Savate

Savate is one of Europe’s most famous unarmed martial arts. It developed on the streets of French cities but rose to fame and prominence in the late nineteenth and early twentieth centuries when members of the upper classes adopted it as a method of training the body and mind in preparation for a fight. Ironically, this patronage came about due to the Japanese policy of sending representatives abroad to both learn from foreign cultures and transmit their own teachings. Ju jutsu was the first Japanese martial system seen in the West and its techniques and the skills of those early cultural ambassadors generated interest both in that art itself, but also in the traditional indigenous fighting styles of Europe which could now be contrasted with something new and fresh.

Continual analysis and development, most particularly in relation to East Asian punching and kicking arts from the mid-twentieth century onward and cross training in boxing, have led to changes in the original techniques. The modern day art bears close resemblance to kick boxing though the inclusion of certain movements such as eye gouges, the targeting of the groin and the use of the toe tips to deliver pin point pain to weak areas of the body betray the art’s street fighting origins. The original style, like many methods that have a basis in reality, was geared towards close-quarters combat, and was less than graceful in how it achieved victory. As such, though the legs were used to effect devastating kicks, they were also, being the bodies most powerful natural weapon, used to block incoming kicks and trip opponents. The feet were also used strategically at weak points of the body to lock and dislocate bones, collapse stances and even choke a fallen opponent. All of these techniques were supported by the use of the hands to control and grab, rather than using these limbs strictly to deliver boxing style attacks (such as a hook or uppercut).

Savate and Le Boxe Francaise

Training in the original form includes the repetitive practice of basic techniques, moving on into a form of free sparring. One notable difference is that unlike other martial arts, the practitioner is taught to look at the feet of his opponent.

In combat, the master strives to stay on his feet, forcing his opponent to the ground where a coup de grace can be delivered, usually using the foot as the primary weapon.

An offshoot that has developed recently is the sport Le Boxe Francaise. This is based on the modern style that developed under the influence of Asian striking arts rather than the original street fighting style, and is geared towards sport and competition, and is essentially a form of kick boxing.

Mind Over Muscle

Mind Over Muscle is a short book, easy to read and an excellent complement to Kodokan Judo which introduces a little of the philosophy of Jigoro Kano, the founder of judo. While Kodokan Judo details and examines the plethora of techniques found within the Kodokan syllabus Mind Over Muscle is a collection of writings that discuss the deeper aspects of the art that lie waiting to be discovered beyond technique.

In reading Mind Over Muscle I was blown away by Kano’s farsightedness, his motivation and his sense of public service. He was a figure of immense importance in the revitalization of Japanese bujutsu into modern budo, arguably the single most important figure if truth be told, and after reading this book you will gain a greater appreciation as to why he was so admired.

Mind Over Muscle begins with an explanation that it is an edited collection of Kano’s writing spanning 51 years of his life. There is some repetition of a central theme, but each repetition – made presumably at a different time in his life – conveys a slightly different message with each retelling and the book does not suffer from the re-examination of common themes; rather the different musings help the reader to gain a deeper grasp of the point being made.

The book has a 152 page count of which around 130 pages are from Jigoro Kano. There are three principal chapters – The Development of Judo, The Spirit of Judo and Judo Training – which are further split into subsections. The book carries no illustrations and readers interested in judo technique should refer to Kodokan Judo.

The Development of Judo

A Brief History of Judo

Kano begins by explaining that there were several names used to describe the art of fighting against an enemy with no weapon or with only a short weapon. Jujutsu was only one word among many that was in use towards the end of the nineteenth century. The precise origins of jujutsu, Kano reveals, are unknown. Some hold that one Chinese person or another introduced the art while others hold that it is a purely Japanese invention. Kano holds the latter opinion believing that claims to a Chinese influence were intended to convey – in the past – a sense of reliability and even superiority. He therefore concludes that jujutsu was a Japanese art created by and for Japanese whose reputation was enhanced by claims that it was of Chinese origin.

Originally jujutsu was intended to be practiced as a method of combat with certain schools emphasizing different techniques to achieve victory. As time passed – and no doubt influenced by the peacefulness of the Tokugawa era – combat efficiency became less important and the arts were studied for the sake of studying. The techniques themselves - knowledge of them and ability to execute them - took prime position rather than how effective they were. Kano was attracted to the various schools of jujutsu despite them having what he saw as weaknesses and he came to believe that with a few modifications jujutsu could become a comprehensive method of physical education, intellectual training and moral education. Therefore Kano devoted several years of his life to researching the different schools, keeping what he felt should be kept and discarding anything else.

From Jujutsu to Judo

As noted above there were many different words that could be substituted for jujutsu, and judo was itself one of them. Kano did not coin a new phrase – rather he redefined it (as we will see momentarily). Kano selected the name judo to make it clear that the emphasis of training was to be on the do (way) rather than just on technique or skill (jutsu). Another reason was to distance Kano’s art from the common public perception that jujutsu was dangerous; not only in execution but also in training. Kano explains in Mind Over Muscle that he did not want to formulate a violent or dangerous sport.

Although when literally translated judo means ‘soft way’ or, perhaps, ‘yielding way’, Kano used the name but offered a different (non-literal) meaning. Kano defined judo as using one’s mental and physical energy most effectively in order to achieve one’s goals no matter what the endeavor. In other words judo was about the study of efficiency and the application of efficiency to any undertaking, whether combative or not. I think this is an important point to understand and Mind Over Muscle returns to this key understanding several times. Kano is not dismissing strength as such (the application of which can be very confusing if one understands judo to be the ‘soft way’) but is arguing instead for the efficient use of one’s strength.

To teach his new art Kano introduced (or re-introduced) two methods of practice: kata (forms practice) and randori (free practice). Originally with only a few people training it was possible to teach both approaches to practice hand in hand, with the kata being less systematized, but as the numbers increased Kano found himself needing to codify what he was teaching and thus he began to formalize the kata. Most of the kata were completed by 1887 but as if revealed in Kodokan Judo Kano was still devising new kata as he aged and failed to finish one at the time of his death (The Itsutsu no kata as detailed below). The Dai Nihon Butokukai was also keen for standardized kata to exist and this premier organization exerted an influence also. Kano’s experiments in kata also saw the creation of the Itsutsu no Kata which marked a radical departure from the more normal attack – defense pattern seen up until then. This latter kata was less concerned about attack and defense and instead focused on expressing natural energy through movement. At the time of writing the article that appears in Mind Over Muscle Kano states that he only had three exchanges in the kata. This was expanded to five by the time of the publication of Kodokan Judo but the kata as a whole remained unfinished. To my eyes it resembles aikido more than conventional judo.

The Spirit of Judo

Seiryoku Zenyo - The Essence of Judo

Mind Over Muscle returns now to the subject of names and the origins of the term jujutsu. Kano suggests that the name is apparently derived from the expression ju yoku go o seisu, which can be translated as 'softness controls hardness'. However Kano is honest in stating that not everything can be explained using the theory of ju yoku go o seisu.

For example, when facing a stronger opponent if he rushes forward against you, the weaker of the two, and you try to resist head on, you will be overwhelmed. Better to evade and redirect the force while adding your own. This would be ju yoku go o seisu. On the other hand, if someone grabs your wrist with their thumb and forefinger and you resist by strengthening your wrist, you gain an advantage...but this is not ju yoku go o seisu. Therefore Kano prefers to see jujutsu as a method of defending against an attack, with ju yoku go o seisu being one theory among many and not all encompassing.

Interested but unsatisfied with the variety of theories underpinning the techniques of jujutsu Kano set about attempting to discover a universal principle. This he did, coming up with the phrase seiryoku saizen katsuyo or, as described in Mind Over Muscle, 'one's physical and mental energy must be used most effectively in order to achieve a certain goal'.

Kano saw this principle as being the most basic when considering a defense against an attack and the most basic in pursuit of any goal.

Judo and Physical Training

Continuing on from Kano's description of judo as being the effective use of one's mental and physical energy to achieve a goal, Mind Over Muscle notes that this is the fundamental principle and basis for all instruction.

In discussing the principle more closely related to physical education Kano notes that first your goal must be clear. With a clear goal, how to reach it also becomes clear. For example, if your goal is to attack his vital points you use atemi; if you desire to choke someone you use a choking technique, and so on.

As a result of this, when your goal is clear and with it your method of achieving that goal, you can next examine how to most efficiently use your energy. Therefore Kano has a different take on the value of physical education. He sees it as not simply a way to train the body and develop one's musculature or cardiovascular system. It is not about building muscles for the sake of building muscles (which Kano sees as taking too much time away from chances of personal development in other areas). Instead, it is about using physical education to research and express the deepest principle of judo.

While rejecting the idea of building muscles for its own sake, Kano also questions the true value of sport in Mind Over Muscle. Kano sees value in sports; they are interesting, competitive and young people are attracted to them. On the other hand, Kano argues that too much emphasis on winning can lead to athletes only working to develop those muscles specific to helping them gain victory while neglecting other parts of their body. A long distance runner has little use for upper body strength; a high jumper has no need for a well developed cardiovascular system. What Kano would like instead is a balanced approach to training.

What the master says next is - all these years later - truly astounding and insightful. He advises the development of a calisthenic program that incorporates training for defense against attack. Here is the forerunner of Taebo, Boxercise and so on. Kano wanted to see a method that exercised all body parts equally while also being martial in nature.

Judo and Intellectual Training

Kano starts this section of Mind Over Muscle with an interesting observation: people who have sound knowledge and people who have good judgment are not necessarily the same.

He continues, noting that 'in the acquisition of knowledge there is a difference depending on whether you emphasize basic knowledge that can be applied to anything, or emphasize practical, specific knowledge that is useful in actual terms'. This requires us to - once again - clarify our goals and then exercise our physical and mental energy in an efficient manner.

Again, even in the field of education, Kano returns to the essence of judo, a consistent theme in Mind Over Muscle.

Judo and Moral Education

Kano's intellect continues to dazzle in this section of Mind Over Muscle. He recognizes that morality must first develop out of knowledge; we must know intellectually what is good and what is evil, what is right and what is wrong. On the other hand, we also need to be in touch with our emotions (contacting both brain hemispheres in that case). We must be trained, according to Kano, to like doing what is right over what is wrong. This requires willpower and therefore training the will becomes a part of an effective approach to moral education. Kano also adds the need to cultivate the habit of doing the right thing.

Moral education needs to amalgamate these points and that requires the establishment of a clear goal and an efficient approach to fulfilling it.

Group Life and Judo

The next question Kano turns to in Mind Over Muscle is the problem of efficiently using one's physical and mental powers when two or more people form a group.

Kano's conclusion here is simple (in theory): Conflict is to mutual detriment just as harmony is to mutual gain.

Therefore if each member of a group helps others and acts selflessly the result will be a harmonious group. In this way the group is making the best use of the available energy and therefore maintaining the principle of judo.

Judo as Martial Art

It was interesting to me that Kano left the examination of judo as a fighting art to last. Kano explains that the reason for this is that judo began as a martial art, but with the establishment of the principle that it is really about putting one's physical and mental energy to work in the most effective manner, he recognized that this model could be applied to other endeavors such as physical education, intellectual education and so on.

Given the wide range of applications, Kano believed that the practice of judo in the dojo as a method of defense against attack, while being one aspect of training, is only a small part. Kano therefore sees judo as not simply a martial art, but rather as the guiding principle of human behavior. Judo, Kano concludes in Mind Over Muscle, does not exist merely in the dojo.

Judo and its Application to Everyday Life

Kano begins this section of Mind Over Muscle by asking the reader to consider the application of the principle of the efficient use of energy to life. He first calls into question the idea of diligence being good. While many would consider it so, Kano suggests that if we consider diligence to always be good then there can be no situation in which it is bad. However, if we are physically tired and continue to train (over-train) then the result can be sickness or injury. So in this case diligence is not such a good thing. Therefore we need to be careful in selecting what to be diligent about so as to avoid the wasteful expenditure of energy.

A good way to achieve this is to consider a particular situation first from the point of view of how to make the maximum efficient use of your physical and mental energy. Once determined, then set about in the diligent pursuit of your (clearly established) goal.

Kano reiterates an earlier point made in Mind Over Muscle: this principle - the real meaning of judo - can be discovered (and expressed) through the study of judo technique. But once understood, the principle can be expressed in any number of ways. Therefore Kano was apt to say to people jinsei no koro wa tada itsu aru nomi or 'There is only one path in life'; and this was the path of maximum efficiency.

Judo Training

The Three Aspects of Judo

Kano states in Mind Over Muscle that from the beginning of the Kodokan judo should be studied not only as a method of self-defense but as a way of training the body and cultivating the mind; in turn that trained body and cultivated mind must be put to good use. Therefore Kano identifies three aspects of judo training:

1) The study of attack and defense

2) The promotion of physical and mental well-being

3) The use of that higher energy to benefit society

Given that the purpose of judo is to ultimately benefit society, Kano recognizes that a good question may be: How is that purpose different from that of ordinary people and therefore what need is there to practice judo? Kano responds by saying that this is exactly the point; the purpose is no different to that of the ordinary person, and therein lies the value of judo.

What judo can offer however is a method to investigate the best method to contribute to society while also developing out ability to do so.

The Three Levels of Judo

Continuing on from the point made above, Kano states in Mind Over Muscle that judo can therefore be considered to have three levels: upper, middle and lower.

Lower level judo is training in defense against attack. Middle level judo is the cultivation of oneself and upper level judo is putting one's energy to use in society. Limiting your practice solely to the execution of defense against attacks, or even to the cultivation of yourself, is not therefore upper level judo. This uppermost level of judo has the widest application and requires the most creativity.

Strength as a Base

The idea of the upper level of judo being to benefit society is in stark contrast to the approach taken in the past by practitioners of jujutsu. Kano tells us in Mind Over Muscle that these men would practice to become strong without ever considering what they would do with their strength once it was developed. Kano warns that the same can be said of contemporary competition in Judo. Kano sees no real purpose in simply winning for the sake in winning; rather, how will the quest to win (whether in fact you do so or not) develop you as a person and allow you to contribute?

The Practice of Judo

The following notes are briefly covered by Kano in Kodokan Judo. Here he goes into more detail. He explains that rather than simply being a method of training in defense against attack, judo is designed to offer a far wider education. Kano concludes simply that 'spending years mastering judo simply for the purpose of repelling an attack is foolish'.

Improving Your Body Through Judo

Kano's philosophy here is simple: select waza that will exercise each part of your body equally and avoid over-training any one area.

Cultivation of Knowledge and Morals

Again, Kano's admonition in Mind Over Muscle is simple: Keep your mind open to opportunities to cultivate your knowledge and morals while practicing judo and you will find such opportunities. However, you must be mindful of this; it is not an inevitable outcome.

Effective Use of Mental and Physical Energy

Here again Kano returns to the central message of Mind Over Muscle: find the most efficient way to use your mental and physical energy in any endeavor. Kano recommends that those that practice judo measure their behavior by this principle on a daily basis and make corrections when appropriate. In this way you can make progress day by day.

Cultivation of Aesthetic Sentiments

Here Kano wants the judoka to take pleasure in the execution of their technique and that of others. Appreciate the beauty of your and others' movements.

The Development of the Intellect

After discussing the development of moral character through the study of judo Kano next turns to developing one`s intellect in Mind Over Muscle.

While studying judo Kano notes that observation is very important. Through observation the judoka is able to determine how and when to use certain waza in randori.

Another area of the intellect that is developed is memory. When you first begin there is an enormous amount of information to absorb and remember and this continues as more and more techniques are learned.

The next areas considered are imagination and experimentation. The process of gaining expertize in randori involves a great deal of consideration of strategy and this fires the imagination. The more ideas you have the greater is the chance that you will be able to develop an answer to an opponent. This by itself though is not enough. Once you have the inkling of a strategy it requires training and experimentation to figure out if it really works or not. This becomes almost like a scientific quest of discovery as one hypothesis after another is formulated and tested.

The fifth area Kano discusses is language. The effective teacher must develop his or her skill in explaining often difficult techniques to an audience that is new and unfamiliar to the subject. This can be extremely challenging and again requires the development of the intellect.

The last point considered in Mind Over Muscle is broad-mindedness. This is another striking point that undermines the idea that budo should be `stuck` at a certain point in history and never change thereafter. Kano says that it is important to be open to new ideas and to develop the ability to organize various kinds of ideas at the same time without mixing them up. Kano concludes simply that `if you stubbornly cling to your own ideas you cannot make progress`. Keep your mind open to new ideas, try them and then make your judgment.

The Relationship Between Oneself, Others and One`s Surroundings

Kano regards the application of mental training methods as being among the most interesting and beneficial aspects of judo training. He explains in Mind Over Muscle by way of example the teaching in competition that one must look at the relationship between oneself and others, and one`s surroundings. This relates to the importance of being aware of the dynamic interplay between those three variants.

Kano maintains that this concept is also important in politics, business and education. When you want to do a certain thing you must ascertain in detail the relationship between yourself and others and consider the associated advantages and disadvantages in advance; essentially carefully anticipate and consider the outcomes of things. Important teachings that Kano relates in Mind Over Muscle connected to his ideas here are saki o tore, or anticipate and look ahead; jukuryo danko, or the ability to act decisively after careful consideration and tomaru tokoro o shire, or knowing when to stop.

The Secrets of Judo and Their Uses

The `secret` of judo is simple: `If you win, do not boast of your victory; if you lose, do not be discouraged. When it is safe, do not become careless; when it is dangerous, do not fear - simply continue down the path ahead`.

The Samurai Spirit

Kano shares a very romantic view of the samurai spirit in Mind Over Muscle, believing that this spirit should be celebrated everyday as the warriors of old valued honor and integrity.

How to Benefit Society

Kano here encourages the adherent to live a simple, modest life, living within one`s means so that only a minimum amount of time and money is required to support yourself. Once this basic goal is reached, the next step is to acquire as much spare energy as possible to expend on bettering society. A better society will in turn mean a better life for you.

On the other hand, Kano warns, those who disregard society and live a selfish, self-centered life will be ultimately unsatisfied and spend what little energy they have complaining. Others will have little respect for them and they will come to be reviled.

Therefore students should not simply practice judo for the purpose of competition, but to become able to use it to attain a greater purpose in life. This isn`t to say victory should not be sought, but Kano points out in Mind Over Muscle that there is a big difference between training to be able to beat someone at a future time and becoming obsesses in one`s training with beating another right now. This may necessitate, for the time being, losing a series of matches as you improve your technique. Therefore, Kano states, you must `practice losing`.

Afterword by Naoki Murata

The afterword of Mind Over Muscle is also interesting. The writer notes that for Kano - an expert in education - judo was a means of education. The founder of judo believed that through the systematic study of jujutsu - taking what was good and rejecting what was bad - he would be able to establish a form of education through which exceptional individuals would be created.

Kano's vision for judo also swept across the oceans. Kano saw that Japan had learned much from foreign countries and owed a debt to world culture. He believed judo was one such way this debt could be repaid and for Japan to be seen as a cultural equal among the nations of the world. Furthermore, Kano trusted that as Japan helped to create an international society, Japan's national interest would be similarly served through mutual prosperity.

Another interesting point Kano made, though it isn't highlighted until the end of Mind Over Muscle, is his belief that the logic, or the underlying principle of judo, could be applied to all arts, such as kyujutsu (archery), kenjutsu (swordsmanship) and sojutsu (spearmanship) and that in this way all those arts could be called judo. For example, when the master archer pulls the string he is making the most efficient use of his mental and physical power. This is judo; and the same principal can be applied in every aspect of one's life. Life itself becomes judo. The theory of judo becomes the theory of life.

Conclusion

Mind Over Muscle is a great book and one to keep and reread. It gives tremendous insight into the way of thinking of Jigoro Kano, one of the driving forces behind the establishment of the Japanese martial ways in the early twentieth century, and arguably the greatest figure from that period. It is easy to see why Master Gichin Funakoshi (the founder of Shotokan karate), for example, was so impressed and influenced by Kano. Kano developed a philosophy of life, a philosophy of everything even, and devised a method (judo) through which that philosophy could be easier understood and initially expressed. There are traces here of Yamaoka Tesshu's ideas on the unification of particular and universal across a broad spectrum of arenas but Kano does a much better job of making such a theory more accessible and more easily understood. Easily one of the best books on martial arts around today.

Return to the top of Mind Over Muscle.

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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Chanbara

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Popularly speaking the term Chanbara is used to refer to sword fighting movies that story samurai warriors battling one another with dramatic martial arts skills designed more to please a cinema audience than represent traditional arts. In recent years however the term has also been used to describe one of Japan's newest martial arts, also known as Spochan.

The sport came about in 1971. Mr Tanabe, inspired by children 'playing' as samurai warriors and emulating the techniques they were seeing on the movie screen by using sticks and other makeshift 'swords', decided to make this children's game safer and more appealing as a competitive sport. He first used sponge weapons but these have now been replaced with 'air soft' swords which are completely safe to use and allow for the use of full power strikes (head protection and protection on other parts of the body is still used for further safety).

Matches are typically one one one, but variations include one against many and team fights. Handicapping is introduced when necessary by the use of weapons of unequal length. A teenager for example would be given a longer 'sword' to use when facing an adult.

The sport has spread around the world and now holds a World Championship periodically. Unlike the more traditional kendo Chanbara is purely seen as a sport and has the advantage of any good sport that anyone with minimal training can join in and participate from the off.

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