Mes Top 5 Ouvrages
Termes les plus recherchés
by Tel iiiya Sato & hao Okano
Published by Japan Publications, Inc.
Distributed by Japan Publications Trading Company
1255 Howard Street, San Francisco, Calif. 94103
P.O. Box 5030 Tokyo International, Tokyo 101—31, Japan
© 1973 by Tetsuya Sato and Isao Okano
All rights reserved.
Library of Congress Catalog Card No. 72—84814
First printing: April 1973
Second printing: April 1974
Printed in Japan by Dai Nippon Printing Co., Ltd.
Judo has speeded with the times. Especially in Japan, altered
living patterns and stronger bodies in young men demand changes in
judo. In addition, during the one hundred years since the founding
of modern judo, the attitudes of young people have altered dramatic¬
ally. New ways of thinking must be taken into consideration in judo
In short, it is imperative to establish, as quickly as possible, a
technical instruction system including techniques common to both
Japanese and overseas judo specialists. But, to speak frankly, this is
not an easy task. This book is only one milestone in the process of
establishing such a system. I hope it will be a base, or a starting
point, for future growth. Moreover, I hope that judo men in other
countries will use the Japanese judo techniques presented here as
reference for their own research. In compiling this book, however, I
have not intended to say that all judo textbooks of the past are
unsuitable and therefore ought to be ignored. As thoughts on any
subject advance, there is always the danger that people will tend to
regard past ideas as no more than empty academic theory. Such an
over-prejudiced attitude must not be condoned.In the present book I
have attempted to concentrate on analyses of techniques as used in
actual judo combat. Some people may feel that the book departs
from what has formerly been considered judo common sense. Others
may wonder whether some of the techniques actually exist in
standard judo. In spite of these possible objections, the techniques
shown in his book are both personalized and highly effective in judo
combat. On the other hand, although these techniques work well for
the people who use them, I do not claim that they are absolutes that
will suit the needs of everyone.
The men who appear as models performing their own techniques
belong to the first rank of contemporary judo specialists both in
Japan and in the whole world. Starting with orthodox forms and
principles, they have devised techniques that suit their own mental
and physical characteristics. Individual traits occur in the opening
stances, in the techniques, and in all of the ways in which these men
take advantage of opportunities offered by the opponent, apply their
techniques, and vary and follow up with other techniques. No matter
how excellent a man is at a given point in time, however, advancing
age inevitably brings loss of power. For that reason, I felt it was my
duty to collect and present these special techniques now, while the
men who devised them are in their prime. In planning the book, I
have presupposed conditions prevailing in first-rank judo throughout
the world. I have tried to present actual techniques in the manners in
which judo men execute them. To make movements as clear as
possible, I have taken full advantage of modern photography.
Because I too much commentary would be distracting, I have
limited myself to explanations of a few important points. In all
things involving physical movement, it is better to see and
understand with the eye and the body than to settle for theoretical,
Since not everything in the world will fit into the rigid confines of
mathematical formulas, it is difficult for me to make a flat statement
that all moves shown here are absolutely correct. But this does not
matter, because I am certain that by examining the actual techniques
of judo specialists from a relatively free standpoint and by de¬
veloping study and creative activity on that basis, it will be possible
to evolve new jodo ideas. In harmony with this feeling, I have limited
personal opinions to a minimum and offer this book purely as
technical research material. It may be that the material is insufficient
in some respects, but it is nonetheless the fruits of the prolonged and
sincere efforts of all people connected with the project. I hope that
the reader will accept it in that light. If from this book people
striving to succeed in judo find seeds from which to nurture
imagination and inspiration, I shall be very happy.
In analyzing various techniques with actual judo combat in mind, I
have become painfully aware of immaturity in our understanding and
interpretation of judo in general. On the other hand, working with a
group of leading judo men like the models in this book has provided
me with a number of valuable suggestions. I have made every effort
to expand the presentation of practical techniques of each man to
such an extent that, unfortunately, it proved impossible to include
newaza in this volume. I hope to be able to deal with them separately
in a future book.
In closing this preface, I should like to express my gratitude to and
respect for the following outstanding and enthusiastic judo men who
understood the intention of the book and cooperated whole¬
heartedly on its preparation: Masatoshi Shinomaki, Shinobu Sekine,
Nobuyoshi Sato, Fumio Sasahara, Isamu Sonoda, Eiji Maruki, Hiro-
bumi Matsuda, Shozo Fujii, Takao Kawaguchi, Seiichi Goto, Kazuhiro
Ninomiya, Flisashi Tsuzawa, and Takafumi Ueguchi. In addition, I
should like to thank Takeo Ozawa, president of Japan Publications,
Inc., and executive director Iwao Yoshizaki for their understanding
of the needs of young judo men and their eagerness to produce
books that help fill those needs. Finally, I offer my deep thanks to
the photographer Hideo Matsunaga and to the editor in charge of the
production of the book Toshihiro Kuwahara.
HI KKOM1-GAESHI 176
True Meaning of Judo 184
Control your opponent’s movements
to the right and left by means of the
action of both your hands. Your feet
must be in positions forming an in¬
This technique, which involves a sharp thrusting
lift on the opponent’s chin from below followed
by a throw, is especially useful for young men
and for smaller people who are engaged in
combat with larger men. It was specially
developed by the author. People who are good
in such forward throws as the seoi-nage and the
tsurikomi-goshi find kouchi-gari (A) excellent as
_a follow-up to these techniques. Kouchi-gari (A)
is often used to advantage in judo matches.
Your right elbow must strike the opponent at
a spot slightly inward of his diaphragm. In a
twisting motion, slide your left hand from the
outside to the inside of your opponent’s right
arm. Immobilize him in this way. Then, throw
him by the coordinated action of an upward
thrust with your right hand and a right kari-ashi.
1. When you outstretch your right arm, do so in
a sharp rising thrust.
2. Do not raise your foot in the kari-ashi: slide
it along the floor as you clip your opponent’s
right foot forward.
3. In several techniques in which the opponent
is thrown to his rear—this kouchi-gari, the
ouchi-gari, and the kosoto-gari—you must thrust
your abdomen well forward.
In executing the kari-ashi, extend your
knee and, using power from your hips,
sweep your foot outward.
Arrest his motion by slipping your left
. hand inward in a twisting motion. This
( will immobilize his right shoulder.
Your right elbow strikes him at a
point slightly inside his diaphragm.
With your right hand under your
opponent’s chin, thrust him upward
and either straight to the rear or
slightly to the rear right.
If the opponent tries to twist his body to
the left and get away by turning face¬
down, prevent his doing so by extending
your left elbow.
Press your body on your opponent from
straight above and thus complete the
technique in your favor.
When your opponent, standing in a left defen¬
sive stance, attempts to grip you by the back of
your collar, if you try a right kouchi-gari, you
will find either that his right foot is too far away
or that his left foot is in the way so that your
move cannot take effect. This technique allows
you to reduce the distance between the foot
with which you will execute the kouchi-gari
and your opponent’s right foot. Kouchi-gari (B)
is especially effective for young people in actual
combat when the opponent is tall and has
assumed an extreme left defensive stance.
The opponent is in an extreme left
Beginning on your left foot and using the
tsugi-ashi walk, put your feet on a line
parallel with the one connecting your
Then, bringing your right foot to your
left foot, extend your knees and point
At step 4, when you move your left foot, you
must position it outside his right foot on a line
parallel with the one connecting his feet. In
steps 3 and 4, speed is important. For this
reason, to make the move effective, you must
spend a great deal of time practicing the
At this point, enter the tsugi-ashi:
rtght foot, left foot, right foot.
As you hook your heel on his right
foot to immobilize it, pull straight
down with your left hand.
foot inward, thrust
your abdomen forward.
This variation of the kouchi-gari is popularly
called the sutemi-kouchi-gari. In it, you wrap
one arm around the opponent’s leg. If you can
do this before he is able to control that
arm—that is, before you have fully come to grips
with each other—the effect of the technique
1. In step 3, when you wrap your foot around
his and try to clip his right foot, he will bend his
upper body backward to resist you. You must
then pull your left foot still closer to your right,
and, simultaneously bending your left shoulder
and head to the left and making use of the
spring action of legs and hips, fall backward as
2. In your fall, you have your back to your
opponent, but during the process you must
apply sufficient strength to turn your body and
roll over him. You will end up facedown on his
Turning your left shoulder to the
left, bend backward.
As you press your body against his,
roll over forward and pin your
Force your opponent to bend for¬
ward by gripping the back of his
collar with your left hand.
As you step to the rear, pull your
opponent toward you. The arm
with which you pull must move in
the direction of the arrow.
When your opponent resists and
tries to raise his upper body, take
the opportunity to immobilize his
movement with your left hand.
When you are confronted with an opponent
larger than you or when your opponent has
assumed a defensive position and is resisting
stubbornly, control the movements of his upper
body by gripping and pulling the back part of
his collar. In an attempt to shake your hand
away, he will try to rise. At this point, move
forward and use a kake, or hook movement, to
push him down to his rear.
Judo men like Shinobu Sekine (fifth dan and
winner of the 1972 All-Japan Judo Champion¬
ship Tournament and gold medalist in the
middle weight division of the Munich Olympic
Games, 1972) with specially strong pulling
power use this technique to great effect. When
your are pitted against an opponent who has
good pulling power, for the sake of defense, you
thrust your arms forwed. But the opponent’s
pull puts such load on your back that you will
want to raise your torso to ease your discom¬
fort. Employing with this method, force your
opponent to raise his upper body and, when he
tries to get away to the rear, carefully move in¬
ware and apply the kake, or hook.
Pin your opponent’s left foot by
applying your left arch and shin.
Beginning on the left foot, move As you clip, move forward sharply m
forward with a tsugi-ashi walk. At and down your opponent.
:his point use the clip, or kari.
This special application of the lever principle
involves immobilizing the opponent’s leg by
applying your ankle and shin. Judo men who are
very good at using it against 1 hefty opponents
include Hirotumi Matsuda (fifth dan, winner of
the lightweight division of the Fourth World
Judo Championship Tournament) and Takafumi
Shigeoka (fifth dan and winner in the light¬
weight division of the Fifth World Judo
Apply the lever principle by ex¬
tending your knee in the direction
of the arrow.
UC HIM AT A INTO KOUCHI-GARI
The power of your initial seoi-nage is most
important. As applies to all follow-up tech¬
niques, especially for young people, the opening
move must be powerful. In other words, intend
to down your opponent with the opening move;
push his ability to defend himself to the
ultimate, then move into the io\\ovJ-up tech¬
In the follow-up technique, at the opening ot
the seoi-nage (#2), put your right foot as far
inside his right foot as possible. Then apply the
seoi-nage. Without altering the position of your
right foot, rapidly change the direction of your
body only and apply the clip, or kari. This point
is especially important. Obviously, the opponent
will resist by bending his upper body backward.
This will throw all of his weight on his heels,
thus giving you an excellent chance to use the
Without altering the position of your right foot (the
foot used in the kari) and using your toes as support,
turn your body around and clip immediately without
giving your opponent a chance to move.
Return your foot to a point not too
far from your opponent.
Take maximum advantage of the up¬
ward thrust of your right hand. Grip
your left hand firmly and do not move
SEOI-NAGE INTO KOUCHI-GARI
This follow-up is often, useful at the beginning of a bout
when the opponent turns his hips to the left and bends
his upper body backward in order to resist your left
1. When you begin an uchimata, the technique will have
no effect if you continue to retract your hips. In order
to. take maximum advantage of the power of the
kouchi-gari, fully extend your hips (#3> and, bending
your own body in the shape of a bow, pull your
opponent to you.
2. If you have already entered the uchimata, it is
effective to return the foot you have advanced for use in
that technique and move into the kouchi-gari.
3. In some cases, you may give, your opponent the
impression that you intend to use the uchimata and
suddenly apply a kouchi-gari.
As you rotate your hips
half way around, ad¬
vance forward. This will
force your opponent to
shift his weight to the
Pivoting on your right foot, control
your opponent with the motions of
a left uchimata.
Both you and your opponent are
Instantaneously rotate your hips
Pressing your body against his, im
mediately throw your opponent.
If the opponent bends his right Draw your head under his arm.
elbow, it is difficult to move to¬
This will put him in an ex¬
tremely awkward position
and make your attack easy.
When your opponent, in a right defensive stance, has
gripped the back of your collar and is doing his utmost
to resist you, his arm hinders your using techniques
from the right. But it enables you to take advantage of
your opponent’s body position to throw him and to
turn the technique to your advantage instantaneously.
Ouchi-gari (A) is of great value under current judging
procedures; that is, when throwing an opponent outside
the ring, the support point for your throw must be
inside the ring.
1. From the beginning of the technique, grip both sides
of the opponent’s collar in your right hand to prevent
his twisting his body to get away from you. But be
careful not to hold his collar for too long as this limits
your own attack.
Pressing against him with the
side of your head (see arrow),
you may supplement the
scooping motion of your arm
with a kari-ashi.
As you feint in a roundhouse move with your
right knee and step on your support foot,
thrust your opponent’s arm upward and break
Taking care not to grip his trousers, pull
the opponent’s leg upward in a scooping
motion in the direction shown by the
2. When lifting his leg (step 6), unless you completely
control his movement, he can draw his foot back. The
best way to control his foot is to slip your left arm well
behind his knee and pull it upward in a scooping motion
that immobilizes his leg completely.
The technique will lose effect if
you bend at the waist.
For people with specially agile body movements, like
Hisashi Tsuzawa (fourth dan and winner of the middle¬
weight division of the Seventh World Judo Champion¬
ship Tournament), this technique is useful in throwing
an opponent to the rear, especially since it allows you to
When you step forward on your left foot (step 2)
employ both hands to move your opponent’s body as if
you were lifting him from the floor. This will force him
to advance his right foot. If he leans toward you, switch
into a left tai-otoshi .
The clipping motion should be
made in a curving line from the
outside. Coordinate this movement
with the twist of your hips. The
speed with which this move is ex¬
ecuted is the key to success in the
Generally the opponent’s advanced foot is in a swing of your support foot must not be too
strong position; therefore, in order to prevent deep,
his making a resistance move, the backward
Reversing the wrist of your left hand,
with which you have been exerting a
lifting action, push your opponent in the
direction of the arrow. At the same time,
thrust your abdomen well forward and
down him with a sudden clip.
When the opponent is in a right defensive stance and
you attempt a left ouchi-gari, you run the danger of his
turning the technique to his own advantage, since his
advanced foot is generally in a strong position. In such
cases, if you make the back swing of your support foot
shallow and apply the kari as explained above, your
chances of success are good.
Note: If your opponent has advanced his right foot,
you may take one-half step to the right side before
executing the kari.
Sometimes when you have tried an ouchi-gari,
the opponent will either break his left foot free
to escape or use that foot in a second attack
move against you. Should this happens, you can
push and throw him to the rear by wrapping
your right arm around his leg.
The opponent tries either to turn your
ouchi-gari to his own advantage or to
raise his foot in an attempt to break
The opponent is in an extreme As you immobilize his right fore- If he leans on you at this
rieht defensive stance. arm with your left elbow, pull him point, use a left seoi-nage.
This technique proves very effective when the opponent is in
an extreme right defensive stance. It is used while you
maintain close body contact for a left seoi-nage. Eiji Maruki
(fifth dan and winner of the middle weight division of the
Fifth World Judo Championship Tournament; see p. 110)
employs it so effectively that his opponent cannot take
advantage of Maruki’s actions. Passing your left hand over
the opponent’s left arm, grip the side of his collar. Press your
left elbow against the inside of the opponent’s right arm,
thereby forcing him to bend his right arm. This immobilizes
his arm and makes it impossible for him to use his upper
body. Using the moves of a left seoi-nage, immediately apply
a left ouchi-gake.
1. If the opponent leans against you in steps 2 and 3,
execute a left seoi-nage. If he leans back in an attempt to
resist the left seoi-nage, use the ouchi-gake.
2. When downing your opponent (step 5), keep his right arm
pressed firmly inward as you push him in an upward clipping
motion. At the last and decisive stage of the technique,
extend both arms and press your body against him.
Throw your opponent as you pull him up¬
ward. Immediately push your left elbow
free. Throw him either directly backward or
to his right rear.
Press your left elbow against his right arm to
control its movement. Then forcefully clip
(kari) in a rising movement that prevents his
reversing your technique. A
Use a wide swing in your Pay close attention to the
sasae-tsurikomi-ashi. way in which the opponent
shifts his weight.
SASAE-TSURIKOMI-ASHI INTO OUCHI-GARI
When your opponent—in a left stance or especially a left
defensive stance—has pulled his right foot back, you will
be unable to use a left ouchi-gari on that foot because it
will be too far away from you. In such a case, bring him
forward and off balance with a left sasae-tsurikomi-ashi
then use a left ouchi-gari.
When your opponent has been drawn forward and off
balance as a result of your left sasae-tsurikomi-ashi, it is
possible to follow up with a left tai-otoshi, uchimata, or
During judo meets, unless the technique is performed
skillfully and quickly, it is difficult to down an
opponent with only one try. Using whatever method
seems suitable, keep him moving forward or backward
or to the right or to the left and force him to lose
balance. At such times it is of the greatest importance to
upset your opponent’s mental calm and thus to put
yourself in an advantageous position to attack.
When your opponent tries to resist
by leaning forward from the waist,
move slightly toward him then pull
KOUCHI-GARI INTO OUCHI-GARI
It is relatively easy to generate speed in moving from one
foot technique to another. In order to increase the effect of
the move, even when the initial technique is applied lightly,
the follow-up must be bold and strong. Without returning the
left foot (with which you execute the kouchi-gari) to the
floor and leaving no pause between the two moves, im¬
mediately follow up with an ouchi-gari.
Suddenly take a step forward.
Since it calls for pressing your body against the
opponent as you down him with a kari, this
technique is especially useful for heavy people
like Masatoshi Shinomaki (fifth dan and winner
of the all-weights division of the sixth and
seventh World Judo Championship Tourna¬
Pull the opponent well toward you so that your
chest and his are pressed close together.
Draw your opponent’s body close
to you by bringing your pulling arm
close to your body.
Sliding your left hand to the upper
part of your opponent’s collar,
make use of your left arm from
forearm to elbow.
As you clip, lower your head to
take advantage of the power of
your upper body to bend your
Apply a lifting pull to your oppo¬
nent as if you were about to move
OSOTO-GARI (B) into a seoi-nage.
All judo men, the young and the more experienced alike,
have characteristic techniques and combinations of tech¬
niques. But, to a certain extent, everyone uses the same foot
and body movements to enter the techniques. It is during this
initial stage that one is able to observe the opponent’s body
movements, alter one’s own positions to conform to them,
and attack from close quarters. At this time, you will increase
your advantage if you conceal the attack you are going to
use. The secret of speed in judo matches lies in such points as
In this osoto-gari, until your entering action at step 3,
where you begin movement from the right foot, the actions
are approximately the same as those used at the openings of
the tai-otoshi and kouchi-gari. But at the stage when the
opponent leans back to resist you, switch to an osoto-gari
and down him.
1. At step 3, when you apply a lifting motion with your
right hand, lead your opponent to his right rear as you pull
him with a twisting movement of your left hand.
2. You will bring your left foot to the outside of your
opponent’s right foot. When your left foot reaches the floor
after that step, you must move so quickly that your right
foot is executing the kari when your left foot reaches the
floor. Consequently, the kari itself is shallower than usual.
As he tries to resist, main¬
taining the same lifting pull
with both hands, bring your
support left foot as close as
possible to his right foot.
Clip him suddenly in order to
drop him downward to the
The opponent is in a de¬
fensive posture with his head
Turning your right hand over, press
the back of it against the underside
of the left side of his chin.
Step forward on your left foot and
force your opponent off balance to
his right side.
Down your opponent with a sweeping clip.
This method is used when the opponent has
lowered his head to assume a posture of resistance.
It is especially useful for tall people.
When you attempt to pull your opponent to you
(step 2), he will resist by stepping back. Taking
advantage of the chance his move gives, step wide
to his right side and throw him off balance in that
direction. At this point, using a lifting pull of your
right hand, force your opponent to move his body
and press the back of your right hand against his
use of the back of your
When you have stepped
on your left foot, you
can immobilize the opponent’s left
hand by raising your right elbow.
This method is a specialty of Isamu Sonoda (fifth dan
and winner of the middleweight division of the Sixth
World Judo Championship Tournament). Taking
advantage of speed, first boldly force the opponent to
move to the rear then, after executing an osoto-gari,
step quickly still further forward.
1. As you slide your right arm over your opponent’s
left shoulder (step 3) thrust your right shoulder forward
so that your arm wraps around his neck. Raising your
elbow, force his chin upward, thereby causeing him to
2. When he resists by trying not to fall, take a further
half step forward on your right foot and throw him.
Grip your opponent under 2
the arm with your left hand;
maintain adequate distance
between his body and yours.
Pulling the opponent to you, con¬
trol the movement of his right foot
as you step forward.
If the actions of your right
hand are insufficiently ef¬
fective, the opponent can
turn the technique to his ad¬
When your positions are opposite-
left opposed to right—your right
foot is too far from your oppo¬
nent’s left one.
After lowering your left foot, step
forward on your right foot.
Drawing your left foot back, take
advantage of the reaction force this
Pivoting on your right foot, execute
with your left foot.
Using the motions of the left uchi-
mata, swing your left foot upward,
thereby forcing your opponent to
advance his left foot.
UCHIMATA INTO OSOTO-GARI
When the opponent has assumed a right defen¬
sive stance, you must assume a left stance. When
you try a left osoto-gari, it will have no effect if
you are too far away from his left foot, which
will be the object of your clip. To ensure that
this does not happen, use the following tactic to
force him to advance his left foot in response to
your left uchimata move.
First withdraw your left foot as if beginning a
left uchimata. In this way you will force the
opponent to advance his left foot and to bend
backward'to resist your attack. At that instant,
moving both hands, cross your left foot, which
you will have swung upward, over your right in a
position directly in front of the opponent. Then
move into a left osoto-gari.
If your opponent does not advance his left foot
at step 3, continue with a left uchimata.
Draw close to the opponent
Since your positions are opposite-
right versus left—your right foot,
with which you will execute the
kari,—is far away from the oppo¬
nent’s right foot.
Advance your right foot deep and boldly
as in an ouchi-gari. Both your hands must
already have forced the opponent off
balance in the direction in which he
would fall if you continued the osoto-gari
OUCHI-GARI INTO OSOTO-OTOSHI
Using the movements of a right ouchi-gari, advance your right
foot boldly to bring your body in close contact with the
opponent (step 4). Then, taking advantage of the momentum
you generate and applying force to your support (left)
foot, move into an osoto-otoshi (step 5). Finally, clip and
drop your opponent by stepping still further forward on your
support foot. This method makes logical application of-a
forward driving movement.
Isamu Sonoda, the model in the photographs, has long
arms. Consequently, holding his opponent under the arm
with his left hand, he leans forward and closes the consider¬
able distance between their bodies with three steps in the
same direction (steps 4, 5, and 7). Repeated practice will
develop the speed necessary for success in this method.
The opponent’s weight has
shifted completely to the
Step still further forward on your left foot
By swinging your right foot in the
direction shown by the arrow, you
can control your opponent in a
right side position.
Force your opponent off balance to
the left rear with both hands.
Allowing him to pull you, relax the
tension of your arms. Then step¬
ping forward on your right foot,
execute the clip kari.
I have developed this kosoto-gari, which is a variation of
the left ippon-seoi-nage. In order to make a seoi-nage easy to
execute against an opponent in a left stance, it is necessary to
control his advanced left foot so that you can make him pull
it rear ward. This kosoto-gari was evolved to assist in this tactic.
The best chance to apply this method is at the instant when
your opponent assumes his stance; you‘then grip his right
When he pulls his left foot back to resist being forced off
balance, move into a left ippon-seoi-nage.
Clip in the direction in which your opponent’s toes are
pointed. Pull him forward to force him to shift his weight to
his advanced foot. Coordinate the timing of your forward
swinging foot with his shift of weight.
Thrust your hips forward as you clip
When the opponent tries to avoid
your technique by lifting his left
foot, clip still more with your right
Press your body against his as he falls
You and the opponent are in left
Thrust yourself against him as far
and as quickly as you can.
This method was devised by Hirobumi Matsuda
(fifth dan) to take advantage of body agility. In
it, you must thrust forward toward the op¬
ponent’s chest and deftly alter your bo dy
position to execute the throw.
After you have thrust your upper body to your
opponent’s chest (step 2), move as if you were
going to duck under his left arm. Using the
tsugi-ashi walk beginning on the left foot, step
deep between his legs. Wrap your right arm
around the back of his left thigh. Next execute a
kosoto-gari with your right foot. At the instant
when he attempts to break away by raising his
upper body, coordinating the movements of
your right hand and your right foot (with which
you execute the kari), clip in a swinging motion
and press your body against your opponent.
Using your heel, clip in a rising
fashion and throw your opponent
as you twist your own body to
The initial stance is often the secret to effective
techniques in judo matches. Judo athletes, like
Shinobu Sekine (fifth dan), evolve their own
distinctive techniques in keeping with their
special strengths. For example, some men are
especially good at gripping the back of the
opponent’s collar at the initial stance as is shown
in this method. Everyone ought to practice to
make the best of whatever technical skills he
When you pull your opponent straight forward
(step 3), he will try to resist by pulling his right
foot back, raising his upper body slightly, and
shifting his weight to his right foot. Take
advantage of this opportunity by moving for¬
ward with a tsugi-ashi beginning on the left foot.
■ V %
Shift your right hand from
his right to his left cuff and,
bending your left elbow, pull
him to you.
Pulling his cuff with your right
hand, grip the back of his collar
with your left hand.
Grip the opponent’s cuff with your
right hand or with both hands.
Swinging your right foot around
and slightly forward, force your
opponent to advance his'right foot.
Using the moves of a nidan-kosoto-
gake, control your opponent’s right
Put your knees still farther between
his legs and, making use of its posi¬
tion, throw your opponent in a
twist to the left.
The opponent has raised his left knee to
prevent you from using a right seoi-nage.
Bringing your left foot close to the oppo¬
nent’s right foot, thrust your hips for¬
ward and lift him with your right hand.
SEOI-NAGE INTO KOSOTO-GAKE
When you try to use a right seoi-nage on an
opponent in a left—especially a left defensive-
stance he often raises his left knee to prevent
you from bringing your hip close to him. In such
cases, force him to lean backward, then falling
with him, down him with a sudden kosoto-gake.
When following up with a kosoto-gake, you will
fail to make your technique take effect if the
opponent is able to put his left foot on the
floor. Consequently, it is best to use an accurate,
speedy seoi-nage first, determine how the op¬
ponent reacts to it, and then move into the
50 kosoto-gake if necessary.
Beginning on the right foot, step to him
as if about to enter a left uchimata.
The opponent is in a right position,
and you are in a left one.
When the opponent advances his right
foot to prevent your using the uchimata,
step back on your support foot.
UCHIMATA INTO KOSOTO-GAKE
Using this method, men with height and weight can
take advantage of their physical traits to down an
opponent who is putting up resistance in an
extreme defensive stance. A person in such a stance
is unable to make quick body movements to
conform to your actions. Taking advantage of this
weak point, lead your opponent to think that you
are going to use an uchimata and quickly shift into
a kosoto-gake. Assume a left stance if the op¬
ponent is using a right defensive stance and vice
When the opponent is in a natural stance, he often
pulls you to the right. For this reason it is easier to
use the uchimata feint whea the opponent is in an
extreme defensive stance. At step 2, as you
advance on your right foot, swing sharply with
your left foot as if about to use an uchimata. To
prevent this, your opponent will advance his right
foot still farther and bend his body back. This will
make his posture increasingly unstable. Using the
reaction force generated by the swing of your left
foot, switch into.a kosoto-gake.
Press your body well against his.
Thrusting your lower abdomen forward,
slide your left foot around in the direc-
6 tion shown by the arrow.
Move boldly into an osoto-otoshi or an osoto-gari.
OSOTO-OTOSHI INTO KOSOTO-GAKE
Sometimes, when you try an. osoto-otoshi or an osoto-gari,
your opponent resists by withdrawing his support foot. In
such cases, return your foot to the floor and, using it as your
support foot, swing your body around as you advance boldly
farther forward. Use a kosoto-gake on his support foot and,
pressing your body against his, down him.At step 3, Isamu
Sonoda (fifth dan) takes a further half step forward with the
left foot and downs the opponent with an osoto-otoshi (see
p.38). If the opponent has powerful hips, however, use the
following method to overcome his resistance. Assume that at
step 3 your opponent will swing his left foot in the direction
of the arrow to turn the technique to his own advantage.
Anticipating this motion by an instant, immediately apply
your own technique. In judo, the match often depends on
split-second timing in taking advantage of all opportunities.
If the initial osoto-otoshi is vague, you can loose control of
your opponent at steps 2 and 3.Consequently, it is vital that
you enter the first technique boldly and take advantage of
the speed and momentum you generate as you move forward.
At this point, anticipate his action
and apply your own technique. If
you fail to do so quickly, you will
lose control of him.
The opponent will step backward
and swing his left foot in the direc¬
tion shown by the arrow.
KOSOTO-GAKE AGAINST TAI-OTOSHI °P en y° ur bod y outward.
After first halting and controlling the tai-otoshi attempted by
the opponent, leap around in front of him - with your back
to him — and use a kosoto-gake. In general, counterattack
techniques (henka waza) are of one of two types: stopping
and getting control of the opponent’s attack and working a
counter-attack on it; or taking advantage of the opponent’s
advance — in such techniques as the uchimata-sukashi or the
tsubame-gaeshi — and working counterattack on that. It is
wise to increase the breadth of your ability to attack by
learning as many counterattack techniques as you can.
To stop the opponent’s tai-otoshi, thrust your left hand to
his armpit. But unless you use sufficient force in doing this,
he will succeed in throwing you.
Anticipating your opponent’s Crouch slightly, turning the toes of
attack, seize him by both sides of your right foot outward. Thrust Coordinating this action with that
the front part of his collar. your right'hand in the direction shown in step 8, clip (kari) with
shown by the upper arrow as you y° ur heel.
scoop his thigh upward with a rising
motion of your left hand at the
region of his groin.
KOSOTO-GARI AGAINST OSOTO-GARI (I)
1. First anticipate the opponent’s attack and grip
both sides of his collar with your right hand.
Thrust your right arm out to prevent his bringing
his body close to yours. You must grip both sides
of his collar to keep him from reducing the
strength of your outstretched right arm by twisting
2. Be sure that you turn the toes of your right
foot - the one on which the opponent is attempt¬
ing a clip - outward, for if you fail to do this, the
opponent can easily clip the inner side of your
3. When you are raising the opponent’s thigh to
control his osoto-gari, if he tries to down you by
applying still more force, raise his thigh quickly
and powerfully in the direction of the arrow.
KOSOTO-GARI AGAINST OSOTO-GARI
When the opponent steps boldly toward you to execute an
osoto-gari, take advantage of his forward movement to apply
a kosoto-gari. Since your left foot is withdrawn to the rear
when your are in the right stance and the opponent is in the
left position, to apply a left osoto-gari, the opponent will
naturally step forward wide on his left foot. Take advantage
of this motion to apply your own technique: in this case, a
The counterattack is. somewhat faster than that in the
preceding technique, in which you allow the opponent to try
a tai-otoshi and then reply with a kosoto-gari. For that
reason, you must anticipate his moves and be in a posture to
act the instant he begins his attack.
Clip (kari) with the
back of your heel.
The author’s method for this technique involves
making use of the opponent’s motion when he
attempts to turn to the side or to swing to the right
from a static position. No matter what the tech¬
nique, it is vital to preserve the strong mental drive
throughout the whole course of action because this
ensures that your attack is alive to the very
moment of completion. In instances of the kind in
which you move under the opponent’s abdomen
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