Nihon Jujutsu Basics. Etiquette (reiho) a. Standing bow (ritsurei) b. Seated bow (zarei) c. Sitting / standing (suwari kata)

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1 Copyright 2013 Lance Gatling Page 1 Nihon Jujutsu Basics Etiquette (reiho) Standing bow (ritsurei) Seated bow (zarei) Sitting / standing (suwari kata) Stances (kamae) including blocks Natural stance (shizentai) Right stance (migi gamae) Left stance (hidari gamae) d. Lower guard stance (gedan kamae) - left, right e. Middle guard stance (chudan kamae) - " " f. Upper guard stance (jodan kamae) - " " g. Shuffle step (tsugi ashi) i. Forward (chudan tsuki) ii. Back (jodan uke) iii. Turning (mawari) Striking techniques (ate waza) and primary NJJ targets INNER AND OUTER FOREARM (MEDIAN and RADIAL NERVES) OUTER THIGH

Copyright 2013 Lance Gatling Page 2 d. e. f. g. h. i. Straight punch (tateken tsuki [standing fist]) to vital points i. Left step / left hand punch, standing fist ii.

2 Copyright 2013 Lance Gatling Page 2 d. e. f. g. h. i. Straight punch (tateken tsuki [standing fist]) to vital points i. Left step / left hand punch, standing fist ii. Right step / right hand punch, standing fist Back fist (ura ken) - left, right - to temple, philtrum, Palm strike (shotei ate) to chin, temple, et Finger strike (nukite tsuki) = /= judo metsubushi - rigid fingers to eyes, Adam's apple Hand sword (shuto uchi) - to temple, philtrum, collarbone, forearm, elbow, et i. Single ii. Double Elbow strike (hiji ate) - forward, rearward to strike solar plexus Knee kick (hiza geri) - to thigh, crotch Front kick (ashi geri) = karate's maegeri, but below waist - to knee, crotch Side kick (yoko geri) - to side of knee 4. Body Movement (taisabaki) UKE ATTACKS TORI'S SOLAR PLEXUS Screen clipping taken: 4/27/2013, 16:11 Basic taisabaki set (no hands)

3 Copyright 2013 Lance Gatling Page 3 d. i. Left - left step with left foot, right foot closes to natural stance ii. Right - right step with right foot, left foot closes to natural stance iii. Front left - left foot step to front / face right, right foot closes to natural stance iv. Front right - right foot step to front / face left, left foot closes to natural stance v. Left rear - right foot step to left rear / face right, left foot closes to natural stance vi. Right rear - left foot step to right rear / face left, right foot closes to natural stance First hand set - taisabaki with primary hand block i. 1 / Left - right sword hand middle block ii. 2 / Right - left " " iii. 3 / Front left - left sword hand middle block iv. 4 / Front right - right " " v. 5 / Left rear - left sword hand middle block vi. 6 / Right rear - right " " Second hand set - taisabaki with alternate hand blocks i. 1 / Left - right sword hand lower block ii. 2 / Right - left " " iii. 3 / Front left - double sword hand middle block iv. 4 / Front right - double hand " " v. 5 / Left rear - left hand lower block vi. Right rear - right hand lower block Third set - taisabaki with kicks i. 1 / Left - front right snap kick (mae geri) to uke's right knee ii. 2 / Right - front left snap kick (mae geri) to uke's groin iii. 3 / Front left - left knee strike (hiza geri) to outside of uke's right thigh iv. 4 / Front right - right knee (hiza geri) strike to uke's groin v. 5 / Left rear - left high front snap kick (mae geri) to uke's attack vi. 6 / Right rear - right high front snap kick (mae geri) " " 5. Breakfalls (ukemi) Rear (koho ukemi): seated, kneeling, standing Side (yoko ukemi): " " Front (mae ukemi): " " 6. Wrist manipulation (tekubi no torikata)

4 Copyright 2013 Lance Gatling Page 4 Wrist twist (kote hineri) Wrist reversal (kote gaeshi) Wrist pin (kote gatame) 7. Wrist escape (hazushikata) Basic wrist grasp Inside escape Upwards escape - 'yahazu' in Kodokan Goshinjutsu

5 Copyright 2013 Lance Gatling Page Immobilizations / pins (osae waza) Push down pin (oshitaoshi osae) / arm lock Pulling down pin (hikitaoshi osae) / arm lock Are techniques like this part of judo? Yes, they are. Kano shihan wrote: By dint of practicing both Nage no kata and Katame no Kata, students are able to learn quickly the basic principles of randori. Kime no kata, on the other hand, is completely different; it is a combative kata and as such is sometimes refered to as Shin Shobu no Kat Techniques of this type, using wooden imitation weapons, are based on life and death situations, and were often taught at jujutsu schools. Maybe this is not true in every case, but it has often been said that jujutsu men in former times excuted kata not as many martial arts practitioners do today rather passively, but with extreme verve and spirit. Some jujutsu kata are too dangerous to allow in randori. Beginners are therefore taught such skills stage by stage and in slow motion. This teaching method, however, tends to result in students being somewhat less proficient in the execution of the techniques than would be desirable for use on the battlefield. I belive that the principal reasons for the creation and practice of kata are still not fully understood by many modern-day judo steudents and therefore trainees fail to appreciate the true relevance of kat When this is so and they are unable to comprehend the real purpose of a kata technique, I feel somewhat dissapointed....i later created a basic Kodokan Shobu no kata, in which I incorporated several new techniques. The (Butokukai) committee of jujutsu teachers, headed by Totsuka, Hoshino and I, finazlied the eight seated and twelve standing techniques for Kime no kat This was, incidentally, the fundamental kata from which other Kodokan kata were created... Ju no kata is not a representative kata of the Butokukai, but a Kodokan creation, very different from traditional kat Is is now, however, practiced not only at the Kodokan but also at the Butokukai and elsewhere. Ju no kata was created around By performing this kata, one can lean much of the theory of judo. For eample, one learns to appreciate the essence of the Japanese proverb Ju yoku go o seisuru 'the soft and pliable overcomes the hard and powerful.' In the early Kodokan days, when few were practicing judo, I was able to instruct each trainee during randori sessions by advising him at a certain point how best to exert power, when to move forward, backward or whatever. Because the number of trainees incrased, it soon became an impossible task for me to guide each and every individual. As a result of this lack of personal instruction, I soon noticed that a growing numbe of students were unknowingly wasting much energy in futile struggling in both tachiwaza and in newaza situations. In order to try to remdey this tendency, I decided to give instruction in the theory of non-resistance. If my opponent pushes me, I retreat, if pulled; I do not resist but advance towards him and in so doing nullify his power in order to overcome him and eventually gain advantage over him. There, by having students practice Ju no kata, I was able to show them effective ways to counter the opponent's offensive approaches. In addition, those who for whatever

Copyright 2013 Lance Gatling Page 6 reason regard randori as too strenuous, often favor the practice of Ju no kat This kata is suitable for showing students how to defeat opponents and how to move

In such manner, rough and tiring practice sessions are avoided and because the opponent is never actually thrown down, tatami practice mats are unnecessary; thus Ju no kata may be performed on a

6 Copyright 2013 Lance Gatling Page 6 reason regard randori as too strenuous, often favor the practice of Ju no kat This kata is suitable for showing students how to defeat opponents and how to move their arms and legs without excessive exertion. By means of Ju no kata practice, such objectives can be acheived. In such manner, rough and tiring practice sessions are avoided and because the opponent is never actually thrown down, tatami practice mats are unnecessary; thus Ju no kata may be performed on a wooden floor or even out of doors. Moreover, the performer does not need to pull strongly on his opponent's sleeve or lapels; therefore, the wearing of a judo suit becomes superfluous. Thus Ju no kata may be practised while wearing one's ordinary everyday wear, including the ewaring of a business suit. When the opponent attempts a strike, one learns how best to try to avoid the blow. Should the opponent make a fist and attack, one must first evade the blow and then guide the attacker's arm in the direction of his attack while at the same time seizing the opportunity to gain full control of his arm and in doing so disturb his balance. In the entirely relaxed manner of a Ju no kata performance, one may learn and practice something of the art of self defense. Jigoro Kano, My Life and Judo (emphasis added) Wrist holds escapes - Kodokan Magazine - early 1930's d. Kime shiki e. Seiryoku Zen'yo Kokumin Taiiku (sometimes know as atemi kata, the 'striking forms') f. Joshi goshin ho g. Kodokan Goshinjutsu