Human

Pressure
Points

3
Jujitsu Techniques
by Small-Circle Jujitsu
Founder Wally Jay

Story and Photos by Chris Thomas

M
any have trained with Wally Jay over the years, eager to learn the secrets of his
small-circle jujitsu. And while its tempting to write an article that describes
once again the principles of that art, theres another secret to be learned from
the professor. Its a secret thats not found in his curriculum, and you wont hear it ex-
plained in any seminar. Yet it may be the most important lesson Jay has to share. Its the
secret of mastery, and its not taught by words but by example. Its not discovered by
looking at the art; its revealed by observing the man.

BE AN ARTIST, NOT A MIMIC

Its perhaps the biggest error martial artists make:
They want to be just like their teacher or like the found-
er of their style. But what is style? Is it a mold into which
someone must be poured, or is it an approach to help
each person attain his unique potential?
Listen to the conversations within any system or
style, and youll hear arguments about the proper
way to do this or that. Those are arguments about
orthodoxy, about some doctrine of practice to which
others are expected to conform. But its impossible to
do someone elses art. A lifetime of training in small-
circle jujitsu will not mean you can perform Jays art.
Hopefully, itll mean you can perform your own small-
circle jujitsu, applying his unique insights as you de-
velop as a martial artist. It must be this way, for as
Jay likes to say: No matter how hard you train a Saint
Bernard, it will never run like a greyhound. Everybody
has a different way.
However, no one wants to hear that. Martial art-
ists want to believe theres someone who can be their
guru of combat. And once they attach themselves to a
teacher, once they start believing in (instead of learn-
ing from) their sensei, they no longer have a teacher.
After recovering from heart surgery, Wally Jay showed up at George
They have an object of veneration. As a result, anyone
Dillmans Martial Arts Training Camp as a surprise instructor. In be-
tween teaching gigs, he got a chance to play the student again. whos perceived as changing or modifying the way a

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either the products and services advertised in this magazine or the martial arts or other techniques discussed or illustrated in this document. The publisher expressly disclaims any and all liability
relating to the manufacture, sale or use of such products and services and the application of the techniques discussed or illustrated in this document. The purchase or use of some of the products,
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and techniques in the United States or elsewhere. Because of the nature of some of the products, services and techniques advertised or discussed in this document, you should consult a physician
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is responsible for any such injury that may result. It is essential that you consult a physician regarding whether or not to attempt any technique described in this document.

2 BLACK BELT blackbeltmag.com

 Wally Jay (left) and his son, Leon,
are masters of small-circle jujitsu.
technique is executed is seen as insulting the master.
Thats what happened to Jay when he started examin-
ing and changing how he did the brand of jujutsu he
learned from Henry Okazaki.
Pretty soon, all my peers hated me, Jay says.
What are you doing, changing Okazakis art? Are you
trying to make Okazaki look bad? I said, No, Okazaki
changed, too. He did a lot of changing.
In fact, Okazaki studied kung fu and other arts at
a time when that wasnt done. And he had tremen-
dous respect for Wo Chong, the man who broke with
tradition to teach kung fu to a non-Chinese. So when
Okazaki formalized his art an art based on tradi-
tional jujitsu, Kodokan judo, Philippine knife fight-
ing, Okinawan karate, Hawaiian lua, Chinese kung fu
and anything else that contributed value he chose
the name danzan-ryu in part to honor Wo Chong.
(Danzan is a contraction of the Chinese name for
Hawaii, Dan-Hung-Zan.) And following the example of
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Wo Chong and in gratitude to others who had crossed
the color barrier to teach him things of value, Okazaki
taught people of all racial backgrounds. Okazaki was
great, Jay says. He was the first guy to teach any na-
tionality. And this was in the 1920s.
Perhaps this idea of individual interpretation and
development is easier to accept if we recognize that
small-circle jujitsu or any other art, for that matter
doesnt exist as a fixed reality. Its always chang-
ing. I keep changing all the time, Jay insists. Im still
changing.
The development of small-circle jujitsu came about
because Jay examined the spaces in the jujitsu hed
been practicing. Those spaces were moments in a
technique when an opponent might find an oppor-
tunity to escape. The problem that intrigued him was
how to eliminate the wiggle room. What ultimately
developed from that search is small-circle jujitsu,
though the actual meaning of the Japanese charac-
ters used to write its name is collapsing circle.
The objective is to focus on the smallest point.
Now, its a pressure point, he explains. Although
pressure points are now part and parcel of small-circle
jujitsu, it wasnt always that way. And this brings us to
the next key to mastery: Dont allow ego to interfere
with learning.
NO EGO IN THE WAY OF LEARNING
I didnt believe in pressure points; I thought it was
a lot of baloney, Jay confesses. But it wasnt baloney;
it was me. Thats an uncommonly candid admission
for a martial artist to make. It seems that most never
want to acknowledge when theyre wrong. But what
Jay has demonstrated throughout his life is that real
masters are never afraid of learning new things and
never afraid of unlearning old mistakes. The question
is one of ego, and whether protecting ones ego is
more important than improving ones skills.
In this regard, Ill never forget the first time I met
Jay. It was during a combined Wally Jay/George
Dillman seminar. At one point, we were practicing one
of Dillmans tuite (joint-manipulation) techniques.
Unfamiliar with the particular movement being done,
Jay walked over to the nearest Dillman student (who
happened to be me) and said, Show me how to do
that. I was deeply impressed by the fact that there
was no ego obstructing his desire to learn something
he didnt already know.
Jay expressed a similar opinion as he described his

1 2

3 4

Leon Jay (left) grabs Wally Jay by the throat, and Wally responds with a finger poke to the suprasternal notch at a pressure point called Co-22/tiantu
(1). He then grasps his sons right hand with his left hand and applies a basic wrist lock (2). Using his index finger, he presses on the back of the captured
hand at a pressure point known as TW-3/zhongzhu to induce pain (3-4).

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 visit to Dillmans Martial Arts Training Camp in Deer
Lake, Pennsylvania. After Jay had recovered from heart
surgery, the first place he went to teach, outside of
his own dojo, was the camp. When he was introduced
to the participants, he received a 10-minute standing
ovation. Those who were there reported on the bril-
liance of his technique and exclaimed, The professor
has still got it. And yet it was a different feature of that
camp that impressed Jay.
During the course, the participants were experi-
menting with subtle aspects of pressure-point train-
ing, after which they shared what theyd discovered.
I liked it because everyone was showing the results
of the experiment, Jay said. Most people dont show
anybody. Thats wrong. If you want to be a teacher,
why be that way? If you share, he gains something,
and you gain something, too. And you advance more
quickly [because] you dont have to go through the
same experiment he did.
Why dont others share as openly? For some, its
concern over looking uncertain in the eyes of their
students. For others, its a fear of admitting theres
more to learn. Or its a desire to withhold informa-
tion to have a secret kept from others. But in all these
cases, its ego that prevents learning and mastery
from occurring. Now, this isnt to suggest that each
martial artist should adopt the self-effacing manner
of The Karate Kids Mr. Miyagi. Rather, its to suggest
that ego interferes with being, for an eager student
will never attain greatness in the martial arts. And

1 2 3

4 5 6

As Leon Jay (left) attempts to choke Wally Jay, the father slips his left hand to the inside of his opponents right forearm (1). He then uses his left hand to
push Leons right wrist forward and his right wrist to strike a pressure point called TW-12/xiaoluo, located at the center of the triceps (2-3). The movement
combines two principles: using a pressure point to release the shoulder and using two-way action. The opponents body moves behind the defenders (4),
who then slips under his arm (5) and applies rubbing pressure to the body of Golgis tendon receptor near the elbow (6).

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without ego to interfere with learning, its possible to
apply another great principle for attaining mastery:
Steal from the best.
STEAL FROM THE BEST
Its said theres nothing new under the sun. So how
can people constantly claim theyve discovered a
new approach to martial arts? If its good, someone
else has already thought of it and is already doing it.
And if you can learn it from them, you have a boost up.
Jay has always associated with the best martial artists
he could find, people like Bruce Lee, Remy Presas and
Dillman. I met Remy in the 80s, Jay recalls. We had
been teaching together for a few years, then we met
George. Somehow, we clicked. He was learning some-
thing from me, I was learning something from him
we were all learning something. You can see Remys
techniques in my things, in Dillmans things. One of
Remys students told me, Hes stealing your art. [Well,]
Im stealing from him, too.
Those whove had the honor of training with any of
those teachers know what Jay is referring to. Dillman,
for example, emphasizes small-circle theory in his
pressure-point art, insisting that its essential to the
successful application of a technique. And Jays art
1 2
4 5
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has become so thoroughly integrated with pressure-
point concepts that when he promoted his son, Leon
whos undeniably small-circle jujitsus most accom-
plished practitioner to the rank of full professor,
Dillman also promoted Leon to eighth-degree black
belt in kyusho-jitsu.
Incorporating the best techniques from the best
people only improves the quality of ones own art. Its
not really stealing.
Of course, nowadays stealing from the best is
practically chic. Every weekend, martial artists train at
seminars in search of secrets that will make them truly
great. So why arent there more great martial artists?
With all the knowledge being freely shared, why isnt
there a Wally Jay in every town? The answer is, theres
more to training than sweating.
THERES MORE TO TRAINING
THAN SWEATING
Many a senior instructor has regaled students
with tales of the time the master took him aside and
revealed a secret technique. This technique, its ex-
plained, has been jealously guarded and will only
be bestowed unto the most worthy of students.
Meanwhile, the students, eager to learn this great
3
Will Higginbotham (right) reaches for Leon Jay
(1). Jay locks up his assailants index and middle
fingers, basing the mans wrist on his chest and
using his left forearm to create counter-pressure
(2). Next, Jay pulls him in close by turning the
captured fingers back into his chest (3). He fin-
ishes with a pressure-point knockout, in which
he strikes his foe at GB-20/fengchi (4-5).
secret, jockey for position and long for the prestige
of being entrusted with such a treasure. The problem
with this all-too-common scenario is that the instruc-
tor has made a tragic mistake. Entrusted by the master
with a secret technique, hes held it as a singular pos-
session. But a single great technique is really a reposi-
tory for a bit of martial wisdom that can be applied to
many techniques. One great technique should lead to
hundreds of great techniques.
Leon Jay observed his fathers passion for jujitsu
his entire life. I remember that when I was kid, hed be
up at 5 in the morning, for Gods sake, he says. Then
hed go to his job and come back home. And hed
hit the typewriter. Then classes from 5 p.m. to 9 p.m.
Then meetings afterward. Then in the middle of the
night, Id hear him rumbling around I dont want to
forget, I dont want to forget.
This is what separates Wally Jay from the throngs
who practice the martial arts. For him, learning isnt
about picking up a few fighting tricks and secret tech-
niques; its about recognizing, understanding and ap-
plying the principles that make those tricks possible.
And, perhaps more significantly, understanding the
transferability of principles from technique to tech-
nique, and even discipline to discipline.
For example, Jay analyzed a hip throw and noticed
that the initial movement was pulling inward, like a
curl in weightlifting. The second part pushed outward
like the movement of a bench press. But he realized
that in a traditional hip throw, the position of the
hands and wrists grabbing the opponents jacket re-
mained unchanged through the technique. That was
fine during the initial motion, but during the second
half of the throw, the hands were pressing while in
the position for curling. From this analysis, he realized
that the position of the wrists had to change in the
middle of the movement between pulling and pro-
jecting to utilize effective body mechanics.
Now, many students lift weights in hopes of im-
proving their martial arts ability. But how many of
them apply the principles of body movement in
weight training as concepts for fine-tuning their tech-
niques? They dont grasp what Jay understands: You
can apply a lot of what you learn from other things.
Its this type of analysis and mental training thats
enabled him to clearly describe and consistently
use the principles that have become synonymous
with small-circle jujitsu. And its this type of clarity of
thought thats enabled him to see the connections be-
tween things that others overlook. But it also means
that he knows his art is not complete yet.
YOU CAN ACCOMPLISH A LOT,
BUT YOULL NEVER FINISH
Jay actually began working on small-circle jujitsu
in the 1940s. If you put the time in, he says, you can
get something done.
But even today, some 60-plus years later, hes not
finished. In fact, he finds the art of jujitsu even more
interesting now. So many new things getting added
on like the pressure points, he says. I dont know
as many points as Will [Higginbotham] or Leon. If I did,
Id probably be way better.
For some, that might sound like an admission of
failure. For Wally Jay, its a celebration of his lifes jour-
ney. Even now, nearing 90*, he looks forward to be-
coming a better martial artist, to refining his system,
to improving his technique. And hes still providing
the martial arts community with the finest example of
what true mastery is all about.

*NOTE: This piece was originally published in the January 2006 issue of Black Belt. Professor Wally Jay passed
away May 29, 2011, at the age of 93. To read tributes and learn more about this martial arts luminary, visit
www.smallcirclejujitsu.com.

7 BLACK BELT blackbeltmag.com

JUJITSU Books and DVDs From

SMALL-CIRCLE JUJITSU
by Wally Jay
Professor Wally Jay is one of the few martial artists this century to
have come up with a theory of fighting, developed it and put it into
practice. His influence is felt throughout the martial arts industry.
Volume 1 (Approx. 40 min.) DVD Code 4089Retail $34.95
Volume 2 (Approx. 40 min.) DVD Code 4099Retail $34.95
Volume 3 (Approx. 40 min.) DVD Code 5119Retail $34.95
Volume 4 (Approx. 50 min.) DVD Code 7459Retail $34.95
Volume 5 (Approx. 50 min.) DVD Code 7469Retail $34.95

THE ULTIMATE GUIDE TO

BRAZILIAN JIU-JITSU
by the Editors of Black Belt JUJITSU NERVE TECHNIQUES:
Spanning three decades of material from the Black The Invisible Weapon
Belt archives, the guide follows the evolution of this of Self-Defense
by George Kirby
undefeatable sport from its genesis and as a family
discipline to its first limelight appearance in the UFC George Kirby analyzes and charts the
and beyond! human bodys multitude of nerve and
190 pgs. (ISBN: 978-0-89750-171-2) pressure pointsand then presents
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induction to bring an attacker under
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236 pgs. (ISBN: 978-0-89750-142-2)
Book Code 473Retail $16.95
TRAINING FOR COMPETITION:
Brazilian Jiu-Jitsu and Submission Grappling
by David Meyer
Champion and coach David Meyer shares his knowledge of competi-
tion-winning strategies with added insights from grappling authori-
ties like Bas Rutten, Cesar Gracie, Gene LeBell and Wally Jay.
191 pgs. (ISBN: 978-0-89750-167-5)
Book Code 495Retail $24.95

JUJITSU: Basic Techniques

of the Gentle ArtExpanded Edition
by George Kirby
This seminal primer by Black Belt Hall of Fame
member George Kirby is the perfect place to begin a
journey toward jujitsu mastery.
165 pgs.(ISBN: 978-0-89750-198-9)
Book Code 520Retail $18.95 SMALL-CIRCLE JUJITSU
by Wally Jay
Fully illustrated, this book covers
falling, key movements, resuscita-
tion, all forms of joint locks, throwing
techniques, chokes and self-defense
NIHON JUJUTSU applications. 256 pgs.
by Norm Belsterling
(ISBN: 978-0-89750-122-4)
This five-volume series focuses on joint locks, submissions, Book Code 462Retail $17.95
throws, chokes and ground fighting.
Volume 1 (Approx. 60 min.) DVD Code 7129Retail $29.95
Volume 2 (Approx. 60 min.) DVD Code 7139Retail $29.95
Volume 3 (Approx. 60 min.) DVD Code 7149Retail $29.95
Volume 4 (Approx. 60 min.) DVD Code 7159Retail $29.95
Volume 5 (Approx. 60 min.) DVD Code 7169Retail $29.95

8 BLACK BELT blackbeltmag.com