Kodokan Judo - 1955 Edition
This is the original publishing of this great classic. Quite costly on the used market (generally around $100), this isn't far different from the more recent edition, Kodokan Judo. This is the 'bible' or 'definitive' book for most Judoka. Contains descriptions of all formally recognized techniques, and all 7 katas. This original edition doesn't, of course, contain the more recent Shinmeisho no waza, that is in the new edition. The descriptions are short, and not comprehensive, but serve well as a memory aid, and to the advanced student, quite enough to learn the technique. Technique names given both in Japanese and in English, and the English translation is relatively good.
Unless you are a collector, there's no particular reason to prefer this version over the most recent 1986 edition.
Contents Preface by Risei Kano, the President of Kodokan i CHAPTER I HISTORY OF THE KODOKAN JUDO 1 History of Jujitsu 1 1. The Circumstances which led to the Rise and Development of Jujitsu 3 2. The Development of the Kodokan Judo 7 CHAPTER II PRINCIPLES AND AIMS 14 CHAPTER III TRAINING AND EQUIPMENT NECESSARY 24 1. Methods of Training and Practice 24 2. Preparatory and Supplementary Exercises 29 3. Dojo or Exercise Hall 30 4. Judo-gi or Judo-costume 31 5. Salutation 36 6. Manner and Attitude in the Hall 37 7. Hygiene 38 CHAPTER IV BASIC MOVEMENTS 39 1. Use of Legs and Arms 39 2. Methods of Holding 41 3. Use of the Feet in Movement 42 4. Use of Strength 44 5. Kuzushi (Disturbing Balance) 45 6. Tsukuri and Kake (Preparation and Attack) 47 7. Ukemi (Breakfall) 48 CHAPTER V CLASSIFICATION OF TECHNIQUES 67 The Table 70 CHAPTER VI EXPLANATION OF THROWING TECHNIQUES INSTRUCTION I 1. De-ashi-harai (Advanced Foot Sweep) 72 2. Hiza-guruma (Knee Wheel) 75 3. Sasae-tsurikomi-ashi (Propping Drawing Ankle Throw) 77 4. Uki-goshi (Floating Hip or Loin) 79 5. O-soto-gari (Major Outer Reaping) 81 6. 0-goshi (Major Loin) 83 7. 0-uchi-gari (Major Inner Reaping) 85 8. Seoi-nage (Shoulder Throw) 87 INSTRUCTION II 9. Ko-soto-gari (Minor Outer Reaping Ankle Throw) 89 10. Ko-uchi-gari (Minor Inner Reaping Ankle Throw) 91 11. Koshi-guruma (Loin Wheel) 92 12. Tsurikomi-goshi (Lift-pull Loin) 94 13. Okuri-ashi-harai (Sweeping Ankle Throw) 95 14. Tai-otoshi (Body Drop) 96 15. Harai-goshi (Sweeping Loin) 98 16. Uchi-mata (Inner Thigh) 99 INSTRUCTION III 17. Ko-soto-gake (Minor Outer Hooking Ankle Throw) 101 18. Tsuri-goshi (Lifting Hip Throw) 103 19. Yoko-otoshi (Side Crop) 105 20. Ashi-guruma (Leg Wheel) 106 21. Hane-goshi (Spring-hip Throw) 107 22. Harai-tsurikomi-ashi (Sweeping Drawing Ankle Throw) 108 23. Tomoe-nage (Throwing in High Circle or Stomach Throw) 110 24. Kata-guruma (Shoulder Wheel) 112 INSTRUCTION IV 25. Sumigaeshi (Corner Throw) 113 26. Tani-otoshi (Valley Drop) 115 27. Hane-makikomi (Outer Winding Spring Hip) 116 28. Sukui-nage (Scooping Throw) 117 29. Utsuri-goshi (Changing Hip) 118 30. 0-guruma (Major Wheel) 119 31. Soto-makikomi (Outer Winding Throw) 120 32. Uki-otoshi (Floating Drop) 121 INSTRUCTION V 33. 0-soto-guruma (Major Outer Wheel) 122 34. Uki-waza (Floating Throw) 123 35. Yoko-wakare (Side Separation) 125 36. Yoko-guruma (Side Wheel) 126 37. Ushiro-goshi (Rear Loin) 127 38. Ura-nage (Rear Throw) 128 39. Sumi-otoshi (Corner Drop) 129 40. Yoko-gake (Side Body Drop) 130 CHAPTER VII EXPLANATION OF THE "GRAPPLING" 132 OSAE-WAZA (The Art of Holding) 1. Kesa-gatame (Scarf Hold or Lock) 132 2. Kata-gatame (Shoulder Holding or Shoulder Lock) 135 3. Kami-shiho-gatame (Locking of Upper Four Quarters) 136 4. Kuzure-kami-shiho-gatame (Irregular or Broken Locking of Upper Four Quarters) 137 5. Yoko-shiho-gatame (Side Locking of Four Quarters) 139 6. Tate-shiho-gatame (Longitudinal Locking of Four Quarters) 140 II SHIME-WAZA (The Art of Strangleholds or "Necklocks") 1. Kata-juji-jime (Half Cross Lock) 141 2. Gyaku-juji-jime (Reverse Cross Lock) l43 3. Nami-juji-jime (Normal Cross Lock) 144 4. Hadaka-jime (Naked Chokelock) 145 5. Okuri-eri-jime (Sliding Collar of Lapel Lock) 146 6. Kata-ha-jime (Single Wing Lock) 147 III KANSETSU-WAZA (The Art of Bending and Twisting the Joints or Bone-Locks) 1. Ude-garami (Entangled Armlock) 148 2. Udehishigi-juji-gatame (Cross Armlock) 149 3. Udehishigi-ude-gatame (Arm Armlock) or Udehishigi- zempaku-gatame (Forearm Armlock) 150 4. Udehishigi-hizagatame (Knee Armlock) 151 CHAPTER VIII CONTINUOUS ATTACK, CHANGING TECHNIQUES AND COUNTER-THROWS 152 Using Your Own Movements 153 Using Your Opponents Movements 156 CHAPTER IX THE CONTESTS OF JUDO 159 CHAPTER X GENERAL DESCRIPTION OF THE PREARRANGED FORMS OF JUDO 161 1. Nage-no-kata (Forms of Throwing) 161 2. Katame-no-kata (Forms of grappling or Holding) 162 3. Kime-no-kata or Shrinken-shobu-no-kata (Forms of Decision or Forms of Actual Fighting) 162 4. Ju-no-kata (Forms of Gentleness) 163 5. Koshiki-no-kata (Form.i Antique) 163 6. Itsutsu-no-kata (Forms of Five) 163 7. Seiryoku-Zen'yo Kokumin-Taiiku-no-kata (Forms of National Physical Education based on the Principle of Maximum Efficiency) 164 CHAPTER XI EXPLANATION OF THE FORMS OF THROWING 165 I TEWAZA 1. Uki-otoshi (Floating Drop) 165 2. Seoi-nage (Shoulder Throw) 167 3. Kata-guruma (Shoulder Wheel) 168 II KOSHI-WAZA 1. Uki-goshi (Floating Hip or Loin) 170 2. Haraigoshi (Sweeping Loin) 171 3. Tsurikomi-goshi (Lift-pull Loin) 172 III ASHI -- WAZA 1. Okuri-ashi-harai (Sweeping Ankle Throw) 172 2. Sasae-tsurikomi-ashi (Propping Drawing Ankle Throw) l73 3. Uchi-mata (Inner Thigh) 174 IV MASUTEMI -- WAZA 1. Tomoe-nage (Throwing in a High Circle or Stomach Throw) 175 2. Ura-nage (Rear Throw) 176 3. Sumi-gaeshi (Corner Throw) 177 V YOKO-SUTEMI-WAZA 1. Yoko-gake (Side Body Drop) 178 2. Yoko-guruma (Side Wheel) 179 3. Uki-waza (Floating Throw) 179 CHAPTER XII EXPLANATION OF THE FORMS OF GRAPPLING 182 I OSAE-WAZA (Art of Holding or Hold-downs) 1. Kesa-gatame (Scarf Hold or Lock) 183 2. Kata-guruma (Shoulder Holding or Shoulder Lock) 184 3. Kami-shiho-gatame (Locking of Upper Four Quarters) 184 4. Yoko-shiho-gatame (Side Locking of Four Quarters) 185 5. Kuzure-kami-shiho-gatame (Irregular or Broken Locking of Upper Four Quarters) 185 II SHIME -- WAZA (Art of Strangleholds or Necklocks) 1. Kata-juji-jime (Half Cross Lock) 186 2. Hadaka-jime (Naked Chokelock) 187 3. Okuri-eri-jime (Sliding Collar of Lapel Lock) 187 4. Kata-ha-jime (Single Wing Lock) 188 5. Gyaku-juji-jime (Reverse Cross Lock) 188 III KANSETSU -- WAZA (Art of Bending and Twisting the Joints or Bonelocks) 1. Ude-garami (Entangled Armlock) 189 2. Udehishigi-juji-gatame (Cross Armlock), 190 3. Udehishigi-ude-gatame (Arm Armlock) or Udehishigi- zempaku-gatame (Forearm Armlock) 190 4. Udehishigi-hiza-gatame (Knee Armlock) 190 5. Ashi-garami (Entangled Leg Lock) 191 CHAPTER XIII EXPLANATION OF THE FORMS OF SELF DEFENCE 192 I I DORI 1. Ryote-dori (Both Hands Seizure) 194 2. Tsukikake or Tsukkake (Stomach Punch) 195 3. Suri-age (Thrust at the Forehead) 196 4. Yoko-uchi (Blow at the Temple) 197 5. Ushiro-dori (Shoulder Seizure from Behind) 197 6. Tsukikomi or Tsukkomi (Dagger Thrust at the Stomach) 198 7. Kiri-komi (Direct Down Cut at the Head with a Dagger) 199 8. Yoko-tsuki (Side Thrust or Strike with a Dagger) 199 II TACHIAI 1. Ryote-dori (Both Hands Seizure) 200 2. Sode-tori (Sleeve Seizure from the Side) 201 3. Tsukikake or Tsukkake (Straight Right to the Face) 201 4. Tsuki-age (Uppercut) 202 5. Suri-age (Thrust at the Forehead) 202 6. Yoko-uchi (Blow at the Temple) 203 7. Ke-age (Testicles Kick) 204 8. Ushiro-dori (Shoulder Seizure From Behind) 204 9. Tsukikomi or Tsukkomi (Stomach Thrust with a Dagger) 205 10. Kiri-komi (Direct Down Cut at the Head with a Dagger) 205 11. Nuki-kake (Sword Unsheathing) 206 12. Kiri-oroshi (Direct Down Cut at the Head with a Sword) 207 CHAPTER XIV EXPLANATION OF FORMS OF GENTLENESS 209 SET I 1. Tsuki-dashi (Hand Thrusting) 209 2. Kata-oshi (Shoulder Push) 211 3. Ryote-dori (Both Hands Seizure) 212 4. Kata-mawashi (Shoulder Turning) 213 5. Ago-oshi (Jaw Twisting) 214 SET II 1. Kiri-oroshi (Direct Head Cut with a Sword) 2l5 2. Ryokata-oshi (Both Shoulders Pressing Down) 216 3. Naname-uchi (Nasion Strike) 217 4. Katate-dori (Single Hand Seizure from the Side) 218 5. Katate-age (Single Hand Raising) 218 SET III 1. Obitori (Belt Seizure) 219 2. Mune-oshi (Chest Push or Press) 220 3. Tsuki-age (Uppercut) 221 4. Uchi-oroshi (Direct Head Strike) 222 5. Ryogan-tsuki (Both Eyes Poke) 224 CHAPTER XV EXPLANATION OF THE FORMS ANTIQUE AND THE FORMS OF "FIVE" 226 KOSHIKI -- NO -- KATA (Forms Antique) Part I 1. Tai (Ready Posture) 227 2. Yume-no-uchi (Amidst Dream) 228 3. Ryokuhi (Strength Dodging) 229 4. Mizu-guruma (Water Wheel) 230 5. Mizu-nagare ( Water Flow) 231 6. Hiki-otoshi (Drawing Drop) 231 7. Kodaore (Log Fall) 232 8. Uchikudaki (Smashing) 233 9. Tani-otoshi (Valley Drop) 233 10. Kuruma-daoshi (Wheel Throw) 234 11. Shikoro-dori (Neck-plates Seizure) 235 12. Shikoro-gaeshi (Neck-plates Throwing) 235 13. Yudachi (Shower) 236 14. Taki-otoshi (Waterfall Drop) 236 Part II 1. Mi-kudaki (Body Smashing) 237 2. Kuruma-gaeshi (Wheel Throw) 238 3. Mizu-iri (Water Plunging) 239 4. Ryu-setsu (Willow Snow) 239 5. Saka-otoshi (Headlong Fall) 240 6. Yuki-ore (Snow Break) 240 7. Iwa-nami (Breaker on the Rock) 241 ITSUTSU -- NO -- KATA (Forms of Five) The First Form 242 The Second Form 243 The Third Form 243 The Fourth Form 244 The Fifth Form 244 CHAPTER XVI KAPPO (System of Resuscitation) 246 1. Sasoi-katsu (Inductive Method) 247 2. Eri-katsu (Lapels Method) 247 3. So-katsu (Aggregate or Composite Method) 247 4. Kogan-katsu (Testicle Method) or Inno-katsu (Scrotum Method) 248 CHAPTER XVII SEIRYOKU -- ZEN'YO KOKUMIN - TAIIKU (National Physical Education Based on the Principle Maximum-Efficiency) 249 I TANDOKU -- RENSHU (Solo Exercises) 250 a. GOHO -- ATE (Five Direction Attack) 1. Hidari-mae-naname-ate (Left Oblique Blow) 251 2. Migi-ate (Right Side Blow) 251 3. Ushiro-ate (Rear Thrust) 251 4. Mae-ate (Front Blow) 252 5. Ue-ate (Upward Blow) 252 b. 0-GOHO-ATE (Major Five Direction Attack) 6. 0-hidari-mae-naname-ate (Major left Oblique Blow) 253 7. 0-migi-ate (Major Right Side Blow) 253 8. 0-ushiro-ate (Major Rear Thrust) 253 9. 0-mac-ate (Major Front Blow) 254 10. 0-ue-ate (Major Upward Blow) 254 c. GOHO -- GERI (Five Direction Kick) 11. Mae-geri (Front Kick) 254 12. Ushiro-geri (Rear Kick) 255 13. Hidari-mae-naname-geri (Left Oblique Kick) 255 14. Migi-mae-naname-geri (Right Oblique Kick) 255 15. Taka-geri (High Front Kick) 255 16. Kagami-migaki (Mirror Polishing) 256 17. Sayu-uchi (Both Sides Blow) 257 18. Zengo-tsuki (Front and Rear Blow) 257 19. Ryote-ue-tsuki (Both Hands Upward Blow) 258 20. 0-ryote-ue-tsuki (Major Both Hands Upward Blow) 258 21. Sayu-koga-shita-tsuki (Alternate Sides Downward Blow) 258 22. Ryote-shita-tsuki (Both Hands Downward Blow) 259 23. Naname-ue-uchi (Oblique-Upward Cut) 259 24. Naname-shita-uchi (Oblique-Downward Cut) 259 25. 0-naname-uchi (Major Oblique-Upward Cut) 260 26. Ushiro-sumi-tsuki (Rear Corner Blow) 260 27. Ushiro-uchi (Rear Blow) 260 28. Ushiro-tsuki Mae-shita-tsuki (Back and Front Downwards Blow) 261 II SOTAI -- RENSHU (Dual Exercise) 261 A. KIME-SHIKI (Forms of Decision) a. IDORI (Movements in a Kneeling Position) 1. Ryote-dori (Both Hands Seizure) 261 2. Furi-hanashi (Shaking-off) 262 3. Gyakute-dori (Reverse Both Hands Seizure) 263 4. Tsuki-kake or Tsukkake (Stomach Thrust) 263 5. Kiri-kake (Direct Head Cut with a Dagger) 264 b. TACHIAI (Movements in a Standing Position) 6. Tsuki-age (Uppercut) 265 7. Yoko-uchi (Temple-blow) 266 8. Ushiro-dori (Shoulders Seizure from Behind) 266 9. Naname-tsuki, (Carotid Cut with a Dagger) 267 10. Kiri-oroshi (Direct Head Cut with a Sword) 268 B. JU--SHIKI (Forms of Gentleness) 268 CONTEST RULES OF THE KODOKAN JUDO 272 Appendices A and B 281 A GUIDE TO THE KODOKAN 283 PLATES: Ippon-seoi-nage (Shoulder Throw) iv Tomoe-nage (Throwing in a High Circle or Stomach Throw) v Harai-goshi (Sweeping Hip or Loin) vi
The Kodokan Judo, although it only took its place as a physical and mental training and as a martial art in 1882, is already an international sport and is practised according to the same rules everywhere. Apart from its homeland -- Japan, it is especially popular in Europe and America and it is practised universally by both sexes.
This Judo, is a modern adaptation of the traditional Jujitsu- one of the martial arts of old Japan and one of the precious legacies of the samurai-and this reformation should be attributed to the late Dr. Jigoro Kano -- founder of the Kodokan -- who improved and elevated the old Jujitsu into a scientific system equally as suitable for the culture of man-kind as for a martial art, and even as a modern sport if the student prefers. Moreover he welded it to a high ideal- -- an unprecedented achievement in this field.
It has been pointed out to us that the need has long existed for a new "Book on Judo" which should be compiled from a new point of view, a more complete book designed to meet the requirements of the times. Numerous as are works of the kind that have been offered to the public ever since the Russo-Japanese War (1904 -- 1905), we feel at liberty to assert, without detracting in the least from the works of our predecessors, that they fail in many essential points to measure up to the ideal of what a Judo Book should be in that (1) they lack the theoretical side of Judo -- such as history, aims and purposes, principle of Ju, the all-pervading principle of Judo, preliminary exercises, things necessary for the exercise and other important items which are indispensable to the practise of Judo, (2) they are nothing but simple manuals or partial explanations of Judo techniques, and (3) totally lack the explanations of the Katas which are regarded as the grammar in a composition. In this "Illustrated Kodokan Judo" we have tried to explain Judo as one complete system, and to present the most complete and authoritative work at present. So we have given explanations of the most useful Randori waza (Techniques of Free Exercise) and all the Kata (Prearranged Forms), together with many cine-action photos and other pictures in order to make the movements easy to understand. With respect to the models who have posed for these illustrations we have enlisted the aid of many masters and high ranking judoka in each field.
To attain great proficiency in Judo as a technique, it is, needless to say, most advisable for the student to receive actual instruction as to the techniques from an able teacher. But also he needs to be correctly informed of the basics and general aspect of Judo (other than the techniques themselves) such as we have mentioned in the preceding paragraph. For this alone the present volume will be a good reference book for the novice under instruction. At the same time we believe it will serve as a manual for those who are unable to obtain the assistance of a proper instructor. Not only that, but we believe it will also be a valuable information book for the advanced students, as well as for instructors in general. There is one thing we regret in this work. Some of the pictures used are some-what lacking in clarity because we used cine-action photos already owned by the Kodokan. Notwithstanding this however, we decided to use them because: -- (1) the Judoka appearing in them are the most eminent authorities on Judo and (2) they include the four highest masters-including Dr. Kano-who have already passed away and with these, their last poses, we wish to dedicate the present volume to them.
If, to our great pleasure, the reader gains a correct knowledge of the Kodokan through this book, and more, advances himself in the practise of Judo, then the aim of this publication will be accomplished.
Tokyo. December 25, 1954.