HANE GOSHI. Analysis and technical applications. By Pascal DUPRÉ IMAF Switzerland Applicant for the title of Renshi Kokusai Budoin IMAF

Transcription

1 HANE GOSHI Analysis and technical applications By Pascal DUPRÉ IMAF Switzerland Applicant for the title of Renshi Kokusai Budoin IMAF Copyright IMAF (Suisse) Version of October 8, 2011

2 HANE GOSHI : definition and aims Master Jigoro Kano Hane Goshi (Haneru : to spring up, to leap, to jump inside, and Koshi: hip) is a hip technique [Koshi Waza] integrated into the Gokyo no Waza developped by Judo founder Master Jigoro Kano. Hane Goshi is the 5 th hip throw of the ten movements that compose the Gokyo. The following paper aims to explore and (again) emphasize the importance of the technique of Hane Goshi. It is at once an ancient technique and a modern one, and can be adapted to various situations. It is a great technique. HANE GOSHI : history and origins Beginning from 1895, this hip technique was part of the syllabus of techniques of the Gokyo no Waza in the Dai Sankyo, along with the techniques of Okuri Ashi Barai, Harai Goshi, Ushiro Goshi, Uchimata, and Obi Otoshi. According to Master K. Watanabe 1, 6 th Dan, the creation of Hane Goshi should be attributed to Master K. Iizuka, 10 th Dan ( ) : The return of Hane Goshi must please the spirit of its first inventor, Master Iizuka. But in an article published in and entitled, I remember by Master Iisuka, he denies this claim : Isogai Hajime, 10 th Dan (1871 Master K. Iizuka 1947), the inventor of the Hane Goshi, had a very strong body. Master K. Iisuka then specifies, with regards to this technique : The Hane Goshi of this time was not as technical as that of today. This throw consisted of pulling the adversary strongly towards oneself and to throw him while giving a blow from the hip and raising one leg. Master M. Yoda, 8 th Dan, proposes another source in an article published in entitled, My Hane Goshi : his throw, the 5 th of the 3r d Kyo, is attributed to Master Suzuki, one of Master Kano s students. He also adds in this same article : Its basis is either Uki Goshi or Tsurikomi Goshi, whether one does not engage the hip (principle of Uki Goshi) or whether one does (principle of O Goshi from whence Tsurikomi Goshi is derived). Thus, this technique seems to have been formalized du- 1 Judo Kodokan Magazine, Vol. XI No 1, Jan Judo Kodokan Magazine, Vol. III 15 May Judo Kodokan Magazine, Vol. VII - No 2, 15 March 1956 ring the creation of Kodokan Judo, but is derived, without a doubt, from the traditional Ju-Jutsu which Master Jigoro Kano practiced. Moreover, we find it demonstrated in the work of Mr. K. Higashi and Mr. I. Hancock entitled The Kano Jujitsu under technique 33 (a technique which is furthermore unnamed). With the help of his first students, Master Kano drew from this ancestral knowledge of these forms, and then refined them so that they conformed to his needs. Even if the exact origns of the technique are not completely clear, it still seems that Hane Goshi had its devotees in the past. Master H. Courtine 4, 10 th Dan (1930 ) states that it is a great technique which was widely practiced in the past, but which is currently less so ; the reason for this is simple : its execution necessitates a very academic style of Judo, and in Master H. Courtine competition, this is less and less the case. HANE GOSHI : understanding the technique In the list of ways to perform throws compiled by Master T. Kawakami, 8 th Dan, we find : Hiki-Otosu (making one s opponent fall by lowering), Hane-Ageru (making one s opponent jump through a movement of the leg and hip), Tsuri-Komu (pulling one s opponent near oneself as if fishing), and finally, 4 Henri Courtine, Judo et Jiu-Jitsu, 1977, Éd. Denoël 2

3 Okuri-Komu (throwing while accompanying the opponent). We will see in the present analysis that Hane Goshi can associate different combinations of these different ways of throwing. Let us now explore the different forms of Hane Goshi. We will start with its fundamentals, followed by its variants (Kuzure), and finally address its counter-attacks (Kaeshi). As we have seen in the discussion about its history and origins, it is evident that this technique is adapted from Uki Goshi, Master Kano s favorite technique. In the text written by Master T. Daigo 5, 10 th Dan (1926 ), we discover : The importance of bending back is explained in Hane Goshi Renshuho (Sakko, published by Kodokan Bunkakai ; March 1926 issue). To practice this technique, prepare by throwing with Uki Goshi first. Uki Goshi is the key to understanding the action Master T. Daigo of bending back. This notion of Tori s body position is difficult to understand and especially difficult to put into practice, because Tori obviously risks being thrown backwards. This point is evoked by Master S. Nagaoka ( ) and Master K. Samura ( ), both 10 th Dan 6, with reference to Uki Goshi : Tsukuri : In order to perfome Tsukuri, one must employ Tai Sabaki (turning movement) quickly and decisively. One must take small steps, for if one strides out the movement will be slow and without effect. It can be countered (Ura Waza) for example by Ushiro Goshi or Ura Nage it is easy to throw him with the movement of the hands and the twisting of the body. Let us now specifically address Hane Goshi. We will draw from the perspectives of different Judo masters from different eras to help us. In , the technical Commission of the Kodokan proposed a very detailed technical explanation of this movement : Principles : By breaking the opponent s balance so that he tips forward or to his right front corner (or left), you slide under his body comes into close contact with the lower part of the opponent s abdomen. By using a swinging movement of the hips, you throw 5 Toshiro Daigo, Kodokan Judo : throwing techniques, 2005, Kodansha International 6 Judo Kodokan Magazine, Vol. XXI, Spring Judo Kodokan Magazine, Vol. X, No 5, 15 November 1960 your opponent by pushing one of his legs upwards with your corresponding leg bent. Here, the basic principles of Hane Goshi are revealed. According to the previously cited Master Yoda, At the same time as you leap under your opponent s abdomen, throwing your body (and only slightly bent, toes skimming the ground), you brush away his right leg with your right calf as ping both bodies in close contact, your trunk inclines toward the ground at the same time as your leg rising (in the extension of your trunk, as in letter T) and your opponent falls forward The whole movement is to be done with your whole body, bending your right leg away, lowering yourself to the maximum under your opponent s belly and keeping close contact between both bodies until the end of the fall. Master Mikinosuke Kawaishi 8, 10 th Dan ( ), proposes the following point of view : the torso and the bent right leg of Tori stay in extension during the entire throw. Tori s right leg and hip form a sort of platform on which Uke topples over... But the important thing is the way Tori rotates with respect to the attack from his own right leg and his hip. This is very close to Uki Goshi in form, especially as Master Kawaishi insists that : Tori, taking advantage of Uke s loss of balance, bends forward in a single, united movement, and using his right leg, Master M. Kawaishi aims upwards for Uke s leg while bending his left leg. Let us study more in depth a point which I consider to be of utmost importance. Master Kawaishi and Master Shinzo Takagaki 9 suggest bending the supporting leg rather than extending it. Numerous other experts would say that Tori s left leg throws Uke upwards just as a spring releases. Master Ichiro Abe 10 tells us the following : by extending their left leg, Tori raises the opponent with their hip, the right leg following and amplifying this action. Master T. Inogai 11, 8 th Dan ( ), specifies : at the moment where I throw the opponent backwards and upwards, foot extended, I turn towards the left and pin 8 Ma Méthode de Judo, M. Kawaishi, Éd. Cedam 9 Shizo Takagaki & Harold E. Sharp, The Techniques Of Judo, Éd Tuttle Publishing, Ichiro Abe, Judo By Ichiro Abe, Presses Universitaires de Bruxelles, Éd. Chiron, Judo pratique, T. Inogai- R. Habersetzer, Éd. Amphora,

4 Uke against me as much as possible while straightening my supporting leg. Master Kuyzo Mifune 12, 10 th Dan ( ) and cofounder of Kokusai Budoin, IMAF in 1952, explains : Quickly raise your hips (by projecting energy from straightening your left knee) and throw him. Master Jigoro Kano 13 suggests to us : You break your opponent s balance to his right front corner, pull Master K. Mifune him to your right hip, and throw him with an upward springing action of your right hip and leg combined with a downward pull by both hands. This way of making Uke jump thanks to the supporting leg s movement of extension, reminds us of the purpose of the technique Hane-Ageru. In this specific case, if one wishes to keep Uke off balance, the movement of handhip-leg must be executed at the same time, otherwise the rotation point formed by Tori s hips will be transformed into a stopping point. Uke risks keeping his feet on the ground, stuck as he is at the level of his hips by this sudden jolt and bent forward by the movement of Tori s hands. Uke and Tori are not able to move further due to the contradicting direction of the two forces. Thus, we have here two different ways of considering Kake : one in which Tori s supporting leg is extended ; the other, where it is bent. In my opinion, the action of bending the supporting leg for Kake, rather than extending it, throws Uke much more efficiently. This results from the fact that Uke must not go up before coming back down. The movement of throwing is more direct going downwards from a higher point, rather than originating from a lower point, going upwards, and then returning back down. However, extending the supporting leg is possible when the body of Uke has already started falling. Through the action of this leg, as well as the action of Tori s hands and body, Uke will be thrown with even more force, and even more surely towards the ground ; in fact, this supporting leg pushes Uke downwards. One finds, in these different technical forms, the fundamental notions which allow for the correct execution of Hane Goshi : the action of sliding under the partner, 12 K. Mifune, The Canon Of Judo By K. Mifune, Éd. Kodansha International, 2004 ISBN , 224 p. 13 J. Kano, Judo Kodokan, Éd. Kodansha, 1956 the planning of knocking Uke s body off balance, with the hips as the rotation point. Certain instructors insist on this notion of contact with the hips, including Master Michel Novovitch 14, 6 th Dan, who highlights the principle of kinetic energy involved : It is the energy of a bowling ball striking a pin, of a swinging pendulum, it is the impact of a stone that has been thrown or of an arrow that Master M. Novovitch has been shot It is a more percussive approach to the movement. He is not alone in promoting this way of performing the movement, since Master Henri Courtine explains in concluding his explanation of the technique : It is necessary to perfectly synchronize the movement of the right foot, the movement of percussion, and the knocking over of the chest. Master T. Inogai reminds us that : the right leg is more or less bent. It was even more so in the older forms of the technique where Tori hits the inside of Uke, their calf at the level of the knee. This way of executing the movement was described by Master Iizuka in the historical background which introduces the analysis of the present paper. For it to be a Koshi Waza, the most important notion is that the hips must be used, both those of Uke and those of Tori. In an article, Master Kenshiro Abe 15, 8 th Dan, reminds us of the foundations of Nage Waza. He insists on the following point : In such techniques as those of the waist, the center of gravity of one is put upon the body of the other who executes the technique. In this case the latter should see to it that the two centers of gravity are found, otherwise his force is dispersed and is not used effectively. Moreover, the distance between the two centers of gravity should be as small as Master Kenshiro Abe possible, so that the effect of friction may be produced. In Master Jigoro Kano s book, in the description of Hane Goshi, we still find unbalancing Uke on the front right, Tori brings him against his right hip and action plans for 14 M. Novovitch, Judo Zero Gravity, Éd Pupliday-Multidia K. Abe, Judo Kodokan Magazine, Spring

5 a spring up his right hip and his right leg, associated with a downward pull with both hands. At this stage of the analysis, we identified only two ways to project. Let us come back to this very idea of the hands and the actions they execute : the movements that Tori s hands perform can vary according to the advice of different experts, and depending on the moment of Tsukuri, Kuzushi, and Kake. Master Ishiro Abe declares that by pulling their left hand towards the armpit and through the lifting action of their the right hand towards the right front corner, Tori brings the right side of Uke s chest into contact with their own (Migi Shizen Tai position). Master Ishiro Abe This manner of pulling - pushing with the hands is without a doubt greatly inspired by Tsuri Komi Goshi. Master Inogai adds : I lift Uke by pulling with the left hand (with about 70% force) and lifting with the right hand (about 30% force), the right arm folded, elbow under the armpit of the opponent to create a sort of lever arm. Master Inogai is amongst those that favor the action of Tsurite. However, in an article written by the technical Commission of the Kodokan 16, a warning is mentioned : If the action of my left hand is too strong, in Migi Hane Goshi (to the right) this has for consequence to restore the opponent s balance by its reaction. It is understood that making Uke s right foot step forward must be done in such a way that he is invited, rather than forced, to move forward, so as to not provoke an opposing reaction in him. Master Kano does not insist much on Kuzushi in his paper on the technique ; nevertheless, he does express a piece of essential information which is that of...[association] with a pulling downwards of the two hands. This notion is of great importance. This clearly signifies that Tori must not find himself on the same trajectory that Uke takes toward the ground. If he did not respect this, the joint movement of his two hands would be impossible. In the end, this suggests that Tori s movement is undeniably to throw Uke downwards in the most direct manner possible. HANE GOSHI : technical opportunities Let us now study the situations which favor the execution of Hane Goshi. Uke will be in Shizen Tai, in Migi Shizen Tai, or Hidari Shizen Tai, or even in a defensive position, slightly bent forwards. Tori will be able to adapt himself to Uke s body position, i.e., by extending his stride backwards so as to enter underneath Uke s body. This particular manner of execution could remind one of Harai Tsurikomi Ashi. For example, when one performs a larger Tai Sabaki with the left foot while being careful not to find himself unbalanced backwards (i.e., Tori must always keep their balance in a forward direction, even if he performs a Tai Sabaki). This could also remind one of Harai Tsurikomi Ashi when one executes a direct attack on Uke s right leg (Migi Shizen Tai). During this action, one must open the door for Uke by performing a bodily rotation from right to left so as not to hit his leg. I would also like to suggest a way of attacking that I am personally fond of, and which I call passing your opponent. Starting from a basic hold in the right natural posture, at the moment where Uke steps back or moves his right foot to the side, step, or pass quickly in front of him and continue advancing (Ayumi Ashi) while keeping Uke s weight on his right foot. Through Tori s advancing movement, Uke finds himself swept forward through a pivoting motion around this pressure point. It is then easy to execute the technique while being careful not to stop in front of Uke, but rather to practice Hane Goshi by passing your opponent without stopping. Tori can also attack the Uke s right leg on his transfer in circle, as in the execution of Uchi Mata in the Nage no Kata. Master Shinzo Takagaki provides us with further interesting details : If the balance of your opponent is on the center or lower part of his body, it will be difficult to lift him with the power from your hip and leg. You must shift his balance to the upper part of his body by pulling him toward his front side. The techniques presented in the photographs on the following pages are executed by : Tori : Pascal Dupré Uke : Adrien Beck 16 Judo Kodokan Magazine, Vol. X, No 5, 15 November

6 Throw performed as Uke steps backwards 6

7 Throw, Uke in Shizen Tai position 7

8 Throw, Uke in Migi Shizen Tai position 8

9 Throw executed by passing the partner 9

10 Throw executed in circle 10

11 HANE GOSHI : counter-attacks and combination attacks According to the basic principles of Judo, the practice of counter-attacks should respect the notion of non-opposition. Tori will exploit Uke s body position in order to produce the best counter possible. The counter-attack can be practically done in Sen no Sen, or in Go no Sen. Again, the most important principle which will characterize the counter-attack is not to interrupt the initial movement, but to prolong it and to direct it in one s own favor. For example, in the Go no Sen no Kata 17, Sasae Tsuri Komi Ashi is proposed as a counter when one is attacked with Hane Goshi at the moment where Uke seeks to get out of his movement and regain his balance (Go no Sen). In a similar way, one can also follow up with Ushiro Goshi or Utsuri Goshi at the moment where the attacking opponent attempts to return to his starting position. It is also possible to go around the opponent s back and counter-attack his supporting leg with Kosoto Gake, or Tani Otoshi, for example. With regards to combination attacks, the effenciency of such techniques is guaranteed only when one follows Uke s defensive movements his body position as well as the energy he puts into his movements. Thus, after taking note of such criteria, Tori can follow up with O Uchi Gari, Hane Makikomi, or even Koshi Guruma. Old Kodokan 17 Kata not identified by the Kodokan, founded in 1910 by the Masters of Waseda University (Tokyo), which studied Master Kawaishi from 1919 to

12 Counter-attack Ushiro Goshi 12

13 Counter-attack Utsuri Goshi 13

14 Counter-attack Kosoto Gake 14

15 Counter-attack Tani Otoshi 15

16 Combination attack O Uchi Gari 16

17 Combination attack Hane Makikomi 17

18 Combination attack Koshi Guruma 18

19 HANE GOSHI : concluding remarks Personally, I practice Hane Goshi very carefully, because despite several decades of Judo practice, I have only just begun to understand its subtleties. I am aware that explaining a movement, transcribing it, is difficult and limiting. Only through contact with an instructor can one begin to understand all the nuances of a technique ; the same naturally applies to the general practice of Judo itself. As for me, I prefer to practice Hane Goshi similarly to Uki Goshi, which relies on the action of Hikite, rather than Hane Goshi in the the Tsurite manner, where the use of a certain level of force is required. Earlier, I mentioned Hane Goshi in the passing manner, because this technique corresponds well with my current vision of Judo. I believe that this way of executing the technique should be part of a time continuum just as a walker that continues along a given path. The seconds which follow without stopping resemble the practice of Hane Goshi in the passing manner. As for the form which consists of prolonging Uke s step backwards, one must employ a great sensitivity of movement ; this is moreover the case with all reaping and sweeping techniques. It is for this reason that this form is very dear to me. Hane Goshi, as I see it, is inscribed in a curve which seeks to avoid a broken line at all costs ; I try my utmost not to hit against my partner, but rather to accelerate his movements : acceleration of his own movement without allowing him to escape from this very acceleration, acceleration of his body s movement by my attack, through the usage of my own body himself launched into space and through the joint action of my hands. In this respect, I insist on the fact that throwing into space is a controlled action. It must be controlled so as to protect the partner (Uke) so that he can always find the path of the fall (Ukemi) safely and with complete confidence. Tori always stays in control of the action. Harmony between the two partners is the first and foremost condition for correctly practicing Judo. Neither winner nor loser, the two participants study and practice together and, thanks to one another, manage to find fulfillment in mutual benefit and respect (Jita Kyoe). I strive to practice a fluid and jolt-free Judo. This allows the participant to be in contact with what a movement should be : one that continues on and does not lapse into inertia. This also allows oneself to preserve the body so as to be able to practice this type of Judo as long as possible. Each time movement stops, inertia takes over and one must start over again ; however, if one keeps movement going, transitioning to another action becomes easier. One finds this notion in the practice of Tachi Waza (standing techniques) just as in Ne Waza (ground techniques). With regard to this analysis, one discovers that Hane Goshi is a technique of particular interest. First of all, this movement whose probable origin is Uki Goshi, brings us into contact with the fundamental work of Koshi Waza. Next, Hane Goshi presents several variants, in Uke s actions just as in those of Tori s. It is a movement which can be adapted to the different builds of participants. If it is executed unsuccessfully, Tori can transition into another technique. For all of these reasons, it is unfortunate that this wonderful technique, which one could mistake as belonging to a past era, is not taught and practiced more. It is part of those techniques which are not easily accessible, but which allow, through their practice, to reach the heart of the fundamentals of Judo. Acknowledgements Pascal Dupré, August 2011 I respectfully thank my Judo instructors, in chronological order : Norbert Jacob, Master Pascal Krieger, Master Igor Correa, Master Kazuhiro Mikami, Master Christian Demarre, Master Jacques Le Berre, Master Mitsuhiro Kondo, as well as all those who have passed on to me the Art and the passion of Judo. I would also like to warmly thank my partners and students and most particularly Robert, Adrien, Christophe, Rodolphe without them, practicing Judo would have been impossible. I thank Robert Rapin, Branch Director IMAF-Switzerland (cf. and President of the IMAF association of Switzerland, for : his unfailing support, the graphic design, desktop publishing and for his photos. All of my gratitude to Master Pascal Krieger, 10 th Dan Shodo, for his calligraphy Hane Goshi. Many thanks also to Richard Toth for his contribution to the production of this document. 19