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.
