[PDF](+34👁️) Télécharger Jiu Jitsu complete pdf

$4.95


I


COMPLETE


By Kiy ose Nakae



Second paperbound printing

First paperbound printing, 1975

Copyright © 1958 by Kiyose Nakae and Charles Yeager

All rights reserved

Published by Citadel Press

A division of Lyle Stuart, Inc.

120 Enterprise Ave., Secaucus, N.J. 07094
In Canada: George J. McLeod Limited
73 Bathurst St., Toronto 2B, Ontario
Manufactured in the United States of America
Designed by John Putnam
ISBN 0-8065-041 8-8




To

the generations of men before us
whose lifetime devotion to the
art of Jiu Jitsu has made this
book possible.




FOREWORD

Jiu Jitsu is a method of defense and offense without weapons in
personal encounter. For many centuries in Japan it was practiced as
a military art, together with fencing. archery and the use of the spear.

Jiu Jitsu is not a contest of muscular strength. Nor is its prime
purpose to maim or kill, but merely to incapacitate one’s opponent
for the time being by means of simple tricks and holds.

Jiu Jitsu tricks and holds are very simple. A thorough knowledge
of them, gained only with constant practice, should develop in one a
feeling of strong self-confidence. This confidence causes the Jiu Jitsu
expert to react almost instinctively in the event of a sudden attack and
to maneuver any situation to his own advantage.

Professor K. Nakae is one of the few living masters of authentic
Jiu Jitsu. As Chief Instructor of New York’s Dojo (Judo academy) I
have seen many books written on this subject. This book is unusually
good for the simple and clear illustrations and captions are readily
understood by the beginner. And they derive from genuine knowledge
and skiil.

George G. Y os hida


7


1. The Beginning

You are about to take an intelligent and progressive step which
should provide mental and physical benefits for you not only in the
immediate future but for the rest of your life. You are about to begin
training in Jiu Jitsu.

Jiu Jitsu tends to wipe out the differences of size, weight, height
and reach. The possessor of the skiil gains tremendous self-confidence
and the ability to walk without fear.

Skili and knowledge are in themselves sufficient to subdue any
aggressor no matter how strong or vicious. You are always ready for
action, unarmed, in any situation, regardless of the direction from
which the attack comes.

The first lesson you must learn is poise and assurance. You learn
to be mentally cool and alert in the face of danger, and you begin
to experience a self-restraint which comes only with supreme self-
confidence.

Jiu Jitsu Complete was written to fill the definite need at this time
for a more practical, a more complete and more authoritative course
on the subject than has heretofore appeared.

Jiu Jitsu is a word which consists of two parts: jiu means “gentie,
pliable, virtuous, to submit” and jitsu means “art or science.” In mean-
ing and in faet, Jiu Jitsu depends not on brute strength but on psy-
chology, knowledge of anatomy, and skili that comes from practice in
making certain movements with your body.

Practice— and lots of it— is essential. To become an expert in the
complete art requires years of training. However a few simple tricks
which may be adapted to any emergency are enough to put mastery in
the hånds of the average person who must defend himself against an
assailant who has superior strength or who may be armed.

Jiu Jitsu is not Judo. The tricks in this book are dangerous and
must be practiced with extreme care. In Judo, a modified derivation
from Jiu Jitsu, friends can compete because real danger-tricks have
been removed and because certain rules and prohibitions are imposed
in order to avoid injury to the participants.

Not so with Jiu Jitsu. Jiu Jitsu is dangerous business and should
be used only in case of emergency where “anything goes” for the sake
of self-protection.

Strength is not a major factor in Jiu Jitsu. Rather, balance, lever-
age and speed are needed, for then available strength is applied to its
greatest ad van tage.


8


Women can become proficient in Jiu Jitsu. In many tricks, the
stature of a woman, the softness of her arms and the sharpness of her
heels are exceedingly potent weapons. Moreover, women need Jiu
Jitsu. Many a giri owes her life to a slight acquaintance with its tricks.

As sex is no barrier to learning, so age is no barrier. Newspapers
recently told of a 72-year-old frail man who, with Jiu Jitsu, disarmed
a youthful robber who was forty pounds heavier than he. The old man
held him with ease until the police arrived.

Even the police often have a need for Jiu Jitsu. In my lifetime I
have demonstrated and proven the superiority of this science to police
departments in Yonkers, Chicago, Philadelphia, Pittsburgh, Detroit,
Memphis, Syracuse, Toledo, Montreal and Iridianapolis.

Many police officers have enrolled with me for private lessons.

I hope you will never be in a position where your life is en-
dangered. But if it is, I am confident that what follows will prove of
value to you— if you learn it.

Good things take time. Do not hurry through this book. Practice
each trick diligently until you know it well.

As you learn new tricks, keep practicing the old ones. This review
and practice is important. Especially since I am going to give you the
most difficult tricks first. Only practice, practice and more practice will
give you proficiency in Jiu Jitsu.

Let us begin then by acquainting you with a classification of Jiu
Jitsu ’s tricks.

There are the exercises and the break-falls.

There are throws and holds and combination tricks. There are
breaking tricks. And there are practical applications of Jiu Jitsu such
as the defense against a knife or a club or a gun or a blow with a fist.

For the complete list of the tricks we are going to learn, turn the
page. As you become good in the application of a trick, check it off.
You will be pleased to discover how quickly they come to you once
you have mastered the first few.

Now, with a minimum of further talk, we shall get to the exer-
cises.

You will find that the instructions which accompany each illus-
tration are brief and to the point. Read them carefully. No words have
been wasted— and every word is meaningful if you are to progress as
you should.


9


Although a gym (wrestling) mat is not essential— it is quite help-
ful. If the use of one is not available to you, a thick rug or any surface
softer than cement or hard earth would be helpful for learning and
practicing. In place of carpeted floors, a soft lawn or a sandy beach is
suitable.

When practicing the tricks which follow, dress in old clothes or
shorts. Your clothing should be loose enough to permit free comfort-
able movement.



10


CLASSIFICATION OF TRICKS


EXERCISES 14

BREAK FALLS 17

1. THROWS

a. Foot Technique

"Spooning" Ankle Throw No. 1 34

"Spooning" Ankle Throw No. 2 36

"Spooning" Ankle Throw No. 3 37

Sweeping Calf No. 1 28

The Knee Whirl 45

Sweeping Calf No. 2 with Shoulder Scissor 30

b. Hip Technique

Spring Hip Throw 42

Sweeping-Side Hip Throw.* 62

c. Hånd Technique

Over-Shoulder Throw 47

Hånd Throw No. 1 104

Hånd Throw No. 2 108

Hånd Throw No. 3— Spinner 110

Hånd Throw No. 4— Arm Pressure Against Knee 66

2. HOLDS

a. Against the Joints

Shoulder Lock 68

Elbow Lock (Down) No. 1 68

Elbow Lock (Up) 82

Arm Lock No. 1 127

After Breaking, When Opponent Holds Arm

Atter Breaking, When Opponent Holds from Front (1)

Atter Breaking, When Opponent Holds from Front (2)

Bent-Arm Wrist Lock 70

Straight-Arm Wrist Lock 84

b. Against Nerves

Pencil Holding Trick 24

Finger Holding Trick 88

c. Neck Holds

Strangle Hold No. 1 (From Rear) 90

Strangle Hold No. 2 (From Front) 94

3. COMBINATION TRICKS

Effective combinations of foregoing tricks

Elbow Lock (Down) to Sweeping Calf No. 1 148

Hånd Throw No. 2 to Strangle Hold 146

Hånd Throw No. 1 to Hånd Throw No. 4 (Against Knee) 148

Hånd Throw No. 1 to Hip Throw 167

Spring Hip Throw to Sweeping-Side Hip Throw 78

Elbow Lock (Up) to Sweeping Calf No. 2 147

And many others ] ]


4. BREAKING TRICKS

How to free yourself from strangle and other holds

When Opponent Strangles from Rear (1) 54

When Opponent Strangles from Rear (2) 55

When Opponent Strangles from Front (1) 21

When Opponent Strangles from Front (2) 22

When Opponent Strangles from Front (3) 44

When Opponent Holds from Front 28

When Opponent Holds from Rear 120

When Opponent Hugs Tightly 64

When Opponent Hugs from Rear, Over Arms 140

When Opponent Hugs from Rear, Underneath Arms 23

Breaking Half*Nelson 96

Breaking Full-Nelson 98

When Opponent Holds Arms from Front (1) 138

When Opponent Holds Arms from Front (2) 142

When Opponent Holds Two Hånds from Rear 133

5. PRACTICAL APPLICATION

a. Defense Against Blow with Fist 92

Practical means of avoiding blows from any direction
and of throwing, and holding.

b. Defense Against Knife 114

Practical means of protecting yourself against an

opponent armed with a knife, and of disarming,
throwing or holding.

c. Defense against Club 121

Practical means of protecting yourself against an
opponent armed with a club, and of disarming,
throwing or holding.

d. Defense Against Pistol 150

Practical means of protecting yourself against an
opponent armed with a pistol (and within reach),
and of disarming, throwing or holding.

6. ARTS FOR EMERGENCIES

Resuscitation 172

The lessons in this course are not furnished you in
exactly this order since it is frequently more in-
teresting for the student to learn as he progresses
how throws may be combined with blows, etc. How-
ever when you have learned all the lessons in this
book, you may wish to practice them in this order as
a logical system.


12




EXERCISES


PURPOSE: To train the muscles to extend
and contract freely, and the joints to func-
tion smoothly in every part of the body.


A


B



A.— Lift arms, extend forward and pull
back in loose flowing motion, the fingers
opening and closing alternately. Do this 6
times. Then extend the arms over the head
and back to the shoulder in the same man-
ner for 6 times.


B.— Extend arms forward, move them in
large circles, the right arm clockwise, the
left counter clockwise Do this 6 times then
reverse.





C.— Place your left palm on your left hip,
with fingers pointing to the floor. Push
body forward and to the side, straighten
up and repeat with right hånd. Alternate
6 times.


14


D



D.— Stand on left foot and move your right
foot in the air in circles. This exercises the
hip joint. Lift the right heel to the buttock
and down again, this exercises the knee
and ankle joints. Repeat with the left. This
is good practice for balancing on one foot,
which, as you shall see, is important.




E.— Half raise arms and lean back, then
lean forward, bending knees, and touch the
floor with your hånds.


NOTES.— Remember, these exercises are for be done slowly, with body held loosely. The

flexibility and not for strength. They must musclesand joints must never be tightened.


FALLS.— The right way to fali must be
learned in the beginning for you will take
many fails in learning Jiu Jitsu. Once you
learn to do this easily and safely you will
not fear falling and this will make your
movements free, rapid and uninhibited.
This enables you to concentrate on the
offense instead of thinking only of the de-
fense.

See Next Page


15



Break Fail No. 1


FALLING BACKWARD SITTING POSTURE




Raise both arms, cross at the wrist and
bring to shoulder height. (1)


Roli backward, raise both feet together (2).
Hit mat with both hånds (3).


CONTI NUED ON NEXT PACE


»


NOTE:— As you roli back, pull your chin
to your chest and watch your belt. This
protects your head from hitting the mat
or ground. Falling back should be like
rolling a wheel, the feet raising automati-
cally. The hånds hit when shoulder blades


touch the mat. Fingers held straight to*
gether (lightly) , hitting with the whole
arm. This BREAKS the fail. Kick up with
both legs at moment of hitting. This stops
you from rolling over.


Break Fali No. 2



Raise arms as in "B” (1). Raise heels and
bend legs (2).


Kneel on mat, continue forward motion
of body and land on arms from fingertips
to elbows (3) arms extended in direction
of body.


17



Break Fali No. 3


FALLING BACKWARD STANDING POSTURE




Raise your arms as in “B” (1). Bend legs Raise one leg (3).

at the knees (2).


Break Fail No. 4



Step forward a little outside with right
foot (1) bent forward, place left hånd on
ground palm down (2) ahead of left foot.
Put right hånd on ground palm up (3)
between left hånd and left foot.


FORWARD SOMERSAULT


B


Push your body forward,
throw up left leg, turn
body over as in “B.”



C


BREAKFALL No. 4. (C) After practicing
a while you will find that there are differ-
ent ways of finishing.

(1) One leg in the air

(2) Both legs in the air

(3) Halfway getting up

(4) Getting Up



Finish as in "C.”


18


Lower body near the ground (4)



Repeat A. B. C. D. and finish with one
foot on ground, raise the body to keep up
the lower back to avoid injury (kidney)
(7), hit mat with both hånds (8) other foot
is kept in air (9).


Repeat A. B. C. D. and finish with side
fali "G,” hit mat with one hånd (10). One
leg lies on mat (11) other arm and leg
remain free (12 and 13).


19


Breaking- Opponent Strangles from Front



If opponent attempts to strangle with two Put your hånds together (1).

hånds from side . . .



Swing your hånds up between opponent’s The impact of your arms against the inside

irms (2). of his arms will break the hold.

In this situation, opponent’s weak spot is with your arms against his elbows. Now try
his elbow. The idea is to apply pressure the next trick, which is just as easy.


21



Breaking- Opponent Strangies from Front



If opponent attempts to strangle you with
one hånd back of your neck, one hånd in
front of neck, and his head in close; or
both hånds choking from side; or in any
case in which opponent holds you with his
face in close . . .



This will put you in the position shown
above. Opponent will cry, temporarily
blinding himself. You will be free and able
to start almost any of the throws or finish*
ing tricks to be described later.

Frequently, when an opponent attempts
to choke, or in any case when he holds
you from the front, a strong blow to the
nose with the base of the hånd is all that
is needed to break the hold.



Smear his nose up and back
with either hånd.


Remember that when you have finished
either this or the previous trick, you have
merely freed yourself. But this is not
enough. You must either hold opponent
in a helpless position or must apply punish*
ment if you really mean to protect yourself.

Many different ways to hold or punish
an opponent will be taught you in this
course. But because there are so many
tricks, you may be tempted to ask, ”Why
are they all needed?” No matter how good
a medicine is, it is not good for every case.
Therefore, it is wise to have many kinds
of medicine available, so that if one does
not work, another may be tried.

Likewise, there are many different parts
of the body which can work together or
individually. The knowledge of many
tricks will enable you to protect yourself
even if both hånds are incapacitated— by
using the feet. Or if your feet are held— by
using your hånds. Or you may find yourself
seated when the attack comes.

When you have finished this course you
will be master of many tricks, and will be
able to protect yourself regardless of your
position when danger comes.


22


Breaking- Opponent Hugs from Rear, Underneath Arms



If opponent attempts to hug you tightly
from rear, underneath arms . . .



Drop hips, bend over and seize opponent's
right leg with both hånds (3). Now lift his
right leg quickly (4) with your hånds while
pressing down against his right leg with
the back side of your left thigh.



Take a long step to the right with your
right foot (1) so that opponent’s right knee
is behind your left thigh. Bend forward
and prepare to seize opponent’s right leg
(2). (If opponent holds very tightly, push
against his stomach sharply with your hips.)



This will force your opponent to fail.


VARIATIONS

If your opponent holds you with one hånd
underneath your arm, and the other hånd
over your shoulder and mouth, you can
free yourself by a blow from your elbow
to his neck.

If opponent holds as shown in "A,” you
can also free yourself by a blow with elbow
to his chin. If blow is hard enough, it will


knock opponent out.

Or if opponent holds as in "A,” you can
also free yourself by a sharp blow with the
back of your head to his chin. If opponent
is too short for a blow to his chin, the
same blow against his nose or forehead will
be equally effective.

Or you can free yourself by a back-kick
to opponent’s knee with the sole of your
foot.


23



Pencil Holding Trick



Hold a pencil or fountain pen between
your second and third fingers. With your
other hånd (1), grasp opponent’s wrist, and
lift up to about waist level (2). Slide pencil
between any two of his fingers.



Now close your fingers around opponent’s
fingers, and squeeze (3).



Position of bodies at start of trick.



The pencil will cause severe pain and force
opponent to submit.


24


DO NOT FORCE


If you try a trick and it doesn’t succeed,
don't wilfully attempt to force the trick to
work. Change to some other trick. Often
this strategy gives even better results be-
cause the first attempt has caused opponent
to assume an unbalanced position. At this
moment almost any trick will work with
great success, because you have led your
opponent into a position where his strength
and weight work to his disadvantage.

Assume your opponent attempts to push
you. Hesitate a moment. Then step back
suddenly, instead of pushing him back. He
will lose his balance. At this moment try
some trick suitable to his position, and
you will find it easy to throw him. But
remember that no matter how good a trick
is, you will not be successful unless you
apply it while your opponent is in the
right position.


Intentionally act to excite your oppo-
nent, and watch for the moment when he
is off guard. Then apply your trick, or
combination of tricks. But this action
should be, mechanical, automatic—done
without thinking—the result of much prac-
tice. When you have achieved this pro-
ficiency, you can use your knowledge and
ability against an opponent in any position,
in any situation; against a group, or against
weapons.

Do not try for too much speed at first.
Practice every movement correctly step by
step. Af ter you have gained the proper
understanding of the movement, you can
then increase your speed. Naturally, speed
is very important.

Again we remind you that it is essential
that you practice all movements With re-
laxed mind and body.


NOTE FOR YOUR OPPONENT IN PRACTICE


Whenever a trick is improperly used
against you, and is not effective, do not fali
for the sake of appearances. Otherwise your
partner will never learn. But remember,
do not try to resist and do not forcibly
move against the action, for you will either
be hurt or you will find yourself in a still
more vulnerable position. Also, you will
force your opponent to call on his reserve
strength which results in a serious possi-
bility of sprain or fracture.


GIRL HAD TRICK TO OVERCOME THUG


Los Angeles, Oct. 29 (A. P.).

—Mary Bischel, attractive 20-year-old tele-
phone operator, told the police that she
was walking down the Street when a man
clutched her from behind.

Quickly she leaned forward, grabbed his


ankle, reared back and planked him flat
on the pavement. Then she stomped on
his face and fled.

"I don’t remember where I leamed that
stunt,” she explained, “but maybe it was
from the boys in my neighborhood.”


25


Posture


Balance


POSTURE is important because the body
must have a strong foundation to impart
power to a trick.



This "A" shows a natural posture, comfort-
able, relaxed, well-balanced, with each foot
under its corresponding shoulder. This is
the best position for both defense and of-
fense. Your hånds are inside his arms resting
lightly above his elbows, and all your mus-
des and joints are relaxed and ready for
any move. This is a most convenient posture
from which to move in any direction.


It is essential to be relaxed because this
permits free, quick movement. Moreover,
relaxation permits the use of full power
at the point of attack since there is no
waste of power at some other point.

You may practice any trick, starting with
this posture.



An ordinary chair serves to demonstrate
the importance of breaking balance in Jiu
Jitsu. The chair, solidly resting “flat on its
feet,” is strong; difficult to overthrow. If
you push it, it is likely to slide rather than
fali over.



26


Tilt the chair so that it rests on only half
its normal base. Now it requires much less
energy to make it fail.



Tilt the chair even further so thar you
take away still more of its balance. Now
it requires very little energy to make it fail.


Balance

Suppose you face, instead of a chair, an
opponent who is 50% heavier and stronger
than you are. By matching your strength
against his strength, you will obviously
never overthrow him. His position is strong,
like that of the chair in “A."

But suppose he attempts to push you. If
instead of resisting, you yield by retreating
a little faster than he is advancing (at the
same time retaining a hold on him), he
will be forced to lean forward in an un-
balanced position, simiiar to that of the
chair in "B.” Because of his awkward posi-
tion, he will have momentarily lost two-
thirds of his resisting strength, and your
strength (if you have kept your own bal-
ance) is now approximately twice as great
as his.

If, at this point, you also break his
balance to the side, as with the chair in
“C," he will have lost so much of his resist-
ing power that it will require very little
strength to make him fali to the ground.


If your opponent is standing erect, and
is not resisting, it is easy to break his
balance to the right or lefl, forward or
backward, by a lighi pull or push, or by
lifting or pressing. If opponent is resisting,
you can break his balance just as easily by
pushing or pulling in the direction in which
he is resisting, thereby using some of his
strength to accomplish your purpose.


The foundation principle of Jiu Jitsu is
balance and relaxation. This must be
learned first.

When relaxed, it is easier to maintain
balance, act quickly, change position sud-
denly. And you can bring power to the
spot where it is needed without wasting
any of it. You need all your power, so
waste none of it.



27


Sweeping Calf No. 1



With your left hånd, grasp your opponent’s
right arm behind his elbow (1). Place your
right hånd behind his neck. Pull down
(2). Push your hip back and bend chest
forward (3).


Keep pulling down on his neck and step
forward with left foot to a point 10 or 12
inches outside of your opponent’s right
toes. Left toes point a little to outside (4).
Keep balance on your left leg, and bend
left knee (5). Bend chest forward for bal-
ance and power. Your head almost rests
on opponent’s right shoulder. Keep both
feet on ground; do not release your hold
on his neck. Hold this position momen-
tarily.


Now try the following case


Breaking-
Opponent Holds
from Front


If opponent holds your coat collar or shirt
front with one hånd or both hånds, and
pulis, or bends his elbow . . .

Place your right hånd back of his neck
and pull (1), and at same time grasp his
elbow with your left hånd (2). Step for-
ward with your left foot in preparation for
Sweeping Calf No. 1.



28





Now qui'ckly sweep your right upper calf

up against opponent's right leg or to side Opponent will fali.

of the knee-joint (6). At same time your

right arm presses opponent’s shoulder to

the direction of your left foot (7). As you

sweep with your calf, bring your foot

around in a circling motion and lift your

heel up high. Use only leg strength (from

knee-joint down). When opponent starts to

fali, release your right-hand hold. How-

ever, keep your grip on his right arm to

hold him afterwards and (in practice) to

keep opponent from falling too hard.


Now you can throw opponent with
Sweeping Calf No. 1. Remember that after
you step forward with your left foot, there
is a momentary pause before sweeping
back with your right foot; the purpose of
this is to gain better balance and more
power for the sweep-back.


You can also break this hold by a sharp
blow to the nose with the heel of your
hånd.



29




Sweeping Calf No. 2 with Shoulder Scissor



With your left hånd, grasp
your opponent’s right arm
just in back of elbow (1).


Step back a little with your right foot (2).
Pull his elbow toward your right (3), using
only hånd power. Bend forward a little.
This puts your opponent in half turned
position.


Alternative (calf sweeping), from ‘‘C” wrap
your right leg around his right leg from
the outside, holding contact with your
thigh, calf and heel. Tighten your leg grip
raising his leg with yours, hold his leg


tightly in your knee joint, to prevent his
releasing his leg. Pull his captured leg be-
hind you with your leg, bending your left
knee slightly and bring him down with
leg power alone.




elbow as shown (10). As you sweep with
your calf, bring your foot around in a
circling motion and lift your heel up high.
Keep your hip steady. Keep chest bent.
Use only your leg strength (from knee-joint
down).

30


Opponent will fali heavily on his back. If
you are standing too far away after he
fails, step in doser, to be ready for the
next movement. Keep body bent forward
( 11 ).





Turn your body and both feet to left (4).
Place your right hånd or arm on top of
opponent’s right shoulder or left shoulder
(5). Shift your balance to left leg, and bend
left knee (6). Keep chest forward (7). At
this point be sure you are relaxed; other-
wise you cannot finish. Hold this position
momentarily (as you would just before
striking a golf ball, to be sure your balance
is set).


Now quickly sweep your right upper calf
up against opponent’s right leg behind or
to side of the knee-joint (B). Your right
hånd or arm presses opponent’s shoulder
around to the direction of your left foot
(9), and your left hånd pulis opponent’s


Tip for beginners : Picture “E.” Sweeping up
opponent leg first (8). Press his shoulder
next (9) then pull his arm until his fall
(10). Use your power against one point at
a time. This means your power will con-


centrate in one point. Practice any other
tricks the same way until you learn well.
After much practice all these movements
will come simultaneously.



Gently grasp his right wrist with your right
hånd (12), using the hold shown; and free
your left hånd (13). Or you can hold with



both hånds. Place your right foot over his
left shoulder (14).


31




Bend your left knee (15).



Fail naturally, straight to your left side.
Support balance with your left hånd, palm
down (16). Retain your hold on his hånd.


This is a double lock — simultaneous arm
lock and strangle hold (shoulder scissor).
It is an almost perfect hold, from which
escape is practically impossible. Use pres-
sure against neck only when necessary;
continuous pressure will cause uncon-
sciousness. Be carefui in practice. If op-
ponent taps twice on your body or the


ground, this is signal he has had enough.
In this throw, and all other throws, several
finishing tricks can be used. Likewise, most
finishing tricks can be used with a wide
variety of throws. To save your time, and
to avoid confusion, most of the finishing
tricks have been grouped for separate study
in a subsequent session.



Extend your left leg under his neck and
right shoulder (17). Rise up on your left
elbow (18), and bring opponent’s elbow
against left leg with his palm up (19), and
lock your feet as shown (20). Now press
his arm down while squeezing his neck


with your legs. Both hånds must hold op-
ponent’s wrist above the wrist joint; or
you can hold your right wrist with your
left. Right knee joint must be against op-
ponent’s neck.


32


A Reminder

Are you having difficulty leaming the
tricks? Does it seem to you that you will
never leam correct balance?

Do not become discouraged. You are tak-
ing private lessons and so you cannot see
the other pupils are having the same diffi-
culties. Nor should you forget that the
experts were once just as awkward as you
are now— maybe more so!

It takes time to overcome the tense hab-
its of a lifetime. It takes time and much
effort to learn to relax your body. Jiu
Jitsu balance, however, is so natural that
your progress will be rapid.

In another few weeks you may wonder
how you ever could have been so stiff and
so clumsy. So remember agam: the other
fellow, the one who performs Jiu Jitsu so
well, was once as rigid and as worried as
you are now.

Cheer up, Beginner!




33




“Spooning” Ankle Throw No. 1



Stop just far enough away to be able to
grasp opponent’s arm firmly. With your
left hånd, grasp his left arm just behind
elbow (1).



Pull opponent’s elbow toward your left (2),
using for the most part hånd power. Keep
your balance on your left foot. Bend your
left knee, and incline upper part of your
body forward (3).


C



Place your right hånd on opponent’s left
shoulder from behind (4). Place the instep
of your right foot against opponent’s left
ankle (5). Point your right toes in a little,
pigeon-toe fashion.


34


Reminder: Your action should be against
one point at a time. Picture D (6) first (7)
next then (8) for finishing. Also may be
used following the next tricks: Spooning
Ankle Throws No. 2 and No. 3.


In any trick where you are on one leg and
ready to use the other leg, you must help
your balance by holding him with a good
grip of your hånd or hånds. Remember,
power comes from a strong foundation.



"Spoon" your right foot against opponent’s
lcft ankle from behind in direction of his
toes (6). Not necessary to put all your
strength in this. Your right hånd pulis op-
ponent’s shoulder toward your right and
presses downward (7); and your left hånd
pulis his elbow toward you (8).



Opponent will fall on his back. Keep your
grip on opponent's arm after he is down;
this will help in the holding trick you use
to keep him down (9).


35



“Spooning” Ankle Throw No. 2



This shows “Spooning” Ankle Throw
when you grasp opponent’s right arm in-
stead of left (1). Pull opponent’s elbow to
your right (2), using principally hånd
power.



Point your right toes in a little, pigeon-toe
fashion. “Spoon” your left foot against op-
ponent’s right ankle from behind in direc-
tion of his toes (5). At same time your
left hånd pulis opponent’s elbow toward
your right (6), and your right hånd presses
downward toward your left (7).


Place your right hånd on his right shoulder,
from front (3). Place the instep of your
left foot against opponent’s right ankle (4).



Opponent will fall.


This trick illustrates the analogy between
Jiu Jitsu and fishing. When you drop the
hook in the water, it swings free and the
string is relaxed. When the fish bites, you
pull suddenly, a quick moment of power


and you catch him. If the fish then runs
you give him more line. When he relaxes
you pull in. In the case above, the moment
of quick power comes when you “spoon”
with your foot and pull down with hånd.


36


“Spooning” Ankle Throw No. 3




Step forward on your left foot (1) and make
your right foot free (2). Push back oppo-
nent’s upper arm very lightly with your
left hånd (3) to make him hold his weight
on his right foot (4).

Place the instep of your right foot against
opponent's left ankle from behind (5) and
spoon your right foot against opponent’s
left ankle from behind in direction of his
toes (6). Then your right hånd pulis oppo-
nent’s upper arm downward (7).



37


COMBINATION TRICKS: Illustrations Their purpose is merely to suggest the ac-

below show how to work out combinations tion. You are supposed to know the tricks

of tricks. Obviously all possible combina- before trying to apply them in combina-
tions cannot be illustrated. You can make tion. In faet, you cannot understand these

up many more. Drawings below are taken instructions unless you have already prac-

directly from tricks referred to, and should ticed the tricks referred to.



If opponent resists, or if you miss for any
reason at this point in applying Spooning
Ankle No. 2 (Session 1) . . .

You can transfer your weight to left foot
and go into Sweeping Calf No. 2 (Session


1). This shows the advantage of using leg
power from knee down in applying Spoon-
ing Ankle No. 2; otherwise it would be
difficult to shift from the one trick to the
other.


BftEAKING— OPPONENT STRANGLES FROM FRONT TO SWEEPING CALF NO. 1




After you break opponent’s strangle hold You can go into Sweeping Calf No. 1
as shown (See Breaking— Opponent Stran-
gles from Front, Session 1) . . .


38


PENCIL HOLDING TRICK— TO SPOONING ANKLE NO. 1



From position "D” in Pencil Holding Trick
(Session 1) . . .

You can go into Spooning Ankle No. 1
(Session 1). In this case change the position
of your left hånd from his wrist to his



shoulder, catch his arm with your right
hånd and spoon with your left foot. (A
good point to remember in "spooning" is
to put all the power possible into your big
toe.)


SWEEPING CALF NO. 1- TO SPOONING ANKLE NO. 1



If you start to throw opponent with Sweep-
ing Calf No. 1 (Session 1), and opponent
steps back with his right foot instead of
coming to the position shown at left . . .



You can go into Spooning Ankle No. 1
(Session 1) without even changing the posi-
tion of your hånds. But in this case, when
he steps back, take a step straight forward
with your left foot, before spooning with
your right foot, and you will have stronger
balance and greater power.


39




Session 2.

This session contains the following lessons:
Spring Hip Throw,

Breaking— When Opponent Strangles from
Front,

Over-Shoulder Throw,

The Knee Whirl,

Defense Against Blow with Fist,

Breaking— When Opponent Strangles from
Rear,

Breaking— When Opponent Strangles from
Rear,


and a bonus trick—

Breaking— When Opponent Holds Wrists.


Before you start on this session, we again
want to emphasize the value of serious,
consistent practice— the importance of learn-
ing each trick so well you can do it
without thinking. Do a thorough job on
each trick before going to the next. Only
through practice can you gain the self-
confidence you need. Review Session 1 today.
Piease go back and read the page on
Balance and Relaxation in Session 1. This


is all-important. Jiu Jitsu, which means
gentie or soft art, naturally indicates a
relaxed mind, and body. Of course, the
principle of relaxation, and the technique
of breaking balance, cannot be learned
overnight. But there is no reason to feel
discouraged if they seem to come hard at
first. It merely takes time and patience.
The point is to keep them always in mind
when you practice this course.


41


Spring Hip Throw



With your left hånd, grasp opponent’s right
arm just behind elbow (1). Step with your
left foot to a point inside opponent’s left
foot (2). Push back your hips, and tncline
your chest forward (3).



Bend your knees (7) so that your hips go
low as shown. Push hips back against op-
ponent to strengthen your balance. While
you are turning into this position, your
right arm should encircle opponent’s waist
and pull his chest and abdomen in as close
as possible against your back. Now your
hips can support his entire weight.



Now, shift your weight to your left leg (4).



Quickly spring your hips up. And swing
forward with your right shoulder (8) as if
you were throwing a sack of potatoes over
your right shoulder.


42




Turn, spinning on the ball of your lefl
foot (5).


Go completely around, so that your hips
are full against opponent, and a little to
the right of him (6-next picture).



Opponent will fali on his back. Keep your
hold on his elbow or arm (9). In practice,
keep your right hånd around opponent’s
waist and hold him up as much as possible
to keep him from falling too hard.



43


Breaking- Opponent Strå ngies from Front




If opponent attempts to strangle from front
as shown. . . .


Step in with your left foot to the front of
your right foot (1). Strike the inside of his
right elbow with your left forearm, forcing
it aside; and place your left hånd on his
right arm (2).




This shows how action is
continued with
Spring Hip Throw.


Strike the inside of his left elbow UP-
WARD with your right forearm (3). This
brings you into position for any Hip
Throw, or Over-Shoulder Throw- (next
trick). NOTE: When breaking, do not
push opponent back, or you will not be
able to apply Hip Throw. This is why his
right arm is pushed UPWARD.



Opponent falling in
Spring Hip Throw.


44



The Knee Whiri



Stand, or step in to a point just far enough
from opponent so that your hånds COULD
rest firmly on his arms. Now, step forward
with your right foot to a point outside his
left foot (1). At same time grasp his arms
( 2 )-


Shift weight to your right
leg. Bend your knee (3).
Drop hips slightly and twist
them to your right (4).




Your left hånd now pulis in a wide outside
circle (5). Your right hånd merely follows
through, pushing in the direction opponent
is falling (6). At same time swing your
shoulder and hip to right. Now quickly
stop his knee (7) by placing the sole of
your left foot against opponent's right leg
just below and to the outside of his knee.
Keep pulling. Follow through.

This action will cause opponent to fali.


NOTE: Your left instep against opponent's
right leg keeps him from moving to re-
cover his balance. Do not kick him in this
action, but merely place your foot FIRM-
LY against his leg. Important: The inside
of your left calf must face almost straight
up. In practice, occasionally try this trick
without using your right hånd, to gain a
clear idea of the principles of balance in-
volved.

Also practice trick against opponent’s left
knee, reversing all foregoing instructions.
If opponent stands with one leg back
(either leg), you will get better results by
applying your foot against knee w'hich is
back.


45




Over-Shoulder Throw



With your left hånd, grasp opponent's Now, shift your weight to your left leg,

right arm just behind elbow (1). Step with and turn (3) . . .
your left foot to a point inside opponent’s
left foot (2).



Spinning on the ball of your left foot (4),
go completely around, so that your hips
are full against opponent and a little to
the right of him (see next picture).



Bend your knees (5) so that your hips go
low. Push hips back against opponent to
strengthen your balance (6). While you are
turning into this position, slip your right
hånd under and around opponent’s right
arm, grasping your own left wrist (7). Your
back should be close against opponent’s
chest and abdomen, and your right upper
arm (not shoulder) underneath opponent’s
right armpit (8).


CONTINUED ON NEXT PAGE


47



Now, quickly spring your hips up and
back (9). At the same time, incline your
body forward and pull opponent's shoulder
downward with both hånds (10). Opponent
will go over your shoulder as shown.


Opponent will fali on his back. Keep your
hold on his elbow (11). In practice, hold
opponent up as much as possible by means
of your grasp on his arm, to keep him
from falling too hard.


This trick is the same as the Spring Hip
Throw except that instead of encircling
opponent's back with your right arm, you
slip your right arm under and around
opponent’s right arm, and pull DOWN-


WARD with both hånds. This trick is not
recommended when there is a considerable
difference in your height and that of oppo-
nent. It is most effective against a person
of approximately your height.



Pull opponent back a little and GRADU-
ALLY squeeze his neck on all sides, squeez-
ing with your arms and pushing with your
head and shoulder. The push of the head
is more important than the pull of the
arms.


This trick must be practiced with care. It
is likely to make your opponent uncon-
scious before he is aware that he is going.
It is not a punishing hold but a real stran-
gle, cutting off the breath and applying
pressure against carotid arteries. Strangle
holds are ideal for women since they do
not require a hard, strong arm. As a matter
of faet, a woman has a real advantage. The
softness of her arms means that more of
the flesh will be in contact with opponent’s
neck, applying p
Lire la suite

• Taille
  22.52 MB
• Nombre de pages
  15