art but rather the basic principle of human
behaviour”20 J. Kano
20
Sensei M. Bourelly and R. Damblant during a review period Sensei Nakamura

demonstrating Uchi Mata
Dr Kano has constantly encouraged the judoka to do their best. In one

of his 1889 lecture, he said: “If you truly understand Seiryoku Zenyo
and put it into effect yourself, you can stand on the same footing as
those who spend many years in contemplation of the doctrines of Zen
and achieve enlightenment. You can achieve no more and no less than
this through your own experiences and training.”
“Even when we do what we believe to be best, overdoing something can

be harmful”
“Conversely, you cannot do things half-heartedly or randomly”21 J.Kano 1889
21
Idem
Macroscopic View of Judo
Natural principles applied in judo
“Judo highest goal is self-perfection for the betterment of society”22.

These are the words of the great master Jigoro Kano when he referred
to the different kinds of judo practices. He saw the three tiers
foundation of his system as the training for defense against attack and
referred to it as the lower-level judo, a modern adaptation to ju-jitsu
and centered upon the wasa. The middle-level judo he identified as the
ability to develop the body and the mind in a form of physical
education. His upper-level judo was considered the application of the
judo principles towards the betterment of society. He cautioned the
judoka to seek greater goals. “The judo practitioners of today do not
make enough effort to achieve the goals of judo and have
overemphasized becoming strong or winning in competition, which are
merely means rather than end.”
During the course of study of judo, teachers will frequently refer to the
laws of nature as applied to judo. Shihan Kano often reflected upon
those natural phenomena and wrote: “I hope that students of judo will
master their own wasa and enjoy watching the wasa 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”.
He condensed some of his observations in the making of a superior
kata known as Itsutsu no kata demonstrated in 1897.
“ I began to teach these forms around 1897, and they brought

about a complete change in judo…the last three forms of Itsutsu
no kata express natural energy through movement and have no
relationship to attack or defense at all…. in the future, I would
like to create many of these kinds of kata with the purpose of
developing an aesthetic sentiment through movement or various
postures while at the same time training the body”23 J.Kano 1889
It is reported that Shihan Kano may have confirmed his desire to

produced an aesthetic kata during his Okuden (superior) training
period at the Tenjin Shin Yo Ryu. This kata was the last grouping of
forms on which Shihan Kano was working upon before his death and it
was intended to represent his entire judo philosophy. Although
unfinished and out of respect towards Shihan Kano, this kata is still
taught to the most senior practitioners. The five principles only
referred to as forms are as follow:
22
23
Idem
Form one: Varying the intensity and direction of a force.

Form two: Making use of momentum and gravity.
Form three: The centrifugal power of a circular force.
Form four: Superposition and forces of waves.
Form five: The use of emptiness and avoiding confrontation.
These five forms ultimately represent the concepts of the universal

forces at play. They summarize the natural and efficiency use power
within the cosmic dimension. We can translate those principles in the
application of judo practices found in: the continuous attack, the
efficient and best use of strength, the redirection of exterior forces, the
inner circle of attack, the phenomena of action and reaction and the
use of the empty space to seize the opportunity. In the following pages
we shall attempt to elaborate on these important principles.
Sensei Tadashi Sato 8th dan demonstrating rotational power
Sensei Tadashi Sato 8th dan demonstrating the avoidance wasa
Form 1: Varying the intensity and direction of power
Different applications of displacement (Shintai) at various speeds to effect throw
Nature provides us with several examples of the power shifting.

Hurricanes, tornados, cyclones, sand storms and snow squalls can
reach speeds in excess of 200km/hr. Wind can move large ships, erode
mountains and produce electricity. Wind can also be a gentle and soft
breeze in summer. Wind follows no set paths and is often multi-
directional.
Circling of the wind. Cyclone Larry over Australia 2006

International United Associated Press
Likewise, in judo practice, we have several opportunities to apply

different levels of power at different speed. The smallest displacement
of power occurs when we accumulate air in our lungs to use it as a
pushing force at just the right moment. A concentration of compressed
air mixed with muscle contraction and later released into a crisp
shouting sound and directed at the opponent by the use of a technique
called Kiai can momentarily distract the opponent. When combined
with the physical displacement of larger muscles groups, can add new
energy to a throw.
Other examples include: When performing specific judo techniques,

the displacement of the entire body or Shintai can be made from all
directions and at various speeds. The intensity and direction of the
movements must be varied in order to be used as an element of
surprise and to add dynamic acceleration to the attack. Developing
correct speed is also essential to practice anticipation to an attack and
avoid being thrown. It can also be used to turn and wrap around the
movement of the opponent.
At times, the motion will be linear, at other moments, it will be circular

or in a spiral. When accelerating, kinetic energy becomes greater and
greater, and when applied to a technique, this energy becomes
explosive and the motion will be unstoppable like a cyclone gathering
strength.
There is a Zen proverb that says: “When looking for rigidity, seek
flexibility. When obtaining power, protect it with weakness. By
practicing flexibility you will gain strength. Work on your weakness
and you will find power.”
Sensei T. Sato 8th dan approaching to apply different energy sources at different speed to the
abdomen of Sensei Y.Enoki during the First Form of Itsutsu no kata demonstration.
Form 2: Making use of momentum and gravity
Sir Isaac Newton’s First Law of Motion states that an object at rest will
stay at rest unless a force is exerted onto it; likewise, an object in
motion will stay in motion unless a force is exerted onto it. A person’s
balance can be considered a state of rest and behaves according to
the above law.
Also, from physics, it is known that two objects of the same mass
travelling at the same speed will have the same momentum; however,
if one of the masses is bigger, it will have more momentum. Likewise,
if two bodies have the same mass, the one travelling at the faster
speed will have greater momentum.
The above principles imply that a bigger mass will require more force
to initially move and accelerate it than a smaller mass; however, once
in motion, the bigger mass will have more momentum than the smaller
mass travelling at the same speed and more force will be required to
stop (decelerate) the bigger mass. Now, if the small mass has a great
speed, it will have more momentum than the large mass.
Sensei Tadashi Sato making use of gravity and momentum to overpower an

opponent
In the smaller weight divisions of judo contests, judokas tend to move

faster than in the heavier categories, most probably due to the larger
inertia of the larger opponents. However, as stated above, when a
bigger judoka moves in a given direction, the associated momentum is
large. Regardless of the size of the judoka, when a movement is

performed with greater speed, it is more difficult to stop. This kinetic
energy is what will be used most often in judo to ensure the
displacement in the attack or the withdrawal in defence; it will add to
the kuzushi.
Directing a sweep at time of lesser resistance Using vertical instability to apply a

throw
For two opponents of the same weight, a judoka would have to use
greater speed to overcome the momentum of an attacking opponent;
instead, the master judoka will simply redirect his motion in the
direction of the incoming attack. The master judoka will then perform
kuzushi (braking the balance) along the trajectory of an eventual fall
to the ground by the opponent. The momentum of the master judoka’s
movement (tsukuri) will then be added to that of the now unstable
opponent. This instance of great momentum and imbalance is when
the judoka should take advantage of the situation and execute a throw
technique in the vertical or horizontal plane, depending on the
direction of additive momentum, this portion of a technique is called
kake.
Coming back to the principle of inertia, when standing, a person is kept

in balance by the distribution of forces from the head down through
the spine, along the thorax and lumbar region, and down to the legs
and feet. Standing at rest, it can be said that we are in a state of
inertia or in total equilibrium. Without any external forces, changes in
positions or willingly exercising a displacement, we should remain
immobile. In such a state of rest, the only perceptible forces acting
upon us are the vertical force due to gravity and the equivalent
reaction provided by the ground under our feet. If the position of our
feet or our body moves, we become unstable.
A person’s centre of gravity is located in the abdominal region, higher

or lower depending on the size of their shoulders relative to the size of
their hips. Making a voluntary displacement of that centre or forcing it

to move is the key to breaking the opponent’s balance and placing the
opponent in a position where equilibrium must be re-established
otherwise a fall will ensue. The breaking of the balance or inertia is
known as kuzushi. By applying a force to any part of the body, the
equilibrium is broken and there will be a resulting force, which is the
combination in direction and size of the force due to gravity and the
applied force. Once equilibrium is broken, the entire body will be put in
motion in an attempt to recuperate its stability.
When trying to topple an opponent, the greater the distance between

the applied force and the point of contact with the ground, the greater
the de-stabilizing effect because of what is called the moment-arm,
which is simply the distance from the point of rotation. Therefore,
applying a force to the upper body when the opponent is standing will
create a greater re-stabilizing reaction than if this force is applied
lower, unless of course applying the force lower also changes the
conditions at the point of contact; i.e., the feet. Applying a force near
the centre of gravity will create horizontal motion but no rotation.
After being put in a state of disequilibrium, the body needs to

recuperate and find another point of stability. This process may take a
fraction of a second and is considered the perfect time to launch the
attack.
World Champion A.Geesink making his attack at the right moment

(Kodokan-IJF archives)
The judoka will further learn to use the centre of gravity as a strategic
zone to voluntarily initiate a displacement and take advantage of quick
actions or interferences against the opponent and to prevent the quick
return to a stable position thus extending the latter’s period of

instability.
Let us look at another situation using the gravity to work in our favour.
When the judoka is pulled up by an exterior force or propelled upwards
by the springing action of the legs, his body will rise in the air to the
point where his vertical speed will become zero due to the action of
gravity, after which the body will come back down. This infinitesimal
opportunity at which the upward and downward forces balance each
other out is when the body is almost weightless - another moment to
be exploited by the judoka.
Form 3: The centrifugal power of circular movements
Another phenomenon observed during a judo practice is the use of

circular movements, curves and spheres.
Sensei Tadashi Sato placing himself at the centre of a circular movement to exploit
its power
There are many occasions to make use of circular movements and

spheres in judo practices. In the practice of braking the falls for
example, the judo players will use a spherical form to distribute the
impact of a fall by presenting a continuum of points of impact. Further,
like a ball rolling or being pushed about, the spherical position will
keep the body in equilibrium since the centre of gravity is always in
the centre of the sphere.
Circular motion in falling techniques

When performing a technique, the angle of throw will follow a curved
line either going towards the opponent or pulling away from him.
When accepting a throw, the judoka may temporarily change position
in the air by pressing or retracting his arms against his body. Also, the
position of the legs can be changed to prepare for the fall, or to
counter the attack. By adapting quickly, the judoka has a chance to
change the direction of the fall or even its outcome.
Use of circular motion in various applications

Likewise, when the judoka is attempting to overcome an opponent
during a standing match, an “egg shape” position can be used to:
create a separation from the opponent to prepare the attack, to adjust
posture, to move under the opponent’s centre of gravity or to
generate the necessary impulse to fully engage the opponent.
While performing groundwork, the judoka will adopt a “turtle like” or

round posture to avoid being seized or held by the opponent. The
same spherical position will be resorted to in order to gain access to a
breathing space between the two opponents and to gain more
leveraging space. Arching positions can also be used to secure contact
points by the attacking judoka while performing holddowns or
strangulation.
Example of securing the contact points in a strangulation wasa in

Katame-wasa
Form 4: Superposition and forces of waves
Ancient Japanese etchings of waves by Katsushika Hakusai 1760-1849
The sun and moon produce the tides, and the tides and wind create waves. The wave size,
height, speed and direction will vary. Gentle waves hitting shore will return to sea forming
small arcs when meeting shore-bound waves. The combination of several waves can
produce bigger and more powerful waves. At times, waves can advance at incredible
speeds and rise to form walls of water that can be destructive, while at other moments they
will just dissipate into nowhere.
Sensei Tadashi Sato 8th dan demonstrating the power of a tidal wave
In physics, there is the “Principle of Superposition” which states: the displacement at a

given point in space and time due to the simultaneous influence of two waves is the vector
sum of the displacements due to each wave acting independently (Principles of Physics,
Frank J. Blatt), In other words, waves add up and cancel each other all day, and with the
rising and receding tides, this cycle continues perpetually.
Judo activities make good use of waves such as: in the waves produced by the body
particularly the hips when doing Tachi wasa, in the sacrifice techniques called Sutemi wasa
or in some throwing techniques. Powerful waves and rolling actions are also found in the
application of mat techniques called Ne waza, when coiling, twisting and turning in
attempts to overthrow the opponent.
Form 5: Use of emptiness - Avoiding confrontation
Sensei Y. Osawa then 8th dan performing an element of Koshiki no kata

(Kodokan archives)
When looking at the sky at night, we can witness constant motion in

our universe. The earth spins around itself as it rotates around the sun
and so do the other planets of our solar system. Each planet travels at
an incredible speed and each has its own orbit. The size and position of
a planet will influence the orbit of another, yet there is no catastrophic
collision amongst them. Planets, comets and other celestial bodies are
embarked in a constant balancing of attractive forces according to the
Law of Universal Gravitation which states that any two bodies exert an
attractive force on each other - this force is proportional to the product
of the masses of the two bodies and inversely proportional to the
square of the distance between them.
In other words: the bigger the masses, the bigger the attractive force,
and the smaller the distance between the masses, the larger the
attraction.
Likewise, in judo, two opponents fighting will displace their individual mass within a
limited space. Their mass and proximity will influence each other. As they move about,
joined by the kumi kata (grasping of the opponent) they form a universe. Each opponent
will resort to changing or altering their speed and direction by pushing, pulling, thrusting,
lifting, balancing and leveraging in order to move about in that new space without colliding
with the other. If a collision happens, where force meets force, there is likely to be an
entanglement and no true technique can emerge from this kind of clash.
For the master judoka, every effort will be made to avoid such a direct collision or
confrontation when being within arms reach from the opponent. The judoka must evaluate
and predict the opponent’s path quickly and then approach in the direction of least
resistance or the direction of additive momentum. The judoka will then use this knowledge
to adjust his position around, under or over the incoming mass and influence the other.
Sensei Tadashi Sato 8th dan performing the 5th element of the Itsutsu kata
Combining forces and energy
The conclusion that can be drawn from the Itsutsu no kata is that the
power of surrounding natural elements can be mustered and used
intelligently as a combined force by the judoka in order to overcome
an opponent.
Force and strength are present in judo practice. It would be erroneous

to claim that judo is purely an inactive response and denuded of force.
To remain in a standing position or whenever there is a need to make a

movement, the muscles groups will be solicited. In judo contests,
force is required to hold the opponent’s clothing (judogi). When the
players move about, their speed and displacement require a
quantitative amount of force. Should they attempt to get closer to
each other there is bound to be some force exercised to pull, push or
to react to opposing forces. Proximity, size and speed of approach will
challenge and demand some form of reaction. Applying an

indiscriminate amount of strength will surely succeed in gaining the
advantage of the situation but the excessive use of force is not the
judo principle intended by Shihan Kano.
Sensei Novovitch’s intelligent use of power
Shihan Kano’s teachings show us the intelligent use of power and the
conservation of energy to be kept in reserve in case of need. The sole
use of excessive muscular strength should be discarded. What is
needed in judo is to be able to identify, make use of and combine all
the forces present such as: muscular, mechanical, kinetic and
potential, and to use the mental power of both opponents. By
combining these forces in a given direction, the judoka will be better
positioned to keep most of his own energy in reserve and still
overcome his opponent.
To better use all energy sources at his disposal, the judoka will need to
conduct a quick analysis of the combat zone, identify the free space
between him and the opponent, judge what forces are at play in that
zone and how stable is the energy there. An evaluation of the threats
will reveal if he can make better use of displacement, an extended
limb, the opponent’s speed of attack or the precarious balance to
overcome him. When making his decision to acquire and redirect these
forces, the judoka will manoeuvre about, securing the initiative to
attack on the most vulnerable of the directions inside or outside the
sphere around the opponent. Using his own energy sources, combining
them and distributing them along the same path, he will be able to
apply them along the direction of least resistance and at the area
where the opponent’s stability is most compromised.
“In judo fighting there is a teaching, saki o tore, which means”

anticipate” Simply put, this means use your wasa on your opponent
before he can use his wasa on you.” 24J.Kano
Sensei Katanishi using his body weight Ura- nage from Nage-no-
Kata
in the direction of a fall with sumi-gaeshi Canadian Kata
Championships 2006
This concentration of energy is best realized when combining mental

and physical actions to make an explosive use of forces. Such power
will emanate from the feet, the leg joints, the hips, the abdominal
region, the torso, the arms, the wrists and the head.
It is important to note that: whatever forces used, they must be

continuous and applied in the same direction. Even the smallest
amount of energy deployed with rhythm and concentration will
produce outstanding results. Should there be a break in the continuity
or incoherence in the direction, the opponent will benefit from
sufficient time to recuperate his stability and the process will need to
be reinvented. When such an opportunity is lost, it is very difficult to
recapture.
“There is another teaching in judo fighting: jukuryo danko meaning to

make the decisive action after careful consideration”. Dr Kano realized
that such a statement could lead to an excessive use of force and
caution the judoka to know when to stop applying such force. He
referred to another judo teaching known as tomaru tokoro o shire in
24
that the judoka should venture to use his wasa up to a certain point,
but when that point is reached, to stop.
Sensei Kyuzo Mifune concentration until the end of a wasa

From Canon of Judo by K Mifune
Now that we have identified some of the natural principles applied in

judo, let us see what awaits us along our journey towards the mastery
of techniques. En route, there will be mentions of standard techniques,
variations, counter techniques, combinations, tactics and strategies.
The proper start will be the comprehension and grasp of the ten basic
elements that make the perfect throw.
“I have coined a phrase that I regularly say to people: jinsei no koro wa itsu
aru nomi
There is only one path in life. Conducting oneself in accord with this
principle on a daily basis is vitally important.”25 J. Kano
25
MICROSCOPIC VIEW OF JUDO
Ten Fundamental 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”.
This message dates back to 1640 and is attributed to the great

samourai Myamoto Musashi who encouraged his followers to
persevere with an open mind, as learning new techniques for the first
time could be difficult. With practices and repetitions, the techniques
will become easier. In 1882 Shihan Kano gave a similar message to his
teaching staff. Sensei Gauthier and later Sensei Novovitch expressed
the same importance towards the teaching of the fundamentals
elements as prerequisites to all other technical training.
The 10 fundamental elements are:
1. Ukemi. Breaking the fall.
2. Shisei. Standing posture.
3. Shintai. Moving the body.
4. Tai sabaki. Turning motion of the body.
5. Kumi-kata. Grasping the costume.
6. Kuzushi. Breaking the balance.
7. Tsukuri. Making the entry.
8. Kake. Applying the selected technique.
9. Sesshoku. Keeping contact to control the fall.
10. Ju. Applying flexibility and harmony.
1- Ukemi. Breaking the falls
Sensei Bernard Gauthier once said to me: “Before you can go about
throwing other people around, you better learn what being thrown is
all about.” A judo contest normally starts with both players standing
up. To score, there must be a throw, a take down or a standing
technique like an arm lock or strangulation applied. In 90% of the
cases, a throw will be attempted and will result in one or both of the
opponents falling to the mat. The technique used to avoid injuries is
called the Ukemi. By definition, Ukemi is self- protection or falling
safely. In all Tachi-waza the partner is thrown down and if more than
half of his back has contact with the mat, there is a score. This is
relatively safe since the judoka normally holds the opponent by one
arm or by the lapels, a motion used to partially absorb the weight. In
Shiai or contest situations, this gesture is not as evident. The judoka
must rely upon good falling techniques to provide for his protection
and safety.
By accepting the fall upon being thrown, the judoka will acquired more
mental freedom to later deploy his offensive skills. Not preoccupied
with the immediate safety upon reaching the mat and by
understanding where and how strongly the body will reach the ground
will provide a mental assurance of the safety feature associated with
being thrown.
The falling procedures consist in the rolling and arching movements of
the body and the maximum exposure of the back and side areas to
make the impact with the mat. The player will follow a natural path of
a rounded falling object: the more the area of impact with the ground
it has, the less damage it will receive.
Falling safely is learned in progressive steps. From the low position, the
player will progress towards higher positions, more dynamic and speed
is added. In later steps, the judoka will benefit from a partner who will
assist by pushing, lifting and throwing.
Shihan Kano was adamant about the mastery of Ukemi. “Before

practicing throwing techniques or engaging in Randori, it is imperative
the player master Ukemi.”
There are four kinds of directions possible to perform Ukemi: the front
roll, the back roll, the side arcs and the frontal plane. The latter one is
mostly used in self-defence situation.
The learning process of Ukemi will vary from one player to the next.
Some judoka find it easy to get familiar with the empty space that
separates them from the mat, yet, others are more reluctant and will
fear the fall.
The first Ukemi exercise starts with the backward break fall or Ushiro
Ukemi. The player will lay or sit on the mat, wrap his arms around his
knees, and tuck his chin on the chest and rock back and forth.
The player will progress to kneeling position and then to performing

Ukemi from a standing posture. The Yuko Ukemi or side breakfall has a
similar approach. Once these two are mastered, the player will learn
the Kaiten Ukemi or rolling forward.
Kaiten Ukemi drawing by Jean Gailhat, Ukemi during Canadian Kata

Championships 2006
Assistant to Sensei Kawaishi
The rolls forward and backward make use of the same falling patterns
described by the rolling ball distributing its point of impact along the
mat and over several contact points following each other in harmony.
The body is thus curled up; the back is extended in an inward stretch,
the head bent and the hands folded to push in the desired direction.
The arms will be used to direct the fall and hit the mat when the centre
of gravity makes its impact onto the mat surface.
Falling and using the side arcs follow similar principles. Here, when the
body is close to the ground, it is curled up in a similar positions and
one arm is extended at an angle of 45 degrees to make a percussion
on the ground, ahead of the arrival of the main mass. The judoka will
normally inhale before and exhale during the impact with the ground
to avoid percussion waves or loose his breath completely. A short Kiai
or shout is frequently used to produce the exhaling effect.
Falling in a frontal plane is a bit different since there is no roll forward.

The fall is absorbed by the forearms extended in front of the pectorals,
while the head is kept in the prolongation of the column; the arms
push the weight back up upon reaching the ground. The body is
somewhat suspended in the air in a linear position, the stomach, the
lower region and the head protected.
When performing Ukemi, the safety of the judoka is maintained and

there are other substantial benefits to be gained such as: experiencing
the forces of gravity, freeing the mind from fear and hesitation before
immediate danger, gaining greater spatial orientation and harmonizing
the fall with the throwing action.
Sensei Koizumi at the end of techniques forcing the fall in an arc
Sensei Lacroix doing his side-Ukemi
2- Shisei. Standing posture
“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.”
From the Munen-Mushin principle meaning: pure and simple
For best performance in judo it is important to develop and remain in a

natural posture. A state of physical calm and mental alertness is
required to quickly assess what is happening in order to react
favourably to changing situations. In the upright stance called the
Shizen Hontai, the knees are slightly bent, the feet apart at a distance
aligned with the shoulder width, the arms relaxed and kept in the
front. A soft hold of the opponent costume is necessary to make
contact with his upper body and signal any changes. If the Judoka’s
wrists are to become the first sensors, they must maintain their
flexibility to transmit the appropriate responses.
The head will be kept in its natural extension of the vertebrae. Since it
holds the nerve centre, it should be kept straight in order to facilitate
the blood circulation and the transmission of neurons-messages.
Messages and sensations detected by the ears, eyes, nose and
muscular responses should be somewhat enhanced. Shizen Hontai
gives the player the advantage of having the eyes and the head
positioned in a manner as to oversee the actions and gain the
necessary vantage point.
Shizen Hon and Jigo Hon Tai postures performed on the left and right
sides
By Sensei Mifune
From Canon of Judo by K. Mifune
To go on the defensive and or move with more caution, the player will
take up a slightly lower position by bending the knees, extending the
reach of the base made by the feet and lowering his centre of gravity
by a few centimetres. This position is known as the Jigo Hontai. The
player must continuously guard against adapting a too rigid of a
stance or over extending his arms since both actions diminish his
response time and consume energy and power that can not be used in
his attack.
In both these positions, the judoka will need to practice his movement
abilities and special orientation. He has to become conscious of his
ability to use his toes to reinforce his balance and guide his
displacement. 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. He has to train himself to listen to foot noises,
feel the different ambient air currents produced by sudden movements
of the opponent, identify vector forces being applied against him and
continuously try to improve his field of vision.
While in Shizen Hontai, the use of the lower abdomen is crucial.

Abdominal breathing should be practiced whenever possible. By
inhaling deeply and pushing the air down against his belt, the judoka
will be able to further secure space which can be use to block an entry
by the opponent or used to strategically displace his centre.
There are other successful competitive postures but these two have
best demonstrated the facility to make quick responses. They provide
flexibility in the choice of attacking angles or withdrawal directions.
They permit sudden adjustments to the distances between players,
provide a sound base of departure to launch an explosive and speedy
attack or counter attack. In general, these positions offer less
resistance and less muscle fatigue.
Natural postures at work by Sensei Bourelly and Novovitch
3- Shintai. Movement of the body
When moving about on the tatami, the players must be able to travel
the space with some elasticity and freedom. Direct, angular or
rotational displacements must give greater manoeuvrability and
permit the securing of the free space needed to launch the attack. Like
the 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
into 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 recuperate 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.
For retention of balance while moving about, the player will need to
slide his feet horizontally along the ground. One foot will chase the
other and he shall keep his weight on the leading foot. This walking
technique is called Tsugi Ashi. At no time should the feet be crossed,
placed too close together or too far apart. It is like a cautious
promenade on ice. By sliding the feet forward or backward, the centre
of gravity is kept more stable and the muscle groups need not work as
hard to keep the equilibrium.
The regular walking movement (called Ayumi Ashi) is less used in judo
situations. The body is oscillating too much from the actions of the legs
advancing and retreating with a lifting motion. This oscillating
manoeuvre offers more opportunities to break the balance.
Shintai performed during kata demonstration by Sensei Mantion and Pearson
While performing Tsugi Ashi, it is important to assess the changing

space between the opponents. When standing at arms reach, the
players normally control the ground space that is directly under their
raised elbows (when the arms are extended).
The space located between the wrists and elbows is called the free or
manoeuvrable space. This is the segment of space that competitors
fight for in order to gain strategic advantage. In that free space, a new
centre of gravity will result from the two entangled opponents. Every
detected move by one player will be met by an appropriate reaction
from the opponent. The judoka is thus advised to pay attention to this
new centre and use inside or outside balance breaking techniques to
influence its stability.
Moving about with Tsugi ashi to gain strategic advantage in

manoeuvre
Sensei Osawa 10th dan doing a Tsugi ashi analysis
4- Tai Sabaki. Turning motion of the body
On the initiative, the judoka’s movements will produce kinetic forces

that can be mustered and applied to the throwing technique. When
moving in a circular motion or in spiral, the judoka becomes the
instigator of a centripetal force giving further propulsion and power to
the technique. The rotation or spinning action can take several forms:
circular, angular, zigzag, horizontal or vertical. The turning action of
the body is called the Tai Sabaki. We can address it as part of the
Shintai or Tsukuri. We describe it here separately for ease of reference.
The coordinated action of rotating the body parts in unison to engulf

the opponent into an inside or outside spin can be understood when
watching the spiral effects of the water in a whirlpool. The opponent
being on the outside but linked to the judoka by his grip will be
captured and ejected by the centrifugal force being applied.
As another example, let’s imagine the judoka as a large rectangular

board, standing up lengthwise and revolving around a centre line
drawn from the head and continuing through its centre of gravity. The
centre of gravity is connected to the major muscles groups and when it
is displaced, it will signal the extremities to move along the same
plane. If being rotated, the extremities will be set in motion and gain
speed in accordance with the distance they travel. The combined
synergy of having the hips initiating the rotation of the centre with the
accompanying spin produced by the extremities will produce sufficient
force to be applied against or deflect the opponent’s attack.
Tai Sabaki graphics from Kodokan Judo (1994)
Sensei Mifune once said about the turning movement that: “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 naturals
thus more basic, yet, the very basic things are frequently the most
important.”
It is a fact that when all factors are considered, the superior force will
overcome a weaker one. Yet, in judo, a physically weaker judoka can
overcome the stronger opponent by rotating and sliding sideways. By
moving about, he is able to avoid direct confrontation, absorb the
power, deflect it and redirect the attack.
The rotational moves can be accomplished by jumping around,

switching the weight on the legs, 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.
Turning movement by Sensei M. Novovitch 8th dan

From Zero Gravity by M.Novovitch
5- Kumi Kata. Grasping and holding the costume
With the current contest rules, opponents must grasp each other’s
costume at the beginning of the match. Various tactics and methods
are used to seize the jacket and gain early supremacy over the other.
The shiai rules also state that if too much time is spent on securing the
initial grip, a penalty may be called.
Gripping methods vary with the style and easiness of each player. 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 favour the loose grip and offer a lesser
surface for the opponent to target. Some players may place one hand
at the rear of the neck and attempt to bend the opponent in order to
induce a reaction that can be taken advantage of. Others will seize
both elbows near the rib cage, hold around the belt, place both hands
on one side of the costume or grip the extremities of the costume near
the wrists.
Regardless of the type of kumi kata chosen, the player must ensure
that both hands work in unison, complementing each other in their
actions. They must be used in unison to secure the angle of the throw
and combine the vector forces on the opponent body. The upper hand
normally serves as the leverage mechanism to partly lift or displace
the upper body over the centre of gravity while the lower hand located
at the elbow is used in a pull-push extension to make the body rotate
in the given direction.
Note that in the first illustration, the elbows are normally kept close to
the body in order to better transfer the strength and avoid offering the
arm as a pole for an eventual arm lock. If the grip is too tight, lactic
acid will form easily and will fatigue the arms. If the arms are
outstretched they will restrict the response movements and signal
unduly to the opponent the displacement of our own body. Note the
holding hand of Professor Kano using a three fingers grip and slightly
bent elbow for better response.
Gill-Inoue-fighting Prof Kano securing his Kumi Kata Normal Kumi Kata
IJF Archives Kodokan Archives
Whatever the kumi kata chosen, the player must feel at ease with his
guard in order to swiftly move into position to apply a direct technique,
place a counter technique in proper time or take advantage of the
developing situation. Kumi Kata is used for obtaining freedom of
movement while impeding or neutralizing the opponent displacement.
It is the cornerstone from which kuzushi will be applied and the
strategic component to control the free space.
Sometimes, the search for the right kumi kata is so intense that the
players become entangled and make use of direct strength against
each other. I consider freedom of movement to be more important
than the inflexible use a strong kumi kata that will reveal the
intentions of the judoka. Shihan Kano recommended the intelligent use
of strength and I believe that strongly fighting for the advantageous
kumi kata is not conforming to this idea.
One’s strength must not be used to directly confront the opponent’s

strength. It should be used only at the right moment and only
deployed in sufficient amount to give the proper momentum while
keeping most of it in reserve. The aim of the judo contest is to use
intelligent strategies and tactics with flexibility to secure a victory. If
and when the opponent’s kumi kata is troubling or inhibiting the
player’s move, the latter should break the hold and attempt to return
with a new rhythm and initiative.
Sensei Katanishi 7th dan performing Ura-Nage
6- Kuzushi. Breaking the balance
Judo is seen in dynamic actions. During a match, players must observe each other‘s movements and
determine when is the right time to place the attack. That moment will occur when the opponent is
most vulnerable, less powerful or disturbed. This vulnerability can happen by the sheer fact of
moving about, 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 balance or equilibrium.
If the opponent maintains his composure and balance most of the time, occasions must be found to
break his balance and place him into a vulnerable position. This process is called Kuzushi. There
are eight directions into which the opponent can be placed unbalanced. It is normally referred to as
happo-no-kuzushi. (Front-back, right and left sides, four corners)
Breaking his mental concentration or injecting fear and doubt as to the use of his abilities is also
known as applying Kuzushi.
For matter of simplicity, we can say that there are eight angles or directions from which to apply a
physical kuzushi. The balance can be broken to the front by pulling forward or down. The action of
pushing to the rear will also produce kuzushi. The left and right sides of the opponents are also
vulnerable to the push-pull actions and so are the four half corners when walking. Making use of
these eight directions, applying a direct force or by using the reaction, one is able to redirect, to
absorb, to reflect or evade a displacement initiated by the opponent
Mechanically speaking, the opponent is in a very vulnerable position when his centre of gravity
must move to regain stability. When his body is over stretched or when forced to step out of his
base of support, the opponent can no longer rely on the original pull of gravity to keep his stability.
The body weight is being shifted and new weight distribution is forcing an adjustment to the muscle
group involved. Before the transition begins, there is an instant whereby the muscles get a new
signal to enter into specific functions. It is an appropriate time to launch an attack since the
opponent is vulnerable. He is between two states. The former direction of the pull produced by
gravity is being redrawn and realigned in order to regain stability. Keeping the former stable
position now impossible and entering into a new one will take a microsecond to accomplish.
During that unique moment of no return, the judoka must apply his kuzushi and maintain
continuous and complementary forces that will prevent the opponent returning to the original
posture. With speedy actions, he will direct that amount of force necessary to take advantage of the
lesser resistance.
Making use of the kumi kata, the arms will perform the push-pull or lift actions in synchronization
with the other forces supplied by the legs and trunk. All these forces shall be added together along
converging vectors resulting in an explosive and coherent attack in the chosen direction.
Frontal kuzushi Side kuzushi Back kuzushi

Ronald Desormeaux 5th dan Sensei Katanishi 7thdan Sensei Blanchet 6th dan
Applying kuzushi in a kneeling position
7- Tsukuri. Displacement to make the entry

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
continuous action of keeping the body movements focussed on the direction of the throw
is somewhat diluted by the lack of coordination and temporal breaks occurring in the
process.
Many players know what to do but there are frequent moments of hesitation between the
mental selection of the throw and the actual performance of the throw. During these brief
moments of indecision, or when the technique itself is slow in the making, the opponent
can restore his natural posture and the opportunity for an attack is lost. Sensei Mifune
mentioned in his Canon of Judo that tsukuri is the ability to maintain and deprive the
opponent of this last chance for recuperation.
To maintain the opponent in a precarious position, the judoka needs to maintain

continuous contact and prevent the other from adjusting his posture. The entire body
should apply pressure; make the lift, the pull or the push in the intended direction (that
direction where the vulnerability is greater). Meanwhile, the body has to gather speed and
shorten the distance of travel between the two opponents. The head should be turned in
order to lead the body rotation towards the location of the fall. The legs should be placed
at an angle such that they make maximum use of the joints and muscle groups.
Some teachers will say that Tsukuri is part of Tai Sabaki but I maintain that it is different;
during the performance of Tai sabaki, contact with the opponent can be broken. In Tsukuri
coordinated efforts need to retain the state of broken balance. Tsukuri will always come
before the actual throw.
The tsukuri is the action of launching the whole body in an explosive movement to exploit
the opponent’s moment of vulnerability before it disappears.
Sensei Novovitch using a low positioning form
8- Kake. Doing the selected technique

Kake is the action of applying a selected technique chosen from a personal repertoire or
from the Gokyo. In Kake, the mind and the body unite to seize the fleeting opportunity and
deliberately apply the technique that will secure the victory. It is the moment of no return
and of the 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
the intelligent use of force.
Sensei Mifune recommended that the judoka practice reading and forecasting the
opponent’s intention before engaging into an attack. Kake must be performed with total
commitment. With it, there is only one ending: the victory.
We normally can 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. The
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), 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)
Kake may normally lead to the Ippon or victory in the standing match. A victory can also
be secured, by asphyxiation from a choke, a sprained or dislocated joint when an arm lock
is introduced or by abandon. A winner can also be declared through the accumulation of
points obtained with minor techniques and superiority.
Kake in Harai Goshi by Sensei LeBerre Kake in Uki Otoshi Kake in Uchi Mata
World champion Inoue executing the kake in Uchi-mata

Photo gallery of IJF by Bob Willingham
In performing kake, all techniques should be regarded as potential sutemi or sacrifice

throws. The body weight is to be used in concert with speed to effect the displacement of
the opponent. Balance will frequently be sacrificed to a point of no return.
9- Sesshoku. Keeping contact
The last element that I was taught is called the Sesshoku, or the action of maintaining
contact and control over the opponent’s fall. The ancient referred to it as the state of Zan
Shin or maintaining 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.
While the Kake will pull apart the players, the Sesshoku can be regarded as the link
between them. I consider it 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.
Bogyo-shisei tactics performed during the Athens and Sydney games of 2000 and 2004
From the IJF photo gallery archives
In competition, matured players will frequently use evasive tactics to break a fall and avoid
being scored against. Their defence is made of physical interferences and negative actions
called Bogyo shisei.
Upon being thrown, the agile judoka will attempt to turn around in mid air, and perform
somersaults to land on his feet. Some may twist around to fall on the abdomen, land on the
head or used arms extension to bridge and secure their escape. Sesshoku or the action of
maintaining contact with one or both hands will come handy to retain the control over the
flight and secure the proper landing of the opponent.
Sesshoku being applied by Sensei Koizumi and Sensei Mifune Sesshoku with an arm-lock
By applying Sesshoku at the end of the throwing process, the rhythm is unbroken and
dangerous injuries are avoided. Most Kodansha (senior ranks) recommend holding gently
the costume until the fall is completed. It is therefore essential to consider the use of
Sesshoku in all Tachi- waza since the judo scoring system rest on the final moment of the
throw.
Even in contest situations, Shihan Kano wanted the participants to show respect towards
each other and display care for their mutual safety. His second principle of Mutual
benefits and prosperity has to apply. Sesshoku links with that idea.
Bogyo or defensive techniques being attempted at Athens and Sydney games

From IJF photo gallery
10- Ju. Applying flexibility and harmony

Sensei Mifune once said: “The strong are strong and the weak will be weak. However, when the
strong get stiff they will be apt to loose quick motion and precision in the application of strength
causing their center of gravity to be unbalanced thus rendering them vulnerable to be thrown
down.”
To display flexibility, the judoka has to make intelligent and flexible use of mental energy
and physical strength. Ju or flexible action begins with the natural posture and follows its
path through the rapid adaptation to contest situations. The constant changing of postures
demonstrate the judoka’s flexible responses and its economical use of energy.
When required to perform a kake, the whole body will be enlisted. The concentration of
power will last from a microsecond to three or five seconds at the most. During that time,
each part playing its role to initiate, support and complement the others in making the pull,
the push, the lift or the withdrawal will be summoned. Hands and wrists will be kept loose
and manageable. Arms and legs will be extended or retracted to exercise sufficient impulse
while the thorax will lean in the right angle of the throw. Economy of efforts will be further
realised by proper displacement using Tsugi- ashi and turns. Following the attempt, there
will be an alternate return to an observation cycle during which time another attack and
counter attack will be considered meanwhile saving and storing unused energy.
Part of the flexible entity is illustrated by the wrist joint actions. The wrists are first used to
detect and absorb the opponent’s movements. They will be bent or extended to align
themselves with the judoka’s arms and forearms launching the offensive. In order to have
the greatest freedom of the wrists, the grasping of the opponent’s costume should follow
The normal suggested grip: hold the collar at the shoulder level with the three fingers
(middle, ring and little finger); the index and thumb are loosely touching until the moment
they are required to play a part in the pull-push actions. Meanwhile, the abdominal region
or Hara must be alternately contracted and relaxed to make use of the concentrated
energies residing there. By being aware of the different functions that can be played by the
centre of gravity, the judoka will learn to make better use of it to his advantage both in the
offensive and defensive actions. Understanding the potential of that power centre will
influence the way the judoka will respond to the opponent’s challenge.
Sumi-Otoshi using the side displacement

Harmony in movement can be expressed by going with the flow. At the randori and shiai
stages 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 capture the grip, to make the opponent
move about, to engage in groundwork or apply strangulation and arm lock techniques.
Responding with strength and showing strength seems to come naturally to most humans
in determining their status or responding to a challenge. While practicing judo, such a habit
must be discarded and make way for the intelligent use of strength. In judo matches,
natural use of strength will emanate from either player. Direct confrontation or smooth
assimilation will identify the wrestler from the judoka.
The judoka using the previous fundamental elements will be able to adapt, avoid direct
confrontation and use the combined strength to his advantage. If the opponent pushes, he
should step sideways or turn while using the power of that push to control the direction.
If the opponent pulls, he should advance rapidly and make good of the closeness. Should
the opponent move about sideways, he should follow and add his own weight to a spinning
or rotational movement. Attentive to capture the mistakes or risks taken by the opponent,
he should rapidly adjust to profit from them. When the opponent pulls down, the judoka
should slip under. When being lifted up, he should try to merge onto the opponent and
overcharge him with his weight thus causing a break in his balance.
If and when the judoka encounters serious difficulties with his practice of the JU concept,
a return to the practice of Kata is recommended. In this later mode of training, he will
rediscover harmony, synchronisation and the use of the other fundamental elements.
Then, the JU action should be resumed in various forms of Randori where different role-
playing is performed.
Sensei Mifune10th dan performing Sumi-Otoshi from Canon of Judo

Practical Judo training
Summary of the 10 essential elements

What has been covered so far can be translated into a group of recommendations and
applied to general judo Tachi waza training. These are:
1. Free yourself from any mental or physical restraints. Stay focused.

2. Identify and seize the opportunities where the opponent is most vulnerable.
3. Move quickly in the free zone and use space wisely.
4. Impose your own rhythm and move in harmony with the forces. Go with the flow.
5. Maximize and sustain the breaking of the opponent’s balance.
6. Use your body weight to displace the opponent.
7. Adapt to changing patterns and opponents.
8. Deploy strength intelligently and make maximum use of vector forces.
9. Act decisively at the right moment with the mind and body.
10.Learn from your mistakes and demonstrate fair play.
Ancients have called the technique of the Gods “ Kami- waza” when it is
obtained through the combined application of Kuzushi-Tsukuri and Kake.
Hane Goshi right side on Sensei Mario Rubio Hane Goshi left side at British Army Championship
“Conflict is to mutual detriment just as harmony is to mutual gain”26. J.Kano
26

Judo in motion
Now that the ten critical factors have been understood, it is time to introduce them into the
practical world of judo. Technical proficiency and mastery will only come from serious and
sustained practice. During the preparation for my competitive years, both Sensei Kawaishi
and Gauthier instructed me to undergo repetitive training of different techniques. These
tokui waza or favourite techniques would then be attempted against a myriad of opponents
and cover a variety of situations.
Performing Butsukari or dynamic application of techniques has eliminated all the

hesitations and reinforced my offensive skills. For the upcoming judoka, it is suggested to
first apply the technical components in a slow approach, without too much interference
from uke. The partner should stand ready to offer assistance in identifying and correcting
the faults or weaknesses detected. Then, the judoka should practice Uchikomi or repetition
training also known as kakari geiko or kakari renshu. These exercises are excellent
training aids to learn specific aspect of breaking balance, understand the body shifting and
apply of the right amount of power.
O negai itashimasu or May I have the honour of practicing with you.

Domo arigato, Thank you very much
Butsukari
Butsukari practices are performed with a willing partner. They may begin in a semi-static
mode, the opponent standing in either Shizentai or Jigotai. Techniques are applied on the
right and left sides followed by displacements in all possible directions. Time and speed are
not important at the beginning. Applying all the technical aspects is the essence.
Butsukari practice with sensei Novovitch and Karia

Following the kakari renshu, the rapid displacement by both players is introduced. Here,
the rhythm and the harmony are critical. Once having understood all the components and
how they fit and interact together, the dynamic exercise know as Yakusoku-geiko will offer
different dynamic applications.
The Japanese term Yakusoku Geiko or Renshu means practicing repetitive and controlled
applications of throwing and receiving a technique when a formal agreement has been
reached between players.
In this kind of exercise, the use of speed, acceleration, shifting the body weight and turning
movements will be added to the technical equation. It is an agreed upon exercise, both
partners take alternatively the role to perform the throw and make the fall. Everyone must
be able to feel the effects of the throw and the results obtained. Having had the chance to
experiment the throw in a semi-controlled environment, the players can now undertake the
next phase: the Randori (free practice).
“The virtues and strength of one can complement and foster those of another.
Accordingly, the situation affords advantages to each of them that they would not
have alone. This is called: Sojo sojou jita kyo ei which mean mutual prosperity
through mutual assistance and concession.” 27J.Kano
This may be shortened to JITA KYOEI
27

Randori
Randori as a training method is often mixed up with shiai or contest. The Randori was
practiced in both the Kito and Tenjin Ryu. Shihan Kano kept this type of training as a mean
to freely apply the techniques, setup combinations and introduce counters and takedowns.
Randori practices at the Chikara Dojo
In Randori, both players attempt to integrate all known factors and deal with new
opportunities and live action-reaction situations. The techniques are applied randomly; at
full speed, from any angle and followed with standing combinations or mat-work. There is
no set limit and the intensity of attack and the use defence tactics may vary in accordance
with rules established between partners at the start. If the exercise of randori is performed
with too much strength and power the players will not have the opportunity to move fast,
develop muscle memory and tone their reflexes.
In randori, the players must take care not to inflict injuries but should take technical risks.
They will attempt techniques on both sides and attack from all directions. It is a time for
experimentation and not a time to establish who is the best competitor. Players should
attempt to anticipate and out-smart not overpower the opponent.
“Since we may need to apply a given technique in case of urgency,

It is best to know it well and be capable to perform it in all circumstances.”28
J.Kano
28

Ancient calligraphy meaning: “Yield to win”
Three 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

Shiai or Competition
The many hours of training with collaborating partners will lead to the ultimate test, that of
the true competition or combat situation known as SHIAI. The mental and physical
preparations to Shiai are different from recreational judo. Players must nevertheless
remember the following observation by Sensei Mifune: “The qualities of superior judo are
found in techniques that apply finesse, without the use of extra strength and with a fast
rhythm.”29
Shiai is the formal judo contest between two opponents. It is the ultimate evaluation of
skills being displayed by both contestants. To embark on the contest, means that both
players have accepted to risk it all for the sake of scoring IPPON. Players must show
strong will, determination, confidence, courage and respect. They should be at the top of
their physical, technical and mental states of preparedness. Such Shiai attitude is called
KOKORO.
The word: Kokoro. Calligraphy by Shido Munan, 1670
When using the right technique adequately,

If there is no thought spirit leading it there can be any victory.
Sensei Yagyu Nunemory, The Life-Giving Sword
In Shiai, the Kake and Sesshoku elements are of strategic importance. The former will
need to be executed with utmost speed and determination. The latter should guide the
opponent’s fall to ensure the end of the throw is successfully accomplished or used to take
up new opportunities by following with another technique. Shiai normally follow rigid
rules as to timing, allowed techniques, negative behaviours and permitted techniques.
Periods of being non- aggressive, feigned attacks with no intention to score or lack of
respect towards the opponent are normally penalized.
29
Kyozo Mifune, Canon of Judo, 1956

Winning a shiai is to score a single or compounded IPPON with standing or mat

techniques. Winning by the accumulation of small advantages or taking profit from
penalties is by far less interesting. Considering that all advantages lead to victory, there is
no place on the podium for the indecisive player or for anyone showing weaknesses. Every
intent and move must be focussed on the victory.
Olympic champion Inoue of Japan throwing Nicolas Gill

With uchi-mata.
Photo IJF gallery by Bob Willingham.
Shiai brings victories and losses. In this ultimate challenge, both players must find the
occasion to better oneself. Unfortunately, the victory may too often become a vehicle for
vanity, exploitation and the imposition of temporary supremacy over someone else.
Similarly, the loser may find bitterness and rancour. Both kinds of attitudes must be
discouraged in order to meet the second goal of judo: mutual prosperity.
Shihan Kano designed his Kodokan judo as a form of educational system for the mind and
body. Shiai activities were part of the overall system. In 1886, and frequently thereafter,
the Kodokan had to resort to open Shiai against ju jitsu schools to establish its supremacy.
Competitions at various levels: club, zone, district, region, province, national and
international levels have flourished and are now regulated by international rules. Since
1964, Judo is also a competition sport at the summer Olympic Games.

Judo competitions are popular and those who desire to participate must give their best at
all times. Competitors normally follow strict preparation in order to be on top and remain
on top of their skills. Not every Judoka is born for competition. One can reap similar and
lifetime benefits of serious judo encounters without entering into formal shiai. The Randori
or free practice is where most players will find the appropriate platform to evaluate their
skills and tone their techniques.
Only a few judo players will be selected to perform at the higher level of the Shiai route. A
training team made of technicians, coaches, psychologists, nutritionists, doctors and
administrators will frequently accompany the elite. During the training period, the judoka
normally makes a moral contract to always go for peak performance. The will to win set
the elite apart from the rest of the fighters. Taking the initiative will be the prime factor for
the champion to be.
This book is not intended to address all the aspects of training for shiai. General aspects of
the shiai preparation will nevertheless be mentioned to outline the spirit found in shiai.
World Champion Douillet Canadian Champion N. Gill with a take down

From IJF photo gallery by Bob Willingham
We will close with the words of Lao Tzu: ”The one wishing to overcome must yield. The
one who is victorious is the one that has negotiated. The one that yields in suppleness is
the disciple of life.”30
30
Lao Tzu, Le Vrai Classique du Vide Parfait, 1961

About Shiai preparation

Sensei Isao Inokuma regarded by many as one of Japan’s greatest fighter and outstanding
coach had this to say about shiai in 1959:
“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 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”.
For each elite player embarked upon the shiai route, various tactics and strategies will be
elaborated in concert with his entourage. The technical skills will be paired with tactical
approaches that best suit the judoka when facing different opponents. The coaches and
experts following him will study the opponents, dissect the strong points from their
weaknesses and inform the judoka as to what needs to be addressed before the upcoming
contests. The hard training regimes may vary between contestants but all will have intense
physical training, technical skills development and mental attitude preparation.
The ten basic elements mentioned in this book will be applied to each technique with
emphasis on personnel adaptation. Tactics and strategies will be practiced to cover the
match time and use the judoka’s readiness profile at its best. Thousands of Butsukari and
Randori exercises will be performed. Periodic competitions at various levels will be offered
to test the preparedness and ensure all the weaknesses are corrected.
Coaching sessions and discussion periods will constantly review past behaviours and guide
newer approaches. When it is time to enter the shiai, there is no more experimentation. The
player will stand alone before his opponent. His attacks must come before the opponent
has the time to observe and understand the strategy used. When committed, the total body
energy must be applied to the goal at hand. There should be no hesitation. All his past
training will need to be with him for the duration of the encounter. At the end of the match,
there is only one victor.
Fearlessness, determination and courage coupled with physical stamina and technical skills
are the essence of a great champion. Let us reflect on the words of Shihan Kano about the
essence of judo shiai:

“The player should keep calm and open. He has to identify the opponent’s weakness and
fault. He has to capture and exploit the free space produced by the opponent. He must use
them all efficiently and completely.”31
A defending samurai - Painting by Utagawa Kuniyoshi
“Develop the capacity to quiet the mind so that you can focus on the technique at
hand.”32
“Take attention to every move without expectations”33
31
32
S. Kotani, Judo Kata, 1971
33
S. Kotani, Judo Kata. 1971

Kata - Return to forms and principles

Beyond the Shiai, both Shihan Kano and Sensei Mifune expressed the need to study the
formal techniques in order to discover their true sense and principle. This path will prove
essential to the player’s growth. Kata means fundamental forms or patterns. Kata exercises
or Kata Geiko are used for technical demonstration and as tools to evaluate and correct
techniques. In his earlier address, Dr Kano said: “You must regularly practice the kata you
have been taught in order to compensate for the areas in which randori training alone is
insufficient”
In the demonstration format, the technical components are performed with minute details
and within rigid approaches. Some ceremonial dimensions are added to the presentation in
order to make a stronger link with ancient times. The presented techniques are essentially
those performed in ancient schools. Most were designed, tested, improved upon and then
standardized into a set pattern Kata by the former ryu masters. It is through these Kata or
old forms that the ancient Japanese fighting systems, the bugi, were able to survive the test
of time.
Dr Kano and Sensei Yamashita performing Kata Sensei G.Poirier in Juno-kata
Most of the Kata in the Kodokan syllabus were the products of ancient
ju-jutsu schools attended by Shihan Jigoro Kano. They all represent the
heart and soul of the teachings adopted by Shihan Kano. Each
technique has its own basic principle. When properly identified,
understood and mastered, this principle can easily be applied in
several combat situations. The early understanding and proper
execution of the principle will no doubt enrich the judoka’s
performance.
Demonstrating the kata forms, represent a return to the beginning; a

voyage that brings the players into spiritual contact with the product
and philosophy of ancient masters. There are close to 160 movements
in the seven groupings to be performed. The study of Kata is normally

embarked upon at the senior coloured belt rank and will accompany
the judoka throughout his development years until he becomes a
Kodansha.
Kata forms are the grammar of judo. Each component of each

technique is pre-arranged. Both players are involved in a cooperative
demonstration and execute the techniques with sincerity. They follow a
natural rhythm that is visually enjoyable and effective. Sensei Kawaishi
used to refer to the demonstration of Kata as a symphony performed
by masters.
It is common practice to have Kodansha demonstrate the Kata forms

at major judo events. These demonstrations are usually performed in
silence with the exception of the occasional Kiai (shout) accompanying
the gist or the fall. Kata demonstrations are meant to be technical
examples to be emulated by all serious judo players.
Kata forms demonstrate the intelligent use of power contained in the first principle:
Seiryoku Zenyo. They offer three specific moments of analysis: the beginning, the passing
through and the end result. The second principle: Jita Kyoei is achieved through the
harmonious routine followed by both players, by the cooperative exchange and the mutual
assistance received. The aftermath is the technical improvement that will be gained.
Sensei Mantion and Pearson performing Kata at Canadian Championships 2006
Kata forms are also used as an analytical tool to improve techniques.

When players have encountered specific difficulties with a movement
or stagnate in the execution of a given technique, it is recommended
to review those particular weaknesses with the help of a Kata
demonstration. By reviewing the key elements and seeing their
mechanical aspects at play, the judoka can solve most technical
problems encountered in Shiai or Randori.
The Kata gives the raison d’être of the movement. One can then
formulate the best way to initiate it. Kuzushi, Tsukuri and Kake

segments can easily be identified and emulated by the judoka. Having

found a solution, the player can transpose his new discovery to other
training activities.

In the early days of the Kodokan, it is reported that ten Kata had been
singled out for their best representation of forms of attack and
defence. Shihan Kano and the teaching staff headed by Sensei
Yamashita and Nagaoka and others refined the study syllabus to seven
formal sets in 1887. Kata such as the Go no Kata demonstrating the
hard and the soft techniques from the Jigo Tai posture was meshed
within the Nage no Kata or throwing form. Later on, when teaching at
the Waseda University, Sensei Mifune developed a counter technique
kata known as Go-no-Sen-no-Kata used in the preparatory training to
shiai. Although popular, this kata was not retained as an official
Kodokan inspired kata.
Another kata known as the Seiryoku Zen’yo-Kokumin-Taiiku- no-Kata

was created around 1924 as a national physical education system that
would capture the essence of ancient striking discipline found in ju
jutsu. These forms could be practiced in solo and are intended to
prepare the physical and mental controls for self-defense situations. It
is principally used for physical conditioning and warm up and down
before and after randori practices. It contains an element called Kime
Shiki kata or decision style forms used for self-defence and practiced
with a partner. These two kata are frequently studied informally in
dojo.
Kime shiki kata as performed at the Kodokan in 2006
The other current kata grouping of the Kodokan are techniques mostly
associated with randori performance. They form part of higher grades
examinations. They are:
1. Nage-no-kata, (from Kito Ryu): Throwing forms

2. Katame- no-kata, (from Tenjin-shin-yo Ryu): Grappling forms

3. Kime-no-kata, (from Kodokan, 1900): Decisive techniques forms

4. Goshin- jutsu no-kata (from Kodokan, 1956): Modern self-defence
forms
5. Itsutsu-no kata, (from Shin Yo Ryu but unfinished by Dr. Kano): Five
forms
6. Ju-no-kata, (from Kodokan 1887): Forms of gentleness and flexibility
7. Koshiki-no-kata, (from Kito Ryu): Ancient classical forms
Goshin jutsu no Kata by Sensei Mantion and Pearson Juno kata by Sensei
Poirier and Couture
At the Canadian Kata Championships 2006

Itsutsu no kata performed by Sensei Enoki and Sato at the

Kodokan 2006
“If you offer no resistance, there is nothing to push against”34
Kime no kata performed at the Kodokan by Sensei Utsugi and T.Kaise
34

CONCLUSION
Walking the path

I hope the previous pages provided the necessary information to grasp the essence of Judo.
Secrets and mysteries disappear when the knowledge and understanding are placed at the
forefront. Other mystical elements will be discarded through serious practice. With the
guidance of a good sensei the judoka will embark on a long journey of discovery.
Practice, practice and practice will remain the foundation of better understanding. When
the basics have been mastered, the judoka will find freedom in technical expression.
“By conquering my weaknesses first

I can then overcome my enemies.”35
(Musashi)
Mokuso! (Time for Reflexion)
35
Myamoto Musashi, Gorin-no-Sho, 1983

Annex A
AUTHOR’S PROFILE Ronald Désormeaux
1956 Beginning of judo instruction in Hull, Québec under the supervision of Bernard Gauthier 4th dan.
1959 Promoted black belt, 1st Dan and became 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
Sports writer at the newspaper: Le Progrès de Hull.
1961 New York State open judo champion.
1961 Membership no: 41 at the Académie de judo Kawaishi de Paris.
1962 Promotion to 2nd Dan. Member of the Canadian Kodokan Black Belt Association.
Graduated in Physical Education, University of Ottawa.
Created the dojo of Buckingham, Thurso and Gatineau in Quebec.
1962 Teacher’s assistant at the Victoria Dojo to Sensei Y.Inouye.
1963 Chief instructor at the Calgary dojo with Sensei H. Kanashiro.
1964 Created the Shilo judo club in Manitoba.
1964 Worked towards the integration of military judo within the CKBBA.
1965 Champion of the Canadian Armed Forces.
1966 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 National Coaching Certificate, level one.
1988 Master’s degree in Public Administration from ENAP.
1993 National Coaching Certificate, level two.
1998 National Coaching Certificate, level three.
1998 Promoted to 4th Dan from 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 President of judo zone “ Outaouais ” judo.
2004 Editorial member of Yudansha magazine of Judo Canada.
2004 Promoted 5th Dan from the Kodokan Institute of Japan and Judo Canada.
2005 Zone president and technical director for Ottawa region
2006 Attended the Kodokan Institute international kata training certificate course
2006 Published judo reference books: “Les Mystères du judo” and “The Discovery
of Judo”.

ANNEX: B
References
Ichiro Abe, Souvenirs de judo, Édition Judo Toulouse, Robert Laserre,

1953
Louis Arpin, Le Guide du Judo, Édition de l’homme, Montréal, 1970
Paul Bonet-Maury et Henri Courtine, Le Judo, Que sais-je, 1425, Presses

Universitaires de France, 1975
J.D Cauheppe et A. Kuang, Les arts martiaux intériorisés, Édition de la

Maisne, Paris France, 1984
J-D Cauheppe et A. Kuang, Le Jeu des Énergies dans la Pratique de l’Aikido,

Édition de la Maisne, Paris France, 1984
Steven Cunningham, The Root Arts of Judo, Http 152.163.26, 11

November 1996
Donn. F. Draeger, Judo Randori No Kata and Ju No Kata, AAU-JBBF Judo

Handbook,
USA, 1966
Tashiro Daigo, Kodokan Judo Throwing Techniques, Kodansha Tokyo,

2005
Geoffrey H.G. Dyson, The Mechanics of Athletics, Hodder and

Stoughton, 1975
Bernard Gauthier, Canadian and American Modern Judo, CJF

publication, 1949
Robert Guillain, Le Japon que j’aime, Édition Sun, Paris,

1965
Thomas Hoover, L’Expérience du Zen, Albin Michel, Paris, 1989
T. Inogai and R. Habersetzer, Judo Kata, Amphora Paris, 1995
Isao Inokuma, Nobuyaki Sato, Best Judo, Kodansha International,

Tokyo, 1986
Teizo Kawamura, Toshiro Daigo, New Japanese-English Dictionary of

Judo, Kodokan 2000
Jigoro Kano, Kodokan judo, Kodansha International, Tokyo, 1994
Jigoro Kano-N.Murata, Mind Over Muscle, Writings from the Founder of

Judo,
Kodansha International, Tokyo, 2006
Risei Kano, Illustrated Kodokan Judo, Kodansha, Japan, 1955

G.Koizumi, My Study of Judo, Cornerstone New York, 1960
S. Kotani, T. Ohtaki, Judo Kata, Fumido Publishing, Tokyo, 1971
Pascal Krieger, Ten Jin Chi, La boutique Japonaise, Switzerland,

2005
Glynn A. Leyshon, Judoka, Tyrell Press Gloucester, Ontario, 1998
Lie-Tseu, Le Vrai Classique du Vide Parfait, Édition Gallimard, 1961
Lao-Tzu, Tao Te Ching, Vintage books, New York, 1972
Le Berre Jacques, Champion toutes catégories de France 1963-64,

Stage Gokyo et Kata, Werl, Allemagne, 1966
Trevor Leggett, The Dragon Mask, Ippon Books Ltd, London, UK, 1993
Kyuzo Mifune, Canon of Judo, Seibundo-Shinkosha, Tokyo, 1956
Miyamoto Musashi, Traité des Cinq Roues, Go-Rin-No-Sho, Éditions

Albin Michel S.A., 1983
Meiji Momose, Kano Jigoro, 1860-1938, Look Japan publication, 1985
Mikinosuke Kawaishi, Correspondance Personnelle, Académie

Kawaishi, 1961-1964
Mikinosuke Kawaishi, Les Katas Complets du Judo, Publi-Judo France,

1956
S.Kotani and T. Ohtaki, Judo Kata, Fumido Publishing, Tokyo, 1971
Mitsuo Kura, Samurai, An Illustrated History, Tutle publishing, Tokyo,

2002
Frank Morvan-Denègre, Le Judo, Techniques et Conseils, Solar 1976
Michel Novovitch, Judo Gravity Zero, Publiday Media, Maroc, 2003
Peter Payne, Martial Arts, the SpiritualDimension, Crossroad New York,

1981
A.H. Plée, Fédération française de judo, Judo International, Édition

A.M.I, Paris 1956
Oscar Ratti, Adele Westbrook, Secrets of the Samurai, Charles Tutle, Tokyo,
1996
Jean Roullet, Historique du judo au Québec, Almanach des sports,

1970
Omori Sogen, T.Katsujo, Zen and the Art of Calligraphy, Penguin Group,
New York, 1983

Shenryu Suzuki, Esprit Zen Esprit Neuf, édition du Seuil, 1977
A.Westbrook et O.Ratti, Aiki do and the dynamic sphere, Charles Tutle

Inc, Rutland, Vermont & Tokyo, Japan, 1983
Yagyu Minenori, The Life Giving Sword, Kodansha International Tokyo,

2003
Tsunetomo Yamamoto, Bushido, Square One Classic, USA, 2002
Sakujiro Yokohama and Siguke Oshima, Judo, Nishido Press Tokyo, 1908
Jiichi Watanabe, L. Avakian, The Secrets of Judo, Charles Tutle, Tokyo

Japan, 1960

Nathalie and Marc Dupuis-Désormeaux performing the bowing

salutations
Time to close and reflect upon what was read.

Time to set new goals to enlist others in making better use of
energy towards maximum benefits to society. Sensei Kotani 10th
dan summarized it all.
“Try to obtain the stage of working mind and body in perfect

coordination.”
2006/ 2009

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THE DISCOVERY OF JUDO

Ronald Désormeaux, BA, MPA, Black Belt, 5th Dan

THE DISCOVERY OF JUDO

Ronald Désormeaux, BA, MPA, Black Belt, 5th

Edition 2006/Revised 2009

John A. Huntley, 7th dan

I wish to thank Marie-Claire, my lifelong companion for her love,

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

A special thank you to the International Judo Federation and Bob

Dépôt Légal - Legal Registry

Revised Edition: 2009

Practical Judo Training

Summary of the 10 essential elements

Annex A: Author’s profile

THE DISCOVERY OF JUDO: Yield to Overcome

By writing THE DISCOVERY OF JUDO, Yield to Overcome,

“Teaching without word and working without effort is understood by

I hope the above booklet will eventually be helpful to other judoka in

It was in 1956 that I was first exposed to judo. A classmate brought me

As I continued to observe the precision and the efficiency of the moves

I was fortunate to cross paths with some outstanding teachers whose

As a competitor, teacher, administrator, manager and technical

The origins of judo

Judo is a simple sport or a discipline that can be mastered quickly. It is

When Japan began to transform itself into a modern society, the

“With a well trained body and cultivated mind,

“ Art is but the realization of a new internal force, the

Judo a visual and practical affair

“It is wrong to assume that judo ends in the Dojo.”5 J.Kano

An understanding of the physical and visual aspects of judo will best

“ Learning by the execution of judo techniques is not the only

For those seeking to reach the higher levels of judo, I would

It is difficult to trace back the exact original techniques found in judo

With relative certitude based upon some documentation, we can say

years stay at the Shaolin monastery (on Mount Shao-Shi in China).

Ancient ju jitsu slate, (Kodokan archives)

Some Japanese authors tried to set the beginning of martial arts on

Sumo match print by Katsukawa Shunsho 1726-1792

Various ancient military training books describe key methods of

We begin to gain more precision of the origins of empty hand fighting

Samples of Kudensho or school instructions (Kodokan archives)

Major schools of influence

Takenouchi: considered to be the oldest of the Japanese schools

Kito: is another institute having helped the blossoming of judo and

The technique of “Hontai” was also taught, which is a type of mastery

Tenjin-Shinyo or Tenshin Shinyo is the third school providing the

The schools or Ryu frequented by Shihan Jigoro Kano had some

Inside a Japanese Rinzai Zen temple in Kyoto.

Shihan Jigoro Kano Synthesis

Shihan Jigoro Kano Kodokan Emblem (The cherry

Not fully satisfied with the physical training he received, Dr Kano

When ready, in 1882, he formulated a complete educational program

Shihan Kano and some of the Kodokan earlier teaching

In the earlier years, Dr Kano recruited other masters from other

Shihan Jigoro Kano began teaching his Kodokan judo in selected

would build a stronger nation and by extension, a better world. Shihan

As an educator and innovator, Shihan Jigoro Kano emphasised the

In 1886, the Tokyo chief of police organized a special match between

In 1895, the Ministry of Education established the Dai Nippon

and masters of 12 different schools united under the umbrella of the

Back in Tokyo, Shihan Kano maintained his dedicated approach

Upon his return from the International Olympics Committee meeting in

SHIHAN JIGORO KANO