Judo Kata: Practice, Competition, Purpose

preface

The practice of judo katas has changed over time as a result of perceived purpose. The chapters in this anthology were written by seven authorities in judo history and practice. Their writings clarify the purpose of kata and thus its mode of practice and their place in competition.

In 1926, a contest occurred in which thirty-seven of the finest judoka in Japan competed before the Emperor Hirohito. The first chapter by Robert W. Smith details the techniques utilized by each master and also compares their skills with today’s judo practitioners.

The next two chapters by Dr. Llyr Jones and Biron Ebell deal with the transmutation of judo over the decades. Both authors give ample support that the original guidelines have evolved into competitive sport resulting in a substantial decline in the number of adults practicing judo.

Where does kata stand in judo practice today? Dr. Lance Gatling reports on The First Kodokan Judo International Competition (2007). He outlines the background of the competition, the competitors, the motivations for this competition, the historical development of judo katas, and their importance to the correct study of judo.

Dr. Llyr Jones’ next chapter has two objectives: to explain the purpose of kata in judo, and to critically evaluate the concept of kata championships. To achieve these objectives, Jones offers personal comments, observations from rare Japanese source material, as well as insight into the thinking of world-renowned judo experts.

Linda Yiannakis provides two insightful chapters. Her first chapter presents a conceptual framework for examining principles of judo throwing techniques. The principles are classified as primarily structural, operational, or contextual in nature. In her second chapter, she points out that martial artists are acutely aware of the need to develop a sense of timing for the best possible moment to apply techniques in free play or contest. This chapter examines some critical features of patterns and rhythms in a variety of contexts and provides a few basic exercises for the development of awareness and use of rhythm, patterns, and timing in judo.

Jones, Savage, and Gatling present an in-depth study into Kodokan Goshin-jutsu—a Kodokan judo exercise formally established in 1956 to teach the principles and techniques of self-defense against unarmed and armed attacks, and to meet modern lifestyle needs. Their chapter reviews the place of Goshin-jutsu among the Kodokan katas, and then summarizes the history its creation. A description of the exercise’s structure and technical contents follows, along with an in-depth explanation of its principles and associated teaching and learning challenges. This also includes a review of the most reliable learning texts in Japanese, English and selected other Western languages.

Kodokan Goshin-jutsu’s performance aspects are considered next. An objective assessment of its practical self-defense effectiveness follows, before finally conclusions are drawn.

The short final chapter by Dr. Jones is on Kodokan judo’s Nage-no-kata (forms of throwing) and Katame-no-kata (forms of control). Their study helps facilitate the development of free practice (randori) skills.

Many look at judo studies as including three dimensions: free-practice, competition, and forms. Kata practice is vital to the other two. If you are involved with judo, this anthology will deepen your purpose and inspiring your practice.

Michael A. DeMarco, Publisher

Santa Fe, New Mexico

September 2016

chapter 1

The Masters Contest of 1926

An Epiphany in Judo History

by Robert W. Smith, M.A.*

Mifune Kyuzo executing a corner drop (sumiotoshi).

All photos courtesy of R. Smith.

*Note: This chapter was first written in 1953. Readers must take this into consideration to clearly understand the chronology of events and the respective ages of the practitioners discussed.

The Biblical phrase There were giants in those days is exemplified by the judo masters of the Kodokan. Some of their past exploits indicate an extraordinary mental and physical capacity.

In 1926, a contest (shiai) occurred that was the equal of any preceding and without peer in any following tournament. Thirty-seven of the finest judoka in Japan competed before the Emperor Hirohito. But the championship eliminations were eclipsed by the appearance on the mat of eight of the greatest judo masters in history:¹ Mifune Kyuzo, Tabata Shotaro, Goto Ichizo, Kurihara Tamio, Samura Kaichiro, Iizuka Kunizaburo, Isogai Hajime, and Nagaoka Shuichi.² All were highly-graded teachers well along in years, probably not at their contest best, but willing to demonstrate their ability in the face of age and its concomitant slowing reflexes. The four matches in which they participated are an epiphany in judo history.

Left to right: Mifune Kyuzo, Tabata Shotaro, Kurihara Tamio.

Mifune vs. Tabata

Mifune (5 foot 3 inches, 135 pounds) was dwarfed by the stocky Tabata (5 foot 6 inches, 190 pounds). Mifune was a decided underdog—to everyone but Mifune, that is. No sooner had the two taken hold than Mifune, with no show of strength, lashed out with a foot sweep (okuriashi-hari), causing Tabata to stumble and temporarily lose his balance. Tabata recovered before Mifune could follow up his advantage. Both held lightly, stood straight, and moved gracefully. Tabata took the offensive with a well-placed blocking foot-lift pull throw (sasae-tsurikomi-ashi), which caused Mifune’s body to rock precariously. Quickly regaining his balance, Mifune shortly after attempted a circle throw (tomoe-nage), but this was blocked easily by Tabata. With three minutes remaining, Tabata tried a side sacrifice throw (yoko-sutemi), failed, and immediately tried it again. Mifune’s feet left the mat and ippon (full point) seemed a certainty. Midway in its arc, however, Mifune’s body turned like a cat and he rolled onto his side. It was a close escape, and Yamashita Yoshitsugu, that whitehaired exemplar of pure judo, the referee, called out nothing. Shortly afterward, time ran out and Yamashita declared the match a draw.

Goto vs. Kurihara

Next, Goto and Kurihara, each 39 years of age, squared off. Immediately Kurihara, renowned in the Kyoto area for his groundwork, tried a circle throw (tomoe-nage) and, when this failed, attempted a body drop (taiotoshi). Goto shook off both attempts easily. It was obvious to the spectators that Kurihara was trying to lead Goto into ne-waza (groundwork).³ But this time, Goto, seeing his antagonist supine, leaped into groundwork. Kurihara turned from underneath at Goto’s approach and began a strangle. Adroitly, Goto escaped and stood up. On again taking hold, Goto speedily struck with a lift-pull hip throw (tsuri-komigoshi). But Kurihara remained upright. After several feints, Kurihara tried a combination of smaller inner reap (ko-uchi-gari) and side sacrifice (yoko-sutemi) throws, against which Goto defended successfully. With time expiring, Kurihara essayed a volley of throws–circle, big outer reap, and side sacrifice–but in his concern over the time, his coordination was lacking and Goto never lost his balance. After time expired, referee Yamashita called the match a draw.

Left to right: Iizuka Kunizaburo, Samura Kaichiro, Isogai Hajime.

Samura vs. Iizuka

On this day in 1926, two men, still alive (both have since died) and graded tenth-dan, the highest of the high, met in the third match of this epic series. Samura, pupil of the inimitable Yokoyama Sakujiro—perhaps the greatest judoka of all time–was pitted against Iizuka who, at 60, was the oldest active master at that time. Both Samura and Iizuka were cautious and neither attempted anything in the first three minutes. The crowd was hushed and silent. Iizuka shifted from a basic natural to a left natural posture. Samura feinted as if to pull Iizuka into groundwork and then sat down into a circle throw. Iizuka tumbled atop him as a result of this. They stood up. Samura tried a circle throw again, this time with more precision and better placement, and Iizuka fell. But it was neither quick nor crisp, and Yamashita, the referee, said nothing. As time expired, Iizuka was trying to bring Samura into groundwork, but Samura resisted successfully. Yamashita called the match a draw.

Yamashita Yoshitsugu, referee of the 1928 Masters Contest. He taught President Theodore Roosevelt at the White House (1903-1907).

Right: Kano Jigiro, founder of judo.

Isogai vs. Nagaoka

The last bout of the day brought together the two greatest experts of that era, Isogai and Nagaoka. The spectators leaned forward on the edge of their seats. Here was the zenith of judo!

With a fierce kiai (spirit shout), Isogai seized Nagaoka’s jacket. There was no aimless walking about, both moved with the utmost caution. Isogai stepped in beautifully with a side sacrifice throw (yoko-sutemi), but, just as beautifully, Nagaoka evaded the attempt. In escaping, he did not push, but rather skipped outside the trajectory of Isogai’s pull. Isogai stood up and they again took hold. While neither tried a great deal, it was clear that the minds of both were racing apace. Suddenly, Nagaoka spun into a leg wheel (ashi guruma) but Isogai did not waver. A silence permeated the crowd. Time was on the move and the watchers knew that neither of the masters could be content with a draw. They were right. After some maneuvering, Nagaoka tried his terrible favorite left-side sacrifice throw (hidari-yoko-sutemi). This was the technique that had enabled him to reach the judo heights. It was yoko-sutemi that succeeded when other throws (te) failed. But it did not succeed this day against Isogai. That master did not lose his balance. Isogai’s backers breathed easier. At this point, referee Yamashita declared the match over and announced it a draw. Probably neither Nagaoka nor Isogai was content but each had to be in the face of the merit of the other.

The principals of these bouts lived to further the concepts developed by Kano Jigoro, the creator of judo. Mifune, our grand old man, is on the wrong side of seventy, but still engages in daily free practice (randori) and teaching. Before his death, Tabata wrote an occasional article for the Kodokan monthly magazine Judo. Kurihara (ninth-dan) lives in Kyoto and in 1951 traveled to Europe with Kano Risei’s Kodokan party, where he gave masterly kata demonstrations with his prize student Awazu Shozo (sixth-dan). Awazu, predictably, is also a ground specialist and currently assists Kawaishi Mikonosuke (seventh-dan), the leader of French judo since 1936.

Samura, at an advanced age, teaches tactical theory through a regular section in the Kodokan Judo journal. In this, his esteemed collaborator was, until his recent death, the incomparable Nagaoka. So far as this writer knows, Iizuka is still living, and a member of the faculty of a Tokyo university where he has taught judo for many years.

Nagaoka has passed on. Shortly before his demise, a picture of this mighty master, walking in a flower garden with a cane much in evidence, appeared in a French publication. I experienced a mild pang on seeing it, for not too long before this I had seen Nagaoka in the 1950 Kodokan judo film, in which he tossed a younger, heavier opponent with ease and grand waza (techniques). Tempus fugit, and before one realizes it, one is in the sere and yellow leaf, as E. J. Harrison, quoting the Bard, commented in a recent missive. And it is a pity.

Isogai is gone also. But he left a legacy in the form of two judo texts. I have been unable to ascertain the present status of Goto (eighth-dan).

So much for the men. Now, what of their techniques? I think the reader will readily discern at least two points emerging from the above descriptions of their bouts:

1) The predominant use of tomoe-nage and yoko-sutemi, throws now seldom achieved or even tried.

2) The few throwing techniques tried during the course of a match.

In respect to the first point, the implications are easy to grasp. All of these masters had the feel of sacrifice and foot techniques to such an extent that a throw such as tomoe-nage or yoko-sutemi was as much a major weapon for them as the inner thigh throw (uchi-mata) is for Yoshimatsu Yoshihiko⁴ or the big outer reap (osoto-gari) is for Daigo Toshiro⁵ at the present. In other words, they relied more on subtle unbalancing than on strength.

Regarding the second point, the masters thought during a match. Only when there was a concrete likelihood of a full point was a throwing attempt made. The fact that no kaeshi-waza (counterattacking techniques) occurred and the ease with which they escaped their antagonists’ overtures attest to good initial unbalancing and body control (tai-sabaki) beyond the ken of most judoka.

In closing, I venture the opinion that these eight masters came to the art with no extraordinary physical equipment. Nor did they reach their high estate in the judo hierarchy by remarkable brainwork. Without a doubt, they all held in common (though in varying degrees, certainly all high) a will to win. This will sufficed to make their ordinary bodies perfect servants of their nimble minds, minds which had been made sharp by repetitious physical practice.

We see a complementary, reciprocating process at work—the will driving the mind, which works the body, which in turn, refurbishes the mind and, in the end, rewards the will. The process is exemplified in each of the masters we have discussed, and if the reader must have a moral, it is probably this: the merit of the masters began—and continues to begin—with the will, and in the end, their merit was and is proportionate to that will.

Acknowledgement

Special thanks to Warren Conner, Russ Mason, and Joseph Svinth for reading and commenting on this article in its preliminary stages.

Notes

¹The summaries of these bouts were taken from Showa Tenran Shiai (Judo and Kendo Matches Before the Emperor in the Showa Period), Tokyo: Kodansha, 2 volumes, 1934, 1981 pages. The writer thanks Ben Ishii (first dan, Seattle) for the translation. The article itself was first written in 1953 and appeared in the Budokwai Judo quarterly (London).

²The personal names cited are rendered in the conventional Japanese style, with the surnames first.

³Ground techniques allowed in judo include holding techniques (osae-waza), joint-locking techniques (kansetsu-waza), and choking techniques (shime-waza).

⁴Yoshimatsu won the All Japan Championships in 1952 and 1953.

⁵In 1950, Daigo was the youngest man ever to be awarded a sixth-dan. He was 24 at the time. He was noted for various reaping throws and won the All Japan Championship in 1951.

chapter 2

Competition, Kata, and the Art of Judo

by Llyr C. Jones, Ph.D.

Illustration by Oscar Ratti.

© 2001 Futuro Designs & Publications.

Introduction

The word judo comes from a combination of two Japanese words—ju meaning gentle or supple and do meaning path or way. This literally defines judo as the gentle way.

At the level of first principles, the essence of Kodokan judo is turning an opponent’s strength against himself and overcoming the opponent through skill rather than sheer strength (Kano, 1986). This theory is captured by the Japanese expression ju yoku go o seisu—usually translated as softness overcomes hardness, flexibility overcomes stiffness, gentleness controls strength, or win by yielding.

Watching the seemingly effortless combination of grace, technique, and power of a true judo expert in action, it would be very easy (but very wrong) to underestimate the intense physical and mental demands that judo makes upon its exponents. Achieving excellence in judo demands considerable single mindedness. Achieving mastery of all of the throwing, grappling, and striking techniques that makes up the system demands intensive and demanding training over an extended period of time under the guidance of an experienced and knowledgeable teacher.

Judo has been well established in the West since the early 1900’s and is now practiced in almost every country in the world. The aim of this paper, however, is to question the direction that judo has taken in the West (especially in the United Kingdom) and to challenge whether a significant re-orientation is now required. Where specific statistics or statements are used to support an argument, data and examples from the British Judo Association (BJA)—the national governing body for the Olympic sport of judo in the United Kingdom—are used.

The State of Judo Today

As a starting point, it is worthwhile stating the definition of judo as provided by the Kodokan New Japanese-English Dictionary of Judo (Kawamura and Daigo, 2000):

Judo: A martial art formulated by Jigoro Kano based on his reformulation and adaptation of several classical jujutsu systems as well as his own philosophical ideals.

Such a definition may not resonate well with the image of judo promoted by the official accredited national governing bodies—i.e., those belonging to the International Judo Federation (IJF)—the majority of whom seem to be actively encouraging the distancing of judo from its martial arts origins. In these early years of the 21st century, it is difficult to challenge the view that in the West (and in the United Kingdom in particular) judo is promoted one dimensionally, as a combat sport—organized around championships and competition—often for competition’s sake. To reinforce this sporting dimension, the competitive style of judo is often referred to as Olympic Judo or Performance Judo (a style in its own right).

A direct consequence of the leadership and policies of the accredited judo