The Empty Mind

The Empty Mind aims to communicate the spirit and philosophy or martial arts. Contrary to what the title suggests - that the DVD is focused on the experience of mushin (the empty mind) in martial arts - the documentary covers a variety of styles, approaches to training and philosophies. It is very good and very worthwhile watching even if it barely dwells on the experience of mushin.

Principally the DVD interviews a variety of martial arts masters from Chinese and Japanese disciplines and combines these 'words from the wise' with well-shot, professional footage. Personally I found the insight provided by Moriteru Ueshiba (Aikido) to be the most thought-provoking but also of particular interest was seeing how Westerners trained in Chinese WuShu in government-sponsored schools in Beijing. The performances filmed at the Shaolin Temple (Kung Fu) and the Purple Cloud Temple (T'ai Chi) are both amazing and inspiring.

The video clips are not the full versions and what you get on each art on the actual DVD are more extensive.

Kung Fu at the Shaolin Temple

The Empty Mind starts with the first full section on kung fu at the Shaolin Temple. This section introduces Master De Ru, a monk who taught in the US and who therefore speaks (very good) English and Grand Master Shi De Yang, both of whom have a welcome sense of humor. The Shaolin Temple is touted as being the birthplace of East Asian unarmed martial arts as we know them today (covering China, Japan and Korea) as well as being the place where a synthesis of Indian Buddhism and Chinese Taoism took place to produce Ch'an Buddhism, which is better known by its Japanese name of Zen. Master De Ru gives a good overview of the relationship between kung fu and Ch'an / Zen and this section comes the closest to living up to the title of the DVD: The Empty Mind.

Monk De Ru explains in The Empty Mind that emptiness is the origin of both the universe and the person. When we can reconnect to this vast 'nothingness' we understand that we are not separate from anything. The body is a vehicle to help us experience the single energy that permeates all things. Through the study of kung fu, or traditional wushu as Grandmaster De Yang calls it, the mind and body are unified and we understand ourselves as a microcosm of the universe.

In the DVD you can see senior students at the Shaolin Temple perform various techniques, including weapons drills at full speed, weapons practice while blindfolded and the 'Iron Body'. Also very impressive are the very young, but very serious and very talented, kids at the temple.

Tai Chi at Purple Cloud Temple, Wudang Mountain

Tai Chi is based on the effortless of nature. The student follows the path of least resistance, as water streams down from a mountain top. The matter is not forced; rather we yield to physical matter. This is known as wu wei, an important philosophy in both Taoism and Tai Chi. Tai Chi is considered to be a 'soft' or 'internal' martial art when compared to Shaolin kung fu, which is often described as being 'hard' or 'external'.

Priest Yuen and Priest Bing introduce the viewer to the Tai Chi at Purple Cloud Temple, the oldest and most reputable school on Wudang Mountain. The priests - through the narrator - explain that a fundamental belief of Taoism is that when we are born, we are born in balance but we lose this balance as we age through the influence of external factors. All things change, but this balance can be restored through correct training with an emphasis on balance, posture, and flexibility.

Contrary to popular images of Tai Chi being 'easy' practice is in fact demanding. While one muscle is relaxed, this is balanced out by another being in a state of tension, thereby symbolizing the interaction of yin and yang. The same shifts between tension and relaxation are also found in the breathing pattern, which is meditative in nature (while also promoting health). Breathing is itself regarded as being important as when co-ordinated correctly with the movements of the body chi is produced. Chi is described as being an energy that is both within and without. It is developed within through correct posture and breathing. (Click here for some deep breathing exercises that I have developed and use).

The priests at the Purple Cloud Temple explain in The Empty Mind that students arise at 5 am and practice for around 8 hours a day. The skills - and, like the Shaolin monks - the flexibility of the students are amazing. Most of the footage focuses on form practice. Here the flow of movement is mesmerizing and it is relaxing simply to watch the performance.

Wu Shu and Kung Fu in Beijing

China has a turbulent history that culminated in the seizure of power by Mao Tse Tung. Mao was the last in a long line of rulers that oppressed traditional martial arts, the masters and the schools where the arts were taught. Fearful that the masters may have provided a rallying point for disenchanted youths as well as training in combative methods - as had been witnessed in the disastrous Boxer Rebellion - Mao purged the arts and those connected with them. In turn a method of state-sponsored (and approved) wu shu has arisen that has spread throughout China.

This segment of The Empty Mind examines the state of martial arts in Beijing, the capital of China. The documentary first takes a look behind the doors of the Capital College, where China produces its Olympic gymnasts, where modern wu shu is taught and practiced.

Sifu Zhao Ping, a former national champion, teaches a foreign student class at the Capital College. Gaining a glimpse of this training was extremely interesting for me as it is so different from more traditional forms of development that promote physical and mental conditioning as well as aesthetic skill. However, the Capital College makes only a brief appearance.

The Empty Mind next moves onto informal kung fu training in the parks of Beijing. One of the most amazing images presented here is of Master Zhang Sheng Li practicing with a broadsword...and no one cares! I can't imagine anyone getting away with this in a Western country or here in Japan.

The second thing that amazed me is how, one by one, top masters casually turned up to participate in the practice from all kinds of different styles. We can therefore see a variety of different Tai Chi styles demonstrated.

The third thing to amaze me - as The Empty Mind shifts to Shanghai - is the commitment the older generation shows to their health and fitness by utilizing training equipment provided for them in the parks. While much of the exercises will be recognizable, one that remains curiously Chinese is chi gung, which is a method of developing one's chi, or 'life energy'. One guy there, at the age of 82, is anything but his age. He is vibrant, alert and clearly in (very) good health.

This section of The Empty Mindis, shall we say, quietly interesting. It lacks the dynamism and history of the sections on Shaolin and Wudang but is captivating as it manages to capture the role kung fu plays in the lives of the average Chinese person.

Kyudo - The Way of the Bow

Almost the entire sequence found on the DVD can be viewed in the YouTube clip above. Preceding the main part is a video of a traditional (and very colorful!) procession at a Shinto shrine. This is not connected directly to kyudo and only sets the scene for the religious elements seen in the clip above.

The Empty Mind maintains its excellent access to the top people of the respective martial arts covered and here presents the highest ranking members of the All Nippon Kyudo Federation. Attention is drawn to the Shinto and Zen Buddhist aspects of the art and it was this art that first drew the attention of Westerners to the similar purposes of Zen and the Japanese ways through the publication of Herrigel's Zen and the Art of Archery.

The aim promulgated by kyudo masters and discussed in The Empty Mind is that the art is less about hitting the target and more about hitting your self. It is a way of penetrating into your own psyche (I would argue into an experience of increasing right brain hemisphere dominance). Note as well when watching the video the emphasis that is placed on posture and correct breathing. These facilitate the meditative process.

Japan Karate Association

For this section of The Empty Mind there is no YouTube clip available. The DVD visits the JKA Headquarters in Tokyo and looks in on a famous Instructor's Training session. Masahiko Tanaka is (kind of) the focus of this segment but - disappointingly - he is not interviewed and we see only very little technique from him. The other instructors are of course all top notch and the DVD shows them performing basics, sparring drills and Bassai Dai in a group. This segment gave me the impression that it was more a way to introduce karate to the viewer and I would have liked to have seen more on the JKA.

Master Hirokazu Kanazawa

One of the highlights for me was this interview with Kanazawa sensei. Filmed when the master was 72 we get to see the great man in action and listen to his words of wisdom on the Way.

Kanazawa Sensei talks about the pursuit of success and the need to remain humble in the pursuit of it. Here he talks about mushin (the empty mind), defining it as a state of total control and concentration. This is the same mind that is needed to find success in your life. He also talks about using our 'spiritual energy' or ki to drive us forward spiritually.

(I would add that research into the way mushin is understood and used is of great interest to me and I again note - for regular readers who are following my thoughts - that Kanazawa sensei is here using a definition of the term that contradicts its literal meaning. He is talking about intense concentration and total control. This is at variance with the notion that mushin means no conscious mind or the empty mind and it is, I would argue, zanshin that is being described here).

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Ultimate Warrior Workouts

Ultimate Warrior Workouts by Martin Rooney follows on from his success with Training for Warriors - The Ultimate Mixed Martial Arts Workout.

The book is thick and weighty, coming in at 348 pages all told, and it is jam packed with color photographs detailing the workout routines Martin Rooney picked up while traveling to different parts of the world to train. Rooney trained in some of the top places, including Gracie Barra, Gordo Correa's Academy and the Renzo Gracie Academy (Brazilian Jiu Jutsu), University of Iowa, Rutgers University and the New York Athletic Club (Wrestling), The Kodokan and the Kokushikan (Judo), Fairtex Gym (Muay Thai), Mejiro gym (Kickboxing), Gleanson's gym (Boxing), the Japan Karate Association and the Shotojuku (Karate), and the International Training Center of New York, Dinamo Sporthall, Sambo (St. Petersburg) and Sambo (Yaroslavl) (Sambo). The research then is all first-hand and of top quality. In addition, Martin Rooney didn't simply observe the training, he participated in it as well.

Martin is very highly qualified in the field of physical fitness and trains regularly in various martial arts. He is also the Chief Operating Officer of the Parisi Speed School and has trained thousands of people - martial artists and sports people alike - over his career. He has the perfect blend of academic knowledge and personal experience in both training and teaching.

First of all I want to say that Ultimate Warrior Workouts is text-light. It isn't so much a book you read as a book you refer to. That said, Martin Rooney does share some valuable insights and opinions in just a few words and, although text-light, there appears to be an assumption that the reader already knows something about martial arts and is coming to the book to further his or her education. For example, rather than discuss exactly what the martial arts are (and MMA in particular) Rooney raises the very interesting point early on that he feels there is a danger that training solely in MMA as an overall style will lead to a reduction in skill when compared to an athlete who trains systematically in the various arts that tend to constitute MMA. What he means is that rather than starting off training in a blend of Thai boxing, wrestling, boxing and BJJ, he feels it would be better to study Thai boxing exclusively then move onto, say, wrestling. Another interesting point - and a sign of the times - is that he recounts the origins of martial arts as principally starting with the Greeks and becoming solidified with the gladiatorial games of the Roman Empire later. The Shaolin Temple is mentioned, but is located (properly) as being established after the gladiatorial schools of the Romans. I found this section, though short, to be very refreshing.

After these introductory chapters Rooney moves onto the meat of Ultimate Warrior Workouts. Each chapter details a different art and follows more or less the same format. Again, a key point to note is that Rooney first of all describes the philosophical and moral underpinnings of the art in focus. Although principally a book about training warriors, the life philosophy is never neglected. Kudos for this.

Bearing in mind that Ultimate Warrior Workouts is text-light, Rooney gives a brief overview of each art then launches into detailed explanations of training methods unique to each art. Each of the exercises is well demonstrated using quality color photographs using a variety of models. Many, if not most, of the exercises could be done at home with little to no special equipment needed. On occasion there are some exercises detailed that would require specialized equipment that I don't think the average gym / dojo would have, let alone a private individual. For example, many of the arts make use of a pull-up bar. This may detract slightly from the content, but is more than compensated for by the usefulness of the other exercises.

Each chapter then ends with a 'Warrior Challenge' which is a particular exercise based on the skills predominantly related to the chapter's art. For example, the Warrior Challenge for the Muay Thai chapter is to perform as many roundhouse kicks as possible with a one minute time limit.

Next is a chapter on nutrition. This struck me as being more for the benefit of someone who wants to fight professionally as mention is made of pro fighters walking around 20 pound heavier than normal then cutting in the final weeks of preparation for their match. I don't think this will be relevant to most readers and the detailed meal plans vary from 2,700 to 3,400 calories per day. Far more than the average person would need to consume. On the other hand, the meal plans do highlight some very healthy approaches to eating and if the quantities are lowered then I would say the advice would be very useful.

The next two chapters of Ultimate Warrior Workouts are a little disappointing. The first is on cardio and, to avoid repetition of information presented in Training for Warriors. Rooney doesn't cover very much in this section except for the jump rope. He introduces 'Hurricane' training but refers the reader for Training for Warriors for more information. The next chapter on flexibility is the weakest in the book and clearly isn't an area of expertize for Rooney and seems to me to have been included more for the sake of completeness than anything else. The exercises covered here are about as basic as they come, although the author does introduce the use of the foam roller.

Next Rooney examines partner training and highlights various exercises presented earlier in the book that can be replicated with a training partner (literally!) providing the weight. Rooney recommends such training primarily for two reasons. The first is that martial arts techniques are used against an opponent and therefore training with one is directly replicating the movements. Second, by carrying a partner the weight is unevenly distributed, not only making the lifts more lifelike but also challenging the lifter in ways that symmetrical weights won't. I think a lot of the exercises here can be replicated with a heavy bag or a sand bag.

Moving to the close of Ultimate Warrior Workouts, Rooney presents a six month Warrior Workout plan, but it should be noted that to complete this in full you will also need to refer to Training for Warriors, his earlier book. In last chapter Rooney provides his own 20 Guiding Principles and I felt this was a nice touch to relate the martial arts to our everyday lives.

Overall Ultimate Warrior Workouts is a great book. It is comprehensive and well presented. Since starting to study it I have mostly used it to introduce variations into my own workouts. I can use this resource to develop different approaches to, say, an upper body workout that keeps me interested and challenged in new ways. For the martial arts instructor, the exercises can be used in your gym / dojo to challenge students in new ways in each training session. Highly recommended.

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The Last Dragon

The Last Dragon is an old martial arts movie, dating back over 20 years. I recently read an interview on health and fitness with the lead actor, Taimak, and was pleasantly surprised to learn that he is still training and still involved in show business. This prompted me to search for this movie on Google and I was even more surprised to find that a remake is in the works starring no less a person than Samuel L. Jackson, along with Rihanna. The original movie left a lot to be desired from the point of view of acting ability but at the same time it told a simple story well and provided great entertainment, making it a box office success.

The story centers on Leroy Green (or 'Bruce Leroy', played by Taimak) and his search for mastery of the martial arts. Along the way he gets involved with Laura Charles (played by Vanity) who is herself threatened by a local gangster. At the same time Leroy must fend off challenges from Sho'nuff (the 'Shogun of Harlem', played by Julius J. Carry) who sees himself as a true master and superior to Leroy.

The acting is never great and some 25 years later the level of martial arts displayed seems dated and is nothing compared to that of people like Jet Li. The story is simple and the characters are not well developed. Yet despite all these disadvantages, The Last Dragon is tremendously entertaining and tells an important tale replicated much later in Kung Fu Panda, among other movies: that you do not have to look outside yourself for a true master. The movie unabashedly admires Bruce Lee (Leroy teaches his kung fu class in the yellow jump suit made famous by Bruce Lee in Game of Death and is given a medallion 'owned by Bruce Lee' at the commencement of his quest for mastery...and there are other references too) and is in love with East Asian culture (with a strange mix of a Japanese sensei who admires Bruce Lee, Chinese fortune cookies and Taimak appearing as a ninja at one point). This confusing mix always delivers the goods though and the story is well-paced and highly entertaining.

The movie has an excellent sound track and includes an early appearance by Ernie Reyes Jr. as well as a small part for a very young looking William H. Macy.

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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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