Sensei John was fantastic as an instructor and as a person. His teaching method was structured and pleasant and kept all of us involved and interested throughout. Sensei Jesmond Schembri Read more My second simday, another enjoyable and rewarding day. It reassured many aspects of my training under pressure. It also showed some weaknesses and areas to concentrate on.

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The term kyohan, means instruction manual. It was originally translated into English in and published in Though out of print for almost years it was reprinted in and is now available through Amazon. The authors are Sakujiro Yokoyama and Eisuke Oshima. Jigoro Kano who founded Kodokan Judo in , edited this book to assure it reflected his teachings. The authors said that the reason for this book was that judo had grown from less than students to almost 50, and there was a shortage of knowledgeable instructors.

A high-ranking judo sensei, chuckled at this, commenting that I think we still have the same problem. At the age of 88, I have probably read most of the judo books written to date. Each book brings with it a special knowledge that its author wants to share with the reader. So you might ask what is special about this book. Most judo books emphasize specific judo techniques and how they work with a cooperating partner. This can create a mindset that the technique form is the most important element of judo, which often leads to failed attempts to make the techniques work when competing.

This book has pages of which approximately pages discuss how to make your techniques work in competition, with the remaining pages discussing specific techniques. Since judo is a sport the goal of the judoka is success in competition, whether at the dojo randori or at a contest shiai. The book starts out by warning the student that the techniques or tricks will not work unless you are skilled in the elements of victory.

Remember, judo was derived from a serious form of self-defense. Therefore, whether you are defending in a real fight or a sport the object is to win without failure. Sakujiro Yokoyama Unfortunately, the translations and spellings in this book have many errors. In the early s books were printed using typeset and in this case it is obvious that English was not the language of the typesetters who probably made most of the errors.

Also, in some cases photos were mislabeled. Nevertheless, this book is a must for your library and knowledge of judo. In the following paragraphs I will be discussing matters related to the sections in the book which are underlined. Introduction — In the beginning there were many schools or ryus for fighting barehanded and sometimes with short weapons. Kano classified all of these schools as jujutsu which is commonly pronounced jujitsu.

The sole purpose of jujitsu was victory over the enemy. This concept is essentially the same in the sport of judo. With the change in Japan to modern warfare methods there no longer was a demand for jujitsu. Kano created a sport out of jujitsu by eliminating dangerous techniques. As a result judo grew rapidly within the school systems and attracted many of the jujitsu instructors. In fact many of my older judo senseis were former jujitsu students. In practice all three stages are interrelated and cannot be practiced separately.

It is often said amongst judo competitors that when the moment is right throwing an opponent in competition will feel effortless.

Elements of Victory— In order to defeat your opponent you must be adept at as many tricks as possible. Even if you try hard to apply your techniques they will fail if done at the wrong time. All of these elements must be exercised quickly and smoothly as a single action. Shizentai natural fundamental posture — Samurai in former days used to pay great attention to keeping their posture free and unrestrained, not only when they were in the dojo, but also while sitting in their rooms, or sitting at a table.

Here we shall explain the attitude one must assume when engaging in a contest apart from ordinary times. Pupils of judo, especially beginners, when engaging in a contest, out of fear of being thrown, are apt to adopt an unnatural posture bending their backs, stretching out their arms, supporting their bodies with their arms and thus placing themselves at a disadvantage.

You should stand straight without in the least bending your head, with your feet a little separated and your knees straight.

You should adopt an easy and comfortable position, without putting your strengths in any part of your body, without paying attention to any one thing, but quite calmly and peacefully with your eyes fixed 20 or 30 paces ahead. Shizentai is both a physical and mental state of oneness and is your best option for being able to defend or attack.

As simple as this may sound it requires a lot of actual randori free practice and competition before you can have the confidence in obtaining a relaxed state of mind and body when working under duress.

Shizentai is not easy to obtain, you must consciously work at it like learning how to breathe from your lower abdomen. A Brazilian Olympic gold medalist told me that the most difficult opponent he ever had was one where he could not feel where his opponent was. Jigotai is a defensive posture whereby you spread your legs and then forward with relatively stiff arms like a wrestler.

In this position you may be able to stop your opponent, however, on the flipside you are telegraphing your movements and making it more difficult for you to apply a throw.

Loose or Broken Posture-Typically in most judo books they discuss breaking balance kuzushi stating that there are eight directions. This book takes a practical approach recognizing that your opponent is either standing on two legs or one leg. This is like moving a heavy bell when it is lifted off the ground. In the book this is illustrated by using a stick. There is an old Japanese poem about secrets, which reads: Secrets are just like your eyebrows, though they are near you, you cannot see them.

When the opponent resists you, then you will either push or pull in the opposite direction using your body movement. If the opponent is stepping forward, backwards or sideways you can step and pull in the same direction. The principles of holding and controlling an opponent are illustrated by the use of a board by putting pressure on the board against the part that rises and as the opponent attempts to counter your movement you change the point of pressure.

This requires you to be relaxed and not stiff. In addition to holding there are choking or join locking techniques which can be applied from either a lying, standing or kneeling position.


Gichin Funakoshi

The kata consists of kicks, punches, sweeps, strikes and blocks. Body movement in various kata includes stepping, twisting, turning, dropping to the ground, and jumping. In Shotokan, kata is a performance or a demonstration, with every technique potentially a killing blow ikken hisatsu —while paying particular attention to form and timing rhythm. As the karateka grows older, more emphasis is placed on the health benefits of practicing kata, promoting fitness while keeping the body soft, supple, and agile. Several Shotokan groups have introduced "kata" form from other styles into their training.


Judo Kyohan

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