Senjo Kumiuchi

Senjo Kumiuchi is the term used to describe the various battlefield grappling arts of the samurai. In later centuries the art broadly evolved into Ju Jutsu, the techniques of which form the basis of modern day Judo many of which in turn are seen in Brazilian Jiu Jitsu.

As we see repeatedly with many of the empty-handed arts, a samurai required training in combat grappling should he either find himself weaponless against armed opponents or because he clashed with an enemy and was too close to cut effectively with his sword. Samurai naturally wore armor to battle and this restricted the use of many direct attacks on weak points of the body with the result that few strikes were practiced. With regard to armor, as the manufacture of protective covering improved, as it became stronger and lighter, it allowed greater flexibility. With this development the technique of Senjo Kumiuchi also evolved with combatants enjoying greater freedom of movement. The design and availability of armor in Asian countries is a vital factor in the development of the various arts and not only those in Japan. Not only was the plate armor of the European knights unavailable, it was in any case impractical to wear in the hot, humid climate of Asia (as the knights themselves discovered when crusading in the Holy Land).

Senjo Kumiuchi on the Battlefield

On the battlefield opponents would lock together, grasping each others forearms in order to control any weapon that may have been held. From this position they would struggle to sweep, throw, trip or otherwise unbalance the enemy. Once the enemy was forced to the ground a finishing technique would be employed and another opponent sought. This was, by necessity, a very harsh form of combat. The aim was not to subdue or merely injure, but to kill as quickly and efficiently as possible. The techniques of Senjo Kumiuchi were designed to ensure that the maximum amount of damage could be inflicted, including throws that drove the opponent directly into the ground, preventing him from executing a successful break fall. Compare this to modern day Judo where the throws, many of which have their origins in the battlefield, have been purposely altered to allow competitors to be able to break fall successfully thereby promoting Judo as a safe sport. That isn't to say that against an untrained opponent these throws wouldn't be effective, but it is worth highlighting and considering the differences. Traditionally, the first part of the enemy’s body to come into contact with the ground would have optimally been his head (attempting to break his neck outright). In modern Japanese martial arts, such as Judo and Aikido, the opponent’s body is flipped to a greater extent, allowing him to land across his shoulders or on his back, most of the impact absorbed by the forearm(s) slamming the mat fractionally before the body lands to lessen the impact.

Another successful technique was to dive atop a thrown opponent, forcing the air from the lungs of the unfortunate warrior pinned down to the ground and leaving him severely winded and no doubt with numerous broken ribs. Considering that the aggressor would himself have been wearing armor, thereby increasing his weight, this technique could prove highly effective. Finally, amid the muck and gore, the samurai would either attempt to break the neck of his adversary or draw a dagger that would be plunged into the body of his prone opponent.

To fight in such a manner required great strength and courage. Slipping and sliding, colliding and close enough to smell your opponent's fear and look into his eyes, the battlefield was not for the feint of heart. Such fearsome techniques and the harsh training that went along with their development came to be used less frequently in the years following Japan’s civil war period (that is, from the early seventeenth century on). The techniques of Senjo Kumiuchi changed and evolved and new styles emerged. These styles were collectively called Ju Jutsu.

Heifuku kumiuchi

Heifuku Kumiuchi evolved from the tried and tested battlefield grappling arts of the samurai (Senjo Kumiuchi), but developed techniques in response to combat in normal, everyday clothing in a common setting. In Edo Japan (1600 - 1867) that meant a billowing pants that appear from a distance to be a skirt (hakama) and a kimono (similar to modern day kendo clothing). Along with the practice of the sword, as peace became longer lasting, the unarmed fighting arts of the samurai as witnessed on the battlefield changed. Such techniques were replaced with approaches more effective and useful for everyday life that was, for the most part, peaceful.

The Development of Heifuku Kumiuchi

Samurai at this time were still permitted to carry swords. Indeed, the wearing of two swords (the shorter wakizashi and the more famous katana) was the samurai badge above all others. Techniques then couldn’t entirely ignore the threat of facing an armed opponent (though this opponent was now unarmored), but responses in other, more common situations, had to be developed. Thus, for example, methods of fighting in a kneeling position were created, the kneeling position being the traditional manner in which Japanese people sit upon the floor or a cushion. In addition, as armor was no longer worn as a matter of course and combat was most likely to occur with little forewarning while wearing everyday clothes, greater use of techniques that attacked vulnerable parts of the body could be utilized. While armor had previously covered many weaker areas (with the intention of protecting them against sword strokes, arrows and such like) those same areas were now unblocked. As a result, different defensive tactics also had to be evolved to protect the defender who could not rely now on his bamboo armor absorbing a blow. There was also the assumption that in peacetime a fight would usually start with neither combatant armed. On the battlefield all participants would have drawn their weapons prior to the battle commencing. In peacetime then, new techniques were developed to try and ensure that a weapon couldn’t be subsequently drawn once combatants were engaged. Methods to control the arms (the right arm in particular as the samurai drew his blade from the left side of his body) of the opponent and limit his body movement were therefore experimented with and taught. In turn, Heifuku Kumiuchi schools developed ways to counter these controlling movements. If the worst should happen and a blade was pulled free, the concern of the defender now became to control and disarm the attacker as quickly and efficiently as possible, again departing from the battlefield art where the adversary would be thrown to the ground before his neck were broken. Some evidence suggests however that these latter disarming techniques themselves developed from Senjo Kumiuchi.

During this period commoners were also exposed to different fighting styles and they developed their own unique approach called Shomin Yawara. Commoners were prevented from carrying weapons, unless they were of the smaller variety that were easily concealed, nor did they have time to master difficult techniques over a life time of study. Devoid of a warrior tradition, to the techniques of ju jutsu the peasantry brought a different mentality to that of the samurai and the notion of defense pervaded the thinking and interpretation of the waza. Thus the stage was set to see further development of Heifuku Kumiuchi into modern day judo and, later, Brazilian Jiu Jitsu.

Kodokan Judo

Kodokan Judo by Jigoro Kano - An Indepth Review.

Judo is, along with karate, Japan's most popular martial arts export. Nowadays it is better known and understood as a sport - and an Olympic one at that - but its origins lie in the classical martial arts techniques of the feudal samurai warriors who would use unarmed techniques (though usually in combination with a tanto, or dagger) if they lost their primary weapon on the battlefield or were otherwise forced into close quarters combat where their sword became more of a liability. From this harsh background judo emerged as one of the first martial ways. Though retaining a combative element the emphasis in practice became wider and came to encapsulate physical, mental and ethical training. Since then judo has itself inspired a new art that has swept the world: Brazilian Jiu Jitsu. This art dominated early no holds barred competitions and is considered to be vital for mixed martial artists.

Kodokan Judo was first published in Japanese in 1956 by the students and associates of the founder of judo Jigoro Kano (died 1938). The original text contained the teachings of Kano on the theory and technique of judo whereas the English language version (first published in 1986) contains supplemental sections to accompany the original text. The original is considered to be the definitive text for the Kodokan (the International center for judo studies, located in Tokyo).

Kodokan Judo is divided into twenty chapters, which are further split into five sections, these being: (I) Basic judo concepts; (II) Techniques; (III) Free practice; (IV) Forms and (V) Health and first aid. The book also includes two appendices, one a chronological summation of the key points in the life of Jigoro Kano and the other a guide to the Kodokan. These appendices are followed by a (very detailed) glossary and index.

Chapter One - Jujutsu Becomes Judo

This section of Kodokan Judo starts with an overview of how ju jutsu became judo. Ju jutsu emerged into coherent schools during the Edo / Tokugawa period (1603-1868). Jigoro Kano studied with different masters of different schools and came away highly impressed with their dedication, experience and research. At the same time Kano felt that these masters had done little more than assemble a collection of techniques; none of them, he felt, had perceived the guiding principles behind jujutsu. Differences in the execution of techniques from teacher to teacher led Kano to investigate what, at a more fundamental level, made each technique work. He began his search for an underlying principle.

After extensive study Kano found his truth: the all pervasive principle was to make the most efficient use of one's mental and physical energy. Based on this principle Kano re-investigated ju jutsu and kept only those techniques that were in accordance with this principle. Further, Kano added techniques that did demonstrate his guiding principle. From this the techniques of judo emerged.

Judo can be understood as 'the Way of gentleness' with the idea being that one first gives way in order to attain victory. The Kodokan, established in 1882, is the place for studying this Way. A key element to the study of judo is maintaining one's balance while disrupting that of an opponent or by taking advantage of an opponent while he is off balance. Leverage is another important factor in determining victory and correctly applied leverage can allow a weaker person to defeat someone stronger. Kodokan Judo attempts to reveal how the underlying principle can be both understood through training and executed in technique.

Chapter Two - Principles and Aims of Kodokan Judo

In this section of Kodokan Judo Kano examines the use of judo for physical training, mental training and ethical training. He also discusses judo as an art form and the use of judo outside the dojo.

Kano writes that he was inspired to examine these broad areas after his success in applying the principle of maximum efficiency to the range of judo techniques. Could, he wondered, the same principle be applied to physical education?

Kano is here using a concept learned in one domain and applying it to another. It is reminiscent of the Zen Warrior Yamaoka Tesshu's teaching on the marriage of ji (a particular) and ri (a universal).

Kano intended to create a method of physical education that exercised the whole body rather than just concentrating on a few specific areas. Kano admired gymnastics as it avoided injuring the body while promoting a balanced development of the body. However, Kano also believed that gymnastics was neither useful or interesting.

Kano devised his own exercise program called the Seiryoku Zen'yo Kokumin Taiiku (Maximum Efficiency National Physical Education) and the exercises are described in chapter 19 of Kodokan Judo. This set of exercises included a (somewhat simple) 'shadow boxing' program, which was to be done vigorously, followed by a series of two-person drills that were elementary forms of 'one step sparring' whereby an aggressor made an attack and the defender would respond with a technique practiced in the shadow boxing segment. One such pre-arranged attack was made using a sword.

In regular judo practice a participant was conditioned through the study of kata (two person forms in which one person was the aggressor, the other the defender) and in randori, or free sparring. Sparring in judo does not allow the use of strikes, kicks or suchlike and instead throws and ground work are practiced.

Kano argued that both kata and randori were useful for training the mind, but he preferred randori for this purpose. Randori requires the participant to search for openings and make quick decisions. Sparring also promotes alertness, poise and self-confidence through experience. In turn, these qualities have an application outside the dojo. Randori also tests the practitioners ability to use just the right amount of force...neither too much or too little.

As for ethical training Kano argues in Kodokan Judo that judo can calm down people who are prone to become angry quickly. Through training such people understand that anger is a waste of energy and produces negative results.

Judo can also develop confidence while also guiding us into looking for the best possible course of action. It also teaches us that worry is also a waste of energy.

Kano has less to say about judo as an art in Kodokan Judo, simply stating the the aesthetics of well-done judo can be appreciated by anyone.

The most interesting chapter in this section to me is when Kano talks about the use of judo outside the dojo. Kano notes that the rationale behind a judo match is to discover principles that can be used in the 'real world'. Kano stresses the importance of the relationship between self and other and in developing an ability to take the initiative and lead others. Judo teaches us to 'consider fully and act decisively' while also teaching us when to stop. Finally Kano explains that judo can help us keep to our path in life without becoming disturbed by what is going on around us.

Kano concludes this section of Kodokan Judo by writing that whatever one's objective may be, it is best achieved by the maximum-efficient use of mind and body for that purpose.

Chapter Three - Basic Points in Training

This is a short but important chapter that covers, for the most part, the attitude one should take in approaching training. Before that the dojo and the judo gi (practice uniform) are introduced and described.

Next though Jigoro Kano covers an important point often overlooked in more modern martial arts books: etiquette in the dojo. In Kodokan Judo Kano notes that before conducting practice or a match with one another the judoka should bow as a sign of respect and, importantly, gratitude. Gratitude is no less important than respect but in my experience it is missing - at least in any overt way - from many dojo. As you bow, according to Kano, you are demonstrating your gratitude to your partner for giving you the opportunity to improve and for playing his part in helping you do so. I think this is a very healthy attitude to take as it keeps you humble and focused on the purpose of practice: to improve.

The chapter closes with an admonition not to misuse the art. The techniques are only to be used when one is in immediate physical danger.

Chapter Four - Basic Movements

Section Two of Kodokan Judo opens with an examination of judo's basic techniques. Basic stances, the basic hold, how to move and turn and the principle of dynamics are introduced.

Kano next introduces kuzushi, or breaking an opponent's balance which is crucial to using one's strength efficiently. After the balance is broken you must move into an advantageous position (tsukuri) and then perform kake, a throw. Being thrown requires the receiver to be able to breakfall (ukemi) and so Kodakan Judo details various methods of practice with good, clear photographs.

Chapter Five - Classification of Techniques

Kano introduces three categories of techniques in Kodokan Judo, these being:

- Throwing techniques (nage waza)
- Grappling techniques (katame waza)
- Striking techniques (atemi waza)

Of surprising interest is the inclusion of striking techniques in what is now almost universally considered to a a throwing / grappling art.

These techniques can be further sub-divided.

Nage waza comprise tachi waza (standing techniques) and sutemi waza (sacrifice techniques).

Tachi waza are further divided into te waza (hand techniques), koshi waza (hip techniques) and ashi waza (foot or leg techniques).

Sutemi waza come in two types: ma sutemi waza (supine sacrifice techniques, so-called because you take a back-on-the-mat position) and yoko sutemi waza (side sacrifice techniques, indicating that you fall to your side on the mat).

Moving onto katame waza the grappling techniques of judo can be classified into osae komi waza (hold down techniques), shime waza (strangling techniques) and kansetsu waza (joint techniques).

Finally atemi waza introduce a variety of different techniques to disable an assailant. There are two types: ude waza (arm techniques), in which blows are delivered to vital points and ashi ate (leg techniques). These strikes appear in kata practice and never in randori.

Chapter Six - Nage Waza

Much of the rest of Kodokan Judo is taken up with excellent pictures of the techniques that make up the judo syllabus accompanied by detailed explanations. As a reference this is where the book really excels.

A lot of these techniques are directly applicable in a judo match with both participants wearing a gi which can be gripped and held. There are some excellent take downs though, including morote gari, kuchiki taoshi and kibisu gaeshi. You can also take a look here to see harai goshi executed perfectly in an MMA fight.

Chapter Seven - Katame Waza

Katame waza are the grappling techniques of judo. As noted above, Kano distinguishes between osae komi waza (pinning techniques), shime waza (strangling techniques) and kansetsu waza (joint techniques) in Kodokan Judo. This chapter is as well-presented and the techniques as well-described as elsewhere throughout the book. Brazilian Jiu Jitsu and MMA fans will be interested to see an early version of sankaku jime, or the triangle choke.

Chapter Eight - Continuous Attack

Continuous attack means simply to create combinations of techniques, such as a throw followed by another throw. Therefore there are two variations at play here: combinations while on the offensive and multiple counterattacks when the opponent is unsuccessful in his attack.

Another way of looking at a combination would be a throw that takes the opponent to the ground but fails to score a point. In this case you must follow up with a grappling technique.

Using combinations as counter-attacks is more challenging but the ability to detect openings in an opponent's defense while he is attacking is, Kano tells us, an indication that you are beginning to grasp judo's underlying principle (to make the most efficient use of one's physical and mental strength).

Kodokan Judo provides some examples of combinations of techniques for demonstrative purposes but Kano is quick to point out that there are an infinite number of such attacks.

Chapter Nine - Atemi Waza

This is a very interesting (if short!) chapter as we do not normally associate striking with judo. No doubt because judo is seen so often as an Olympic sport more akin to wrestling, the battlefield roots of the art have been forgotten somewhat.

Another point that struck me as interesting is Kano's mention that in a society governed by law and order attacks will come through accidents, from criminals or from such unexpected quarters as a crazed dog. The latter example is something that we never really consider (I don't anyway...) as martial artists but neither is it as improbably as it seems. A quick check on Google tells me that in the USA in 2007 there were 33 fatalities from dog attacks, 23 in 2008 and 30 in 2009. More unfortunately, most of the victims of fatal maulings are children.

Kano continues that the striking techniques are from the Tenshin Shin'yo school of ju jutsu with the strikes being designed to inflict pain, render unconsciousness or even cause death. Different striking areas and some basic striking targets are highlighted in Kodokan Judo but no techniques are presented in this chapter, only later in the sections on kata.

Chapter Ten - Randori

In Kodokan Judo Kano is quick to acknowledge that a key point in the successful promotion of judo is the practice of randori, or free sparring practice. This stands in contrast to ju jutsu which focused exclusively on the execution of kata (and with very little explanation of that). For the few ju jutsu schools that allowed randori, this was only allowed to members who were already proficient in kata.

The origins of randori lie in the practice of nokori ai, which was a free exchange of techniques but taken in strict turn. One would attempt a throw and if unsuccessful his partner would have the opportunity to make a counter and so on.

Kano writes that the ultimate aim of randori is to develop the ability to rapidly cope with changing circumstances, to build a strong and supple body and to prepare the body and mind for competition. In pursuit of this Kano advises the acolyte to maintain a natural position, place an emphasis on throwing techniques and to fight to win while never admitting defeat. In Kododan Judo Kano himself is critical of recent moves towards an over-emphasis on competition, feeling that it leads to poor technique in randori.

Chapter Eleven - Kata

Much of the rest of Kodokan Judo is taken up with a detailed look at all the kata found within the judo syllabus. Kano notes that the idea behind the practice of kata is to study in detail the theoretical basis of the art. Therefore each kata is a selection of model technique to be practiced with a partner in strict sequence.

Chapter Twelve - Nage no Kata

This is a throwing form comprising of fifteen different throws. The throws are practice against a variety of simple strikes and grabs.

Chapter Thirteen - Katame no Kata

This is the 'grappling' kata of judo and includes fifteen techniques to pin, choke and lock an opponent.

Chapter Fourteen - Kime no Kata

This is the combat kata and is designed to teach the fundamentals of attack and defense. It is comprised of twenty techniques, including vital point strikes. The technique are executed from both a kneeling and standing position.

Chapter Fifteen - Kodokan Goshin Jutsu

This is the newest kata devised by Jigoro Kano. The form makes use of throws, armlocks, strikes and kicks to defend against various armed and unarmed attacks.

Chapter Sixteen - Ju no Kata

Ju means 'soft' and the fifteen techniques in this kata reflect the softer side of judo. The defenses are against various assaults, such as wrist grabs and punches.

Chapter Seventeen - Itsutsu no Kata

This is the 'deep' kata of judo and was unfinished at the time of Kano's death. Kodokan Judo includes the five techniques that were complete. According to Kano, this kata was intended to demonstrate the principle of maximum efficiency but also to 'be evocative of the movements of the universe.' From what I can make out, the kata appears to be close to aikido and it shouldn't be forgotten that after witnessing an aikido demonstration in 1930 at Ueshiba's Mejiro dojo Kano is said to have commented that '[Aikido] is what I call the ideal budo. That is to say, the true and genuine judo.' Following this demonstration Kano sent two of his top students to study with Ueshiba sensei.

Chapter Eighteen - Koshiki no Kata

This is a very interesting kata as it demonstrates original battlefield techniques that were originally performed in full armor. The kata is preserved from the Kito ryu. Kano indicates in Kodokan Judo that he believed the technique embodied the principle of judo: making the most efficient use of one's mental and phyical energy.

Chapter Nineteen - Seiryoku Zen'yo Kokumin Taiiku

This is Kano's own physical exercise program and in today's parlance we would call it an aerobic workout with a combative slant. There are two sets of exercises: one set done alone and the other with a partner. Kano tells us in Kodokan Judo that the program was designed to appeal to people of all ages.

Kappo

Kappo are resuscitation techniques to be applied when a judoka lapses into unconsciousness in training. Kano details some basic techniques and gives some advice on what to do in an emergency.

Appendices

The first appendix details the highlights of the life of Jigoro Kano from his birth in 1860 to his death in 1938 aboard a ship sailing back to Japan from Cairo where he had proposed that Japan be the site for the 12th Olympic Games.

The second appendix is a guide to the actual Kodokan building itself and this is followed by an extensive glossary.

Summary

This is a great book of obvious interest to anyone doing judo and with appeal to the new wave who are into Brazilian Jiu Jitsu, allowing them to take a look at the immediate origins of their art. The book has plenty of techniques and ideas for adoption and experimentation with by people involved in other arts, whether grappling based or not. Kano's ideas, as espoused in Kodokan Judo are also refreshing and indicate that judo was always meant to be more than just a fighting system or, as it has become better known to be in modern times, as an Olympic sport. All the techniques are explained clearly and supported with well-taken photographs.

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Judo

Jigoro Kano, the founder of Judo, was born on October 28 1860 in Mikage, Hyogo Prefecture (now part of Kobe City) in the vicinity of Osaka. Possessed of immense self confidence and ability, the young Kano set his heart on studying Ju Jutsu and, after several attempts to begin his studies, he finally found Hachinosuke Fuchida, a teacher of the Tenshin Shin’yo Ryu. He continued his practice under a variety of masters but became somewhat frustrated when he discovered that each ryu (tradition or school), and indeed each master within a ryu, had his own style. Kano found himself confused by the different approaches and began his search for principles that united the different forms. After several years of training and investigation he sponsored the principle that the best techniques were those that made the most efficient use of one’s physical and mental energy. Basing his selection of techniques on this notion, he discarded many of the traditional movements of Ju Jutsu and instead replaced them with innovative ones that best represented his guiding theory. This new collection of techniques came to be known as Judo to distinguish it effectively from Ju jutsu. This style was taught at the Kodokan, the first and main dojo of Judo, which was established in 1882; Kano, a recent Tokyo University graduate, being a mere 22 years of age.

Though active, and well known in the field of martial arts (for example, in May 1879 he was part of a group that performed a martial arts demonstration for the former American president, U.S. Grant), the life of Jigoro Kano extended far beyond his creation of his art. He was an educator and spent much of adulthood in the field of education, even making a field trip to Europe in 1889 to study educational institutions. In 1909 he became the first Japanese member of the International Olympic Committee. His achievements and tireless energy were rewarded in 1922 when he was elected to the House of Peers*. Later, in 1938, on the brink of a European war, he pushed for Tokyo to be the site of the twelfth Olympic games. Kano died at sea while returning from the conference of the Olympic Committee where he had made this proposal.

Kano saw his art as providing different forms of training that included, but went beyond, the purely physical. The first type of training undertaken was in kata, the traditional method of learning an art form in Japan. The student repeats a series of pre-established techniques against a willing partner in order to perfect his technique and grasp the deeper principles of the art. The second method of development was through randori, or free practice, reminiscent of a Judo match, but done as practice with no points scored or recorded. Randori is essentially practice for tournament fighting and has today become the focus of much Judo training. That said, Kano saw both these physical training methods as being linked to the training of the mind. He particularly believed that randori taught the trainee, among other things, to search for weakness, to become earnest in their pursuit of the art, and to investigate the mind-body link in themselves and in their opponent. Kano further held, like other Japanese masters, that training in Judo would benefit an individual’s ethics. Here he meant that people would become calm, confident, happy and content. Kano was also keen to point out that Judo is an art form: the beauty of the techniques are themselves a reward. Finally, Kano stressed that the lessons learned in combat were not just for the dojo (training hall) but should be applied to the world at large, the most important of which is perhaps the admonition that we should be both humble and alert in victory.

Judo is often translated as ‘the way of gentleness’ or ‘the way of softness’, though witnessing a competition reveals it to be anything but. Rather the title describes the approach taken by a practitioner to effect his techniques. Rather than oppose force with force, the practitioner uses the strength of his opponent against him. Momentum generated by the attacker is absorbed, redirected and augmented as leverage is applied. In this manner an opponent may loose his balance while the judo ka maintains his. Kano himself saw Judo as being the ‘most efficient use of energy’.

Training today consists of exercises designed to strengthen and stretch the body, rigorous practice of break falls (which also serves as a warm up), practice of individual techniques, and finally randori. Kata tends not to be practiced nowadays.

In combat, the master of Judo seeks to close with his opponent and throw him forcefully to the ground. Follow-up techniques include pinning or strangling an opponent. While part of the original syllabus, today’s art tends not to focus on strikes to weak body points, except for the highest level practitioners.

* The Japanese Diet was made up of two houses, a House of Peers and a House of Representatives. The House of Peers was made up nobles and imperial family members appointed by the emperor. The House of Representatives on the other hand was composed of publicly elected members. Either house could call for the introduction of bills.

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