MODERN JUDO

VOLUME I. BASIC TECHNIQUE

by
CHARLES YERKOW
Illustrated by
the author and Edward Beck
The Author, Charles Yarkow
THE MILITARY SERVICE PUBLISHING COMPANY
Harrisburg Pennsylvania
Copyright 1947
THE i\huTARY SER\'ICE CoJ\tPA:-.IY
HARRlSUURG, PF.NNSYL\' AXIA
ALL R I G II T s R E s E R vEl)
Fmsr EDITIO:-<:
First Printing, December 1942
Second Printing, April 1943
Third Printing, June 1943
SECOND ENLARGED
First Printing, September 1943
Second Printing, August 1945
THIRD RRVJSED EomoN:
First Printing, February 1947
Second Printing, April 1949
Thi1d Printing, June 195r
Primed in the U. S. A.
By The Telegraph Press
l farrisburg, Pa.
Dedication
For his sincere interest and foresight,
this book is dedicated to
RicHARD GoRDON McCLosKEY
Preface
T HIS IS NOT a miracle book. You will find no c.secrets"
nor mysterious practices here, for rhe simple reason that
there are none in Judo.
Judo or ju-jutsu is nothing more than a proved art and
science, and as such requires nothing more rhan proper prac-
tice. ln short, rhis book will show you and teach you what-
ever you yourself wam tO learn.
T should like to poinr out rhat rhe throws, tricks, and breaks
conrained in this book do not in the least comprise all of
judo, but if you will give particular care and srudy to the
first part, Principles, of Chapter 3, and w the w h o l of Chap-
ter 5, ludivldunll y Derveloped Tecl:rnique, you will find that
you will be able to devise :111y number of your own attacks
and defenses. Every throw, trick, and break is done in as
many ways as rhcre are reachers reaching it.
In order that you may use this book with full confidence,
it is in order ro say something of other judo textbooks
and in what way this book is different.
The faulr of most books purporting ro teach judo is either
roo much text poorly illustrated or roo many pictures poorly
explained. One book Jeals painstakingly with every major
trick of self-defense and simple arrack, yet entirely neglects
such imporranr phases as throwing and mat-fighting, and gives
no hjm even of basic principles and technique.<;. Another con-
tains a great variety of tricks and breaks used in mat-fighting,
most of them coo complicated for rhe average student of
judo. One of the best books, published a very long rime ago,
gives an excellent explanation of balance aod off-balance, and
also contains a number of major throws and locks illustrated
by strips of motion-picture film. However, this book fails ro
show how these tricks can be used for simple attack or self-
defense, and the mar-fighting cricks and locks are entirely
insufficient.
At present many methods of hand-to-band combat are
being urged upon the layman. One recent pamphlet makes
the claim that its merhod is far supenor w ju-jutsu, bur at
irs best it offers little bur poorly executed ju-jutsu. An-
presents a "system of ju-jitsu," yer irs cricks arc
norhmg more than some rwenry collected arm-
locks aod arm-throws. Recem official and unofficial m:muals
used bv rhe armed forces contain excellent mcks. bur omtt
the importanr full body holds and fail to mcnrion
counterattacks aga1nst krnfe :tnd revoh-er defenses.
The trouble seems to be rhat roo mam "sysrems" and
methode; of "modified" ju-jutsu are heing g'ilded for rhe un-
wary. f"he average layman ne\er really receives the oppor-
runiry rn study rhe rrue ways of jutlo, anJ what he does
study under the vasr number of "modified'' methods leaves
him disgusted with the art because he never really learns a
single rhrqw or trick or break in rhe proper manner.
" ' ith this b<lckgnHlnd uf books on judo, I realized that the
only judo hook of value would be rhe one rhat presemed all
phases of the art . in logical sequence, clearly iUusrrared so
rhar the student tmghr knuw ar every step what he was doinCT
and why he \\as doin1r ir.
0
C'
Thousands nf men and women today are srudying judo in
"Ten Easy Lessons" and are "guicldy" tauuht a number
of ju-jursu tricks. But \\'hen their is and rhey
are called upon to usc these tricks they find themselves help-
less unless rhe arracker perform<. in a certain specifieJ way,
a way \Vhtch rhe.\ had been taught to e'--pcct. The.\ are lost
because the\ don 'r knm\ the fundamenmls anti c:mnor im-
pro\"ise to ri1cet siruarions.
lf you glance at the first p<lrt of Chapter 3 \'Ou will find
the baste principles for :ill stand-up rhro-\vmg. Lf you
will compare ;my one of the throws, tricks, and breaks that
follow to these fundamental principles you will understand
and realize how important principles can be. What l am
stressing is char you cannot learn judo by just cramming
a few dozen tricks up your sleeve; you must understand the
basic principles upon which the whole art is based.
[f you are contemplating a serious study of judo I suggest
that you srndy rhis book chapter by chapter. If you are
only interested in gaining the advantages of scientific self-
defense and certain effective attacks, chen concentrate on
Chapters 2, 6, and 7
For better understandjng of rhe book 1 should Like to point
out rbat the reaching of judo faUs into two pares: the
first part is called katn . by the and means
praccice. The second IS ra11dorz and means frce-playmg.
Think of fom1-praccice as the mechanics of judo: the proper
way and manner of stepping in for a particular throw or
rrick, rhe riminu af steps to execute a throw, the proper form
necessary to around in a certain defense. And now
think of free-playing as the technique of judo: how to per-
form your throws and tricks against an opponent who is
trying to perform against you. The fundamentals of
nique are found m Chapter 5. I have never seen techmque
covered .in any otl1er book.
In this booi{ l have attempted to insure that you master
the mechanics of judo, bur rechnique-unfornmately or
fortunatel y-can be learned only through free-playing under
rhe supervision of an expert instructor. .
\Yhich brings us to the question of how you. a JUdo student
learning on your own, without benefit of an instructor, can
make full use of this book. First, you must have a partner
who is as interested in learning this spore and art as you are,
and second, you must decide at the starr that you will both
watch over each other while praccicmg, to p_revenr
injury. Practice everything exactly as descnbed and illus-
trated, for judo can be dangerous if uncontrolled.
Practice and practice and practice; perform a throw three
rimes, then have your parmer take the offensive (or de-
fensive), and after he has perfonned it three times, do it
again. And again. Believe me that this is the only way you
can progress-in any other way you will fail.
for instance, the first three throws in Chapter 3:
The ankle-sweep, the front ankle-sweep, and the straight
ankle-fltp. Upon close reading and srody you will note
that there extsts a certain similarity between these three
that in each throw you employ the sole of your at-
tackmg . foot, that in each throw you arrack nearly the
same pomt on your opponent. All right, then: classify these
three throws as one type and practice them together until
you become fairly good. Then follow on to the next two
throws and study their similarity and how they differ from
the preceding three.
ca.n stud.Y the book in this manner. A study
of. ch.ts kind will. repay for you will be comparing
pnnctples, you wtll be analyzmg, you will be teaching your-
self.
And remember that the first part of Chapter 3 and the
whole of Cbapter 5 provide the key to all judo.
you an Japanese judo school your ex-
penence wdl be s1gmfied by the color belt you wear: white
for t.hen brown, and finaUy black.
You mtght atta.m the preliminary teaching rank, or Sbodan,
then the middle rank, or Clmdm, and the upper rank, or
Jodan .
. In the oriental school you will have to learn the respec-
nve terms for the various moves, throws, chokes, locks,
etc., so that you meet such names as Shizenhontai, meaning
natural fundamental posntre, and ]igo-tm, natural defensive
posture. If you wanted to say hip-throw you would call
it and for. ankle-block you would say Y oko-
su.tnm. Throughout this book I have refrained from using
the native names for the respective throws etc., because I
was convinced it would simplify the studem's srudy if the
throws, tricks, and breaks were given in English wherever
possible.
For those interested in the history and rationale of judo
I recommend the authoritative and fine work by Mr. E. J.
Harrison, THE FIGHTING SPIRIT OF JAPAN, pub-
lished in England. 1 also recommend the small booklet JUDO
which is written by the late Prof. Jigoro Kana.
For valuable suggestions and assistance, 1 am indebted
to \Yilliam Fensremacher, John L. Kent, Fred Hensel. and
The Black & vYhite Photo Service.
New York, N. Y
October, 1 942
CHARLES y ERKOW
Third Revised Preface
This \-olume One is the original version of
J L' DO and later was Parr I ot the 5 30 page Second Ex-
panded Edition. For obvious reasons it was thought best
to split the 530 page this nC\\' rwo-\olumc
edition.
Smce the fusr publication of the bonk, r have had many
inquiries asking if perhap!. I r cit that some nc\\ material
ought to be added ro the rexr, and my <tnswer is that l have
tried to do so bur have found nothing worthwhile to add.
This texr of \ nlumc One contains all rhe principles of judo,
"irh ;111 the specific mmcs, throw<;, etc. clearly illustrated
:111d explamed. Further, rhe \'<1rious elemenrs of technique
(which 1 h;l\'C neyer before o;cen 111 any book) arc presenred
for whnte\'er they rmy be "orth to beginners or advanced
raudori players. The hisrory of judo is best explained hy
saying that very few <1Uthnrities are clear on the subject,
nor do they agree, and th:tr ir dncs nor re;1lly marter where
the art of judo originated; on rhe whole the Japanese have
highly improved whate\cr the forms of present-day judo
1111ght ha,e been.
Though this book 1s complete m eYery respect, T feel rhar
l must urge the beginner ro center his arrencion on rhe
basic judo princ1ples- the first pan of Chapter 3 and the
whole of Chapter 5. I for one h;lve never aw1ched much
importance w self-defense trick:, (;ts they are called) he-
C;tuse 1 believe rhe sporr-fighring phases can provide all the
1\loves one needs for sport and for serious defense. I hnve
witnessed encoumers :md have been in them, and therefore
cannor change mr mind on rim pninr. I am not denouncing
!>elf-defense tricks ( rhcy ha' e their place as much :1s every-
thing else has irs place); l am merely trying ro drive home
the fact rh:tr rhe side of judo will St;llld you
in betrer senice- learn rhis hrsr. 1hen go mro self-defense
rricks pure and simple.
One of the most detrimental approaches to a is
ro merely skim through rhc rext and glance at rhe ptctures.
In such 1; way you will learn nothing. .
Read the text :.u least once, then srudy rhe JHCtures and
the capnnns, then go on rhe mat and Lry ro put into practice
what you have learned. Practice barefooted or wear soft-
soled shoes.
Both this Volume and \-olume Two are jdeally suited
for either the lone swdenr and the small group or club.
To each 1 should like to say Proceed Cautiously and .do
your Experin1encing under the supervision of a capable _m-
structor. All rhc moves in these two volumes are sate-
it's the that renders them dangerous. . .
Students can eastlv nnd smoothlv {!;taduare from thts
present volume into the advanced on.e, since here they will
have learned all rhc basic moves, throws, holds, locks and
breaks \T olume Two carries these same phases into advanced
steps thus gives you more opporrurury in ra11dori playing.
See tbe Suggestion.s ar rhe end of rhis. v?lurne. .
J\1 y sincerest thanks and w those rmhrary
hand-to-hand combat instructors who took rhe trouble to
write me regarding the value of this book in rheir rraining
programs.
\Voodside, N. Y.
December, 1946
CHAltLES y ERKOW
Suggestions re Volume Two
For advanced techniques in sport and self-defense the
srudenr should \ ' olume T\,o of UODERN JUDO,
do so 1f wcU along with the basics of fall-
mg . rhrowmg . mar-fighn.ng, the defensive moves. If you
are JUSt a begmner starnng m JUdo, then Volume Two can
nor help you bur will rather confuse vou.
technique. . thar rlic judo exponent has
a tit.1er and greate.r sk!ll 111 hts specialized phases, and in
parnc.:u1.ar that he JS .of skillfully mO\' ing from one
attack mco combmmg his moves or his arracks
smooth1y and logtcally, so that ne is ne\'er ar a standstill nor
he ever have ro guess what ro do nexr. He is able to
unpn" 1se, soundly, effectively.
. T1.1e beginner, of course, cannot do rltis, or if Ire does
tr lu-; moves He !1aphazard, aimless, performed for the
mere S<lke of keeptng on the go. Such a beginner, for
may l.mow how ro perform a hip-throw, but, when
opponent tS rhc beginner cannot slide smoothly
111t? rhe nex! logJcal arrack, a hold or a choke or a lock, and
so 111 a spornng conrest loses one point he might have had .
. advanced player follow through on
lw; h1p-rbrow by employmg a fimshmg Jock. Or, if his
opponent got our of the lock, he would nevertheless be abJe
follow thr?ugh with some orher atttlck, improvising, and
m. the e!1d <lrrl\'e <lt some orher lock or hold. (In connection
With t!us, rhat players are poor on srnnd-up
are wtzards rn mat-iiS"hring- rhey will willingly
the fall tn order ro grapple wtth you and so make their
pomrs.)
Volume Two gives numerous exnmples of combining at-
racks .and defenses, and of foHowing through on throws.
these phases, \Tolume Two also contains the more
forms of attack. together with the little-known forms
of Snck-PJa)'; .b.orh these phases should prove of value ro Jaw
officers and m1ltrary personnel.
The mosr important phase, ro JTie, in \'olumc Two ls
presemeJ in 01:1pter 3- For Judo lssrrucrors. The need
f11r this sort of outline has been npparenr w me for
and is based on observation ;lnJ experience wirh the
poor and haphazard teaching merhods in judo schools and
clubs. Chapter 1 3 deals at length with the subject of what
to reach, how to teach ir, and wby reach it rhar way. Also,
rhis same chapter offers suggt'stions and ;ldvice to instructors.
;1JH.l one of these might be in order if prescmeJ here for
rhe benefit of reachers and srudems alike:
Teaching judo consists first and primarily in standardiz-
ing :-tn easy approach or method which will point out and
prove co the students the 1mpornmce .md values of the major
judo princples, those of mmemenr, baLmce, leverage, and
the principle of giving-in to the efforts of your opponent in
order ro defeat him.
The remainder of \ -olume Two deals wirh various charts
related w nerve-ccnrcrs. pointers on how co apply pnnciples.
lmatw, or arrificial respiration. :mJ a closing chapter on
rhe basic considerarions to all hanJ-to-hand combat rcch-
ni'lues.
B! of PRACTICE CAREF'CLL '\!
-
Contents

PART 1
ON": lmroduction ...... .
...................
or ..
Ongm Real secrets." For ''omen C
111
1
learn judo our of a
T wo: Breaking tbe F.1lh . . . . . . . . . . . . . .
Roll-ours. \ ' ananons. . .... . .
T HREF: Judo Principles, mui tbe Art oj ] .
Balance. Le, erage. Stopping or
Swccpmg-away. Co!>(llme. Posmrcs. The
dm)\\S (8).
FouR: Fundm11emals of .lfat -Figbring ....... . .... .
Holdmg. opponent down. Strangling ht!lds
and locks. General locks. Coumcr-:ntackmg.
f iVE: Tecbnique ........ .
fechn1911e explamcd. lmport;l nce of relaxing.
breathing. Balance. \Ierhods of
unbalancmg an opponenc. \\'eight and
S h T "
trengr . fllllng and Speed. General nores.
Conresrs.
S1x: Simple Attacks tmd Nen.'e Centers
:\rtacking :mn, and he.ad ...
throwmg mcks. Ncne-cenrers and rheir use.
or Self-Dej euse . 0 0 0 0 0 0 0 0 0 0 0 0 0
ree,_ng hands. Defenses from chokes. Free-
Ing; lull body holds. Defense!> agaimt stick,
knife, and revolver.
ElGin: Body-De'ti.!lopmem Exercises
Speci:1l forms of exercises. . . .
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- - -
Page
15
26
-+o
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Part I
1
Introduction
T HE SPORT Al"D SCIENCE and very gentle art of
judo or ju-jutsu (colloquially spelled jiu-jitsu) is at once
deceivingly simple and yet extremely difficult tO master.
For every throw and trick there is a counter-throw and a
counrer-rrick; the more you srutly judo ways the more
convinced you become thar rbe whole art hinges on a few
basic principles. Once mastered. these simple principles
lead to an infinite variety of atracks :md defenses and open
to you a vast field of sntdy.
Judo is considered, even roday, as a ''new" sport, a ''dif-
ferem" sport, a certain secreti\'e something. There is really
nothing supernatural abom the art-it is merely rhar the
public has in general accepted rhe fallacies printed in sen-
sational magazines and in daily rabloids and so has come
co regard judo as a mysterious and guarded practice. Ac-
tually judo is a highly developed and perfected method of
hand-to-hand offense and defense, throughout which you
utilize the efforts of your opponenr to defeat him.
To simplify rhis inrroducrion and ar the same rime ro
clarify the ways of judo, a Question and Answer guide
follows:
TVbat is judo? fVbr1t is tbe diJTerence between judo n77d
ju-jutsu?
J ndo is an art of fighting in which the
weight and efforts of the npponent are used ro bring about
his defeat. J udo is based on definite principles of Move-
ment, Balance, and Leverage; w "give way" tO rhe efforts
r6 M 0 DE R N ] U D 0
of the opponent and srill succeed m applying rhese pnn-
ciples is rhe highest attainable form in the an:.
In the course of research one comes upon many Japan-
ese names which are synonymous with judo. Tai-jutsu,
yawara, kempo, kugusoku, kumiuch1. and others; they are
merely different applications of the same principles.
A native reacher describes the difference between judo
and tai-jutsu in rhe following manner: in tcli-jutm the
winner of rhe contest is determined by the series of clean
throws he may have used against his opponent, whereas
in a judo contest a poinc is won only after a certain form
of near-paralysis or near-unconsciousness is achieved against
the opponent. For this reason it is preferred chat
enrer upon tai-jutsu first and study judo later.
It seems, then, tbat tbere art> 1mmy brancbes o} judo. Just
how is tbe art divided?
The Table of Comenrs shows the approximate phases.
Throwing (Chapter 3) is further divided into the "Tech-
nique of Throwmg in a Standing Posicion" and the "Tech-
of Throwing by Falling To The lat." The "Tech-
ruque of Throwing in Standing Position'' is further divided
into "Throwing By The Hand," "\Vaist," and ''Foot."
4 ?co of Mat Fighting" is di-
VIded mto Lockmg, Holdmg," and ''Strangulation."
Is it of 111ore value to study a/J tbe ways of judo or is it
possible to get along witb a few very effective tricks?
A teacher never advocates learning a few effective tricks
where an art is concerned. Learn the principles, and you
will know the tricks.
Ho'1J.t does judo compare witb boxing tmd 'W'Testling?
. The princtples upon whi.ch judo is are entirely
dtfferent from those of boxmg and wrestling and for this
reason the arc: stands alone. If the student of judo keeps
l11troduction
'7
an open miod to the ways of judo he will learn more
than he expected; if he becomes roo preoccupied in weigh-
ing judo-values in relation to those of boxing or wrestling
he will learn little.
Many boxers and wrestlers and sports "e:.\'"Perrs" have
made statements to the effect that judo is "highly over-
rated'' as a means of offense and defense. After close
questionmg these men usually admit that they know very
little about judo, have mostly seen it demonstrated on the
motion-picture screen, and they usually end by asking why
isn't judo more popular if it's such a great thine;. Their
other system of discrediting judo is to ask the judo player
to demonstrate on them.
Judo, like boxing and wrestling, largely depends on in-
dividual ability, so much so that in some cases inexperi-
enced boxers' and wresders have defeated expert judo
players and in other cases very inexperienced judo players
have defeated champion boxers and champion wrestlers.
\\rhenever you ask a judo player to prove to you how
good judo tricks are against a boxers' blow or a wrestlers'
lock you are inviting danger. In the first place the judo
player should refrain from "showing and proving" unless
he is very capable. You can't poll your punches if judo
is to be effective. In most cases the judo player will try
to do this, and will fumble because he can't go all our. If
it were a brawl the judo player would be free ro usc any-
thing and everything, and since judo is .the best and most
effective method of fighung the results of
a free brawl are easy to estimate.
One boxing trainer said: "But if the other man were
ex'Perr in the use of his own weapon then the judo player
would be at a loss."
This is partly uue of any sport, but since the judo player
learns many forms of attack and defense, uses throwing,
grappling, strangling, kicking, and lllttiog, all of which
he ts able to employ in an emergency, then it becomes evi-
r8 MODERN JUDO
dent that the arguments of rhe skeptics lose much of their
force.
lt is said that judo as a sport is the most beautiful of
all hand-to-hand forms, but that as a means of attack and
defense jr is the most ferocious and dangerous to the
opponent.
What is the most itnportant tbing in judo? That is to
say, wbat does a judo player strirz.e for in tbe event of a
street emergency?
T he srudenr of judo learns how to use his strength
wisely. vVhen the need arises the judo player would prob-
ably induce his antagonist to lunge forward- and a man
so lunging is the easiest of all to throw. One or n1 o hard
throws, and rhe antagonist would realize the folly of
fighting.
Is it uecessar_y to be strong pbysicttll_y in order to prttc-
tice judo?
!\ knowledge of judo will teacJ1 the student to disringuish
benveen rhe right and wrong use of whatever strength he
has. ln boxing or wrestling practice you will notice that
contestants are ah.\ays evenly matched in rheir respective
weight classes; in judo practice yon usually see a light,
small fellow playing against someone rwice his weight ann
size.
How does 'self-defense'' judo work?
You Jearn a scientific way of freeing yourself. from locks,
holds, chokes, and other attacks. Almost all JUdo moves
begin as self-defense moves, but then reverse their action
and suddenly rake the offensive.
How does "sport" judo work?
You learn rhe various methods of keeping your balance
and disturbing rhe balance of your opponent, chen you
Introduction
Jearn how to break bis position entirely, and then how to
throw him to the mat. You also learn how to use Jocks,
holds, chokes. and how ro counter-attack 1n mat-fighting.
Yoo pool this knowledge and practice, and then von enter
into conducted sporting contests where you are allowed to
use your knowledge and try to defeat your partners.
T hrough this method you learn and masrer iudo; it is called
free-playing, bur js reached through kata
or form-practice. Both ways requiTe several years of in-
telligent practice before the student becomes really pro-
ficient.
TVby isn't judo more popular?
J udo -is not dving out in popu1ariry. Among irs followers
it is more popuiar than ever. As an exhibition sport it will
never reach the popularity of. say, boxing, ten-
rus, etc., because a definite knowledge of the art JS needed
if a spectator is to appreciate the efforts of the contestants.
For rhjs reason a judo exhibition is usually only popular
when it is designedly packed with spectacular throws and
tricl<s. Since there is a great deal more tO jud.o than
hoo, the art must proceed in irs orderly fashwn- as Jt diJ
for over two thousand years- slowly attracting -those who
are w-illing to benefit from its teachings. .
In considering the popularity of hand-to-!1and fightmg,
one can easily real.iz,e that boxing m1d wrestbng are of the
blood-and-thunder type. ln judo nothing _more
happens than a sort of dancing step, endmg m
a throw. Sometimes the contestantS connnue the bout on
the mat, and here they seem ro just get set \YJth a lock or
hold when again stop, get r? their and continue
from a standing position. The pmnt to tlus IS that a throw
which thev would execute wonlJ he very dangerous, some-
times deadly, against an ordinary person, the bold and
lock, if carried through, would etcher bnng about uncon-
sciousness, break a bone, or dislocate a joint. 1n a sporting
20 MODERN JuDO
bour, of course, these ways are pracciced only to the limit
with which the students are familiar.
It is not uncommou to bear police "cmne-along" tricks
mentioned. Is that a special form of judo, used by the
police?
"Come-along" tricks are mere ann holds and locks used
by police officers and orher law enforcing agents to render
and keep an antagonist helpless. The holds and locks will
cause intense pain when pressure is applied.
It is difficult ro achieve holds such as these \\hen d1e
antagonist suspects rhe arrack, and therefore the usual pro-
cedure is somehow ro stun him with a hit or a throw, and
then get the hold.
Whe1e did judo originate?
This question has never been satisfactorily settled. Jap-
anese history traces the art far back to rhc ancient Japanese
samurai warriors.
Omers trace the art to Germany, prove how the arcist
Durer portrayed certain cricks and throws in his drawings,
all of which resembled jlJdo. lt stands to reason then that
the Germans must have known some principles of what
the Japanese calL judo, and so it might be that, under a dif-
ferent name and form, the art did originate rhere.
Research has revealed that rhe high priests in Tibetan
lamaseries knew many of the so-cal1ed "secrets" of judo
long before the Japanese or the Gennans. It seems more
plausible then mar certain forms of judo originated in Tibet
also, and that this art somehow seeped into China, and was
later probably taken up by the Japanese.
Today rhe name of the late Professor Jigoro Kano is
mostly associ:ued with judo principles and with the sport.
It was Professor Kano who, over fifty years ago, founded
the main schooJ of the art, The Kodo-kwan, in Tokyo,
Introduction 11
Japan. He taught rhe art through a son of game, and was
successful in bringing judo back to popularity.
Professor Kano is a name to conjure with; be was and
still is so well liked rhat native reachers keep his picture on
the wall of their school, and rhe players. upon stepping
on the mats, bow tO Professor Kano in sincere respect, and
Low again when they leave me mar. Players never sit
under the wall where the picture hangs.
Is judo an offensive or a defensive metbod?
Judo is at once anything and everything. When the
opponent attacks, the judo player first defends, and thus
causes the offense to cake place automatically.
Suppose tbe opponent does not attack? Can you ne'I.Jer-
theless defeat hi'm, and by wbat meam?
Size, weight, and power mean nothing in judo becaus
you employ the efforts of the opponent to defeat him. tf
he is the first ro attack, the effort is there. If he does not
attack first then it is up ro the judo player to induce arrack
by attacking- and the instant me opponent defends himself
he will have created the effort which is necessary for his
defeat.
Speaking of size tmd weigbt-wh11t if the hem.1ier and
stronger man is also an e-cpert at judo playiug?
Bluntly, and naturally, the best man wins. A heavy man
usually moves slower than a lighter man, so rhat things are
usually equal.
One very often hears tbat a cert11in position is necessary
before the judo expert can throw his 111tl17. Does this mean
that no attack can take place u11til tbe opponent assumes
the right position?
It means that all throws are always executed against an
opponent's weah."ness. What is meanr, therefore, is that you
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Introduction
23
will not be able ro throw your man by a hip throw when
he is standing in a position for an ankle sweeping throw.
There are so many variations of so many identical throws
that an opponent is almost constantly open to one of them,
unless he is another judo expert.
Wbat are tbe "real secrets'
1
of judo?
There arc no secrets of any kind that those who are
studying and practicing judo do nor know abour. Any-
thing known to natives is known to white instmctors.
Is it true tbat uative and wbite teacbers teacb judo in
differem ways?
it is of interest and impo_rtance to remember that the ori-
ental temperament is better suited to drawn-out study, so
that the U S ~ a l Japanese form of teaching judo never fom1d
favor with Europeans and Americans (despite the fact that
it is the right way of reaching). The oriental rhinks nothing
of practicing a sing.le move for five months; the average
white student considers this a waste, imagining (wrongly)
himself capable of assimilating all principles and forms in
a few lessons.
This text is an attempt at unifying the entire art of judo
and each phase thereof, thus simplifying the entire study
and more or less fitting it, without too much abbreviation
and distortion, ro modern demands.
}Viii judo practice develop my body?
Certain sporr activities develop certain parts of the body,
so much so that one form will develop the forearm, or the
shoulders, or legs, etc. In considering a tennis player one
can readily see that his racguet am1 witt receive more exer-
cise in proportion than his neck and his other arm receive.
ln playing judo the very first observation on the stu-
dents' part will be that every part of him is being exer-
cised. r-lis mind, of course, in trying to out-think the
MO D E R N J U DO
orher player; his neck is exercised because the opponent
will forever be trying to choke him out; his shoulder'i, legs,
and anns through regular, even effort; his toes, as they at-
tempt to hold rhe opponent in a position or try to control
his body; his fingers, in retaining a hold on rhe opponent,
etc.
As for losing or gaining weighr: Your weight depends
on many factors, but any c'ercise ,,;u somewhat reduce a
fat mao and build up a thin man. The writer of the text
nom1ally weighs 114 lbs., yer whenever he enters on
a regular judo practice roudne his weight begins a steady
climb ami sropl> at 136 lbs. ~ ~ h e n e v e r he ceases his judo
prnctice his weight immediately drops w 124 lbs.
Is tbe sport of judo at all popular among women?
In Japan girls anJ women play at judo as Ameri can girls
and women play at badminmn and basketball. Some white
women have become quite expert in all phases of the art,
some even :maining the rank of teacher. T he ease and
smoothness re<.1uircd for good judo playing make ir an ideal
hand-to-hand sport for women.
Does a knov:ledge of judo 111l1ke it possible for one to break
any lnck and free himself from any hold?
T he experience of the indiv-idual judo player is what
decides this question.
1'ormall) any hold can be broken and escaped from.
Certain locks can alsn be broken. The usual locks employed
in judo arc very difficult to defend and break. 1f you allow
the attacker ro complete a certain lock you \vould not be
capable of breaking It, regardless of your e:\:perience. \ \ ' hen-
ever a hold or lock is begun against you. you must move in
such a way as to render it worthless.
Can I learn judo out of t1 book?
Any book on any art can present to you only an orderl y
11ztroduction
arrangement of theory and general practice. It is left to
you to do what you wanr in order to learn and master.
This book will rell you and show you every phase of
modern judo.
Through reading this and other books you will learn
about judo; by reading rhis book, and then intelligencly
applying yourself to a consistent practice of what you have
read, you will begin to leam to do judo.
So remember:
This book will teach you judo, bur you will not learn
by reading and trying it once. You know the strenuous
practice that boxers and wrestlers undergo; yet to become
a good judo ph1yer you need only hnlf their time and
practice and nor even one-tenth of their energy. But you
must practice consistently!
2
Breaking the Falls
JT IS. OF PRIMARY IMPORTANCE, throughout judo
playmg, to know how to control your body after being
thrown, and ro know how to break (lessen) the shock of
a rhmw (fall).
Ukemi is the Japanese word and means "to fall away."
The aim is to break rhe fall berore rhe body reaches the
mat or ground. so rhar no jar or shock is felt. Thus the
equivalent for
1
'ukemi" might be break-fa/ling.
T he need of learning how to break falls is obvious since
most rhrows 'vvould othenvise be difficult to practice. See
Figure r. At the same ome this knowledge w-ill stand you
in good service in everyday life.
There are rwo types of break-falls:
1-Rolling out, or <!Way, in which no anempt is made
to srop or break the momennun of your body.
z-Stoppiog or breaking the fall, in which you try t o
stop or break the momentum of your body.
There are variations in each group of break-falls. They all
have a reason and a purpose, so rhar you will do well to
practice and m;tster rhem all, from both the lefr and ricrhr
'd
Sl es.
R OLL-OUTS
Rolling forward. The poinr ro bear in mind is that a
roll-our must begin with momentum in c,rder to carry the
body over. A second poinr w remewber is that no
roll-our can take place unless the body 1s held to form a
Breaking the Fails 27
Figure I. Before you practice throws such as lois one, you must be 4 ble
lo control and break your falls. You learn fa lling by the simple and easy stages
shown in this chapter.
circular o;bape from irs point of start to its point of finish.
Your palm is the firsr point ro much rhe mat as yon begin
your roll, and the proper point at which the body will end
the roll can be either your elbow, hip, or knee.
You can roll-out forwnrd, b<lckward, or to the sides; you
can not roll-om 'tvben you are falling straight down.
T o begin your first practice of rhe forward roll-our you
ger dow.n close to the mat and try to shape your body
mro a ball, F1gure 2. Sit on your right heel, keeping your
left foot slighcl.y ahead an.d with the knee .
from you. Agrunst your left knee place the ms1de part of
your lef;: ar the s.ame time placing your left palm,
fingers pomnng to your nght toes. on the mat on the inside
of your left foot. Keep your chin pressed against your chest.
Your right arm is nor necessary, but may be placed slightly
Figure 4. At thi1 point
you must exert . slight
twist in your h1ps so
thai your body ends its
rotl-out on your right
hip.
Figure 2. Keep n cloae to
the mat a1 you can.
Figure 3. Tumble fonotrd,
hold your breath, and remem
ber not to kick of! with your
feet for you witt fatt hard.
Breaking the Fails
Figure 5. The end of the roll-out must find your body stilt in a ball-like shape;
from this position you can easily get up on your knee, end lhen stand up.
behind the left one. Keep in mind that your left arm is
about to support your entire weight.
T he path of the roll will be from your left palm to elbow
to left shoulder, Figures 3 and 4, ~ t which point the direc-
tion changes slightly so thar rhc roll reaches tts end at the
right hip and right knee, Ftgure ) . I mag-me the entire exer-
cise as a form of rumbling, bur wtth the body rolling to-
ward the right hip after it has p<tssed the shoulder point.
You should try ro control your body through the roll-out
so that ir keeps irs ball-like shape from the beginning ro the
end of the fall.
Do nor kick away with your right foot as you start the
roll because ir will send you over hard and high. Instead,
~ r l y take rhe right posirion and let your bodv roll through
It naturally.
ln the second stage of this roll-out or fall-away you may
begin from a h_igher starting position, bur then you should
be more cautious and should protect your head by keeping
Figure 6. Rolling out to the front trom t his position is simple if you take care
to keep your left arm firm ond protect your head by keeping your chin against
your chest.
Figure 7. In forward roll out from a lull standing position keep your legs stra ight,
a nd then pull them in at the lest insta nt so you can spring instantly to your feet.
tbe Falls
J I
firmly in the vour suppornng ;trm, rhc lefr arm in this case,
j>roper posicion. Figure 6 .
\frcr considerable pr;tcnce these he exe-
cuted f r m1 r ;t full st;mding position. keep head
prorccred by \our chin against your chest, and
keep in mind rhar your ' ' eighr is '>upponcd by your left arm.
r he acnon of rhc legs at this point differs somewh;n. fn
rhe first l\\ 'O \'OU ha,e ended the Joll on \'Olt r right
hip " irh yom right l,; tcc helping you ger to ymir feet.
rhis lasr exen:i!>t 1111 go Lhrough rhe entire roll "ah horh
leers kcj)t <;tratghr. Figure and then ar rhe Ltsr instam
C' w w
ou pull them borh rn so rhar ou can spnng insr,tnrl.\ ro
a '>tanding postrton.
Roll, fig to the .11deJ. I n roll ing ro rhe '>illcs the <;a me prin-
ciple of nrw11ennr m a11tl '>ll aping the body into ;I b:1 ll holds
true.
The head is hclJ dm' 11 , t hL back is cun cd. and the arms
and back. from one palm to rhe nther, form :1 circle, Fig-
Figure 8. Not e t hat the arms are so
hold that t hey form a circle wit h your
shoulder$ and bad.
Figure 9. Throughout t his roll-out lo
the rig ht side your arm' must maint a in
their original position.
Figure II. Note how the
arms 11re still forming a
circle.
Figure I 0. The moment your roll
has started, pull your legs toward
you and \eep them inside the
circ:le formed by your arms.
Breaking the Falls
33
Figure 12. The roll-out ends on left palm and left knee, the right foot coming
in to bring you to a standing position. Note that the arms are still circ:le-shaped.
ures 8 and 9 The Jm-.,er part of the body and the legs are
so held and controlled that rhe\ remain on the inside of this
circle. as it \\'ere, throughout the roU. figures 10 and 11.
At cimes the hips are used to a minor degree m assisting the
roll.
Jn a roll-out to the sides you always come up on the palm
and knee opposite those you c;rarced with, Figure n.
Ro[/ing back""ll:arti. Lay flat on your back and bring both
legs up so that your lmecs are above your shoulders, Figure
1 3 '\'ow place your right knee beside your right shoulder
on the mar. Figure 1+ Face your head ro the rig hr. Your
weight shouJd now automatically roll you over your back,
so that you will be able to place your left sole on the mat
and come co a kneeling position, Figures 1 5 and 16.
Keep your arms straight by your sides. with the palms to
Figure 13. To roll-out back
ward remember to hold your
breath again, and try to keep
your chin against your chest.
Figure 1-4. Bring your right
knee to the mat next to your
right shoulder, and utend
your left foot far to the rear.
Face your head to your right
side, or whichever side you are
rolling out to.
Figure 15. Swing over to this position. If you have not turned your
head to one side you will have difficulty getting over, and you might
even Injure your ned.
in getting up to this ~ n l i n g position your right toes
MODERN J U D O
Figure 17. Proper form for starting a backward roll-out from a sitting position.
the mat. 1'\e\'er attempt w roll-out backward with your head
held strnighr-you must face the side co which )'otl nre
rolling. . . . .
Practise tllis roll until vou can start from a s1tnng posmon,
Figure 17, and then f;om a low crouching position. ln
both of rhese always hold your breath as you go over on
your back.
STOP-FALLS
In the second rvpes of break-falling you must actually
stop the force of a throw so your body isn't jarred or in-
stop-falls are identical in their
the ordinary roll-outs, except for one mHJOr addmon: m
rolling tO the front, as you did previously, your free
arm \viii execute a whipping motion against the mat a
second before your body reaches the mat. The sam.e m
falling ro the sides. L1 the backward fall you may use either
both arms or one arm co stop the fall.
Breaking tbe F atls
37
Figure 18. In every fall you must control your body so you land on your side
and full on your back. Here the right leg Is held in a bent position and
the sole of the lelt toot is used lo break the fall. The right arm is used in a
fu lly extended draighl position. Note the head is held forward.
Figure 19. Here is Illustrated the opposite position for the legs: the right leg
is held straight and to the right. Every oiher position is the same in Figure
18. The momentum
1
of " throw will, of course, cause the right foot to slap
a gainst the mat, but that should occur only after the sole of the left foot has
broken the major momentum.
Foru1t1rd stop-jn/1. Begin with the same roll ;ls you prac-
ticed in forward roU-outs, but \\ hc11 your touch
t he mat, t8 and 9 you should start yonr
free right nnn around and should slam It hard agamst the
mat a split second before your b:1ck lands. You do not ger
rn your feet from rhis fall. '1"\oce :tlso that instead of bend-
ing your righr knee under your left leg you must do the
Figure 20. From a sitting position
tumble backward and at the point here
shown bring your arms up and whip them
against t he mat one split second before
your bock reaches the m<1t.
Figure 22. From a crouching position
you must hold your breath for a bad
ward slop-fall. Note how the arms, held
straight, are raised at the moment you
begin tumbling backward.
Figure 21. It is but a split second from
the preceding illustration to this one. The
fully utended oHms must slam
tho ma t in order to break the fa ll. It tS
not nece ssary t o roll oul from the break-
fall.
Figure 23. The some stop-faa begun
from a standing position.
Breaking tbe Fails
39
opposite: land. on the sole of your left foot ami keep your
right foot stra1ght and off the mat.
If you were thrmm by an O\er-head t hrow you would
sail over your opponent and would land hard on your Lack.
with no chance ro roll-our because in alJ probability he
would hang on ro yonr lapels. You woulu break <1 fall of
this type with t he forward !>top-fall described above, and
so do not injure yourself.
Backward stop-falls Assume the position used in the back-
ward roll-out, Figure 13, and as you go O\'er' on your back
bring your arms, held straight, Figure !O, up and then whip
suddenly against the mar at both sides of your thighs. The
full lengrh of your nrms should take this slam, nor only
rhe palms, Figure 2 r.
As you gain confidence you may increase rhcsc stop-falls
to a crouching, Figure 22, and then to a standing position,
Figure 23.
As later practice will show. most throws will you
on your side when you land, so that it may he advisable
ro consider breaking such a throw br using one ::trm only.
This exercise will call for controlling the body so you
always land on one or the orher side and nor ftar on your
back.
Get down close to the mar as you did for your very first
practice of the for\\'ard roll-our. Figure 2. Keep your head
down, chin against chest, and l<eep 6oth fully li mp and
relaxed. Reme711ber to hold vour breatb! ' V11ar follows
111ay appear a bit difficult. bur practice will prove it simple.
Spring into the air, your Jegs and hips co a slightly
h.igher leYcl rban the rest of your body. At this point your
nght arm should be also lifted, but still held ,erv relaxed.
As you begin w fall down toward the mar pull } ourself
into a b<lll, hold your breath, rense slighdy your
body. and now slam the mar hard with your righr arm.
This fall should end on your right side and righr arm,
Figure H. Exercise foiling to one side,
either your right or left. Remember thai
it is easier to stop a fall if your legs are
pulled in dose to your body. Hold your
breath.
Figure 15. An example of how not to
fall. At ;he point of contact with the
mat the hips must be higher than the
shoulder blode or at the aame level, but
nover os here illustrated.
Figure 2+ Your right hip should nor be in contact wirh
rhe mat tmril after rhc fall. lf you bold and slam your arm
coo far w the righL tr will nor have 'illfficienc breaking force
anJ you ''"ill be se,crcly jarred. If you keep your right arm
roo close there is rhc danger that you will f:tll on top of ir.
Keep your right ann lbout an arm's width away from
\Our side.
You will hurt yourself if you: 1. keep ) our lower and
upper body at same level ar laodmg; 2, do nor pull
yourself inro a ball as you begin falling down; and, 3 if
you fail to slam rhc mar on time or do so wirh insufficient
force, Figure 2 ) .
These described wavs are rbc and easiest to learn
and master in bre;tkmg your falls. _\s you pn1cricc iudo
and become proficient enough you may like to try some
harder falls and in different forrn. \Yhate\'cr \ 'Oll trv al-
wavs be careful. '
The Japanese use a full forward flip in rhe1r break-fall-
ing practice. They call it rhe cbugairi and It resembles a
forward somersault. except rhar you land on your arm.
Breaking the Falls
41
. In event thar you might be imeresred in practicing
1t, begm with an easy step. Place the right palm on rhe
mat before you, bur do not kneel down nor crouch ro do it.
Keep your legs wide ap.arr. Now look back between your
and at the .same t1mc place your Jefr arm nenr the
tnSJde of your nglu foot, Figure z6. Fall forward now
an.d keep your body falling toward your right: hip and
rh1gh, F 1gure 2 7.
figu re 26. 'The first step in the practice of the chugoiri or full forwa rd fl'
'P
2d7. You. mhust instantly begin to twi1t your body toward your right side
o a or your rog t arm the opportunity to break the fall.
Fi9ure 28. Firll step in fellin9 forwerd
flat.
Fi9ure 29. A you be9in fallin9 forward
lift your arms as shown.
l ncrcase rhi!-> practi<.:c !-10 that you cnn St:lrt it om of a

l n rhe final stage ) ou \\ill C\Crt for\\ ;trd and up\o..ard
momentum, so that vou will be able to de;tr the mat wtrh-
our any part of y<;ur :1rms or back rouching up the
poim where rhe right arn1 slams the mat ro break rhe Jar.
Breaking tbe Falls
43
Another form of falling A at to the front is practiced by
the Japanese. from a kneeling position but keep your
body smught, .Ftgurc 28 .. As you fall forward face your
head ro one stde and bnng both palms and forearms in
front of you, Figures 29 and 30. On your second rry you
should slt1m your arms against the mar. Figure 31, and this
practice will later enable you tc, start this break-fall from
a standing posicion, Figure 3 L Some judo experts are able
to jump into rhc air and land on their forearms wirhom in-
juring themselves.

f i9ure 31. The forearms slam the mat a split second before your body reaches
it, a nd at the same time you must t urn your head t o one side to prevent a ny
chence injury.
Fi9ure 32. The fl"t forward fall from a standing position.
3
Judo Principles, and the
Art of Throwing
B EfORJ.... AN OPPONE?\1 can be rhrown there must
be ?nove?nent. Through movement rhe opponent is led
mto an unbaltmced positiou. 1 hen he is thrown either by
some fonn of /e".;erage or by stoppi11g or r..veeping-awtTY
some pan of his body or limbs.
The above paragraph contains the whole secret of judo
throwing. This chapter will explain and simplify them.
The principle of movement is difficult to illustrate and
as difficult to describe; one can learn it and understand it
best afrer a few months of judo playing. It is the movement
char decides what throw you will use against your oppon-
ent. You must feel and sense movement before you will
be able rn distinguish or use it, therefore this factor might
best be left for later study in Chapter 5.
The principles of balanced and unbaltmced positions can
best be explained by ha\' ing you try them on your own body.
Lean forward and raise yourself up on your roes, Figure
33 Do you notice how you must seep forward with one
foot co regain your balance? lf your opponent was to in-
duce you or force you into your "lean forward" posicion
you would find yourself off-balance and easy co throw.
Another example: stand firmly, keeping your feet slightly
apart for better balance, and now lean backward and at the
53me time cry to turn at your waist. Keep turning, and
you will again find yourself in an unbalanced position,
Figure 34
Figure 34. Another form of
off-balance i$ to lean
nd lhen turn at the wai1t ,
Figuro 33. To besl undorstand
what is meant by off-balance raise
yourself up on your toes and then
forward. Anytime you can
your opponent inlo this posi
t1on, t hrough movement in feint-
ing for an opening, you will have
no difficulty in throwing him.
Figure 35. Breaking opponent's position by
pulling him toward you.
Figure 37. Forcing opponent toward his left
side, thus breaking his position and balance.
Figure 36. Breaking opponent's position by
pushing him backward.
Figure 38. Forcing opponent toward his right
side, thus brooking his position and balance.
Figure 39. By pulling toward you with your
right hand and pushing away with your left
hand you will twist your opponent off his bel
ance.
Rgura 41. Push against his right shoulder with
your lefi hand and pull toward you with your
rig ht, and you will break his balance to his left
rear cor"er.
Figure 40. Pushing away with your right hand
and pulling forward with your left, a$ shown,
will break his balance toward his front right
corner.
Figure 42. The last of the off-balance varia-
tions, when your right hand pushes against his
left shoulder and your left hand pulls his right
arm toward you, breaking his position and bal
ancA to his right rear corner.
MODERN JUDO
There arc four main forms of broken balance: fonvard,
backward, and to the left and right sides. Figures 35 36,
37 and 38. There are four variations of these forms: twist-
ing the opponent to the left front and right from, and twist-
ing him to the left rear and right rear. Figures 39 40, 41
and 42.
The major point in judo playing then is to break your
opponent's balance while movement is raking place. \Vhen-
ever you lift your opponent, ever so slighdy, or whenever
you stop him from advancing, or when you pull him or
push him or resist or give-way to his pulling or pushing-
you are, in some way and at some point, unbalancing him.
If, now, you can keep him in this unbalanced posicion until
you attack, or if you can perfonn your attack before this
posjtion is lost to you. then you have succeeded in your
purpose.
The following principle concerns itself with leverage, in
which you force your opponent's body in opposjte direc-
tions at the same instant of attack.
Stand erect, and imagine what would happen tO you if
your opponent were suddenly to kick your feet out from
under you and at the same time push you in the opposite
direction with his hand. Figure 43 This would be an ex-
treme form of applied leverage.
The principle of sweeping-away your body or limbs can
be illustrated if you will walk normally across the mat and
then, instead of placing your foot: down for the neA1: step,
carry your own foot away, far co the front. You will find
it impossible to remain on your other foor, Figure 44
The way you stand and the way you walk is an im-
portant part of judo. lf you persist in standing rigidly,
with your arms stiff and full of power, and if you walk
with reluctance while your opponent-partner is attempting
to practice with you, then you are impeding his and your
own progress. An inexperienced judo player will nor be
F'
d ogure 44. To realize and un-
erstand what is meant by
sweepingowoy or eorry-owoy
~ y the following: toke a step
ut don't allow your foot to
reach a support.
Figure 43. An edrem& form of
leverage: the lower part of your
opponent's body goes one way
and the upper part goes in the
11uc:t opposite direction.
MO DERN ]tJDO
so
able ro throw you if you so resist, bm at the same time you
will find ir impossible ro throw him.
Thus, there is need for a form of posture and for a form
of walkmg wrule playing judo.
Natural poswre. Stand as } ou normally do, body straight,
feet shghrly apart. and relax your whole body. This is im-
portant. Later, when you have become quire proficient
at judo, you "ill norice char you auromatically rend ro
rela.x completely. which is the cm-recr form. Figure 45.
h: should be pointed our at this stage thar an absolute
inability to relax will gready hamper you.
Defensive poswra. Sometimes to prevent your opponent
from throwing you, it will be necessary to break your own
natural posinon by sinking down ar your knees, Figure -+6.
E.:xpericnccd judo players perform from this defensive
position and arc qu1tc capable in fooling you into a wrong
move; the no\ice should, hnwe,er. mereh familarize him-
self with the posinun for furore reference.
As in the natural so in the defensive posrurc: always keep
your body relaxed and free for normal movements.
As a smdent yuu wiU be expected to practice che throws
and other tncks bY. form-practice. That is to say. you and
your opponent will know ar all times exactly which mmc
is w be used. For this reason you must agree at chc outset
co walk with nmcd steps in order to avoid confusion and
fumbling.
In throwing this i!> all the more important. \\' hen he
steps toward you, in rhe manner of an antagonist lunging at
you in a street encounter. you must make room for him by
backing away. Thu!> the player walking backward js ex-
pected w perform the thro\\ s.
When your opponent steps toward you with his lefr
foot, you must step back w1th your righr foot.
ln free-playmg, naturally. the steps and the timing are
F i g u ~ . 46. Defensive posture
for tudo pitying Keep re-
In ed and move easily and
readily with your opponent.
Figure 45. Nalurel posture for
normal judo ploying. Stand re-
lated,
MODERN JUDO
left to the indi\'idual's technique as they would be in actual
combat.
Costume. Judo was originally practiced as a self-defense and
it therefore greatly relied on the use of the opponent's gar-
menrs. Today too, rhe judo player relies on using the
lapels, sleeves, or belt of IUs opponent. This does not mean
that the judo player would be at a loss when encountering
a bare antagonist. for in such a case there are more violent
tricks that can be used.
In general practice a strong gam1ent is necessary, for
two reasons: first, w act as a substitute for street clothing
and so to further your self-defense experience, and second,
the grips afforded by the cm;mme will in general act as
a safeguard, for it will be possible to control the fall of
your opponent, to control the direction and force of your
throws, and in many ways prevent him from being jarred
hard in falling.
There are a wide variety of holds on the judo costume,
bur for the present you should accept the standard way,
Figure 47 \ Vith your left hand take hold of your opponent's
right lapel at about chest level, and with your right hand
rake hold of his left sleeve just above the elbow and to the
outside of his arm. To do this you must stand fairly close
to him, and retain the already-explained natural posture.
Any other position is incorrect for the type of exercises
you arc about to study.
When you take your starting hold, do nor grip with all
your power. Just rake the hold, lightly, for in judo, (re-
member?) you do not use brute force, Figure 48, but em-
ploy the weight and effort of your opponent.
(Further pointers on Posture, \VaJking, and Holding
will be presented in Chapter 5, ''lndividuaUy Developed
Technique.")
Side ankle-sweep. This is the simplest move in judo and
f ~ g u r 48. A powerful grip of
8
ype shown here Is useless
and a W4ste of effort.
F'
gure <47. Hold your opponent' s
sleeve end lapel lightly but firmly.
Figure SO. Sweep
his foot out forward.
Figure 49. l o ~ e the s?le
of your right toot behnd
his left heel and take hold
of his left sleeve at the el-
bow.
Judo Principles, and the Art of Throwing
55
Figure 51. Once your foot has swept his foot away you must pull hard on his
sleeve and so cause him to fa ll. In your first practice, aid your partner by
holding him up by his sleeve, and in such a way give him fhe chance to prac-
tice using his right arm to break his fall.
truly exemplifies the principles of sweeping away the op-
ponent's supporr.
You srand beside your opponent, say on his left side,
and wi th your right hand grip his left sleeve. Place your
own weight on your left foot, and place the sole of your
right foot against his left heel, Figure 49
The move rhen is to pull him backward and slighdy ro-
ward your side, at rhe same instant sweeping his foot out
from under him, Figures 50 and 51.
Front ankle-sweep. When practicing this throw try ro
assist your opponent after you have thrown him because
Fi ure 53. Just a' your op
; nent bring' his l ~ t ~ o t u.p
pt h' right you loft hm l>y
o os . 'th your
the la pel you gnp ""' t '
I f
hand at the same ome
e t ' ht le ogains+
placing your rog so h'
his left ankle and sweepong IS
legs away.
c
52
The movement i$
rogure 'd d ou bring
to your left '' e, an y I ft
. h f t up to your e
your rig t oo .
foot, and repeat 1t.
Figure 54. The end of the front ankle-sweep; note that your right hand should
pull upwards on his left sleeve at t he instant whon he is about to land on the
mal. He break$ his fall with his right arm.
the fall is quite hard until experience teaches him how to
best break it.
Stand in front of your opponent, and both take hold of
each other's lapel and sleeve as explained previously. Now
you step one step ro your lefr, Figwe p, and your opponent
steps to his right. Bring your right foot up beside your left
foot (your opponent's steps are reversed of course, his left
foot comes up to his right). You again execute the same
side step, but at rhe instanr \vhen your opponent begins w
bring his left foot up to his right foot you will lifr him
slightly with your left arm holding his right lapel.
The final move is to place your right sole against his left
ankle before his foot reaches a support. and so by lifring hi m
~ i t h your l eft arm and sweeping his left leg far to your left
Side, the throw is completed, Figures 53 and 54
Figure 511. Flip his leg
inward, to your left
side, pull hard against
his left sleeve and push
away against his right
shoulder.
figure 55. Movement
is toward you: you are
bac:king away. but in-
stead of completing
your step to the rear
you plac:e your right
sole against the left
ankle of your opponent.
F' ure 57. Continue to
him down and toward
p
011
Note that op-
y onent's rig ht arm os fully
and ready to
break the fall.
The word lifting does nor mean co lift your opponent off
his feet. This cannot be done. Bur the slight 'lifting
on your part wiJJ make body rhat much lighter and will
allow your foot to perform an easy sweep-away.
Straigbt ankle-flip. From rhc natural position your oppon-
ent should advance toward you. You sort of fall in step
and keep backing away from him.
Your main concern in this throw will be to usc the sole
of your right foot against h1s advancing left foot, and to
fljp his left foot toward your left, and his right, side, Fig-
ures 55 and 56. To accomplish this you must step farther
back with your left foot than you would normally. then
ti me your right foot to flip his ankle a split instant before
his foot reaches the support of rhe ground, and at the
same instant your righr hand (which 1s holding his left
sleeve) can help complete the throw by sharply snapping
downward, so forcing hjs body to fall beside your own
supporting foot, Figure 57
This throw regllires considerable practice before the
timing becomes smooth enough for the throw to be used
Figure 58. When oppo-
nent moves in e circle to-
ward his left side. drop to
your right et same
time keeping your left leg
ready to bloc\ his left
a nile.
Figure 59. He must still
have movement forward
when you his ankle,
and to throw him all you
need to do is push away
on his right shoulder and
pull downward your
right hand on hos left
sleeve. Aid your partner
in this throw, since the im
pact is quite hard.
Judo Principles, tmd the Art of Throwing 61
effectively. Once mastered, however. this and the side and
front ankle-sweeps become a very valuable set of attacks
against the lower pan of your opponent's legs.
Blocking the ankle. This throw is a hard-fall throw, mean-
ing that rhe opponent must exercise all his sl<ill in break-
falling to avoid receiving a hard jar after being thrown. In
executing this throw, then, try to work it slowly and try
ro hold your opponent up after you have thrown him.
The throw is done by blocking the opponent's support-
ing foot, in this exercise say his left foot. To fully block
it you musr half-rum your body to your right side and drop
to your right knee. Figure 58. At the same time bring
your left foot to the outside of his left ankle, Figure 59
Keep your left hand straight and force his body to fall
over your left leg, aiding this action by pulling his left
sleeve downward with your right hand.
If your opponent's entire weight is nat on his left foot
the throw can be stopped by him very easily by simply
stepping over your attacking foot, and forcing you down
against the mat. The movement, therefore, must definitely
be toward your right side, and you must attack his left
foot at an instant when he is bringing his right foot up for
support.
Falling and blocking the ankle. This throw is also a bard-
fall throw; practice carefully!
To accomplish this throw it will be necessary for you to
sink down on your right leg, and block your opponent's
right ankle with your left foot, Figure 6o.
Do not sink down too fast or too hard, and throughout
the practice try to control and assist your opponent in
falling, and particularly guard him from falling on his
shoulder tip. The opponent, the one taking the fall, should
your left sleeve and use that arm to support himself
m the fall, Figure 61.
. artner should release your steeve and should
figure bl. In praehce, your ~ h' If , f lling and your left hand should
place his hand on the mat _to ao omse on " '
aid him by holding up on hos lapel.
Judo Principles, and tbe Art of Tb1owing 63
Thus, you are walking backward, you rake :1 slightly
longer srep "\Vith your right foot and at rhe same rime begin
ro sink dovvn. At this instant your left leg, held perfecdy
srraighr, is broughr up and placed against rhe outside of the
opponent'<; right ankle. Keep these rwo feet in contact.
By this time you will be falling backward yourself, al-
most on your back, and rhe opponcnr's body will be above
you. Keep your :1nns straight out, holding him away from
you, Figure 61, as ir were, and so guide him rhat he falls
coward vour left side.
The one raking the fall will find it easier to roll-our after
being thrown rather than to attempt a fuU break-fall. This
of course depends on rhe conditions; if your thrower holds
on to your lapel you must break the fall. If he throws you
and releases his hold then you can attempt a roll-out.
Cross-hook. From rhe natural position, when walking
backward, you should step ro. your right side, Figure 62,
and as your opponent begins to place his left foot rowan.l
you, hook your own lefr foot behind his, Figure 63
\ iVirh your legs so hooked you should lift his leg slighrly
and carry it in the same direction your opponent intended
ir to go to. At the same time rum slighdy to your righr
side. Figure 64, and by a twisting movement of your anns-
puOing down on his sleeve and forcing his right shoulder
ro come around- you can easily thl'ow him down, Figure 65.
This is a simple throw and carries many variacions. Do
nor confuse rhe hooking action with a kicking one; when
you hook your leg in back of his then imagine that you
are pedalling a bicycle- coming from the bottom of the
Stroke to the lx1ck and np. But remember to attack when
your opponent's left side is slightly turned to you, and he
is abour to place his left foot down.
Side over-kuee d'rop. This throw is directed against an
?Pponenr when be assumes a defensive position as described
In the first parr of this chapter.
Figure 63. Bring your left
foot over and hook it be-
hind his left foot.
Figure 62. As your oppo-
nent steps forwa rd with his
left foot you must step
slightly to your right side.
. 6-4. Twist the up-
Fg part of his body with
per rms so t ht he turns,
his left hip toward
l h t'
011
and et same 1me
y e' p his left foot toward
sw
your rear.
Figure 65. Continue the
sweeping a nd the twisting
and he must fall.
Figure 67. To break his
position force your right
knee hard ag4inst his left
knee, 4nd twist his body
toward your right side.
Figure 66. Your opponent
may suddenly sink in hi
1
knees and assume a de.
fenaive position. In such
4
case you can easily block
his leg nearest you, in lhls
case his left leg.
Judo Principles, and the Art of Throwing
Fig ure 68. Continue pulling downw4rd on his left sl.,.ve with your right h4nd
and the throw will be compl&ted.
As your opponent sinks, in his knees to take a defensive
position he will have his left foot nearest to you. You
place the instep of your right foor next co his left ankle, and
you sink in your knees so that the inside of your right knee
rests against the outside of his left knee, Figure 66.
Yon can release his right collar with your left hand, but
your right hand, holding his left sleeve, must pull his body
sharply downward and to the rear, while your right knee
presses his left knee inward, Figures 67 and 68.
If your opponent can side-step your righr foot this throw
will not work; therefore the timing of the attack against
his foor and the pulling of his body downward must be
msranraneous.
Figure 69. Movement ;
1
circular, toward your left
side, and you place your
entire weight on your right
foot and watch when your
opponent steps ahud with
his right foot.
Figure 70. At the instant
when he attempts to move
his right foot forward you
must place the sole of your
left foot hard a ga inst the
outside of his right knee
and force his leg to re
main where it is.
Judo Principles, and the Art of Throwing 69
Knee-wheeling throw. This is a more complex throw
than those so far covered. You will not master it until
after any number of tries, but ii you practice it consistently
you will eventually learn it and find it to be one of the most
valuable throws in your rime of need.
The movement of your opponent must be in a circle.
Let us say from a natural posicion in from of you he begins
ro circle to your left side.
As he doe.c;; so you should lean slightly toward your right
and place all your weight on your right foot, Figure 69.
Now you must watch when he begins to move his right
foot forward, and just before it reaches the support of the
ground your left foot, held straight in the knee, must be
placed against rhe outside of his right knee, and once there
Figure 71. At the .same time pull downward hard with your left hand which
holds i ~ right lapel. Your opponent will roll over in this throw and will land
on his left side, therefore release your hold of his left sleeve when he begins
t o fe ll,
Figure 72. I Upper I The
first practice of t he t hog h-block-
ing-turn throw is to stand in front
of opponent, with your legs wider
apart than his.
Figure 73. (Upper Right )
at your waist in 4 n attempt to faee
him and take hold of his sleeve
a nd' la pel as shown here. Thus
have reached t he required
+ion for this t hrow, but your 1b
is to reach it while backing
fro m your opponent. See the lol
lowing illustrat ion.
Figure H. (Lower Left) In .,.,lk
ing backward, step behind
left foot with your right ""k
5lightly in at your knees.
Judo Principles
1
t.md _tbe Art of Tbrowing 71
it must press his foot back or at least hold it arrested in that
position, Figure 70.
The throw itself is done \\'ith the power of your anns
and wajst-you twi rl your opponent over as you block his
knee. Your lefr hand must lift and pull against his lapel,
your right hand should force his l)()dy forward, inro the
fall , Figure 7 1.
T bigb-blocki11g-tum. To reach the proper posmon for
rhis throw you should first start with a simple exercise :JS
foLi o\\'s: wrn away from your opponent so you will hl!ve
your back to him, and place your feet slightly wider apart
than his, so thar both your feet wi ll be on the outside
of his, Fignre 72. Bend your knees slightly and twist
around at your waist n, the lefr. and now mke hold of your
opponent's lapel and sleeve in the standard W}ly, Figure 73
T o throw him aU you need do is lean forward, and at
the same rime starr turning to\nrd yow- right side. You
will aurom:ltically pull him over your lcfr thigh and cause
hint ro fall in from of you.
To reach rh is thrcming position from the regular back-
ward walk should imagine your feet traveling along
rwo Jjnes running parallel ro each other; your left foot walks
along one and ynur right foot along the other. As you step
back with your ri!{ht foor you should, insrent.l of stepping
norma!Jy on rhc right-hand line, step far over so rhat your
right heel rests next en your left heel. At the same time you
should begin to sink in your knees and rurn in your waist",
Fig-ure 7+
T he act is to place your left foot in front of
your opponent in such a way that the hack of your left
thigh is in fronr :1nd ag-ainst his left rhigh. Keep this left
foot firmly on rhe mar, Figure 75
To complete rhe rhro,,, turn at yottr waist to your right
side, Figures 7(i and 77
Figure 75. {Upper Left) Step far
over with your left foot so as t o
block his left thigh when he is leon
ing forward.
Figure 76. {Upper Right) To throw
him all you need do i5 continue turn
ing toward your right side.
Figure 77. (Lower left) Once he
falls over your left leg, do not
out of your
main bent forward, as thiS w1ll gove.
your partner the opportunity t o
tice using his free right arm to break
his
Judo Principles, tmd the Art of Throwing 73
Straight thigh throw. You reach the proper position for
this throw with the same backward walk you used for the
thigh-blocking turn throw, thar is, you shift your feet in
such a way that you turn your back to your opponent.
At the instant when your opponent has placed his right
foot down you should have almost completed your turn.
Your left hand must pull his weight forward, and at the
same time your left foot should be in front of his left foot,
Figure 78.
Do not place your left foot dmvn on the mat as you did
in d1c last throw. Keep your balance on your right foot,
and once your thigh has made contact with the thigh of
your opponent you should sweep his legs out toward the
rear. Figure 79, and at the same time drop him with your
arms in front of you, Figure So.
Do not attack his thigh if his left foot has already passed
his right foot, or if it has found support by reaching the
mat before you could attack.
Figure 78. This t hrow
is similar to the preced-
ing one, except that
here your attacking leg
must be free of the
ground, and your left
1rm must pull forward
on your opponent's
lapel in order to place
his main weight on your
hip and thigh.
Figure 79. (Upper Left) The
instant when you feel him prop-
erly balanced on your thigh.
sweep backward with your left log
and d rop him in front of you.
Figure 80. (Upper Right) Note
the proper way of holding up
your partner's sleeve to lessen the
impact of the fell in your first
few practices.
Figure 8 t. (lower Left) As op
ponent advances toward you sink
at your knees and pull him to you.
Figure 82. Turn now slightly
to the right, and arrest his
left leg with your left leg as
shown.
Figure 83. In leaning back
to balance him on your
hip do not lean too far
and break your own posi-
tion.
MODERN JUDO
Spring-hip thro-w. Tn this throw you do not face away
from your opponent. As you take a step back with your
right foot, you must sink in that knee, and with your
left hand you muse pull your opponent toward you, Fig-
ure 8 1. As you begin to pull him toward you, turn very
slightly to the right, and bring your left foot, bent at the
knee, under your opponent's left thigh, Figure 82.
Now you must lean farther back, in order to load his
entire weight on your left hip. All through this your left
foot, in its bene position, must be preventing his left foot
from reaching the mat, Figure 83.
Once you have him loaded on your hip in the above
manner, the throw is accomplished by straightening your
right foot and so ljfting your opponent off the ground, and
at the same time your shoulders in such a way that
your opponent slides off your hip and you complete the
throw by dropping him to the mat, Figure 84.
Figure 84. To complete
the throw, turn to your
right, &treighten out
your supporting leg, end
drop him to the m1t.
After your opponent
has shown ability i
brea.ing his falls, yov
will no longer "drop"
him to rile mat but wiH
slam him down with aR
your power, and both
of you will be surprised
at first tht he is not
injured-if he falls cor
reetlyl
judo Principles. tmd the Art of Throwing
Figure 85. Since you .might have ,difficulty with this throw just described, it is
suggested you grrp opponents belt with your left hand, and so load him
onto your hp. All other movements go as described in Figures 82, 83 end 84.
\Vhcn this throw is executed in a free-playing contest
and force from the. springing right foot is
to throw a man shoulder high, at which poinr you
turn h1m over, and r:hen proceed to guide him down.
students will find this throw difficult at the start
for this. reason it is suggested that you go through
ennre exerc1se as was described, except to grab the belt of
your opponent jose before you rhrow him. Your left hand,
Ln . words, will release its hold on the lapel and will
gnp. hiS .belt at the back, thus prov1ding the needed power
to hft lum off the ground, Figure 8 5.
Figure 87. It is preferable
to blod both his thighs,
but lf he is leaning for
word hard enough, then
blocking one of his thighs
is sufficient, as his right
thigh will eventually reach
your attacking leg.
Figure 86. When your op-
ponent is circling
your right, cause hom to
lean forward.
judo Principles, and the Art of Throwing 79
Figure 88. Complete the throw by forcing his weight over your leg, at the same
time sweeping his legs backward.
Body-over-thigb roll. This thro"v is used most often when
your opponent circles ro your right side.
As he places his left foot ahead and on the mar, you must
cause him to lean forward. This can be done by
him away from you with your left band as it holds his Japel;
he will instinctively rend to force against this pushing,
Figure 86.
Tt will now be necessary to turn at right angles to him,
almost as you did in the straight thigh rhrow. Your right
foot must keep your balance and must support your entire
weight, and your left foot mm.'t be held straight out in
fronr of your opponent's thighs, Figure 87. Thus, keeping
your left foot lugh and at the same time forcing his body
ahead, you can complete the throw by a backward sweep of
your left leg, Figure 88.
So
MODERN JUDO
Figure 89. The over-head throw is the simplest of all, but ,nevertheless requires
definite practice along proper lines. When you sink to the mat keep your
a rms fairly straight, and only then bri ng your leg up into opponent's stomach
when he is bent over you.
Figure 90. Now pull down on opponent's sleeve and lapel, but keep your leg
bent until he is past the center line.
Judo Principles, and the Art of Throwing
You can easily aid this throw by straightening your sup-
por ting right foot at the instant when you start sweeping
away your opponent's legs.
Over-bead thrO"t.1J. Whenever your opponent pushes hard
against you, forcing you back, merely sit down and bring
one of your feet up so it will rest against his stomach, Fig-
ure 89.
Keep your :ums straight. As you begin rolling fanher
back due to the momentum, you must pull down with your
arms, Figure and press away with your attacking foot,
and so cause your opponent to fall over you and land on
his back, Figure 91.
T his is a very simple throw but ir can be dangerous if
you perform it carelessly. Your opponent should certainly
protect his head by placing one of his hands on the mat as
he starts to fall over you. You should refrain from kicking
away with your attacking foot as you might injure his
stomach.
F'
gure 91. K .. p your
bent. Here you see
" body g oing past the
center line; in other
he is no longer
p''tctly on top of you.
1
''
11
way with your
tg tnd throw him over.
Figure 92. l Upper left )
When opponent releases your
left sleeve, instantly turn t.o
the side where his left arm os
still holding your lapel.
Figure 93. l Upper Right )
Get your shoulder under his
houlder, and hold his eap
tured erm firmly to your ehest.
Figure 94. (Lower. Right)
Sinking your knees woll enable
you to bend forward as shown
here, and to load your op
ponent on your bad.
Judo Principles, tmd the Art of Throwing 83
Open-sboulder throw. Sometimes ir will happen that your
opponent releases your lapel or sleeve, and so affords you
the opportunity for a throw. H he were to release his hold
on yom left sleeve you wouJd be in a position to use the
open-shoulder throw.
The instant he releases vour left sJee\e vou should re-
lease your hold on his rigl1t lapel and bring your left arm
under i ~ lefr: arm, Figure 92. Now his left arm will, after
you turn your back to him, rest on top of your left shoulder,
Figure 9 3 .
By bending far to the front you can throw him over your
shoulder. To play safe, and to keep your nwn balance as-
sured throughout this throw, you should keep your left
foot ahead of your right foot, and keep your knees bent,
Figures 94 and 95
Figure 95. By bending farther forward, and then tipping your shoulders to the
left, will throw your opponent to the mat. KeeF your feet in the position illus-
trated, or else you will lose your balanee and fal with your opponent. When you
have developed skill in this throw you will perform it with sueh proper mo
mentum that your opponent will fall straight over you instead of diding ofi.
MODERN J U DO
Figure 9t>. Twist in front of your opponent until your back is to him and your
left forearm across his chest. Keep low ln your knees.
Figure 97. Start bending forward, at the ume time using your right arm to
keep his left ~ r pinned to your body.
judo Principles, and the Art of Throwing
Bs
Locked-shoulder tbrow. Here is a valuable variation of the
open-shoulder throw, the difference being that neither your
opponent nor you release your holds from your natural
starring posicion.
Flexible elbows will be needed before you will be able
ro twist your left f?rearm in front of your opponent's chest
and bring your left elbow under his left am1pir. ln other
words, your left hand does nor release the hold <>n his right
l:lpel, and yet it must rest across his chest, Figure 96.
At the same rime your right hand should pull his left
arm around so that the hold more or less forms a lock, Fig-
ure 97
The throw itself is then executed as the above one, by
bending far to the from, Figure 98.
Figure 98. He will fell straight over you in a circle, so you must watch his feR
and protect his head if necessary.
Figure 99. (Upper l eft)
Your opponent's right leg
must be to the front of
him when you begin turn-
ing away.
Figure 100. (Upper Right )
Place your left foot in front
and to the outside of his
left foot, and
turning your to h1m
and leaning forward.
Figure I 0 I. (lower Left)
Keep a firm grip on his left
sleeve, and fall on your
pa:m os far to the front al
you can reach.
Judo Principles, tmd tbe Art of Tbrowing 87
Arm-lock fal/iug tbrow. The position for this throw is rhe
same as for the thigh-blocking wrn rhrow: your left foot
mtlst be brought outside of your opponem's left foot.
To execute the throw, begin by releasing your hold on
his lapel, and bring your lcfr arm over his left arm as you
rum your back ro him, Figures 99 and 1 oo.
Your righr hand continues to hold rightly co his left
sleeve. YVirh your back wmcd completely ro your oppon-
ent, and with your left foot blocking his left foot, place
your lefr hand far ahead of VClll and faJI forward so as to
place your left palm on the niar in from of you. Figure TOr.
A r the same time tw:ist your body to\vard the lefr, and so
roll him off your hack. Figure r o;. Be careful not ro fall
IHlrd on rop of him.
Figure I 01. Your will roll off into a hard fall, and for this reason
you must hold him up by the sleeve you still hold in your right hand. Your
opponent must immediately use his right arm to this fall, and must
throw his own body so he lands on his own tight side.
Figure I 03. ( Upper Left I
This throw is usua lly done
out of a jump, but to pra c
tice it you wiU have t o do
it in easy stages, as fol-
lows.
Figure 104. {Upper Right )
Get your left foot behind
both legs of your o ppo
nent.
Figure I 05. (Lower Left I
Now your rig ht leg comes
up across bot h thighs of
your opponent , a nd y ~ r
right a rm begins t o pull hos
weight t oward your rear.
judo Principles, and the Art of Tbrowing 89
Scissor-jump throw. This is an offensive throw; practice
it with caution!
Retain a hold on your opponent's left sleeve and place
yourself ueside your opponent. Now bend down .and place
your left palm on the mar next to .your left foot, F tgure 1 OJ.
Remain on your right foot, and slide your lefr foot be-
hind your opponent's, Figure 104, and let this foot carry
your wetghr while you bring your righr foot up against his
rhighs, Figure 1 o 5.
The scissoring effect and the throw irscl f is produced by
pressing b<lckward wit;h your right foot and pressing forward
with your left foot, at the same time pulling hard against
his sleeve to rip him over hackward, Figure 106.
An expen judo player can begin this throw by acrually
jumping inro the abo,c-described posicion, but this should
not be attempted by a novice.
F i gur e 106. Y a 11 k
downward hard against
his sleeve, and at the
same time perform a
scissoring action with
your legs. To pra cHce
this thr ow, you must do
it as here described;
dter some experience
you end your partner
will be able to reach
this position from a
jump to one side, at the
same time slipping your
le9s where the y belong,
nd so slamming your
opponent to the met.
Figure 107. (Upper Left) A
useful thro\Of .,hen your op
ponent takes too .,;de a step
and at the same time lunges
at you.
figure 108. (Upper Right)
As he lunges forward,
deep to your knees and aod
his movement by pulling him
over your back with your right
rm.
Figure I 09. ( lo\Ofer left) AI
the same time slip your left
arm between his outspread
legs, and toke hold of his right
leg as ho.,n.
Judo Principles, aud tbe Art of Tbro'"t.L'ing 9 r
Figures 107, 108, 109 :md r 1 o shm\ another throw when
an opponent lunges at you off-balance.
This chapter has explained and Ulusrrated seventeen tricks
for throwing an opponent ro the ground, bur wirh these
tricks the Jesson in no \Yay ends. Each throw has a varinnt
-just bit of difference in the starring position can alter
the entire necessary rechnit]UC for rhe p<lrticular throw-
so rhar each throw can he cxecured from different positions
and can be done in different ways.
Yon are your reacher, :md you can acquire rhe
technique in but one Practice regularly!
As explained elsewhere in rhis book, the japanese meth-
od of reaching rhro\\ ing is to divide the " 'hole rhrO\ving
technique imo separate units, such as Throwing by the TTand,
Throwing by the \Vaisr, and Throwing by the Foot. Tn this
chapter, however, the throws nrc nor intended ro follow this
Figure II 0. Throw him to your right side by slightly raising yourself to your
knee, pulling do.,nward on his sleeve, ond thro.,ing him over you .,ith the aid
of your shoulders.
MODERN JUDO
pattern since such a pattern would create difficulties. By
studying these cricks of throwing in the way and manner
presented here you will easily learn to do them and in
short rime ''ill have developed enough skill to start free-
playing. \\'hen you reach rhis you will realize ,.,.hich trick<;
belong ro which category.
Thus, from the ininal moYemems given here you will
in rime develop rhem into movemenrs for other throws,
some standard ones and others of your own invention. The
factors to bear in mind, for v ~ r ~ and any throw, are:
mo"vement. through which you break your opponent's bal-
ance; and rhen leverage, or blocking, or sweeping-away to
complete the fall.
If you W<lnt to practice rhese tricks of throwing read
Chapter Fi,c, '' Individually Developed Technique." This
chapter wil l explain how the throws are employed in free-
playing. so rh<lt you will understand fully what you are
expected to do, how yo\J can de,elop a sense of timing, how
to countcr-anack, how to develop speed in attacking, and
other importam factors.
Or you may rake the following chapter. and learn what
to do to your opponent after you have thrown him.
4
Fundamentals of Mat
Fighting
J N COI\TOUCTED JUDO CONTESTS, mar-fighting has
been developed into a fine and intricate art. Mat-fight-
ing is of definite value as it will reach you what to do after
you have thrown your opponent tu the ground.
Unlike wrestling, if your back 1s on the mac you have
not losr the point; a point is lost in a judo contest only when
the loser signifies defeat by patting the mat, his opponent,
or himself, or by simply shouting "Stop!" In most in-
stances you will want to get your back ro the mar because
from such a posicion you can do more.
If you apply any regulation strangle hold against your
opponent ami so cause him to l>ecome unconscious ir will
count as a lost poinr against him. He should give the point
np as lost bv patting at the inseam he realizes he is unable to
free himself.
Thus rhis chapter is divided into: I folding an Opponent
Down, since a hold so held for 2 5 seconds counts as a
point; Strangling Holds and Locks; General Locks; and
Advice on Counter-attacking.
HoLornG AN OPPONENT DowN
T here are three main holds you can use agai nst an op-
ponent after you have succeeded in throwing him to t he
mat. lr is assumed his back is ro rhe mat. 1f you could
now hold him belple.o;s for 2' seconds, assumi nl! this to be
in a sporring contest. you will wi n t he poinr. T he follow-
9+
JllDO
ing three holds, therefore, a_re intended for sport-contests
tn clubs or schools reachmg 1uJo.
Sid.: nr111 bold. As illustrated in Figure 1 1 1, your oppon-
enr ,, ouiJ be Aar on his bnck at 'our right side, with your
feet pointing inrn rhe t_'pposite from his. .
Your righr forearm IS _un?er hiS head your han? lS
holding: his collar near I11S nghr shoulder. \our nghr
thigh is nenr hi.'i righr shoulder. 'tour opponent's nght :1rm
should resr across your righr rhigh .:;n you arc able to hoiJ
it bv gripping its sieevc ncar the elbow. . .
The point is rh:1r ) ou mm:r hep hts nght arm under
vour 0\1 n left arm. and once \ ou hare secured such a hold
you shnuld release rhc hold -\' nil have on Ius right elbow
fllld should move your grip farther up to rhe shoulder. :1s
illusrr:1 red.
Keep y\Jur own hcttd hr placing it down
between your opponents nght . m:d hts he.ad.
Though nerve pressu;e is tn thts hold_ Jl'l a
contest, it is still poss1ble for h1m ro press agamsr your chtn
Fundamentals of Mat Figbting
95
or forehead and so force you off, particularly if he possess
more than average strength.
T hroughout the hold your cmn body must be close to
his and must resr on your right thigh and buttock. Your
Jefr foot must be kept extended far to your left side and
coward the front, but not too far 'm rhc from for it wi ll
enable your opponcm ro roll you over. \ Vhenever your
opponent attempts ro force a rurn you muse follow around
in the turn by moving your feet imo the new position, but
your body and feet must nevertheless remain in their original

This hold can hest he hroken by your opponent by feint-
ing a fast turn ro his right side, and when you have starred
to advance your lefr foot for the new position he can come
to a sudden stop in his rurnjng marion, and so cause you ro
overshoot, as it were. Then he should roll vou over him
to his left side.
Rear two-rmn bold. Kneel behind your opponent when
he is flat on his b<lCk, and reach under both his arms at their
elbows, and grab his belt ar bmh sides, Figure r 1 2. Place
your head below his chest and rest your body heavily on
his (by mrning his head ro rhc side, your opponent will
be able ro breathe). If you place your head too far near
his stomach he will catch you in a head scissors hold.
Spread your legs wide enough to afford yourself a firm
grip on the ground. If he should begin ro mrn sideways,
nlrn with him. Do not ler him roll over.
T hough you are holding his belt. vour arms should ar the
same rime keep his arms pinned ro his sides.
Cross-body bold. Kneel at the lefr side of your op-
ponent when he is flat on his back, slide your right ann Lmder
his head, get a firm hold of his lapel near his right ear.
Your left arm must get between his legs and must come
un to take a hold of his jacket or Ius belt at his right hip,
Figure r13.
MODERN JUDO
Figure 112. Rear two-arm hold.
Figure 113. Crossbody hold.
Fundcrmentttls of Mat Fighting
97
Spread yonr feet to counteract his movements as already
explained, and protect your bead by keeping ir pressed
against his right hip. If your opponent attempts to roll over
you ca_n stop the roll by fon;:ing_ y ~ u head against the mat;
if the Intended roll was to lm lefr s1de then your outspread
legs will block the move. His left arm should be kept
pinned under your weight.
Jn this hold and in the rear two-arm hold the best
escape is ro roll our or arrempr a head scissors.
STRANGLING HoLDS AND LoCKs
The art of cboking. ln judo rhe strangulation holds and
locks have developed into an art.
A layman would ordinarily choke his antagonist with his
bare hands and would direct his struggle against the wind-
pipe; a judo expert utilizes the lapel of rhe shirt or coat tO
afford him the full power of leverage. Judo chokes can
render an opponent unconscious inside of four seconds-
this writer can testify to that.
The reason any judo choke is as effective is because all
the pressure is directed against rhe jugular veins and nor at
the windpipe. By so cutting off the blood supply to the
head and brain, the most powerfully built man will be-
come unconscious within a few seconds. Even in bare hand
choking rhe judo expert utilizes the power of leverage.
Judo chokes are painless. The receiver feels nothing ham-
pering his breathing, but he does realize something is wrong.
He becomes weak, and yet there is no pain. His eyes blur
and his hearing falters-and this, to any expert contestant,
is the sign to pat the opponent and lose the point. Now the
choke is released, and there are no after-effects. Had d1e
receiver been stubborn. or had he failed to recognize the
signs of approaching unconsciousness, in the next second he
would have passed out. Returning to consciousness is the
same as waking up from a sound sleep.
It is only natural rhat certain chokes, holds or Jocks, will
MODERN JUDO
Figure 114. Cross-arm choke. By crossing your arms and slipping them under
opponent's lapels you will be able to exert powerful leverage against his
jugular veins. Escape is next to impossible when your feet are . brought into
play as shown, and your opponent is forced backward while the choke is being
applied.
Figure 115. Grip opponent"s lapels far to the rear, as To accomplish
this, you will have to place your elbows on the mat near h1s shoulders.
Fundamentals of Mat Fighting 99
press against the windpipe. But the judo student should
know that it is next to impossible to escape certain locks,
and so it is expected from him to give up the point in a
sportsmanlike manner.
Cross-ar771 choke. Tf V<lU are on your back on the mat, and
your opponenr on col) of you, your legs around so
they arc free, and outside of him, Figure r 14.
Next cross your forearms and slide them along his lapels
till vour thumbs are under his ears. Take a firm hold and
pull" him to you. at the same rime forcing your elbows
outward.
All the pressure is directed against the jugular veins, and
to add more po1-\'er (only necessary when choking a very
experienced judo player) place your soles against his thighs
or hips and press his boJy away from you.
Outside jugular choke. ] n rhjs instance your opponent
should be under you, bur your legs must still be on the out-
!iidc of his body, as illustrated in Figure 1 r 5.
Figure I I b. As you straighten out, your arms, if held $tiff in the wrists, will
create leverage, and the choke will be completed. The moment your partner
gives the sign of submission by patting you or the mat, instantly release your
grip.
100 MODERN JUDO
Grip his lapel under his ears so that your lirrle fingers
are nex't to the mat and your thumbs toward you. As you
begin this hold you will find it necessary ro ger close to the
mat. so much so that you should originally begin by having
your elbows on the mat itself.
As you straighten out, bringing your elbows together,
the leverage will force yow knuckles into his jugular veins
and cur off the blood supply to the head. At the same
time your knuckles will probably be resting against some
nerve-center in the neck, and will create an incense pain,
Figure I I 6. Do not allow your wrists to give "ay or to
bend in any way.
Straight choke. 1 n rhis choke the force inevitably
center on the jugular veins and the windpipe at the same
time. Again you are atop your opponent, with your feet
outside him.
Your hold is similar co that of the Outside Jugular Choke,
except char your hands are nor at your oppnncnr's neck but
rather eight or ten inches an front of his chin. Keep your
right ann srraight at the elbow, Figure 1 1 7; pull toward
you with your left arm and cross over with the lapel held
in your right hand, forcing it into the mac next ro your
opponent's right car. Figure 1 r8.
Sometimes this choke \\ ill work against an opponent who
has succeeded in catching you with kidney-scissors, Figure
119.
Rear pull-cboke. It may happen sometimes lhat your
opponem will tarn his back ro you while he is in a sitting
position, thus leaving himself open for many possible attacks
from the rear.
\ Vith your right hand you must pass far across the front
of his chest and g-et a firm grip on the highest possible point
of his left lapel. Figure 120.
Fall bach. 'ward now, dragging him with you; this places
you on your back with your opponent resting on cop of
Fig.,. 118. Pull
IO.erd you woth
)'Oclr left arm
his right
and force
right arm
lhis left lapel)
"'oss his neck
into lhe mat
"at lo his right
.. ,,
Figure 117. For the
straight choke take
a hold of opponent's
lepels as shown;
keep your right arm
straight in elbow.
102 MODERN JUDO
you, his back to your stomach. Since you have his left
lapel, he might attempt to unwind from this choke by turn-
ing or rolling to his right side. He would not roll to his left
side because it would only increase the pressure.
To prevent hjm from turning or rolling to the right, you
must arrest his body, by placing your left leg over him and
holding it firmly against the mat, or even interlocking your
legs to prevent hjs escape.
The choke itself is done by pulling hard back on his lapel,
as it crosses his neck, thus cmting off windpipe and jugular
vein at rhe same rime. If you arc playing wirh an experi-
enced judo player you should also press his head forward
with your free left hand, fjgure r 2 '.
Retrr straigbt-cbo'ke. This choke is executed from the
same position where the rear pull-choke left off, that is, flat
on your back with your opponent on top of you. The only
difference is, say, that you failed ro grab his lapel in rime.
Figure 119. If opponent catches you with a solid kidney scissors, you might
break his lock by using a straight choke.
Figure 120. If your opponent turns his back to you while you are both down
on the mat, you should use your right hand to grab his left lapel.
Figure 121. Bring his lapel across his neck, and fall backward, dragging him
with you. By pulling hard toward you on his lapel, and pressing his head for
ward with your left hand, you can easily choke him.
Figure 122. Instead of gripping your lapel,. piece I YftUh fo:t
arm across his ned and take hold of your own r1ght wnd wtth your e an
Figure 123. Force backward with your forearm, ageind his neck, end
the pressure by forcing his heed forward with your right shoulder.
Fundmnentals of Mat Fighting 105
Place the sharp and bony parr of your lower righr fore-
arm on the front or side of your opponent's neck. With
your left hand rake hold of your own right wrist. Interlock
your legs around him, and press your forearm hard against
his neck.
If you are in the original kneeling posicion behind your
opponent, Figure 1 2 2, this choke will be doubly effective
if you force his head forward wirh your right shoulder
while you press your right forearm against his neck, Figure
12J.
Rear cboke-Jock. To make sure your opponent doesn't
escape from rhc above rear straight-choke, in fact to insure
against any escape whatsocYer, all you need do is place the
palm of your left hand against the back of your opponent's
head and your right forearm across the front of his neck.
Now lock your own am1s by placing your right palm on
the foreann of your left hand, Figure r 24.
Figure 124. The mod of all choke-locks is this . one. Executed r,roperly,
111 described in the text, the most experienced judo-player will be help ess. Go
easy on your pressure.
106 1\lODERN JUDO
This completes of the most dangerous and most effec-
ti,e choke-locks pos..-;able. . .
The only pressure required ro begm the choke IS to force
his head (orward with your left hand, and pull backward
with your right forearm.
Leg -neck-sd!.sor.r. In judo conrests legs often
for many purposes. One. of rhese as to unlaze them m
strangling the opponent. Fagure 125. .
'Yhenever \our opponenr c;1relessh allows lm l_1ead to
come within ci1e rnnge of your lmees, should ::J.v:u.l your-
self of the opportunity and should luck has head wtrhan your
knees so the insides of your I:necs, the large bones, reSt
uirecrlv against the jugular veans of your opp?nent. By
straighrening you: legs the prcssux:e wtll be mo::
than sufficteor ro cause htm ro gve up the pomt. Apply tl:
pressure "!.'eilly-dn not snap it on! .
Expert judo ers defend. theJr neck and
If the, are cauglu in thts lock they will often try to \\ tth-
. -
F' ure 125. The leg-neck seiuors ore useful in judo-ploying. Whenever you
them, do so el'\ily nd without snapping them on.
Ftmdnment11/s of .llt7t ft1gbting 107
srand the pres'\urc for a cnunr of ren, after which rhc lock
musr be rc:lea!ied wirhnur :lily score. Narurallv, onh' the
best dtTelopcJ necks C:lll ancmpr [f) withstand. pressure of
this n:Hure.
Gr.:-.. FM r LocKs
The fund;Jmentab of .t fc" locks \\ rll b.: presented here
"ithout benefit of rcchmque. As the serious JUdo srudenr
ad' ;lnccs he will dc:vclop his own rechnit1ue for certain tricks
and lllO\'es; he "ill learn which positrons are and which
bad. \\ hich expose him to which arracks and which prorccr
him (rom whit:h locks and tricks. Pr.tcttec is essenrial-
jusr reading abour it\\ ill nor de,elop an\ sorr t,f proficiency.
lock depends upon having :1 hard and solid base
against '' hich to press :1 nene-ccnrer of 'nur opponent's
arm or leg or body. so that '>Vhen we employ ltvcrage against
an ann or leg we do nothing more rh:m force rhe c;oliJ base
to cur inro or press hnrd ;Jg:tinst the nerve-renter. The solid
b2"ie 1s usual!,, some pan of vour O\\'n bodr. at times it is
the opponent's boJy ;md ar rimes the mar.
IVri.l-t lock. r n dliS lock \our first concern 1s somehow ro
arrest the opponenr\ elbc)\\'-for insrance, by forcing it
against your 0\\'11 chest \\hen you arc kneeling over your
opponent. as illusrrarcd, in Figure 1 6.
Then other hand musr twist rhe opponent's wrist
and press it towarJ the ins1Je of hts forearm.
Ynu must the pressure against the hack of his palm
in such a W:l\' ns rn force rhc hase of the fingers downward,
Figure r 2 7.
Arm lock No. 1. Tn alm>st e\ery arm lock vou are at-
tempting ro force your opponent's into the opposite
di rection. thus crearing intense run either in the wrisr, elbo"
or shoulder joint.
Imagine your npponcnr attempting ro choke you "nile
Figure 127. Your
opponent is help
less in this lock,
therefore pres-
sure should be
applied gently.
..
Figure 126. In
app!ying o wrist
lock first make
certoin your op-
ponent's elbow
is against your
body.
Fundamentals of Mat Figbting w9
his back is to the mat. Your legs are on the outside of his
body, Figure 128. As he extends his arms up at you, rake
hold of one of his sleeves, say the left sleeve, and swing
your right leg forward and place ir across his neck, Figures
r 29 and qo. All that is left for you to do is lay flat on your
back and hold his forearm tightly ro your chest, at the same
time raise your crotch so that you cause his elbow joint to
bend in the opposite direction, Figure T 3 T.
If your opponent succeeds in pulling his elbow away and
placing it against the mar he has escaped your lock.
This lock is the most effective of all full arm locks in judo-
playing.
Figura 128. With your legs on the outside of opponent's body, and with h;s
arms arlendad as shown, grip his left sleeve.
Figure 130. Place your
right foot ecrou your op
ponent's heed, end grip
his left wrist with your
own left wrist,
Figun 129. 8 r l n g
your right foot up to
your right hand.
Fundamentals of Mot Fighting Jll
Figure I 3 I. Fall backward flclt on your back, end then bring his captured left
arm to your chest. Do this slowly. Hold his captured arm in such a way that
his palm faces upward, and now lift your crotch slightly against the back of
his elbow.
Arm lock No. 2. It is definitely to your advantage if you
can use more than one trick against your opponent. S ~ y
you have begun with a side arm-hold, Figure 1 1 1, which
for some reason has failed, so you retain a hold of your
opponent's left lapel wirh your right hand in order ro keep
his body to the mar, and with your right leg, across which
rests his right arm, you apply an arm lock as illustrated
in Figures r 32 and 1 33.
Tbe pressure necessary to create pain is obtained by lift-
ing your knee upward but keeping your foot in contact
with the mar to pre\'ent your opponent from freeing his arm.
Neck and arm Jock. Take rhe position of the ordinary
leg neck scissors, Figure 12 5, but remain on your oppo-
Figure 133. Once your
leg heJ locked his arm,
place your foot against
the mat and lift your
knee slightly. The lev-
erage is d i r c t e d
against your opponent' s
shoulder, upper erm,
and elbow, and the
pain is intense. Never
snap this lock on, but
perform it easily.
Figure 132. With
your left hand
force your oppo-
nent's right arm t o
the mat. but keep
y o u r right leg
ready to hook into
his arm.
Fundamentals of Mat Fighti11g 113
nent's right side. (The trick, of course, can be executed
from either side.)
As he struggles to free his neck from between your legs,
get a hold on his left wrist and force his arm straight by
pulling his arm across your right thigh or hip, Figure 1 34
Thus, again you have secured two holds: the leg neck
scissors and an arm lock.
Leg lock. 'Vith your opponent sttung before you on
the mat, you might try a lock against his leg in the follow-
ing manner. \Vhile you are still sitting before him, take
whichever leg is nearest to you into the crook of your arm
-say his right leg was at your right side, and you have
locked it with your righr arm, as illustrated in Figure 1 35.
Complete the lock by placing the palm of your left hand
on the shin of the locked leg, and the palm of your right
hand on top of your left forearm. Press on his leg by lean-
Figure 13<4. Here scissors are being applied against your opponent's neck while
at the seme time his arm is caught in an arm lock.
Figure 135. The leg lock is illustrated here, but it is a weak lock in this form
since your opponent can easily free himself.
Figure 136. The opponent has but to raise himself to a sitting position end your
leg lock will become ineffective.
Figure 139. Crouch low or even sit on him, a nd you have a perfect leg lock.
Figure 140. Showing how the e lbow is jabbed into the thigh' s nerve center in
o rder to break a kidne y scissor lod .
Fundtrmentals of Mat Figbting r r7
ing backward and at the same time forcing the leg down-
ward with your left palm.
Escape is easy in this instance, since all the opponent has
to do 1s grab your lapels nnd pull himself W\vard you to
make the lock useless, Figure r 36.
Therefore a better way has been devic;ed, and this is to
secure the lock in a posicion, roll the opponent
over on his stomach, sit on top of him, and thus complete
the lock in a foolproof way, Figures r 37 1 38 and r 39
K1dney scissors and cross arm choke. Every wrestler is
farniliar with the kidne! scissors. In judo playing the or-
dinary kidney scissors arc easily broken by pressing against
the nene center inside the thighs with your elbows, Figure
140
The scissors themselves arc applied roo often in the wrong
way. so that at rimes students arc injured Kidney scissors
Fig ure 141. Kidney scissors applied with a powerful cross choke. Even if oppo-
nent suc:c:eeds in breaking kidney scissors by jabbing his elbow into your nerve
c:enter, it is doubtful if he will withstand the c:hoke all throug h this action.
MODERN JUDO
must be applied wjrh an even pressure .in judo playing. Don't
try ro usc rhe power of your legs and force your knees inro
the waist of your opponent. The proper way js to make
certain your knees arc slightly above his hips, and slightly
to the rear, and then simply straighten your legs our.
1\lany judo players have well developed torso muscles
and arc quire capable of withst:mding the ordinary kidney
scissors. In such a C;Ise you might attempt ro apply a cross-
;lrm choke hold, Figure r '4 at the same time, Figure 1.p.
lt rakes an exccption;llly powerful judo player to withstand
both these locks when they are applied at the same rime.
CouNTERATTACKING
Counter-attacking is truly a part of Individually Developed
Technique (the following chapter), but is presented here
as ir deals with an escape used in mat fighting.
There arc no ser rules for countering the moves of your
opponenr, except perhaps to say that all com1terattackiug
must /Je carried out witbom tbe opponent renlizi11g wbnt is
about to bappeu.
In counrerinj!. your nim is one of two: either you want
to free yonrself, or you want to free yourself and reverse
the t:lblcs by securing a trick agninst your opponent.
In freeing your'>cif from an opponent who is on top of
you simp! y remember ro push him or force him into rhe
direction where most of his weight is, or into the di-
rection \\here he has no support. In mar you
and your opponent will use your knees a great deal w
balance yoursches- thus the knees usually act as ::1 support,
so that so111erimcs you musr somehow break up this support,
Figure r.p. To do so use either your arms or your legs
ro arrest the knees of your opponent, and chen push him
off inro his weak direction, Figure r43
A good idea i!! to keep your legs coiled up so that your
knees arc always ncar your stomach; this habit will give
you more possrble moves.
Figure 142. In motfighting you must use legs for many In
illustration you see how an opponent's poSition is broken by preung aga1nst
his knee with your foot.
Figure 143. In this in,tance your right foot Is arresting your le!t
thigh, keeping it from goini?g a f'rmer and your .left leg IS h1s
entire weight over to your nght s1de. H1s stra1ght choke w1ll become lneffectove,
and you in turn will hove his orm In a lock.
Figure 1 +4. Before
your opponent ean
roll you over for
leg loek, grab his
right 1nkle with your
right hend and foree
him backward with
your right leg.
Fundamentals of 1!fat Fighting I 2 I
Always keep your body relaxed, and breathe deeply.
ln freeing yourself from an opponent and at the same
time securing a trick against him, maybe the following will
be of help:
If your opponent succeeds in getting a hold or a lock
against you, do not lose your head in the excitement but
rather try to think our the best defense possible and try
this defense, even if you fail at it.
\IV hen a straight choke, Figure r r 7, is applied against
you, for instance, roll to the weak side of the opponent
and at the same time get a hold on his straight arm. \Vhen
be is face down on the mar you wiJJ be in the same position,
except rhat you wiU now have a wrist lock against him.
Figure 146. Sometimes your opponent will kneel at your right side and will at-
tempt to ehoke you with his bare hands, Hook your right leg into his as shown
here; to do so you will have to move your right hip under the body of your
opponent.
12 2 MODERN JUDO
In this same choke-play, you might be on your left side
and with his right thigh near your right thigh, then hook
your right foot under his right ankle, and now force him
to roll off you to his left side by straightening your right
leg ourward. (See Chapter 7 on Self-defense.")
In some cases experienced judo players allow an oppo-
nent to secure a straight choke hold, and rhen counter it
by bringing one leg over his ann and placing the foot
under his chin, then force him over on his back and apply
a full arm lock. (See "Self-defense.")
If your opponent gets your leg into the crook of his arm
and stands up to apply a leg-lock, grab his leg or legs and
Figure 147. Now by straightening out your right leg, and turning your body
at the same time to the 'right side, you can easily roll your opponent off. This
trick can be perfected to the point where your opponent's momentum brings
you on top of him after you have rolled him off.
Fundamentals of Mttt Fighting 1 2 3
force his body over baclnvards. You may then come up on
top of him and try a choke or lock of some sort, Figures r 44
and 45 See Figures 146 and 147 for another counterattack
against choking.
for are many and
vaned.. It 1s difficult to present them 10 a text, though the
few gven here should prove of value and interest to the
The best way _to learn countering is to play at
JUdo and try your theones out. But always exercise good
judgment and caution.
5
Individually Developed
Technique
CHAPTER 3, on rhe "Art of Throwing," presented only
the mechanics of rhe parcicular throws. In other words,
if your opponent was to step om in a pre-arranged manner
you would be able ro throw him. As you recall, that was
form-practice.
The layman thinks that judo cannot be performed unless
the antagonist is in the proper position for a throw or trick,
and this is uue. What tbe layman does not know is that
judo has de'Ueloped a method of placing an antagonist into
'I:Jhate'Uer position is necessary for whate'Uer throw is in-
rended.
Thus the opposite of form-practice is free-playing, which
the call rrmdori. Before crying free-playing it is
extremely tmportanr for you to be in breakina
eve:y of fall, and i.t is also important that you be e.;_
mechamcs of every and rhrow so far
explarned m thts book. It becomes evident then, that it is
a easy to execme a throw against an opponent
IS allowmg you to do so, but that it is quire another
JOb to throw an opponent who is crying to throw you. If
your opponent were a layman he would undoubtedly walk
any you tried against him, but an experienced
JUd? .Player will try to counterattack. He will change his
posmon every time you place yourself into posicion for
a throw, he will push and pull you around with him, he will
resist your moves. There must be a way to throw him.
Individually De'Ueloped Technique 1 2 5
Through this son of free-playinu the student will master
the ways of judo. b
If you entertaining norion that one reading of this
chapter wtU advance you. 10 the art, you are off to a wrong
Every phase here discussed, every page, and the writer
wtll even go so as to .say every single paragraph, contains
more valuable information chan you will at first realize.
You are urged to srudy one phase of this chapter at one time,
and not to srudy another phase or part until you are certain
you understand what the last one was about.
It takes rime to learn.
<?o about pracrice as usual, and if you are already
trymg free-playmg it the best way you
know how, but-begm IOJCCtll1g thmgs you learn in the
phas.es that follow here. Study the phase on "Relaxation,"
for and try to employ its teachings with the
me<:hantcs of the different throws you use. You will nocice
an the newly learned phases in your
and keep addmg to them the next and the next.
Y_ O? will soo": find you ar: developing your own in-
divtdual for Judo playmg, and this technique will
you m good servtce whether you employ it for sport-
fightmg or whether you are some dav called upon to use
1
it
as a self-defense in an emergency. '
Teclmiqxte. Technique is an individual's way of using a
mastered knowledge. The way you stand, the way you
hold your opponent, the way you move, these are forms of
techmque.
At thi.s stage you have no technique to speak of. When
you begm to thmk out a way of off-balancing your oppo-
nent, and you begin to use this successfully, then
you are begmnmg to have a cechnjque.
Technique cannot be studied out of a textbook, and this
chapter does not claim to reach it. All that can be done
116 MODE R N J UDO
here is to explain and make certain points clear to you,
but after that you must work our your own individual way
of doing that same thing. It calls for time and intelligent
practice, bur. it will repay itself as what
will have will be your own. No marter how little thlS
may seem ar first, it will srill be your own, and owning even
a little which can be for a ce'rtaimy called your own is
better than a great deal of a haphazard mixture of all and
everything.
After you have gained some knowledge, and have begun
to apply ir, there are mainly three points to keep in mind:
1. Train yourself mentally in the ways of judo, and
whenever playing always guard your own body.
2. Resist the efforts of your opponent only to the degree
required co fool him into a weak position; never waste
energy in any other way.
3 At all times concentrate on the fundamental principles
of your art.
The importance of relaxing. T he importance of keeping
your body completely relaxe.d throughout judo playing,
and even throughout the day to general, cannot be stressed
strongly enough.
This does not mean to stand in from of your opponent
with utter indifference to his moves and attacks; it does
mean to stand at normal ease, every part of your body re-
laxed, so you can usc any part of your body without any
loss of time.
If you were to tense your muscles in your legs, and were
then to see a chance for a throw, you would naturall y have
to un-tensc one set of muscles to bring a different set
into play. You would Jose time, and would be called a slow
judo player. Through this slow-down something else would
happen....:.your opponent would most likely have moved
inro a new position, and yon would find yourself thrown
lndi'llidually Developed Technique 1 2 7
off-balance, all because you did not move fast enough when
you had your chance.
Thus the of relaxation, while playing judo, adds
to your techruque the element of speed. You have often
it said that speed and surprise play an important part
m JUdo. You now have the secret: speed is built up bv
keeping relaxed, and relaxation in rurn also gives the ele-
ment of surprise because it permits quick changes in mo-
mentum and timing.
.Right now, for instance, suppose you leave the rest of
ths chapter alone until you have learned to relax and have
given relaxation a chance ro work for you. Try relaxing for
a few weeks of practice, then go on wirh the book.
Abdominal breathing. Proper breathing is closely related
to a rcla.xed posture, but breathing as practiced in judo is
entirely different from the breathing which our coaches and
other physical directors advocate. Every teacher of judo
claims that abdominal brearhinf! is the whole secret of judo.
Notice that it is not merely called breathing, but abdominal
breathing.
Judo players have found it difficult to explain the real
advancages of abdominal breathing to the layman. 'Vhen
the layman is told to "breJthe into your stomach" he laughs
and thinks you are joking. The facts are, however, that
the layman himself breathes into his abdomen whenever
he is completely relaxed, but whenever he is asked to breathe
deeply he has the habit of his upper chest. T his
is wrong. When you sleep you are breathing into the lower
parts of your lungs, bur when you get up and do your
morning exercises you begin to take deep breaths (so you
think) into the upper parts of your lungs.
Simply keep in your mind that you normally breathe
into the lower part of your lungs, so that the real benefit
from breathing exercises should come when you force
more air into your lower lungs. Breathe into your lower
128 MODERN JUDO
lungs so that they actually expand your abdomen, bur in
doing so keep in mind chat every part of your body must
be relaxed.
It is not easy to breathe "into your stomach." This writer
was once called upon to give advice to a friend who was
suffering from a nervous disorder in his stomach, and the
advice was tO breathe into the abdomen and go <tbour the
daily life as usual. The frienJ went to a medical man that
same day and inguired, "Do you think, doctor. that breath-
ing into my stOmach will help?" The answer was, "It will
help tremendously-if you cau do it."
The way ro practice abdominal breathing is tO either sit
or stand completely relaxed. The shoulders must droop
and the head must also drop forward so chat the neck
muscles in particular are relaxed. The breathing itself is
started with ease and without straining; simply watch as
the stomach rises and falls with the normal breaths you
t<tke. You must be conscious of the air going past the upper
lungs and reaching the abdominal region.
. In time you will be able to force a greater amount of air
snto your lower lungs, and thereafter you can alternate
between breathing deeply into any part of your lungs.
In judo practice you will find that it is easier to throw
an opponent when he has exhaled; this will teach you ro
always breathe deeply, parcicularly when you are about
to execUte a throw.
The average athlete pulls in his abdomen as he expands his
chest to amazing widths. This practice is as detrimental
ro his health as were the old-fashioned corsets ro his grand-
mother when she was the belle of the town. The abdomen
is the sear of all emotional and physical reactions, so why
tighten and knot it up into a ball? Give it development,
even though you imagine it will disfigure you. No dis-
figurement can rake place through abdominal breathing in
the first place, because the exercise from judo playing will
at all times tend to keep the body evenly developed.
Individually Developed Teclmique 129
Praccice abdominal breaching while walking in the street.
Walk, as it were, from the power of your abdomen instead
of the muscles of your legs. Keep relaxed.
Tbe part tbat 'weight plays. The manner in which your
opponent has distributed his weight is the factor which
will decide the time and form of your attack.
As you recall from "Unbalanced Posicions" in Chapter J,
you.r. job is to place your opponent into a sort of leaning
posmon to the from or rear, or to the sides, or into a
combination of these positions. If your opponent, now,
leans hard to the right side, it is only natural that his
weight is distributed in that direction and chat your throw
is limited ro those throws which will continue to carry
the opponent's weight farther to the right, Figure 148.
The arrack is always carried into the direction in which
the opponent has no support.
flow to use strengtb. This element is closely related to
that of weight; if the arrack is cimed when the weight of
your opponent is in the proper posicion, then very little
or even no strength ar all is required ro execute the throw
or trick.
Your normal strength is all you need for successful judo
playing or self-defense; whenever you strain yourself in
attempting to throw your opponent, it is proof that you
are trying to accomplish that particular throw without the
proper use of basic principles. Either your opponent is
nor in the right position, or you are pulling instead of lifting,
and so on. Analyze your methods. Even if you were to
throw your opponent by sheer strength, it would be a badly
execured thro\\'-for \vhen you meet an opponent twice your
weight and strength you will be at a Joss.
Strength. pure and simple. has no place in judo playing.
Fix rhis rule hefore your mental eye: Never employ even
half' tbe strength that _your opponent is using. If you USc
I JO M 0 DE R N J u D 0
strength you do so for the sole purpose of fooling your
opponent into pulling or pushing against you, and then
you execute your attack!
True ways of judo cannot be learned through viol_ent
movements and the employment of sheer power agamst
the opponent, regardless whether the opponent is light or ex-
tremely heavy.
Balance for sttmd-up throwing. One of the most im-
portant rules at this stage is: Keep your own balance intact.
Figure 148. Your at-
tack must be executed
into the di rection into
which your opponent
h a s projected h i s
weight, in this case to
your right.
Individually Developed Technique 131
By applying the lessons of relaxation, abdominal
ing, the uses of weight and strength, it should be a fmly
easy job for you to guard against being unbalanced. Never-
theless, we will cover some points here and so help you
develop a sound judo playing technjque.
With your balance lose you cannot throw your opponent
- he can throw you. Remember that.
If you keep your feet together you are. keepi?g
your entire balance at one pomr or close to one pomt. Ftg-
ure 149. Your balance should be in lines; meanillg, if you
Figure 149. If your
opponent stands with
his feet close together
es shown, it is all to
your advantage, for in
such a position he is
week in every direction
end can easily be
thrown.
132 MODERN JUDO
place your feet apart your strong line, balance line, will
be running from one foot to the other, and your weak
lines will be to the front and rear. Your opponent will
find it difficult to move you to the sides but will have no
difficulty in pulling you forward or pushing you w the
rear. Thus by standing wirh your feet apart you can expect
your opponent to try a throw either forward or ro your
rear, and if you are quick you can counter his move and
throw him. To sum rhis up: you place yourself into a
posicion which your opponent knows will give him the
advantage for a hip throw, bur as he begins ro move in for
his throw you change your foot posicion in such a wa\T that
you have your balance intact again and he finds himself off-
balanced.
By first learning to keep your own balance, your next step
is to place your opponent into positions which you know
are weak and which you know will place him in an unbal-
anced position. For one thing, you must never cross your
feet when walking beside or in fronr of your opponent,
for this is the weakest of aU positions, Figure 1 50. (Some-
rimes experienced judo players will cross their feet and
perform other seemingly stupid moves, but rhey do it only
against inexperienced players to fool them into attacking.)
You and your opponent move your feet to new positions
to keep your balance inract; the insranr your opponent, or
you, move your feet you must have a weak line someplace.
The weak lines are in the direction where there is no sup-
port.
To throw your opponent, then, you must either wait
for him to move his weight into a weak posicion or else you
must fool him inro doing this (never force him with sheer
strength).
And remember ro keep your own balance intact.
Methods of u11balancing the opponent. The best way to
execute a throw against your opponent is to fool him into
Individually Developed Technique 1 3 3
an unbalanced posicion or else to let him place you mro
the right posicion for the throw.
If you desire to fool him into a weak line, you must
some. strength for the purpose, but you employ
thts strength m the reverse of your intention. That is to
say, if you your ro lunge at you, you can-
not accompltsh tt by pulling htm toward you because his
will be to resist. If you were to push hard
agamst htm, he will find it instinctive ro resist-and when
he resists he is merely leaning toward you. All you need
Figure ISO. If yo!Lr
opponent crosses his
feet while playing
free-style you should
have no difficulty in
throwing him.
' 34
MODERN J UDO
do then is suddenly to reverse your action and snap him to-
ward you, and thus you have induced him to -lunge at you.
This fooling can be called ruding-you aid your opponent
to defeat him. The strength you exert, and this fooling
action or the reversal of what seemed to be a desired action,
is what will place a carefuL opponent into a weak position
or will make him execute a wrong move.
You must know when and wby you are using strength to
fool your opponent. By fooling your opponent you are
givtng-in ro his efforts, then aiding him in his efforts, and
then suddenly you have switched tables on him and are
throwing him instead of letting him throw you.
Imagine your opponent pulling you around because you
weigh much less than he does. He can place you any place
he feels will serve his purpose. Bur he may fail to realize
that all through rhis you are not defending, you are appar-
ently roo relaxed, roo easy to move. Bur once he may push
or pull you ar the exact time when his foot posicion is just
right, and all you need do is exert perhaps a little lift against
his collar or sleeve, and you have thrown him. Tn this in-
stance you will have placed him off-balance by letting him
place you into the right position for the throw.
The method of fooling and the method of giving-in to
the efforts of the opponent are to be interwoven while play-
ing judo. They are more powerful when used together.
A suggestion. As was said, you should aim to keep a re-
laxed posture while playing judo, bur with this was also
meant that even rhe hold you rake on your opponent's sleeve
and lapel must appear co be loose and relaxed. The way ro
explain this best is to say that your opponent should nor be
able to feel your grip on his sleeve or his lapel, because your
a.rms will automatically telegraph to him what your inten-
tions are. \Vhen your opponent cannot feel your efforts,
then the slightest snap or push will startle him or confuse
him, and the advantage will all be yours.
Individually Developed Technique l J5
When, for instance, you allow your oppooem to pull and
push you around, and then suddenly you throw him- this
could not be done successfully if you were to stiffen your
arms our against his efforts because he would he able to feel
where your weight is and where your support is strongest.
Timing. Timing, as you must look upon it now, is that
fonn of timing which will place you into the right posicion
for a throw. It is not the kind of timing which you learned
in form-practice in order ro actually execute the throw.
This timing concerns itself with movement while playing
judo, and it concems itself with the timing employed to
block or sweep-away the opponent's supporting feet. In-
stead of calling it timing, a better name would perhaps be
change of timing.
To illustrate: You and your opponent are playing free-
style, and you are both intent on throwing each other. You
are using all the tricks of off-balancing and such, and yet
you cannot bring your opponent into a weak line. o ~ ~ o u
try to break up the tempo, you try to change your ttmmg
in the attacks. You attempt a knee-wheel throw three times,
and each time you fail purposely, and so when you attack
the fourth time your opponent will expect an attempt at a
knee-wheel but you will suddenly break up the timing and
will execute a cross-hook againsr him.
\Yhen you hreak the tempo you iaject the element of
surprise. and surprise is a legitimate parr of judo. Develop
it through a smoothly executed change of timing.
Changing riming and changing arrack can best be prac-
ticed in free-playing, and here you have the oppor:unity
to study the different methods your opponents use m at-
tacking, defending, and other rcchniques. There is some-
thing to learn even from the most inexperienced opponent.
General notes. Always keep in mind that your opponent
must be the one to defeat himself-he must do all the work,
and you must give way to his efforts.
MODERN JCDO
\Vhile standing and moving remember ro keep a relaxed
posture and to breathe deeply. In moving nor bob up
move smoothly, and know wh1ch foot your
wc1ght IS on.
In holding your opponent's lapel and sleeve do it so liahtlv
that he . will be unable to detect from whence the ptill or
push w11J come. If you hang on ro him you give him all
rhe advantage.
Have a ready, thought-our defense for the instant your
attack has been blocked or stopped. Keep youx weight on
both feet.
. A good \.\' a>' co defend yourself against a more experienced
J?do player IS ro pull or push him off his balance every
rune he attempts to attack.
In defense, as well as in attack, keep vour waist loose
in order ro move freelv.
Train your senses so that you will be able to feel the
exact moment your opponent has chosen for his attack.
Remember, at the same time, that a clever opponent will al-
ways try to fool you.
To mainrain your balance, square off every rime your
?pponent co move you; if you manage to keep directly
tn fro_nr of h11n you w1ll have a ready defense when you
need Jt.
Bring your hips into play. more than any other part of
your body. At the ume watch the hips of your
and_ force h1s shoulders at an angle to his hip-
hoe. Th1s acnon on your part will break his posture and
\viii help you execute. the throw. '
In adv<1ncing, keep your on your leading foot.
To opponent hghter in weight, as it were,
a good rnck 1s to lift. him at the lapel as he steps
our toward you. ThiS acrwn will make him liahter for
your. intended and will not give him rhe benefit of
a solid support tf he attempts a comiterartack.
If your opponent executes a throw but does so loosely
Individually Developed Teclmique 1
37
so that you are able ro ger away from .it, rather than
escaping completely it might prove better to sort-of slide
off and reverse the tables by throwing your opponent from
a half-lying posicion. Only the more advanced srudents
should attempt this, Figure 1 5 T.
In mat fighting you must keep in mind every part of
your body, where it is and what it is doing, and what it
could do. Do not retain a useless bold on the opponent's
sleeve or lapel unless you have a sound reason for doing
so. Do nor rerum choke for choke, nor hang on to an in-
effectively executed lock.
In mat fighting, also, learn how ro usc your thighs and
knees ro roll your opponent off or to keep him from you.
Figure 151. Experienced judo-players will often allow their opponent to throw
them to the mat, but they will fall sooner than the opponent Such
move will place an opponent off his b<1lance, and he can then be easoly thrown
from this seemingly position.
IJ8 MODERN JUDO
Allow your opponent ro apply most of the chokes
kidney-scissors against you for rhe purpose of tougherung
your muscles.
And always be careful!
Judo contests. The phases this far covered will enable
you to form a club or practice group, and conduct sporting
bouts for the purpose of developing individual technique.
For an enjoyable srudy of judo etiquette should be. main-
tained in the practice hall. Clowning and other foolishness
should not be tolerated since they are dangerous to yourself
and ro others.
Keep your judo outfit in clean and good condition; keep
your finger nails clean, and clip them short. not. h.ave
any hard and sharp objects. on your while trammg,
particularly do not wear nngs nor a wnst watch. Keep
off the mars if you }'Ire wearing street shoes.
Once you have begun to practice, respect the degree of
ability your opponent has obtained. Never practice an un-
familiar trick or throw without warning. Do not resist the
efforts of your opponent in form-practice; after a!J he is
merely practicing, and he cannot learn (and neither can
you) if the other fellow is constantly offering resistance.
Every contest begins and ends wirh a sincere handshake.
Throughout the contest each man musr guide his thrown
opponent-d1ar is tO say, do not merely throw your oppo-
nent and let go of him, but rather see ro it that he falls
properly. \Veight classes may be set up, although the ways
of JUdo do nor recognize rhem. Similarly, the contest
be divided into rounds: three rounds, each round lasnng
three minutes, with a one-minute rest period. On the other
hand, the conrest may better be divided into points: call
it a rhree-point or five-point bour, and thus whichever player
leads by nvo or three points, respectively, is the winner.
Any throw, executed from any position, which is suffi-
Individually Developed Technique 1
39
ciently hard in force and done in a near and clean manner,
is counted as a point.
Any one of the three standard holds (side arm hold; rear
rwo-ann hold; and cross body hold, Chapter 4) will count
as a point if the so-held player cannot free himself inside of
25 seconds.
A player will lose a point every time he pats in sign of
subm1ssion after the other player had secured a full Jock
against him and had applied sufficient pressure to create
pain. An experienced referee can easiJf recognize properly
executed locks, so that no player wil be allowed to risk
self-injury by refusing to give the sign of submission.
All punishing holds-pinching, kicking, jabbing with el-
bows or knees, hitting, rwisring fingers or toes, using bare
hands against opponent's face or throat, etc-are forbidden
in practice.
Players cannot assume the defensive role in a contest,
but must strive to cx.ecme a throw or trick in the shortest
possible time. Repeated offense in this respect will count
as a lost point.
Of course, clubs and groups may add to these suggested
rules or they may subtract from them, as they see fit, so
long as the ruies aim at judo playing with sti{ety.
6
Simple Attacks and
Nerve Centers
T HE TRICKS Tl IA T FOLLO\Y are simple and easy
to do, yet despite their simplicity can be coupled with
any phase of judo, be it in sporr fighting or in self-defense.
A II tricks and locks must be done without snapping and
jerking. These tricks and locks, as those used in mat fighting,
aim at concentrating pressure on the nerve centers, and a
snap or tug can easily cause serious injury.
At the present you are asked ro do things the way the
book says; experience will later teach you variations or how
to couple these tricks with od1er tricks. To experiment
is ro progress, but it stands to reason d1at experiments are
possible only when you know what you are doing.
In tbe first group of simple attacks you leam bow to use
tricks against your amagonist's neck or bead.
Rear cboke bold. You must somehow maneuver around
your opponent ~ you are behind him, but in doing this
your forearm, say your right forearm, must rest across his
neck by the rime you get behind him. Figures tp, r 53 and
'54 show a quick method for this trick, since you spin your
opponent around by grabbing his shoulders, and can then
easily get your forearm across his neck, Figures 1 52 and
1
53
To apply pressure, grip your own forearm with your
free hand and break your opponent's posture by forcing
your body hard against his and bending him over back-
Figure 152. {Right I Use plenty
of power to spin opponent
around: pull his right shoulder
toward you while you1 right arm
presses away against his I eft
shoulder, end es you do this be-
gin to move in behind him.
Figure 153. (lower left I Your
right arm will automatically come
to rest across his neck..
Figure 154. (lower Right I Now
your left hand should grip your
own right (wrist in order to exert
more pressure in the actual chok-
ing. end your entire body must
force your opponent to break his
position to the rear by bending
hlm backward.
Figure 155. Figure I 54
illustrates whet is called
an open choke hold. In
this illustration you see
a full lock, which, when
applied properly, is the
deadliest of all neck
locks, since it acts like
a garrote.
wards, and at the same ttme connnue to choke him,
Figure r54.
You are in a position to force your opponent all the way
down on the mat.
This trick is not worth much when attempted against
another experienced judo player.
Rear choke lock. This trick is a full lock instead of being
an open hold as the first one was. Once this lock is ap
plied, even against a highly experienced judo player, escape
is next to impossible.
Make certain you break your opponent's posture by
Simple Attacks and Nerve Centers '43
bending his body backwards; your right forearm rests
across his neck. The only difference now is ro place your
left palm behind his head and place your right palm on
your own left forearm, Figure '55 In this way the
lock is completed, and to exert pressure you only have to
press his head forward with your left arm and pull back-
wards with your right arm.
Front choke lock. In this trick assume that your opponent
is in a bent-over posicion, in front of you, Figure 156. As
he advances toward you, slide either forearm around his
neck so that his bead is locked in your crooked ann, Fig-
ure 1 57
Hold this position, and grip the wrist of your attacking
arm with your free hand. Force your forearm against his
Figure 156. Whenever opponent approaches in this position your aim should be
to force his head down (in this case using your right hand) and into the crook
of your arm.

J
Figure I 57. Bring your left forearm up under your opponent's chin, but only
when you feel that his head is completely under your armpit.
Figure 158. levero!lge is exerted against your opponent's neck by leaning your
body backward Md at the same time lifting upward with your left forearm,
which is under his ned. Note !opponent standing on his toes in attempt to
minimize the pain and choke.
Simple Attacks tmd Nerve Centers 1
45
Figure 159. Once you throw your o!lrm over your opponent's neck as hete illus-
trated, you must keep him in this bent position by placing all your weight on him.
neck by a lifting and at the same time lean vour
body backward so that your am1pit forces his head down-
ward, Figure 158.
Side bead bold. In this trick your opponent must also
be leaning forward, but he must be by your side. If he
is at your right side, then your right ann will lock his
head in what resembles a "sweat box," Figure 59 Your
forearm, particularly the sharp bone of your forearm, must
rest on the opponent's jugular vein, near his right ear. and
by gn1bbing your own wrist with your free Y.ou
will be able to apply the necessary pressure agamst lt, Ftg-
ure 160.
You must keep all your weight on your opponent in order
to keep him bent m the front.
Figure 161. Initial ap-
proach to the wrist-fore-
arm lock. At the same
time reach up with your
left hand end grab the
inside of his arm at the
elbow.
Figure 160. Grip your
right wrist with your
left hand end press the
bony edge of your fore.
arm into his jugular
vein near his right ur.
Simple Attacks md Nerve Centers 147
This trick is easy to break (most defenses will be given
in the next chapter), bur being useful at times, it was in-
cluded for practice.
In the second group of tricks you learn how to execute
simple attacks against the arm of your antagonist.
Wrist-forearm lock. As your opponent stands in front
of you, you should step toward him with your right foot
and place your right palm against the outside of his left
hand, Figure I 61, and at the same time your left hand
must take a firm hold on his left arm slightly above the
elbow.
Your right hand must force the opponent's wrist and
forearm behind his back, and your left hand must hold
his elbow rightly against your own body, preferably against
your right side, Figure 162.
Figure 162. Step in so that his elbow comes against your right side, end at the
sam time continue to lift his forearm behind his beck.
MODERN JUDO
At this point you crush the captured wrist, that is to say,
you exert pressure against its nerves by bending it over
toward the elbow, Figure 163.
This trick, as the other of tlus group, can be used as
"come along" tricks, sometimes called "police come-along
grips," by simply facing in the direction of your opponent
after you have secured the lock and then, by applying
pressure, forcing him to walk with you.
Elbow lock. You advance at your opponent in the same
manner as you did for the first lock, with the exception
that your right ann slips in between his left elbow and
waist, and then you twist your arm so that you are able to
Figure I 63. By holding hil l ~ o w tightly again.t your side, and by c:rulhing his
wrist inward al shown, you have a "c:ome along" lock whic:h will induc:e your
partner to walk with you.
Simple Attacks and Nerve Centers
149
Figure 164. Your main c:onc:ern here must be to get to this and to the next posi-
tion quickly and without wasted motion.
place irs palm slightly above the inside of his elbow, Figure
r 64. His left wrist will now rest against your right elbow;
the lock is completed by you turning and facing in the same
direction as he, and then forcing his elbow downward with
your hand, while lifting his forearm upward with your
elbow. Bend him forward, Figures 165 and t66.
ln some instances you may find it necessary to pull your
opponent's head back by gripping his hair, Figure 167.
The usual error in this lock is to place your right palm
too near the opponent's shoulder, in which case it is an
easy n1atter for him ro slip away from you, Figure t68.
1\lfake certain you have a fim1 foot support; keep your
right leg ahead of his left leg.
Figure I bS. His hand 1hould rut near your elbow. Bend low at your knees in
order to keep him bending forward.
Figure 1 bb. Note in lhil flnal dage that your right hand must be. right on his
elbow iolnt, or else the lock will fail, To incite Jain, life upward wtth your own
elbow, and force downward with your right han against his elbow.
Figure lb7. Note how
the right leg is kept in
front of your opponent,
thus insuring a broken
position for him and a
solid one for yourself.
To further brel!k his
position, grip his hair
and pull head bad.
Figure I b8. If you al
low your right hand to
slip too far up toward
liis shoulder, you will
flnd he will be able to
easily escape this lock.
152 MODERN JUDO
Forearm lock. Your right hand grabs the opponent's right
wrist and lifts his arm about waist-high, then you move
over to his right side and at the same time slip your left
forearm under his right elbow, at a point slightly higher
than the elbow, but in such a way that his right arm is
now completely captured in the crook of your left arm, Fig-
ure 169.
The sharp bone of your left forearm should now lift
upward against his arm. and your right arm should press
his forearm downward. and at the same rime twist it out-
ward, to the right.
To ensure a berrer hold your left hand may grip your own
lapel after the lock is secured.
Full arm lock. Begin rhis practice as you did the fore-
arm Jock, except that you must lift the opponent's arm
about chest high, and then swing your left shoulder in,
Figure 169. The ordinary foreorm lock, the success of which depends on twist-
ing hia forearm outword, to the right.
Figure 171. Make cer-
tein his armpit is over
your shoulder, and
keep your left arm
bent toward you to
lessen the chances of
y ~ u _opponent grab-
b'"g If.
Figure 170. lift his
arm and jump in for
y o u r position before
he has a chance to
stop you with his left
a rm.
MODERN JUDO
under his right armpit, Figures r 70 and 1 7 1. At. this point
your left arm must be bent so thar your fist ts at your
shoulder, and you must keep your elbow near the left
shoulder of your opponent.
To apply pressure, twist his right arm outward, to the
righr, with the grip you have on his wrist, and at the same
rime force the arm downward. Your left elbow must at
the same rime force your opponent's left shoulder back-
ward, Figure 172.
Wrist grip. This trick is done when you shake hands
with someone: cover the outside of his right hand with
your left palm and at the same rime raise his arm shoulder
high and snap it toward you so that his arm is straight at
the elbow, Figures 173 and I74 Now twist his arm outward,
ro your left side, and force his palm open by bending his
fingers downward.
Figure 172. As in the lod, twist hi$ arm outward, to the right, at
the 1ame time pulling it downward across your chest, while your left arm forces
hard bad against your opponent's body.
Figure 173. As you
shake hands with your
partner, cover his right
hand with the palm of
your left hand.
r.r:ick will. not work a very powerful man,
nor wtll It work tf you permrt your opponent ro bend his
elbow.
In the third group of tricks you lef11'11 how to throw your
antagonist easily t111d effectively; for these type of throws
you do not need any kind of previous training such as
balance, off-balancing, movement, etc. '
Jl!7rist throw. The best manner in which to get this hold
agarnst your opponent is to tum your right hand over in-
ward so that your palm faces outside, to your right side,
and then take hold of your opponent's left hand in such
a way that your fingers rest ar the base of his palm and
your thumb rests on the outside of his hand, Figure 1
7 5
.
Figure 174. Lift his
arm high, twisting it
outward, and now use
your right hand to bend
his finger down and to-
ward him.
Figure 175. Turn your
hand over so that your
palm faces to your right
and your thumb points
downward, and now take
hold of your opponent's
hand.
Simple Attacks and Nerve Centers
157
Figure 176. Bring your left hand up to join in the action. Your fingers must
be at the base of his palm, and your thumbs at the base of his fingers.
As you lift his arm toward you, your left hand JOms
in the action and takes the same hold-the fingers of your
left and right hand are at the base of his palm, and both
your thumbs are against the uppermost part of the outside
of his hand, Figure 176.
What you must now do is: pull toward you with your
fingers and press against his hand with your thumbs, Fig-
ure ' 77 You must do this, or else the throw will not work!
Bur actually to execute the throw, tO this action you must
add the following: pull his whole arm toward your right
side and downward, and at the same time twist his arm
to the outside, your right side, Figures 178 and 179
Figure 177. A close-up of the honds for this throw: fingers pull toword you,
thumbs press toword him.
Figure 178. And the entire orm is then twisted outword, to your right, at the
same time pulling toward you and downward.
Figure 179. Opponent must fall if you do this throw properly.
Figure 180. Sometimes opponent will sense your attack and will snap his hand
toward him into a fist.
Figure 182. Grip your op-
ponent's wrist with both
hands, and do not permit
his wrist to turn in yours
as you 'begin the next step
for the throw.
Figure 181. If he does
this, forc:e his foreerm
farther to the rear, and
at the same time throw
him to the mat by using
a c:ross-hool throw with
your left leg.
Simple Attacks and Nerve Ce11ters 161
If your opponent attempts ro escape this throw by step-
ping toward you, all you need to do is keep backing away
and continue the same action as described.
If your opponent attempts ro pull his arm to him, see Fig-
ures 1 So and 1 8 r.
Arm throw (straight). Using both your hands. get a
firm grip on either wrist of your opponent, Figure 182.
If you have grabbed his left arm then you will duck under
it from your right side, Fignre 183, and once you have
straightened our you wiU continue to twist his arm in such
a way that it throws him tO the mat.
If you permit his captured wrist to turn inside your grip
then this throw wi11 not work, as it will leave him standing.
You must hold his wrist firmly, and do not permit it to
Figure 183. Duck in under his arm from the outside, your right side, and then
simply continue to turn until you almost can face your opponent. Do not let his
wrid turn inside your hands! This action on your part will throw him off his feet.
162 MODERN JUDO
Figure 184. If your oppo"ent attempts to escape by bending his forearm, the"
step bock toward him from your positio" in Figure 183, a"d wedge your left
elbow against his left elbow, and keep your own body bending forward.
Figure 185. To force him down to the mat, all you need do is keep your elbow
in plce o"d force downwerd on his forearm with your two-handed grip.
Figure 186. In this illustration the grip
has been reversed to the opponent's right
erm, and you hove ducked in under the
wro"g side, the inside. Simply con-
tinue to move around toward the rear
of your oppo"ent.
turn around as you duck under
it and begin to twist it for the
throw.
As in the wrist throw, if
your opponent attempts to
escape this throw by stepping
toward you, you should back
away from him.
Arm throw (bent) . This is
a variation of the above
throw, used m case your
opponent attempts an escape
by bending his captured arm
at the elbow once you have
ducked under it and are ready
to throw him.
As he bends his arm at the
elbow, all you need do is step
in close to him instead of back-
ing away from him, and wedge
your own elbow against his el-
bow, and now force ills forearm down coward the mat while
your elbow presses hard upward against his elbow, Figures
1.84 and 185
In manv cases students fumble at these two tricks, and
instead of ducking to the outside of the captured arm they
do it in reverse: they duck to rhe inside, and find themselves
at a loss as to what to do from there. Figure 186 shows the
grip on opponent's right arm.
If this should happen to you, the only thing to do is to
follow through on it and get around and behind your op-
ponent, at the same time lift his captured forearm behind
his back to a point between his shoulder blades. Now you
Figure 187. Lift his fore-
arm up behind his shoulder,
and use your left hand to
reach over his left shoulder
and grab his right lapel,
and pull him backward, to
which you can add the
power of your knee agoinst
his back.
Figure 188. A sionple form
of scaling; pull him toward
you with your bottom arm
and press him away witl>
your top arm, and he must
fall over backward.
Simple Attacks and Nerve Centers r6s
Figure 189. Another form of scaling or leverage is to snap your opponent's
arm down where you can reach it from behind him.
will find it an easy matter to use one of your hands against
his neck and force your knee into his back, and so pull
him over backward to the ground, Figure 187.
Sc((ling. One of the simplest ways to force an opponent
over backwards is to press against his chest with one arm
and with the other arm reach under and past his crotch
where you can grab any part of his clothing and pull it
toward you, Figure 188.
Another way is to grab the opponent's wrist and snap
it downward between his legs, Figure r 89, at the same time
grabbing this san1e captured wrist with your other hand, but
doing so from behind him, Figure 190. Then you can
Fig u r e 191. Remain
behind him, releasi ng
your grip with your left
hand.
Figure 190. Take a wide
step Ito the back of him,
and with your right hand
reach his right wrist be.
tween his legs.
Simple Attacks and Nerve Centers 167
Figure 192. Tilt your opponent forward by lifting with your right arm end
forcing him to move forward.
release your first hand, and use the hand, which holds his
wrist from the rear, to tip his body forward, Figures 191
and 192.
These two cricks are the simplest forms of leverage.
Butting. Another form of leverage is to grab some low
part of your opponent, like the thighs or knees, and yank
them toward you, and at the same time butt your head
against his chest or stomach, and so throw him over on
his back, Figures 19 3 and 194.
Hip Tbrow. The point to remember in hip throwing- is
that you do not perform the throw with your arm-power
Fi9ure 19-4. In preeticin9
this throw you must hold
on to your partner's thi9hs
es he fells backward, to
lessen the impact. Your
partner should use bot h
hands for breakin9 the fell,
and should hold his chin to
his chest firmly.
Fi9ure 193. Still en.
other form of simple
levere9e is when the
bottom pert ofJour op.
ponent is pulle towerd
you end top pert of
him is butted with your
head. See Fi9ure 188
Fi9ure 195. The most valuable throw in all judo-playin9 is the hip-throw. Prac-
tice it in these easy and simple sta9es. Step in with your ri9ht foot in front of
your opponenfs ri9ht foot.
but must use your leg-power to lift your opponent off the
ground.
As you stand in front of him, step in, Figure 195 (practice
this slowly at first, but later do it speedily ) and turn your
back to him. If you have turned to your right side then
your left hand must reach behind him and get hold of his
belt, or simply place your hand on his waist, Figure 196.
As you execute this action you must keep both your knees
Figure 197. Plac:e your left
foot in front of his left foot,
and sink low in your knees, at
the same time use your left
hand from behind him to cause
him to lean forward.
Figure 196. Pivot on your
right foot, turning to your
right side, and at the same
time grab his left wrist with
your right hand and slide
your left hand between his
right elbow and right hip.
Simple Attacks and Nerve Centers
I 7 l
Figure 198. When you have him balanced on your left hip, straighten up in
your knees and bend forward. Continue to bend forward and pull opponent's
weight over your hip by using your right arm, and he will fall over you.
benr, so that your center of gravity will be lower than his;
your left hip, in other words, must protrude slightly farther
out to the left than his, and must be below his hip, Fig-
ure 197.
Press his waist to your body, and straighten your knees.
You will notice that you can lift the heaviest man off the
ground with this move, if you perform it properly, Figure
r98. To execure the throw, bend forward, and as you
do so grab his left arm or his left lapel and pull him over
your hip.
1]2
l\1 0 0 ERN J U 0 0
NER\ I CF"ll. Rs ""o THEIR UsE
This parr of the book W<lS prepared as a simple and
direct explan;ttion of the location of the nerve centers or
the spors on the human body.
Atemi, as rhe Japanese call it, is rhe art of inducing death
b) striking rhe ,it;tl points of rhc body, and kwappo or
kunt.\'11 is rhc art of hrinf!ing hack to life a person who. if
left alone, would be dead. LTsually of good char-
acter and long experience are raughr rhesc secrets by judo
reachers.
Paralyzing blows are struck wirh: edge of hand, knuckles,
fingers, elbow, ball of foot or roes, heel. and the knee.
The nenc centers can be anacked by hitting wirh the
knuckles or chopping do\\ nward "ith the edge of the hand.
The fingers and elbow arc used for jabbing actions, and
the fingers arc also used w pinch certain nerves. The ball
of the foor is used for kicking, the heel and the knee for
violent kicks.
You arc asked nor to misinterpret this part of the book.
The \\'rirer docs nor advocate rhese violent actions bur
he does claim rhar thev ha,e a place where rhc question
is a difference bet\\Cen life and dcarh in a serious emergency.
\Yhen ou use the rhumb or fingers against rhe arms or
legs of your opponent, ir is imperati\ e that you direct the
pressure inwards and to\\ arJs the bones.
Sometimes. where plain pressure is ineffecti\e. a sort of
strumming mmemcnr \\irh rhe knuckles might be used.
\\' hene,cr vou aLtack the ncr\'es of rhc neck and shoulders
should either <1 strumming mmemcnr or a pinch.
Some parrs, when struck with rhc edge of the hand, will
render parrial paral:'sis. .\long the body and face, in most
cases, simple rhumb or finger pressure will incite sufficient
pam.
Simple Attacks and Nerve Centers 173
In the following illustrations, Figures 199 ro 2 14, you will
find the location of the nerve centers and how to use them.
Be careful!
Figure 199. Nerve Centers. You c:an partially paralize a man by striking the in-
side of the his forearm about two inches above the wrist. You should use the
dge of your hand, as shown, and the movement must be a chopping one.
Figure 201. Below
the elbow and on
the forearm is the
second major nerve
c e n t e r; use the
knuckle to pren or
to hit.
Figure 200. Slight
ly above the el-
bow is a nerve
center on w h i c h
you can use huckle
pressure. Striki ng
this point would
be a more violent
application.
fi gure 202. About
two inches upward
from the inside of
the elbow bone is
very sensitive
nerve center. It
Is not located in
the elbow! Pres-
.ure or a hit will
,.ralize.
figure 203. At
times it will be-
come necessary to
use your heel to
kid against some
vital spot of your
antagonist ( c e r.
tain examples will
be found in Chap-
ter 7 on "Self-de-
fense" ). The illus-
tration shows how
the heel is used to
kid into a nerve
an inch in front of
the ankle, in a line
running toward the
toes.
Figure 205. Same as
Figure 204, with the ex
caption that the nerve
is about three inches
higher.
Figure 204. Three inches
above the 11nkle and to the
inside of the leg is a nerve
which must be pressed for.
ward, so as to bear against
the shin bone. This illus.
+ration shows the a pproxi.
mate location, but the kick
should be done when you
are wearing street shoes.
The kick m u s t n o t b
8
straight inward toward the
heel, but should rather be
sideways. Kick from your
left side toward your right
side.
Figure 206. AI
though not exactly
nerve c e n t e r.
the reg ion here il-
lustrated is sensi
tive to any unex-
pected jab or hit.
T h e r e f o r e, in a
scuffle where more
ir at stake than the
the game of judo,
your elbow can be
suddenly s we p t
backward into the
solar plexus.
Figure 207. If your
opponent's arm is
raised as shown,
you might have to
resort to pinching
a nerve c e n t e r
I o c a t e d in the
m u s c I e running
from the lower
part of his shoul-
der into the up
per p a d of his
arm. Some prac-
tice is needed be-
fore any of these
n e r v e s can be
located easily; the
easiest way to find
this one is to pinch
the lower part of
the muscle, at the
bottom of his arm-
pit.
Figure 209. Do not
confuse this point
with that shown in
Figure 208, as in
this case you must
press your thumb
inward end down
ward to c a u s e
pain. The nerve
center is in the
hollow behind the
collar bone, near
the base of the
neck.
Figure 208.
other pinch-po;'
is located on ,::
of the should;
muscle.
F 1
9
u r e 21 0. By
plac i ng your
thumbs on the neck
as illustrated, and
then directing the
pressure straight
to the rear (not
inward toward the
inside of the neck).
you will he able
to reach the nerves
located there. As
you press bad-
ward with y o u r
thumbs, you must
hook them into the
jugular veins and
cerry these back
also, or the pres-
sure will not be ef-
fective.
Figure 211. Run
your thumbs down
the back of op-
ponent's ears, and
w h e n you reach
the soFt spot at
the bottom of the
ears press y o u r
thumbs inward, and
then press upward.
The pressure is as
if you wanted to
penetrate to t h e
base of the brain.
This nerve center
will be discussed
later in Chapter 7
on "Self-defensa."
Figure 213. Your
opponent may ad
vance toward you
in a boxing pose,
at which time you
will also hove to
stand boxer
fashion.
Figure. 212. Plett
your tndex fi ng
ot the bose of

t

ponen s nose
1
,
1
preu 1 n w 1 td
straight in lowell
the ears, end th.,
ehonge the dire.
lion upward in
straight line h.'
way between t
eye and the tt-
l f a n o ppon
1

1
were to g rab Yc.
around the we'.
you eou ld


break his grip
forcing his hee!
boek w it h lh ,
1
pressure
the nerve.
Figure 214. Your aim should be to strike or ehop downward against his neck
es shown in this illustration. This is a favorite method used by judo experts,
since it leaves no marks and. if delivered with force, will knock the opponent out.
7
Science of Self-Defense
T HE MOVES TlJA T FOLLO\V are the same ones used
by law officers and government agents throughout the
world. These moves have proved to be simple and scientific,
enabling anyone to free himself from the grips and holds
of the most powerful person. It is a matter of simple logic
that you cannot be defeated if you have a perfect defense.
Some of the moves to be explained here aim at a direct
escape or break-away, while other moves reverse the tables
against your antagonist and end in a counterattack.
Regardless which move you are performing, you must
watch the moves of your opponent so that you can get
into the right posicion for your escape or defense-meaning,
you must maintain, by moving 'With your opponent, the
positions as illustrated and explained here, otherwise his
moves will place you off-balance or will in other ways
place you in a wrong posicion for the particular defense
you might have planned.
This first group of defenses will show you how to free
your hands from one and two-band grips.
Freeing one band from one hand. \Vhen your opponent
is standing in front of you, allow him to take hold of your
right wrist with his left hand, Figure 2 15.
Simply bring your "vrist to your right shoulder, ruming
your '''rist inward as you do this, Figures 216 and 217.
Freeing two hands from two hands. This move is the
Figure 215. Even a
,;mple defense sueh
,. this one might at
aom t im p r o v e
valuable. Plain tug-
9;ng a nd p u I I i n g
will never free your
arm from a powe rful
r ~ ~ a n f grip.
F i 9 u r e 2 16. Yet
simply snapping your
fist toward your shoul-
der will free your a rm.
Bend your arm at the
e lbow, and turn your
wrist inward, as shown.
Figure 218. Here
a n opponent h a s
gripped both your
wrists.
Figure 217. The en.
tire tric:lt is leverage
applied a g a i ns t
weakest part of op.
ponent's hand-hI s
thumb.
Figure 219. If you
now snap your wrists
downward, the ac
tion will fool him in
to trying to hold
your wrists up.
Figure 220. T a It a
advantage of his up-
w a r d pressure t o
bring both wrists up
toward your shoul-
ders, turning them
inward.
Figure 222. In this grip
note how your opponent
h a$ h e 1 d his forearms
tightly together, in order
to prevent you from plac-
Ing your free left hand in
between his forearms.
F i g u r e 221. Because
you are exerting lever.
age against his thumbs,
he will not be able to
retain his grip. This
entire action must be
executed with a snap.
Science of Self-Defense r 87
same as above, except that both your wrists are held by
your opponent, Figure 2 18.
Since he can employ more power when he is using both
his arms against your wrists, you should snap your wrists
downward first, Figure 2 19, then bring them toward your
shoulders. As you begin to bring them up to your shoulders,
turn them inward so that you work against his thumbs,
Figure 2 20. The thumbs, in a case like this, have very little
power and are entirely unable to withstand the force you
use in the defense, Figure 22 r.
Rolling away one band. Your opponent should grab your
right forearm with both his hands, and he should keep
both his forearms close together to make it difficult for
you to get your left hand in between his arms, Figure 222.
To free your wrist, reach over his arms with your left
hand and take hold of your own right fist. Keep your
el bows straight, Figure 223. Now with a movement of your
Figure 223. Grab your
own fist from the out
'i d e, a s illustrated.
e ~ e certain that you
~ p your arms straight
et their elbows.
Figure 224. Still keeping your arms straight, bring them up horizontally.
Figure 225. Oeu:ribe short circle coming from your right
1ida to your left side, end your opponents gr1p wall be broken.
Science of Self-Defense
waisr and shoulders describe a short rolling circle with your
fisrs, so they come up over the arms of your opponent and
then force a break-away by continuing the circle downward,
Figures 2 24 and 22 5.
Freeing one band fro-m two bands. This is the same hold
as above, except that in this case your opponent has left
his forearms wide apart, thus permitting you to get your
left hand into play, Figure 226.
Take hold of your right fist with your left hand by
sticking your left hand in between the forearms of your
opponent, and now snap your right arm downward (to
surprise him) and then yank upward to your right shoulder,
Figure 227.
Freeing a sleeve grip. When your opponent stands at
Figure 226. If your op-
ponent leaves his fore-
erms wide apart, you
Colli grip your own right
fiat with your left hand.
Figure 228. In this trick
your opponent has gripped
your right sleeve at the el-
bow.
Figure 227. To fool him, snap
your hands downward flrst,
then bring !them up to your
shoulder. If opponent would
have held your left wrist these
actions would have been re-
versed acc.ordingly, and you
would have brought your cap-
tured hand up to your left
shoulder.
Science of Self-Defense 19 r
your side he might take hold of your sleeve-he will usually
grab it at the elbow, Figure 2 28.
If he has taken hold of your right sleeve, bring your right
arm up forward and over to the rear in such a way that
you get your right arm behind him, Figure 229. If he has
retained his hold on your sleeve, you can force him over
backward by exening pressure against his now-captured
elbow by lifting against his elbow with your right forearm.
Against a panicularly heavy or strong man you might use
your left hand as an additional aid, Figure 2 30.
Tbis second group of moves will sbow you bow to free
yourself {ro111 choke-bolds wbe-n standi'ng or lying.
Figure 229. Bring your
arm up to the front of
you, t hen carry it back
ward as illustrated, and
place your right hand
at your opponent's left
elbow.
Figure 231. In the con
ventional choke your
opponent will use both
his hands against your
neck, and will force
y o u backward. H i '
arms will be straight.
Place your right hand
on top of his right
hand. Your left hand
should hold his right el-
bow.
Figure 230. You will have
sufficient leverage to throw
your opponent over back
ward.
F'gure 232. Place your
l ~ f t leg in front of his
I
9
, you execute a
~ r n to your right side.
Force his right arm down
with the power of your
left arm, ~ t reta!n a
grip on h1s nght wmt.
Figure 233. At this
point your body must
be bent to the front,
your legs wide apart
for proper support and
balance. Note that his
captured arm is held
firmly under your arm
pit.
Figure 235. Begin turning
to your side, relax
backward l w h i c h auto-
matically causes opponent
to lean hard to the front),
and start bringing your
leff foot around to place
in front of him.
Figure 234. If opponent
uses but one arm to choke
you, in this case his right
arm, again place your right
hand over his right hand
and place your right foot
to the rear.
Science of Self-Defense
195
Straight ar'ms, choke defense. Your opponent stands in
front of you and, keeping his arms straight at the elbows,
attempts to choke you. Your first act must be to resist his
pressure as he tries to force you backward. To resist hjs
pressure you must place one of your feet behind the other.
In this practice place your right foot to the rear.
(If your opponent has more power than you and suc-
ceeds in pushing you backward, then you mast retreat but
you must offer the same slight resistance and must
keep your feet in the position described above.)
Now bring your right hand over both rus forearms and
place your palm on top of rus right hand or wrist. Place
your left hand at his right elbow so your left thumb is to
your right side, Figure 2 3 T.
At tbjs point you relax all the resistance you have been
exerung agaillsr his efforts (but keep y:our foot position!)
and pivot sharply to the right, at the same time pressing
his left forearm down with your right forearm, and yet
retaining the original grip you have on his right hand or
wrist, Figure 2 3 2.
Your back will be to him. Simply rest all your weight
against his now-locked right arm. Keep your knees bent
for solid support, and keep your body bent to the front
from the waist up, Figure 233.
You will note at trus stage that his right arm will have
turned around in such a way that he has no power in his
wrist, and therefore you should find little difficulty in bend-
ing his wrist over at the same time, Figure 237. (To prac-
tice, the opponent should give the sign of submission when
the pain in the wrist becomes unbearable.)
Sometimes your opponent will use only one arm to choke
you, in which case this trick will work in the same manner,
See Figures 2 34, 2 35, 2 3 6 and z 3 7. The point to
is: whichever hand the opponent places on your neck, you
must cover his hand with the same hand. If he chokes you
Figure 237. At this stage
you c:an exec:ute a wrist-
loc:k against his right wrist
by bending it over, as
it was done in Figure 163.
Figure 236. Note the solid
rienc:e and how your op
ponent's c:eptured arm is
held firmly under your arm
pit.
Figure 238. An ex-
perienced ana i I a n t
will not attempt to
c:hoke you with
straight arms but will
bend them at the el
bows in order to have
more power to press
against your jugular
veins.
with his left hand then place your left hand over his for
the defense. Also, in thiS case, your left foot is kept to
the rear w resist his effons.
The pivoting action is around your rear foot or resisting
foot, and whichever foot is to the front must be lifted high
up as you tum around, otherwise it will not clear the op-
ponent's legs and you may fumble.
Bent arms, choke defense. Your opponent might attempt
to press against your jugular veins as he chokes you, bur
to accomplish this he must stand close to you and must
bend his arms for the necessary power, Figure 2 38.
Figure 240. Turn to
one side, rolling your
head under his fore
arm.
Figure 239. E.seape is
s i m p I a-take a step
ba d, and bow in front
of l.im.
Figure 241. As Y?U
straighten o u t h 1 s
choke will be en
tirely broken.
Science of Self-Defense
' 99
T he simplest and easiest escape is ro bend forward at
your waist as you rake a step backward, Figure 2 39
It is a rolling movement of your shoulders and hips, so
that your head emerges outside your opponent's forearms,
on either side, and the choke-hold will be broken when
you straighten up, Figures 2+0 and 241.
One good rule holds here: if you srep backward with
your right foot, then turn your waist to the right so that
your head comes up on the right hand side; if you step
backward wirh your left foot, then turn to the left and
have your head come free at the left hand side of the
oppon.cnt's arms.
Figure 243. Turn your body
to the right and place your
left leg in front of opponent's
legs, Keep your knees well
bent, and lean forward.
Figure 242. Instead of e sca p
ing your opponent in a bent-
arms choke, you might want
to throw him to the ground.
Grab his elbows and pull hard
down on his left sleeve and
push upward against his right
arm.
Figure 244. To
throw him, con
tinue t urning to
your right, and
pulling hi m with
you by t he g rip
you have on his
left sleeve.
Scie11ce of Self-Defense
201
Bent arms choke, throw. Assume the same posmon as
above, but, instead of ducking-away from the hold, you
wiU throw your opponent.
Place your right band on top of his left elbow and your
left hand under his right elbow. Your right hand should
grip his sleeve or whole arm, Figure 242.
Simply employ leverage, and press his right arm upward
and yank his left arm downward, and at the same time
reverse your foot position so that you execute a turn and
stand exactly in front of your opponent. Keep your
knees well bent to place your center of gravity below that
of your opponent, Figure 24 3.
To execute the throw itself, bend forward and twist your
body to the right, at the same time pulling hard against
his left sleeve, Figure 244 . .
Sometimes it is advisable to place your left hand behind
202 i\1 0 DE R N ] U D 0
your opponent's back (after you have broken his positi?n
rhroucrh the leverage action described above) and throw him
with ordinary hip-throw.
Rear choke defense. A choke from the rear. is seldom
effective. Your main concern is to break the gnp.
vVhen it is a matter of life and death, you should
one knee and bring the thigh up to your chest, then ktck
backward as hard as you can, Figures 245 and 246.
Anorhcr form of is done downward, aimed ar the
Figure 245. The quickest and most effective
defense against a choke applied from the
rear is a kick.
Figure 246. Make certain your .op.
ponent's hips are by grabb1ng hiS cloth1ng,
then kick straight back against his knees.
Sciroce of Self-Defense
203
opponent's nerve centers located near the ankle, Figure 247.
Or you might pry the grip open by gettino hold of the
opponent's li ttle fingers, and twisting them Figures
248 and 249.
TVhen cboked against wall. \Yhen your back is forced
against a _wall or corner of a room, you may employ cal-
culated kicks to break the grip. or you might form a wedge
with your forearms by clasping your hands together and
punching upward, Figures 250 and 251.
Rgure 247. Another form of kicking in this
defense is to stamp your heel downwerd and
i"to nerve-ce nter near his ankle. See also
Figure 203.
Figure 248. If you have powerful fingers you
might break this choke by hunching forward
and at the same time lifting your shoulders
high. Tl.is will make it possible for you to
squeeze your thumbs in under your oppon-
ent' s little fingers.
(Upper Left) ly
banding his little fingers oul
ward, the choke can be bro\u
Rgure 250. (Upper Right) I!
this choke your opponent h
pushed you against a wall, tftj
since you cannot retreat lftl
farther your defense can bt
1
wedge formed by your fort
arms.
Figure 251. (Lower Left J
upward with this wedge,

you can easily throw opponen
arms off your neck.
Fi
9
urt 252. An
othr form of de-
fense a gainst the
.. me choke is to
place your r i g h t
foreerrn across the
top of his left fore-
arm. and then
his right wrist. Gnp
your own right fist
with your left hand.
Prtu upward wit h
your left hand while
you force your right
elbow downward.
Sull another move is ro entwine your right forearm be-
tween those of your opponenr-your right forearm will
rest on top of his left forearm, and your right wrist will
be under his left forearm-and with the aid of your left
hand you can easily employ leverage tO the point where it
will break his grip, Figure z p.
Defense against rear forearm cboke. Assuming that your
opponent knows something about choking and succeeds in
getting his forearm, from behind you, on your neck and
then bends you over backward, Figure 153. This trick is
often called "mugging."
Figure 25-4. Move your body
far to the right while at the
same time your right hand
grabs his right sleeve at the
elbow. You may use your
left hand to leuen the effect
of the choke, but this is not
necessary since your neck
muscles should be able, by
this time, to withstand chokes
of this type.
Figure 253. This is the regular
rear forearm choke, often called
"mugging." Opponent breaks
your position to the rear by plac-
ing his hip hard into your back.
Figure 255. (Upper left) Place
your left foot to the rear of his
right foot. Break your posture
so that you are leaning to the
front.
Figure 256. (Upper Right) load
your opponent on your left hip,
end now you can throw him over
you to your .-ight side by tilting
your body and pulling downward
on his right sleeve,
Figure 257. (Lower Right) Or
you might drop to your right knee
and fall over to your right side,
taking him with you. In this throw
your opponent must take a hard
fall, therefore practice it care
fully.
208 MODERN JUDO
Again remember that you must use the same arm he is
using. \Vith your right hand you most reach up and get
a hold on his right sleeve near the elbow (if he is using
his right forearm to choke you), and step slightly to the
right with your right foot, Figure 2 54
Since your body is bent backwards, you must force your
hips to the right, and then twist them in such a way that
they come to the right side of the opponent. This, then,
will permit you to also bring your left foot around and
place ir behind his right foot, Figure 2 55.
Now force your weight to your right foot, but at the
same time carry the weight of your opponent with you.
This is done by holding tightly to his right sleeve and bend-
ing slightly to the front and then dropping the opponent
off your right shoulder, Figure 2 56.
Another form of escape: once you have placed your left
foot behind him, drop to your right knee and throw him
over your right shoulder, Figure 2 57.
Defense agttinst side head hold. Place yourself at the right
side of your opponent and allow him to hold your head
in the crook of his right arm, Figure 258.
Place your left hand behind him, and up on his right
shoulder. Place your right hand under his right thigh,
Figure 259.
Lift him off with your right arm, and pull his shoulder
backward and then downward with your left arm, and
you can throw him, Figure 260.
In case your opponent retains his hold even in this posi-
tion on the mat, you can free yourself by jabbing your
right knee into his right kidney side, Figure 26 r.
If you suspect that your antagonist will hang on to you
even after you have lifted him off the ground, then it is
entirely up to you to crash him down on his head, Figure 262.
Defense against front choke locks. Bend to the front
Figure 258. (Upper Left) Op-
pone nt loc:h your heed in this
grip and plac:es his weight on
you.
Figure 259. (Upper Right) Plac:e
your right hand under his right
thigh, and let your left hend
c:ome up from the rear and grab
his rig ht shoulder.
Figure 260. (Lower Right) Simple
leverage-pull him back with your
left hand while you lift his foot
off the ground with your right
hand-and your opponent will be
unable to st and up.
Figure 262. A very power
ful and heavy man will not
release his hold in this de
fense, and for this reason
lt is advisable to lift him
entirely off the ground and
then crash him down.
Figure 261. So,
1
.
even after you have
1
h;"'
your opponent to
0
1
"
ground, he will retain ,
hold on your neck
your knee into his kid

Figure 263. This is a dangerous lock
and y o ~ s ~ o u l guard against being
caught tn ot. However, an escape is
pouible if you act quickly. Your op
ponenl will lean slightly backward to
force his forearm up under your ned
but before he does this you must gat
your right foot behind his left foot, and
use your roght um to force him over
backward. In serious struggle use your
right fist to punch upward against his
chin or nose.
Figure 26-4. Be reedy to
use your left hand to pro
teet your head as your op
ponent falls over badward.
Once on the mat, you will
h a v e t o complete the
somersault onto your back,
and then twist away from
opponent's hold.
212 MODERN JUDO
and have your opponent place his right forearm under your
neck and hold your head at his right side.
To apply this choke, he must lift his forearm against your
neck, and the instant he does so you must hook your right
foot behind his right foot, and use your right hand to
either punch against his chin or nose, or else use it to
simply force him over backwards, over your own right foot,
Figure 263.
As he falls backward he will carry you with him, and
for this reason you must be prepared to use your left hand
to protect your head. As he falls backward, place your
left hand close to your left foot, Figure 264, and then let
your body roll over on your back. In most cases the hard
impact will cause your opponent to release his lock.
In this same lock, another escape is possible, but only if
your opponent has not started to lift his forearm against
your neck.
Grab his right forearm with your two hands. so your
palms face you. Pull downward with your hands to relieve
whatever pressure he might be exerting, Figure 265.
Now sit down close to your left heel, and at the same
time place your right shin against his right shin, and fall
backwards. As you begin to sit down and then fall back-
wards, force his right leg over with your right leg, Figure
266. Your opponent will be forced to protect his head
by placing his left hand oo the mat, and so rolling over
on his back.
Once you have thrown him, his attempted lock will have
been broken, bur you can still employ a wrist-crush against
his captured right arm.
These defenses are your only means of escape from
the front choke lock, bur it does nor mean that they are
foolproof. You may nor be able to escape a from choke
lock, and you will then denounce these two escape tricks.
fi9ure 265. As your oppon
nt moves in for this same
he
1
d I o c k previously de
scribed, use both your hands
91
inst his forurm to lessen
:h effect of the c:hoke, and
1
t the same time start pulling
downward against his arm.
Figure 266. Sit down next to
your left h .. l and hook your
right leg into his right leg , aJ
shown, then throw him over on
his bac:k, In practice, your op-
ponent must use his free left
hand to protect his head,
same as in Figure 2M.
Figure 267. With your back to the ground, and your opponent straddling you
and choking you, your first move must .be to lift your legs up and with your
thighs keep his body on top of the upper part of your own body.
Figure 268. Your hands must snap his hands off your .neck by pulling them off
lo the outsides, which will cause him to fall forward on his wrists.
Science of Self-De{eme
215
Remember thar you cannot escape from an experienced
judo player when he has caught you in this front choke lock.
'Vhat you must do is guard against ever being caught in
rhe lock.
Choke defeuses r-u;beu lyi11[{ 011 mnt. Your first practice
is the simplest of all chokes. You are on your back on the
mar, and your opponent straddles your body at a point near
,,our hips and then places his hands on the front of your
neck. In this form of choke his am1S are always straight
at the elbows.
Bring your legs up so that your thighs force his weight
toward your neck, F1gure 267. At the same time bring your
hands in from of your face, thumbs down, and sirlilply hook
your hands imo his wrists and snap his hold off to the
outsides. His hands, when off your neck, ~ w l l be resttng
on the mat near your shoulders, and his weight will now
rest on his arms, Figure z68.
The instant you have so freed your neck, bring your arms
down to his lower ribs and now stamp down with your
Figure 269. Quickly place your hands against his hips. and slam downward
with your legs to give your entire body the necessary power to lift itself off
the mal.
MODERN JUDO
feet ro give your body force to lift itself off the mat, and
so with the combined power of your arms pushing against
his body and the force of your legs throwing your body
against his weight, you can throw him off to either side,
Figures 269 and 2 70.
The main element in this trick lies in timing your legs
and arms as they throw him off. This must be done right
after you have snapped his hands off your neck.
A slight variation of this choke is where your opponent
moves farther up on your body, so that his legs have pinned
both your arms under them. His choke not be as
effective, bur he at least knows you cannot use your arms
to free yourself, Figure 2 71.
Bring both your legs up to his shoulders and hook your
heels into them, then force him over backwards, Figures
272 and 273.
This crick is usually followed by an ankle Jock.
Tf your opponent leans far to the front when you bring
your up for your defense, hir him in the back with
your thghs and throw him off over your head.
Figure 270. This aetion will enable you to throw your opponent off to either
side. The timing of the push with your arms and the projected force through
slamming your f .. t hard against the ground is the main factor in this defense.
Figure 271. In this your opponent hu pinned your arms down under his
legs; you can throw him off over your head by him ln the back with
your thighs.
Figure 272. Another method of escape
is to bring both your legs up and hook
your heels into his shoulders.
Figure 273. If the combat were serious
you could crash your heels into his face,
but in either case you could throw him
on his back and so br .. k the
218 MODERN JUDO
In this following choke you and your opponent will re-
verse your positions so that you are under him and have
your legs on the outside of his hips. If he chokes you, you
might be able to break the choke by coumering with a
kidney-scissor trick, Figure 2 74
If your opponent is a powerful man the kidney-scissors
will not have the effect necessary to cause him to Jet go
of your neck, and therefore you must employ an arm-locking
trick against him, as follows:
Grip his left wrist with your two hands, and at the same
time twist your waist to the left so your left thigh is flat
on the mar, Figure 2 7 5. This will leave your right leg
free, and you must bring it up over his shoulder and place
the front of your ankle in front of his neck, Figure 276.
Hold on to his left wrist, and now force his body over
on its back, but toward your right side. You can do this
by straightening your right leg out under his neck, which
will automatically force his body over.
The end of the move will be a full arm lock, Figure 2 77.
Figure 274. Here your opponent is attempting to choke you and you are using
kidney-scissors to induce him to release his choke. If your opponent is strongly
built around his mid-section he will not be hampered by your scissor l o c ~
Scie?tce of Self-Defense
219
Figure 275. Grab his left arm, and turn to your left side until you are able to
place your left thigh flat on the mat.
Figure 276. Now bring your right leg over his shoulder and hook your ankle
under his chirt or against the right side of his head. Now straighten your right
leg out, all the while holding on to his left arm with both your hartds. Your
opponent will fall backwards.
Figure 277. As he fo
on his back you .,
have a full armloe
e g a in s t his caplvrr
left arm.
Figure 278. In e choi
of this type turn
your open side,
from opponent, but
doing so piece yo-
right hand on his II'
elbow and force hi,
roll with you.
Scie'l'lce of Self-Defense 1 2 1
Figure 279. You might want to use bot h your hands for tho de fense, in which
case your left hand must be placed on top of his left ha nd.
In this choke your opponent will kneel to one side of
you and will then attempt to choke you. His arms will be
straight at their elbows, Figure 2 78.
If he kneels at your right side, take hold of his left wrist
and roll him coward your left side; if he kneels at your left
side, then take hold of his right wrist and roll him to
your right side.
Use both hands to grip his wrist, because after you have
rolled him off you, this grip should enable you to use a
wrist-crushing lock against him, Figures 279 and z8o.
In this practice your opponent will be Rat on his back
and will have applied a cross-choke against you. 1f he
222 MODERN JUDO
Figure 280. )u you complete the roll, you will be in a position to apply a
wrist-lock against his captured left wrist.
Figure 281. Study this trick closely, for if you ever allow yourself to be caught
in it you will be unconscious inside of four seconds. Note the power of the
cross-choke, and how your opponent's scissor lock prevents you from moving your
body away.
Figure 282. This trick is the same cross-choke applied against you, with the
difference that your legs are on the outside of your opponent's body. First you
feel his (oraarms, and you find his right forearm is on top, that is, his right
forearm is t he first one under your chin.
also has his legs on the outside of your body and has
locked them arotmd you in a kidney-scissors, then you will
not be able to break the choke, Figure 281.
If, however, your legs are to the outside, Figure 282, you
can easily escape this choke by unwinding from ir.
First you must note which of his forearms is uppermost,
that is-which is closer to your chin. If his right forearm
is closest, you must unwind by turning around on top
of him co your right side, Figures 283 and 284. If his left
forearm is uppermost then you must unwind to your left
side.
If you do not observe rllis simple rule and attempt to
unwind in the wrong direction the effect of this choke
will double and triple in force as you begin to turn around
your opponent, and you might lose consciousness before
you realize your mistake and try to correct it.
Defense from a side bead hold. If the head hold is any-
thing similar to the one illustrated here, where the op-
ponent's head is towardJour feet and the opponent's legs
toward your head, and you are either flat on your back
MODERN JUDO
Figure 283. Therefore you must unwind to your right side.
Figure 284. And you have escaped the c:rou-choke.
Figure 285. Here your opponent has caught you in a side head-hold.
or on your side, t he best defense is to hook your index
finger under his nose and force his head backward toward
your knees, Figures 285 and 286. At the same time bring
your legs up so you are able to apply a neck-scissor against
him, Figure 287. At the same time grab his left an11 and
force it downward across your right hip.
This tbird group of moves will show ym1 how to free
yourself from most body-boids.
Defe'nding front body bolds. You and your opponent
stand face to face, and he embraces you so that his arms
have pinned your anns. His hold must be a high one,
slightly below the shoulder tips. Figure 288.
You can easily escape this hold by sinking in your knees
and at t he same time forcing your arms outward.
\\' hen your am1s are free, you can place one hand be-
hind his waist and hold his body tightly to you, while
226 MODERN J UDO
Figure 28b. By placing your index finger under his noso and forcing his head
backward, you can apply a scissors a gainst his ned:.
Figure 287. Here your opponent's head is caught in a scissors, and his left arm
is painfully being forced a ga inst your right hip.
Figure 288. This body hold
is ca lled a high hold, be-
cause your opponent' s arms
ere about two inches be-
low your shoulder tips.
Figure 289. Escape by s i n ~ i n in
your knees and spreading your arms
out, and instantly bring one arm be-
hind him and press his waist tightly
to you. Reach up with the other
arm and hook your finger under his
nose.
Figure 290. Press his bod
toward you with your
hand, while you force k.'
head bac.kward with
aganst nenre und.,
h1s nose.
your other hand forces his head backward, which is done
by using your index finger under his nose. Figures 289 and
290
In the following hold the arms of the opponent are slightly
higher than your elbows, or right across your elbows.
Figure 291.
First, force your back and hips to the rear, against his
arms, and stiffen your own arms outward to the sides.
Figure 292. You will notice that this action will create
enough space between you and your opponent's body so
you can slide your arms, one at a rime, upward and out
Figure 291. This body hold is
called a low hold, because
your opponent's arms are at
your elbows or about an inch
a bove them.
Figure 292. Arch your back
to the rear and force your el
bows hard to the sides.
Figure 294. Next lean far to
your left side, and pull your right
arm free.
Figure 293. Suddenly relax all
your efforts, but at the same lime
lean far to your right side and
instantly pull your left arm out.
f igure 295. With both arms
free, and your opponent still
holding on, press your thumbs
l"to the soft spots under his
ers (Review chapter on
fller.-e-Centers.)
of the bold. Since yon cannot keep your arms stiff and
still slide them a,,ay from the grip. you must relax your
back and your arms toward your opponent at the instant
you begin to bring your anns, one at a time, upward.
In this escape, you will .find ir necessary to sway your
body from side to side as you uring up first one arm and
then the other; in bringing your right arm out you will lean
to the left rear side, and in bringing your left arm our you
will Jean ro the right rear side. Figures 293 and 294.
\Vhen you have freed your arms you will be able ro
jab both thumbs under the ears of your opponenr, against
hi s nerve-centers, and so cause him to break the remaining
hold, Figure 295.
Figure 297. Force his lower
body away from you by jab-
bing your fists Into his groin.
Figure 296. ThiJ body hold is
called a middle hold, because
your opponent's armJ are be-
tween the two points this far ex-
plained.
Figure 298. Without relaxing your pressure, turn in your waist until you are
a ble to place your left leg jn front of his left leg, then throw him by con
tinuing to turn toward your right side.
In this hold your opponent will embrace you between
the two points this far explained: not too close to the elbows
and yet not high enough for you to sink out of the hold,
Figure 296.
Place both your hands either on his thighs or double
your hands into fists and jab them into his groin. rhus forcing
the lower parr of his body away from you, Figure 297.
This "'ill then allow you to turn to rhe right side, and to
bring your left foor over to the ourside of his left foot.
To do this you will have to turn hard in your waist.
Once you have attained this position, you can throw your
opponent O\'er your left foot by continuing to tum farther
to the right, Figure 298.
Figure 300. Sink in you r
knees, taking a short step back-
ward with your left foot, and
at the same time grab his
right sleeve around t h e
shoulder.
Figure 299. This is the begin-
ning of the same high body
hold excapt that opponent
has grabbed you from behind.
Science of Self-Defense Z35
Figure 301. Bend forward, and you can throw him with a regular shoulder throw.
De{endi11g rear body holds. Your opponent will again
embrace you, this time from the rear, at a point slightly
below your shoulder tips, and you will again escape the
hold by sinking down in your knees and at the same time
forcing your arms outward, Figure Z99
As you execute this move, grab his right arm with your
two hands, take one step backward with your left foot,
and then perform a regular over-shoulder throw, Figures
300 and 301.
J
Figure 303. Arch your body
to the front, forcing your a rms
outward against hi s arms.
Figure 302. This is the low
hold from the rear.
Science of Self-Defense
237
Figure 304. As you relax toward hi s body, lean hard to the left and free your
right arm.
If your opponent e m r ~ c e s you very low, Figure 302,
across the elbows or just above them, you must arch your
body backward and must stiffen your arms and force
them outward to the sides, Figure 303 .
This action will c reate space between you and your
opponent's body, and if you then suddenly relax towards
hi m and at the same time bend forward and to the left,
you will be able ro free your right arm by pulling it up and
out of t he hold, Figure JO+ T hen you must quickly lean
Figure 306. With both
your a rms free you have
a choice of attacks, one
of which is t o reach
back with your right
arm and hook it around
his head.
Figure 305. I n th e
next move lean to your
right and pull your left
arm out.
Science of Self-Defense 2
39
Figure 307. Lean hard to the front and throw him over your right leg.
to your right side and pull your left arm free, Figure 305.
With your arms free, you can turn in your waist and
hook your right arm around your opponent's neck, and
throw him over your right leg, Figures 306 and 307.
Or, if you bend far to the front and reach with both
hands between your legs, you will be able to grab one
of his legs, Figure 308. To throw him, lift the leg upward,
toward your face, and at the same time rest your body-
weight downward against his thigh, Figure 309. After your
throw, you can turn around to the side of your opponent
and execute an ankle lock against him, Figures 3 ro and 31 r.
Figure 309. As you pull his
leg up in front of you, force
him down by sitting hard
on his thigh.
Figure 308. You can also
bend down a ~ d grab your
opponent's a n ~ i b
figure 310. You
c:n then apply
" ankle lock by
first lifting his leg
high.
Figure 311. Leave
your right foot
where it origin-
ally was, and take
1
step forward
with your left
foot in order to
t u r n sufficiently
end lock your
opponent' s ankle
IS shown. '
Figure 313. Your op
ponent will hold on to
you, and then you must
load him on your back
by bending hard to the
front.
Figure 312. This is 0
middle hold, from the
rear. Keep your arms
straight and e x t e n d
t h e m down between
your legs. leon for-
word.
Science of Self-Defense
2
43
Figure 314. To throw him off, force your arms ahead, as if you wanted to dive
into water, and at the same time tilt your shoulders to whichever side you want
to throw him.
In this following hold the arms of the opponent are
neither too low nor too high, and therefore neither of the
above two escapes can be used.
Sink in your knees and place one foot ahead of the
other, say your right foot about a step ahead of the left
foot. Grab your r ight wrist with your left hand and, keep-
ing your elbows straight, extend your arms downward,
Figure 312.
Now bend forward. Your opponent, if he retains his
hold, will be resting on your back, Figure 313 If he re-
leases his hold at this stage you will be free.
To throw him off force your straight arms far to the
front, and then tilt your shoulders to the right side. Your
opponent will slide off your back, Figure 3 14.
Figure 316. Here
is a form of " Nelson
Hold" being ap-
plied . Not e that
your o p p o n e n t's
fingers a r e inter-
locked.
Fig_ure 315.
dete nse can I
executed by a
10

bing his t high
loading him
0
1
t
b a c k. The: Yo.
must thr?w
to one sde so II
your opponent I ol
on his back and d
on top of hirn. )
Science of Self-Defense 2
45
Figure 317. Your only method of defense is to pry open one of his fingers.
This trick is sometimes executed in the following manner :
reach down and grab the outsides of your opponent's thighs,
sink in your knees, and as you bend forward you can easily
load his weight onto your back, Figure 3' 5 and then you
can throw yourself to one si de so that you fall on top of
your opponent. T he hard impact is usually more than
enough w break the hold.
"N elso11 bold" defemes. Tf you are standing, and this
hold is applied against you, first notice whether the hands
of your opponent are bebind your neck or behind the back
of your bead.
If they are behind your neck, then your job is t o reach
back and try to pry his fingers open, Figures 316, 31 7, and
318.
Figure 319. A n ex p e-
rienced wrestler wi ll place
the fingers of one hand in-
side t he palm of his other
hand, and if in addition his
hands are behind your
neck, the hold is extremely
difficult to break.
Figure 318. Force t h i s
captured finger backward
until he releases his hold.
Figure 320. If an op-
ponent places his palms
at the back of your
head and presses your
h e a d forward, simply
resist his pressure by
for cing your arms down-
ward against his e lbows.
.oiL
If your opponent is an experienced wrestler and has pro-
tected his fingers by placing them inside each palm, t hen
you f!lay not be able to break the hold, FigUle 3 r9. In a
case of life and death, you can break it by kicking backward
against your opponent's knee or ankle.
In t he second example, where his palms are at the back
of your head, Figure 320, all you need do is stretch your
arms out sideways and fool your opponent by exerting
pressure downward, against his arms. Then suddenly relax
your body and arms, bring your arms straight over your
head, and drop out toward the ground, Figure 3 2 r.
Figure 321. To escape
relax your pressure and
lift your arms over your
head, and at the same
time sink to the ground,
Figure 322. At times you
might be on the ground,
with your opponent stand.
ing in front of you and
ready to deliver a kick to
your head. Always lay on
your sides, never flat, and
keep one arm up for a de-
fense.
Science of Self-Defense
From this position you can pivot around on your buttocks,
grab one of your opponent's legs and place your own leg
up and across his thighs, and throw him over backwards
by a scissoring action.
Defense agaimt kick, when lying dO'l.:)11. If you find your-
self on the ground and your antagonist is advancing toward
you with the apparent intention of kicking you in the
face, you must wait for him to be near enough so that
you can reach his feet with your feet.
If he is standing to your left side then his right foot
will normally be the one that is to kick you. Therefore
you must turn your body on its left side, and protect your
head by keeping your right arm up and in from of your
face. Your weight will be resting on your left elbow, or
your left side, Figure 3 2 2.
Figure 323. Your opponent will usually kick with his rig ht foot , and will there-
fore have his left foot leading. In that case hook your left foot, which will
automatica lly be the bottom foot, behind the heel of your opponent's left foot,
which will automatically be his weight supporting foot, and then use your right
foot to kick against his knee.
Figure 324. Y o u c a n
t h r o w your opponent
from this position by an
application of leverage:
pull his leg toward you
with your bottom foot ,
but, instead of
against his p!ace
the sole of your top foot
on the inside of his
and press his back-
ward and to your right
side.
Figure 325. Keep
eyes on the stick.
Science of Self-Defense
Hook your left foot behind the heel of his left foot,
att1d contract your left leg so as to pull his foot toward you,
and at the same time bring your right foot up in front of
his knee and kick backwards hard, Figure 32 3 This action
will disjoint his knee. If, however, you want merel[ to
throw him, place your sole inside his knee, then pul to-
ward you with bottom foot and press outward with top
foot, Figure 3 24-
Remember that the bottom foot, in this case your left foot,
hooks behind the heel of the leg which is supporting your
opponent's weight.
The following de{e11ses will deal with tricks which are
calculated to belp you against an antagonist who is armed
witb either a stick, a knife or a revolver.
In practicing these tricks you are urged to look upon
the fake weapons of your panner as if they were the real
weapons, and just as dangerous. Speed and t iming are ex-
tremely important in the execution of these defenses.
Defenses from stick. Your opponent wiU hold a stick or
short club by its end, and therefore your defenses are
simplified, because you will always block his forear1!1 near
its wrist.
The usual stick attack is directed against the top of your
head, Figure 325 If you back away from your opponent
the chances are you will be struck by the extreme end of
the stick or cluu, and it is this extreme end that does most
damage, Figure p6.
You must advance toward your opponent, your right
foot forward if he holds the stick in his right hand; keep
looking at the stick, and block his forearm with your right
forearm, Figure 3 2 7. The best way to Jo this defense is
to wait until he begins to bring the stick downward at
Figure 327. Advance
toward your opponent,
knees well bent, and
block his forearm with
your forearm at right
angles.
Figure 326. If you try
to bed away frorn this
head attack the c:hanc
11
are the riid will still
r e a c: h you-with lh
mori effective end.
Science of Self-Defense
Figure 327-A. Keep your eyes riveted to the riid. Note that the bent knees
leh you jump forward or to the rear.
your head, then quickly rake one srep forward with your
right foot and block his forearm with your right forearm.
From this stage, Figure 327-A, you can either throw him
over backward by hooking your right leg behind his right
leg and forcing his body 0\'Cr \\'ith your right arm, Figure
3 2 7-B, or you can grab his right wrist with your right hand
and describe a circle toward the right and then ro the
bottom, Figures p8 and 329, at which point your left
hand will grab the stick and wrench it away from his
grip, Figures 330 and 331.
Figure 328. To disarm your
opponent after blocking
hts forearm as shown in
Figure 327, grab his wrist
and swing his arm to your
right side.
Figure 327-B. Since your movement
has been forward, you can easily close
with your opponent and throw him over
your right leg.
Figure 329. Describe a
half circle, taking his
erm toward the bottom.
Figura 330. At the bot-
tom of the circle bring your
left hand to the stick, and
continue the circle now to-
ward your left side.
Figure 332. If op-
ponent's intentions
e re dearly shown
jump immediately ~
your attack.
Fi9ure 331. Your oppo
will be una ble to holdn'"l
to the stick, end yovr I Gh
hand can easily twist ' .
out of hi s grip. tl
Scie11ce of Self-Defense
Figure 333. If you remain motionless too long, or if you try backing away from
t he attack, your opponent will have the advantage.
If your opponenr attempts to hit the side of your head
with the stick, say your right side, he must get his momentum
by crossing his righr arm in front of his chest and rhen
swinging toward you, Figure 332.
Again, do not back away from his attack, Figure 333
Bring your right fore:um vertically next to your right
shoulder at the moment his arm reaches you, Figure 3 34
and at the same instant pivot on your right foot and place
your left foot in front of your opponent's right foot.
Figure 335. With
your right hand you
must twist his right
wrist outward, to
your right, and then
bend his arm back-
ward a c r o s s your
chest. The back of
his elbow must rest
on your chest if this
lock is to be ef-
fective.
Figure 334. Wh,n
o p p o n e ~ t sta.rts his
sw1ng, 1ump 1n and
block his arm with
your forearms, tnd
day close to him.
Science of Self-Defense
Figure 336. Instead of applying the lock, you might want to throw your op
ponent, in which case you must use your left leg to block his feet, while your
arms -force him forward into the fall.
You can use your left arm to lock his right arm, and
so force him to release his grip on the stick, Figure 3 3 5.
Or you can use your left arm to push against his shoulder
and throw him face down over your left leg, Figure 336.
Sometimes your antagonist will not cross his right arm
in front of him ro attack you, but will take it back to his
right side and then swing for your head.
In this case you must step toward him and bring your
left forearm up to block his arrack, Figure 3 3 7.
Once you have stopped his ann, slip your left hand to
his wrist and bring your right arm up and over his right
arm so you can secure an arm lock against him, Figure 338.
Figure 338. If you employ
a lod egelnsl his captured
arm, remember t \ at his
wrist must be twisted out
ward, in this cast to his
own right side.
Figure 337. Your oppo
nent here has attempted to
strike your left side. Block
his arm as shown, end ku p
close to him, your right
foot leading.
Figure 339. Or you can
t h r
0
w him with a cross
hook throw, hooking your
right leg behin.d his. right
leg end sweepng h1s leg
toward your rear, while
your arms force him baclt
we rd.
Figure 3-40. Another de
fense, after your block as
In flgure 337, is to tu;n
to your left side, wh1le
your left hand continues to
hold his right wrist end
your right arm is slipped
on top of his right arm.
:::::.e HI. Pull his right arm tightly to your body, and begin to fall to the
~ g u r h 342. Place your right palm far to the front of your leading left foot,
'den t row your opponent off to your right side by tilting your body to that
II e.
Science of Self-Defense
Or, if you prefer, you can throw him on his back by a
cross-hook throw, Figure 3 39 Another defense would con-
sist of the "arm-lock falling throw" illustrated in Figures
340, 341 and 342.
Defenses from knife. A knife arrack is dangerous enough
to keep away from. Your best defense will be a good of-
fense, even if vou must first kick your antagonist to stun
him before y o ~ mO\'e in for your more deadly attack. If,
however, you are only interested in disarming him, then
the following tricks might be of help.
The first thing to know is that a knife is held in two ways:
either the blade projects upward from your thumb, or
the blade is to the bottom of your little finger. By keeping
this in mind you are able to fommlatc in advance where-
from the attack is likely to come.
If the blade is projecting from the thumb, then the attack
will begin at one of two points: either from the bottom up,
directed at your stomach, or from the opponent's far right,
directed at your left side, either your shoulder or head,
Figure 343
In both attacks you will use your left arm to defend.'
figure 343. The knife is
an old weapon, and an
entire elaborate tech-
nique of combat flas
been developed around
knife fighting. One of
the standard grips is
this underhand type,
against which you will
employ your left arm
mostly.
Figure 345. When prac-
ticing this d efense make
certain your partner
swings directly for your
stomach with a straight
arm. An experienced
knife user will keep close
to you and will use a
bent-arm jab, for which
the bed defense is to
take a j u m p o u I o f
reach and then lake a
high kick for his chin
or groin.
Figure 344. If your
0
ponent stands in ,f."
T k nts
you now his
atm ts generally for
y o u r stomach. H
. however,
swtng htgh and dirtct
his stab at your neck
0
in Figure 353. '
1
Science of Self-Defense
Figure 346. When an opponent starts his straight-arm swing as shown in Figure
344, wait until the knife is past his right knee, then jump a short step back and
at the same time bring your left forearm sharply down against his forearm.
If the knife is coming from the bottom toward your
abdomen, do not back away, except in the following man-
ner: At the last moment execute a half-step jump bacl<ward
and at the same time bend your body slightly forward and
bring your lefr foream1 up and then down across the right
forearm of your opponent, 344, 345 and 346.
In this action you have left your left arm where your
abdomen originally was before rhe attack began, and your
left arm was able to defend you safely.
Once you have so blocked your opponent's forearm, you
must instantly bring your right hand against his hand, and
Figure H8. Pull his
entire arm toward you
and twist it outward. at
the same time backing
away from him to ac
complish the throw.
Figure H7. Bring YO\I
right hand up and gr''
his fist as you did ';P
the practice of th n
wrist-throw, Figure 177e
except that y ~ u t ~
now e m p I o y t n g it
against the opposite
hand.
Science of Self-Defense
Figure H9. In this defense your arms must be first raised chest-high before
they ue crossed and thrust downward against your opponent's attacking arm,
for if you simply bring your arms forward the chances are that your opponent's
knife will strike them.
then execure a wrist-throw roward your lefr side, Figures
H7 and 348.
A variation of this defense is ro make the same half-step
jump backward ar the beginning of the attack, but then
bring both your forearms up so that your right forearm is
over your left forearm. \\'hich must be crossed near the
elbows. As you bring your crossed forearms down against
the right forearm of your opponent, Figure 349 your left
Figure 351. Here you
have twisted your op
ponent's forearm into a
lock, as in Figure 166.
Figure 350. Note th
of your arms ,
F1gure 349: it is

left forearm
blocking, as in F'
11
3

6
b t . 1gure
.. , u your nght fo
arm is helping
held on top of tho
1
.;:
arm. As your left fore.
arm c,ames Y?Ur op.
ponent s attad1ng
1
t h. '"'
o 1S rear, your right
hand must grip his up-
per arm or should
and hold it to you.
Science of Self-Defe11se
Figure 352. Bend his wrist toward you to open his grip on the knife. If your
aim is more serious, depending on circumstances, use your right foot for kicking
opponent's face.
forearm holds off the opponent's arm while your right hand
quickly grabs his arm or sleeve at the elbo-.v, Figure 350.
Step to your opponent's right side, at the same time slid-
ing your left hand on the inside of his elbow, th\JS execut-
ing an elbow Jock, Figure 351. Now your right hand can
safely take the knife from his grip by bending his wrist over,
Figure 352
If the knife is coming from your opponent's far right
the attack is directed either at your left shoulder or the
left side of your head or neck
When your opponent has swung his ann you must jump
in close to hjm
1
your right hand taking a grip on his right
Figure 354. Shift your
weight to your left foot
a nd hook your right foot
behind his right foot,
then throw him on his
bac:l:. You c:en use
your elbow or fist at
the lame time to strike
against the base of his
nose or c:hin.
Figure 353. If your op.
ponent lwingl high, for
your neck or head, your
chancel are far betier
if you jump in c:lose to
him. Bloc:k his knife
arm as shown then grab
his wrist.
Science of SeiJ-lJefense 2.]1
shoulder and \our left forearm held venicallv to '''arcl off
his right fore:m11 wirh the knife, Figure 35J Your right
hand can also be nsed for punching.
All you need do rhen is me your right leg in a cross-
hook rhrow against his right leg, Figure The impact
of the rhro\\' will stun vour assailant sufficicnrh ro :11lnw
vou ro "rench rhe from his hand. \ norhcr form of
defense \\ hich can C\oh e from Figure 3 5-+ ro usc
the throw illusrrared in Figures J.+<>, HI .md J.p.
That covers knife attach \\hen the blade projec.:cs up
from rhe rhumb.
If rhe blade is downward. Figure 355 projecting from the
lirrle finger, rhen remember dut the attack will begin from
abo\'e and \\ill be direcced ar \our head or chest. or the
antagonist will cross his righc arm in front of his chest and
the atrack \\'ill cot11c from 'our own right side and \\'ill he
directed either at rhc righr shoulder or the right side of
vour head.
In l>orh arcacks me your rigbt arm to deJeud.'
Fig ure 355. An o I he r
standard grip on the knife
is this over-hand type.
You will rely mostly on
your right arm to defend.
When using this grip, your
opponent will stab from
a bove at your head or
c:hest, or will c:ross his arm
lo his left side a nd will
swing at your right side, as
in Figure 363.
Figure 357. Block hiJ
forearm with your right
forearm, end bring your
left hand up to his el-
bow.
Figure 3 5 ~ When op.
ponent ra11es his right
arm u shown, you
must onstently jump f
it. or
FiJll"' 358. Slip your
left hand from behind
his elbow and then
place it on your right
forea rm.
Figure 359. Through
leverage thus gained,
you can usily bend
you r opponent bac:k
ward end CrllSh him to
the ground.
MODERN JUDO
'V11cn the attack is from above, block it with your right
foream1 and step in with your right foot forward, Figures
356 and 357 " 'ith your opponent's forearm thus blocked,
bring your left ann up and slide it into the crook of Ius
right arm, and then place your own left palm on your right
forearm, Figure 358.
Force your opponent OYer backwards by employing lever-
age against his locked right arm, Figure 3 59, and once you
have taken him down to the ground place your weght
against his right elbow, which \\ill cause him to open his
hand and so release his grip on the knife, Figures 360 and
J61.
If your o p p o ~ t crosses his am1, that is, starts his attack
from his left side by crossing his right am1 in front of
his chest, Figure 362, then you must again wait for the
Figure 360. This Illustrates the approximate position after you have thrown your
opponent. Note that your lock must be retained all the way through.
Figure 361. To induce
an opponent to release
the knife, gat his elbow
against your chest and
than force the bad of h>s
hand into the ground, at
the same time pulling his
forearm toward you with
your right a rm. Your op-
ponent's efforts with his
left hand will not hinder
your lock.
Figure 362. Again, you
must jump into your at-
tacit the Instant your op-
ponent discloses his in-
tention, as in this swing
for your right side.
Figure 364. Keep turn-
ing toward your right
side, et the sa me time
use your left leg to
sweep badwerd against
his right leg.
Figure 363. Jump t
his right side, keep"
0
I t h
lllg
c ose o 1m, with your
f?rearms blocking his
r ~ g h t erm.
Science of Self-Defense
277
Figure 365. In order to throw him fec:e flat, you must remember to bend fol"-
werd, in this way using the weight of your body end the power of your arms to
crash your assai lant to the ground.
swing of the arm before you bring your right foreann up
vertically to defend yourself.
Though your right am1 is up for the defense, a good trick
is to jump to your opponent's right side so you borh face
to the front. Retain your hold on the sleeve of his right
arm or the arm itself, with your right hand, but place your
left hand on his right shoulder, Figure 363.
Now place all your weight on your right foot and bring
your left foot forward in front of your opponent's right
leg, then execute a backward sweeping motion with your
foot, at the same time throwing him fon.,ard ~ ith the
power of your arms, Figures 364 and 365.
As your opponent falls flat on his face, you must retai!'
your holds on his right wrist and his shoulder, keepmg hts
arm straight. Now cause him to release his hold on rh_c
knife by pressing your right knee against the back of lm
Figure 366. The throw it
self will in most eas" eause
him to drop the knife. If
it doesn't plaee your left
knee on the bed of his
elbow and press hard
against the ground. If your
assailant is stubborn, you
ean break his arm bv plae
ing your weight on his el
bow and snapping his fore
arm upward.
Figure 367. At times you
might blod an opponent's
head jab with your left
forearm.
Figure 368. Bring
your right arm
up t o your op
ponent's elbow,
IS shown, and
grab your own
left hand.
right elbow. Figure 366. (In practice be careful because
your weight, when so placed on an opponent's elbow, can
easilr disjoinc or break his arm.)
T n the over-head knife attack you might sometimes fumble
and instead of using your right forearm for rhe defense will
bring your left forearm up and block his right forearm,
Figure 367.
Do not lose vour head in such a case, but rather continue
to employ a lock against his blocked arm by bringing your
right arm to the rear of his arm, and then grasping his
wrist or your own hand, Figure 368. Once you have this
z8o MODERN JUDO
lock you must make certain that your elbows are close
together as you begin to force your opponent over back-
wards, or else he will be able to slip away from your lock,
Figure 369.
Figure 369. You can easily force your opponent over backward. The important
point is to keep your elbows tightly together. If you attempt to throw him with
the lock you have in Figure 368 he will be able to straighten his arm and escape
your throw.
Science of Self-Defense z8r
Defenses from revolver. As in the defenses against knife
attacks, you are reminded that you are taking a chance in
trying a straight defensive action. You should first stun your
antagonist before you move in.
At close range the following tricks will help you if you
can1110'i.'e faster than your assailant; if your assailant is expert
in the use of his weapon he will not come too close to you.
and even if he does he will be on guard against your moves.
If your opponent hoi de; the revolver close to his right side
and reaches out 'With his left hand to take your wallet,
then be careful because he shows experience. Only the most
experienced judo-players could attempt a defense.
lf your opponent points the revolver at you and holds
it away from his body, you can slam your left hand down-
w::tr d and so force the weapon ro your left side, and at the
same time kick our his feet with your right leg and punch
upward with your right fist against the base of his nose.
lf your assailant is behind you your chances of a sound
defense are very small and this book does not advocate
any form of attempt. True, many judo experts have per-
formed marvelous feats "vhen it was necessary to defend
themselves from knife, razor, or revolver artac'ks, bur bear
in mind that their decision to ace and their \cry actions
were based perhaps on some twenty years of consistent
judo practice.
I c is hoped that the few revolver defenses presented here
in picture form will help you. Figures 370-389 inclusive.
Figure 371-B. Your job is to step
forward and to the right of your
opponent G your left forearm
hits his right hand, and 11t the
same time deliver a hard blow to
his chin or the base of his nose,
using your right fist.
Figure 370-A. When the gun is
low and touching your body, place
your weight on your right foot
and prepare to drop your left
forearm again.t the inside of op-
ponent's right forearm, thus knock-
ing the gun out of line.
Figure 372-A. When the gun is pointed
at your head, held about a foot ln front
of your face, your defense must be
lightning fast.
Figure 373-B. Hit the gun
out of line with your right
hand, but at the same time
grab the gun firmly.
Figure 375-0. Keep your op
ponent's hand turned outside,
and now turn his wrist so the
gun points upward.
Figure 374-C. Here you use your
left hand to grab either the gun
or your opponent's list. Keep the
gun out of line by pointing it to-
ward the outside, in this ease your
own left side.
Figure 376-E. Con-
tinuo to force the gun
backward in his grip,
and at the same time
force his arm down to
the ground. You must
sink hard in your
knees to do this. With
this trick you can
easily b r e a k oppo
nent's finger, and then
as easily wrench the
gun away.
Figure 377-F. Close-
up of hands, showing
how easily the gun
c:an be taken from op-
ponent, due to the
greater leverage af-
forded you by the
gun's muule.
Figure 379-8. First place
your weight on your left
foot, then swing sharply so
that your right forearm
strikes his upper left arm.
This impact will turn his
body slightly and so throw
the gun out of line.
378-A. In this ease your op-
ponent is protecting himself
by holding the gun close to
his ~ i d e and out of your reach.
If, however, he extends his
left arm to take your wallet,
he opens himself to your de-
fense.
Figure 380-C. Keep your eyes
on the gun at all times in your
attacks. In this case you can
spring at him, using the power of
your left leg, and throw him on
his bad, at the same time grab-
bing the gun.
Figure 381 -A. Here your opponent is hold-
ing you at bay, the munle of the gun
pressed hard against your back. Before
you defend, make certain which hand is
holding gun-in this case it is his right hand,
and therefore you must throw the gun out
of line farther to your opponent's right
side.
Figure 383-C. Use your
right fist to punch under
the base of his nose or his
chin, while you hold his
gun hand tightly to your
loft side. Once you have
gained this position you
can employ a cross-hook
throw, using your right leg
against his right leg.
Figure 382-B. Pivot on you
right foot and slam your lef;
forearm down ogoinst inside of
his right foreorm, throwing the
gun out of line.
Figure 384-0. This illustrates tho man-
ner in which you must hold his gun hond
agoinst your side. Keep your legs re-
laxed, so that if he should pull his gun
hand foword himself he will also pull
you to him. In that way you will remain
at dose quorters and will be able to
deliver your attacks.
Figure 385-A. Here the gun is pressed
against the back of your head or neck.
Unlike the first defense from the reor
gun attack, you will pivot to your right
side (if your opponent holds the gun
in right hand).
Figure 387-C. Pull your op-
ponent forward, and use your
left ~ n d to grip his shoulder.
Agaon, remain sufficiently re-
l ~ x e d in case he pulls you to
hom, but hang on to his gun
hand.
Figure 386-B. As you turn, sink
at your knees. Strike his forearm
only_ enough lo throw the gun out
of lone_, then grab his wrist with
Y?ur roght hand. Pivot on your
roght foot.
Figure 388-0. As ln
the knife defense,
sweep against his right
leg with your left leg,
all the while throwing
him forward with the
power of your arms and
body.
Figure 389-E. Eve n as
your opponent falls face
flat, continue to turn to the
right side. Once he is
down, and you have re-
tained your original hold
on his gun arm, you can
break his arm by employ-
ing trick in Figure 366.
8
Body-Development Exercises
J;\J GENERAL, you will get all the movements necessary
to develop your body in every phase of judo, but if you
are interested in developing some particular part of your
body you can do so through the exercises given here.
Abdominal breathing is of paramount importance, and
breatbiug wbile exercising is second to ir.
For instance. if yon do ordinary knee-bending exercises
you will insrinctivel hold your breath while exerting pres-
sure in your muscles and while otherwise moving. The
point, as a test and for the purpose of convincing you, is
to perform this same exercise while breathing into the
!ower lungs, and see if you do not notice a difference, an
Lmprovemenr.
And so, in all the exercises given in this parr of the book,
exercise and breathe at the same time.
Lift your arms over your head, without tensing anv
and stretch upward. Breathe deeply ar the sanic
nme. Carry your outstretched arms to the sides, far out,
without tensing. and then carry them ahead of you. Keep
rela.'<ed and keep breathing into vour lower lunus as you
do this exercise. b
Next relax your neck muscles completely and allow your
head ro drop to one side, and, still relaxed, begin co roll
your head to the front so that your chin brushes your chest,
and now bring your head co the opposite side, and then
far co the rear. After performing this exercise ten times,
you may go through the same motions except that this
time tense the muscles of your neck
Body-Development Exercises
293
In the following exercise you will try to describe circles
by moving your shoulders up and then to the front, and
then forcing them hard down and bringing them up again
from the rear. Your arms are held limply at your sides.
Execute the same movement with your shoulders, but
keep your anns outstretched to the sides. Above all,
perform this and the other exercises slowly and with
thought. and do not tense any muscles unless this is called
for in the text.
Take a step to one side so that your feet are placed apart,
and place your hands on your hips. Bow to the front, and
from here begin rolling your upper body, at the waist,
to one side and carry through to the back and to the
opposite side, and end up at your starting position. Perform
chis slowly, and breathe deeply throughout the movements.
Stand as you normally do, and try relaxing every muscle
in your body, while at the same time you breathe into your
abdomen. For an explanation of abdominal breaching, re-
view that parr in Chapter 5, "Individually Developed Tech-
nique." Attempt this same form of utter relaxation while
lying fiat on your back.
You may next try a lift-rolling exercise on your ankles,
done by raising yourself up on your toes and then lower-
ing- yourself again by coming down on the outside edges
o( your soles. It is a son of rolling motion as if your soles
we;e not intended to touch the ground, rather as if you
were crying to keep only the edges of your soles in con-
tact with the ground.
\Vhile lying flar on your back, point your roes the front
and with your arms over your head try to ra1se yourself
to a sitting position. Breathe as you do this.
Or you may leave your anns head in this next
exercise and lift your legs, held m the about
ten inches off the ground and descnbe small ctrcles,
inward and then outward. In the first stages, perform thiS
294
MODERN JUDO
exerc1se only for short periods of about six tries to each
side.
While lying flat on your back place your hands behind
your head so your elbows are at the s1des of your head,
and now, with a slight lift in your waist, bring your right
knee up so you can touch it with the tip of your left elbow.
Next bring your left knee up and try to touch it with your
right elbow. Throughout this exercise you should practice
breathing into the lower lungs.
In the following exercise you must place yourself on your
knees and then must sit back so that your calves are against
your thighs, Figure 390. Extend your anns to the front.
Now swing your arms to the right shoulder side, and at
the same tin1e move your waist so that your left buttock
Pigvre 390. A beneficial form of exercise. Keep relaxed yet turn hard in your
waist, at the same time breathing into your lower lungs.
Figure 391. Body press-up, executed on your finger tips; this exercise will
develop fingers, wrists, and forearms at the same time.
sits on the ground, to the left of your left heel. Try the
same movement to the opposite side.
Lay flat on your stomach, place your hands next to your
shoulders and press up to full arm length. Breathe deeply
while doing this. Now instead of resting your weight on
your palms, spread your fingers out and perform the same
exercise with your weight resting on the straight-held fingers,
Figure 391.
These few given exercises are the ones which are seldom
practiced in drills and calisthenics, yet these few will do
more for the body than the majority of the ones used by
most coaches and athletic directors.
Third Rc, Editiou
3rd Big Printing
MOitERN JUDO
ADVAfU:ED TECHNIQUE
hy
CH \ RLE l'"ERKOW
Thi .. for judo players who
have had con-.i <l crablc basi c randori experience
and who no'' !let- ire a text that ''ill point the
proper way lo ucl vancttl phases in sport and
self-defense l t not intended for
beginners.
MOD ER JIUDO ADVANCED TECH-
NIQUE will nccpwint you more closely with
jntlo p1inciplc..,, which dictate any
form of a ttack anti dt'f<' nsc, null at the same
time will give you lllOI'(' oppo1tuui1y to devel op
your i> (IOI' Ifi ght and techniques.
You arc cxpert rcl to know l10w the vari ous
t hrows, holds, Jocks und hrcaks ure executed
in form-practi ce and in ramlori or Iree-stTie
playing, ... incP it is impossihh for thi book to
co,er the same m:1tcrial presented in MODERN
IC TIECirNIQUE.
An yone who wi :; he;.. to Leach judo wiJJ recog-
nize I hi ,. book n an inva luable aid. Two
chapt<' r'- are cJc, otc d to u outlim for
1 ho,. e enJ!ngcd in j!h juclo in:.truction.
ln e ight Cllnrlc-. Ycrko"' phototelle
about : port Toer huilftte-\d,anccd. Method!'
for All acJ... clfD(fen,e-Ath anced. Stick Plav.
Judo Instruc tion. TJo,, Lo pplr Principle's,
Kuatsn or K,, appo-Artific ial Respiration and
the Basis of J uJo Trchniquc.
\V AR LNG : Do not this hook unl ess
you hn,c cxpcri<nfc in falling. Read a ll about
i t in the companion \' Olume- MODERN J UDO
- BASIC TECTINJQUE.
THE MIUTARY ' ERVJCE PUBLISHING
!COMPANY
Harrisburg, Pennsylvania
Third Rt\ iwd Edition
:hJ Big;
MODERN JUDO
BASIC TECHNIQUE
h,
CH \RLES . \ ERKO\'
<. J. arlt, ) rkm' kncn,, hi .. jutio. and aboH!
all lw knm\' J.o,, to teach it. lit> doesn' t claim
in tJu, fa,.rinat ill!! hook to ttnch you julio i n
ttn ra, , lt,flll:.': lfp know:. that tllf' Qcience
of call not hr ltarued llwt way. But h e
,Jw: .. iu i, t that if \ nu ''ant lo learn
tau tlo it . IH'III'I' from thi., bnok than
. ttl\ ,., t r puhli,.,lecd.
nw popular op(wa lof thi. hook u" ,.,;demecl
in lnq,:(' nntl H'VI'n printing bcCcm8 lo
bear him onl. MODERN JUDO has sold more
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jl't' l ,
Thi, eH''' Br' make, it l'asy In
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JHUtion \olnmr h) t lw - uuw .111thor- i\10DERN
J UDO ADVANC::ED TE'C.ll NIQUE. Taken to
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At all book stores or order direct
THE MILITARY SERVICE PUBLISHING CO.
Harrisburg, Pennsylvania
. J'
- - ..
M ODERN JUDO
VOLUME II. ADVANCED TECHNIQUE
by
CHARLES YERKOW
Illustrated by
the author and Edward Beck
THE MILITARY SERVICE PUBLISHING COMPANY
Harrisburg P ennsy Ivan ia
Copyrigbt 1947
THE MrLITARY SElWTCE PUBLLSHJNG Coi\ t l:'ANY
J-IARRTSBt!RG, PENNSYL\"ANL<\
A L L R I G ... T s R s E 1{ , . E 0
FmsT EoJTION:
First Printing, December 1942.
Second Printing, April 1943
Third Printing, J une 1943
S ECO:ND E NLARGED EDITI ON:
First Printing, September 1943
Second Printing, August 1945
T HIRD R EVISED EDITI0!\1:
First Printing, February 947
Second Printing, April '949
T hird Printing, October 195 1
PRI NTED l N T HE UNITED ST ATES OF AMERICA
BY THE TELEGRAPH PRESS, HARRISBURG. PA.
Established 183l
Revised Preface to the
Third Two- Volume Edition
This book, Yolurne Two of MODERN JUDO. is suitable
for judo players who have had considerable basic rarzdori
experience and who now desire a text that will point the
proper way to advanced phases in sport and self-defense
techniques. This book, therefore, is not intended for be-
ainners. In irs ori ginal concepcion some years ago this
t ook w:1s planned as it OO\Y stands-a book of advanced
techniques, and a book dealing with judo reaching methods
-but due to war-rime restrictions was issued (in September
1943) as Part II and Part III of the Second Expanded Edition.
Despite irs advanced phases in sport and self-defense. this
Volume is a complete rext in irself and, vvirh some minor
exceptions, docs not hinge on Volume One.
T he \'ery first consideration of most judo-players is how
tO develop a greater combination of attacks and defenses,
;lnd t hough this book presents considerable material along
these Jines, it nevertheless guards against t he bad habit of
performing moves for their own aimless sake or because
they took good. Too often judo students perform an attack
without any definite plan, and, when the opponent spoils
this move wirh a counter move, rhe student finds the at-
tack has failed because the obvious was overlooked. And
the obvious always concerns itself with judo principles.
This book, then, will aC<.]uainr you more closely with judo
principles, principles which dictate rm y form of attack
and defense, and at the same time will give you more op-
pormnity to develop your sport- fighting and self-defense
tec hniques. At that, technique-improvement can be achieved
in bur one way- through intelligent practice.
You are, of course, expected to know how the various
throws, holds, locks, and breaks are executed in form-prac-
tice and in umdori or free-style playing, since it is impossi-
ble for this Volume ro go through rhc elemental phases again
and work up into rhe advanced combination moves. The
same holds true for ureak-falling-do not attempt ro practice
any of this book without the required experience in falling!
The second duty of this book is to present a reaching
outline for those engaged in giving judo instruction (Chapters
r 3 and This pan of the book is not in any way a
of any individual, group, .school, but
i.e; an attempt w help msrrucrors look more crmcaUy upon
their present reaching methods and improve them, if there
be such a need, for their own benefit and the benefit of all
who are entering upon a serious study of the art and sport
of judo. The usual fault is that instruction methods _arc
handed do\\ n the line \vith little or no regard for the reqlllre-
menrs of the individual student or rhe group. Such instruc-
tion methods are poor, and should be corrected. In con-
nection wirh this I should like ro suggest here that we forger
about rhe methods used in war-years in which so much
emphasis went ro "dirry tricks of hand-.to-hand combat."
Those cricks were nothing more than a mtxture the
effective blows, holds, locks and breaks used ts boxmg.
wrestling, and in judo; the fault was that the instruction
was solitary, confined to these moves and nothing else. Hun-
dreds upon hundreds of "new'' tricks were being "invented"
hy all sores of persons, yet not one of the tricks could stand
alone.
Inventing tricks is easy '\Yhen know and
understand the principles, for then need not
stand alone. You can alwavs work out. tmpro,Lse. another
trick Isn't it obvious rhen ' that the surest approach ro this
business is by learn111g what the principles are? If you have
forgotten whar they are. look up Volume One of .\lODERX
JUDO.
Ar rhis point I feel L should say a few words in relation
ro rhe many publicized misconceptions that have grown
about judo. Many iU-informed persons and many self-
styled "experts" have made statements that judo is: 1) the
unfairest and most ruthless wrestling method, z) formali7.ed
-
and based on rules, and therefore nor effective in serious
hand-ro-hand combat, 3) not a sport, since it teaches how
ro kill, 4) of Little value in a life-and-denrh srruggle, and many
more equally detrin1enral statements.
A glance will show these staremenrs refming one another,
yet these statements were made hy ''experts." The truth of
the marrer is that judo as a sporr is the s;tfest of all hand-to-
hand methods, hut at the same rime judo can he effecrively
employed for any serious fighting (the same as can boxing
and wresding). [n sporting conresrs, judo-players use a
proved method of throwing and grappling to build up
points agairut each in a .serious emergency the.
judo-player can use hts pracnccd knowledge of lurnng,
kicking, throwing, grappling, and a highly perfected method
of strangulation to defeat an opponent physically stronger
and heavier than himself.
The sad fact is that too many persons approach judo
with a perverted idea, asking. ''\\'hen will I learn the death-
dealing blows?" For obvious reasons I have left such
phases our of these Volumes; rhe minor parts thereof
(Chapters Io and 11) are given for lnw and military per-
sonnel.
In closing let me point our that you should read about
judo, but then you must go on the mar and learn how to
do judo. Don 'r just glance at the rext and the pictures-
read it. study irs application, and go on the mar and do ir.
\ Vhenever praccicing, du it barefooted or wirh soft-soled
shoes. And always practice carefully!
My sincerest thanks and appreciation ro those military
hand-to-hand combat inscrucrors who cook the trouble to
write me regarding the value of this book in their training
programs.
\ Yoodside, N. Y.
December 1946
CHARI.F.S y ERKOW
--
Contents
P .\RT II
O NF.: Sport Tecl:mique-Advanced . ... . . . ... ... .
Throwing and using locks and holds.
Counter-throwing. 1\'lar-fighring.
Page
T wo: .\lethods for Attack . . . . . . . . . . . . . . . . . . . . . . 8o
Power kicks. Swinging l{icks. A theorem
and its application.
THREE: Self-Defense- Advanced . . . . . . . . . . . . . . . . . r 07
Regular defenses. Using kicks against knife
attacks. Countering arm locks. How ro
stand on-guard against a boxer.
FovR: Stick Play . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145
Using a stick against armed or unarmed op-
ponents. Fundamentals. Guards and Prac-
nces.
PART Ill
FI\TF.: Fm Judo l11structors . . . . . . . . . . . . . . . . . . . . . . 181
System. Methods of \Vhar, How, \Vhy . .At-
tention and fnteresr. Student Types. The
Instructor and the Student. Hov: to instruct.
Srx: How To Apply Principles . . . . . . . . . . . . . . . . . 198
General review of movement, balance, lever-
age, giving-in, etc.
SE\;F.:-<: Kuatsu or Kr-..vappo-Artificial Respiratio11 . . no
_\natomy. Injuries w bones, joints, <lnd
muscles.
Eight: Tbe Balis of Judo Tec/:miques . . . . . . . . . . . . 231
Definition. Relationship of Techniques.
Planning the Attack Judo is a Sport.
Part II
1
Sport Technique
TI-llS CHAPTER OF THE BOOK will show you how
to employ a throw and lock or hold as one single
move. Practice is essential, of course. Your main concern
at the presem: is to realize the vast training possibilities open
to you when you begin to couple the various throws, locks
and holds and escapes, all into one. This practice and tech-
nique, naturally, is mostly used in conducted judo contests
but its value, in case of emergency, can easily be estimated.
THROWL"<G AND U s r ~ LocKs AND HoLDS
While playing judo bear these two rules in mind:
1 Think out, cry to imagine and visualize, what possible
moves your opponent will make or can make.
2. Try ro simplify and unify yow: own steps and moves.
T hese two r ules are much more than just rules. The first
rule will train you to anticipate an attack and be ready when
the atrack comes; the second rule will train you not w waste
rime and effort. The two together are practiced by all
judo-players of advanced ability, though these judo-players
rna y not be aware of the exact wording as presented for you
here. These two rules, then, are really much more than
rules-they are tried and accepted methods employed in free-
style judo-playing ( randori), and therefore are not rules
but: principles! As such they can help you develop much
of your judo technigue.
This theoretical presentation may at :first seem impractical
to some, but then almost any rheory when viewed on paper
Figure 392. Whenever
your opponent pushes
hard egainst you sink to
the mat and use the
over-head throw. Do not
bring y o u r attacking
foot up until you are
almost entirely under
your opponent.
Figura 393. At this point
you can pull down hard
with your arms, and,
when he has passed -over
the vertical position, push
hard with your leg.
Never kid against his
stomach in this throw.
Keep your body ready
to roll-out backward
after you have thrown
him.
Sport Technique
3
seems impractical, but when you put rhe theory to work
you are usually convinced of irs worrh.
For instance, in rhe examples which follow you will be
shown the quickest way to secure a hold or a lock against
a thrown opponent. It is only natural that he may not do
what the illustrations show him doing, in which case you
must have a ready, thought-our, move for his unexpected
action. You can rrain yourself for these unexpected moves
by a close study and application of the two principles set
forth. Do you realize their value now?
Over-bead Throw, and Straight Choke; or Full Arm Lock.
Figures 392 and 393 show the beginning of the Over-head
Throw, a throw mostly used when your opponent pushes
hard against you. You simply sit down next to your left
heel, facing him, and place your right sole against his
stomach. Review Figures 89, 90, and 9r in Chapter 3
Your opponent will land on his back, but even before
he lands you must begin your follow-through (Figure 394)
by quickly pulling your own body up and over after his
body. Thus, the moment you throw your opponent by an
Over-head Throw you instantly swing your legs over your
head and srradle him (Figure 395).
Figure 394. The moment he falls you must roll after him, best done by using
your grip against his sleeve and lapel to pull yourself over.
Figure 396. Immediately use a
straight choke against him: your
right hand pulls hard on his left
lapel and your left hand grabl
his right lapel and crosses it over
his neck and into the mat next
to his left ear.
Figure 397. Or you might want
to use a n arm lock goinst him,
in which c.se you spin around
on top of him, keeping his .,m
between your legs as shown here.
Figure 395. As you come
on top of your opponent,
stradle him, and . . .
Figure 398. Foil backward (in practice do this gently and smoothly). and if
he is still gripping your sleeve or lapel place your foot against the inside
of his elbow and push away.
You are now in a position to apply a Straight Choke.
The choke can be applleJ co either sule; Figure 396 sho\\ s
the right lapel of the opponent's jacket useJ against h1s neck,
and fur rhis you use your Left hand, willie your right hand
pulls hard rowarJ you on his left lapel.
You may want to ,ar) this by sometimes using a Full
Arm Lock. '' hich is a much beuer trick, since even an
expert judo-player cannot escape it when you apply it
correctly.
Afcer the 0\er-head Throw the same follow-through
must be accomplished, but when you straddle your opponent
(Figure 395) you must spin around on cop of him as shown
in Figures 397 and 39H, bringing your leg up against op-
ponent's arm ( 1f he is snll holding on to your slee' c or
lapel) and forcing his grab open (Figure 399). Thus )llU
have secured n Full Arm Lock in a marcer of a split second.
The Arm Lock is etTecti\'e when opponcnr's palm faces
up and you feel his elbow slighrly above your crotch. See
Figure 399. He will be unable to retain his hold.
Figure 400. Thus you con secure the full arm lock after on over-head throw.
Sport Technique 7
Figure 400. To induce pain, raise your crotch slightly and
press his wrist tightly to your chest at the same rime. Be
careful because this lock can easily disjoint rhe elbow.
If you perfom1 the lock loosely and pem1it your opponent
ro wiggle his elbow free and place it against the mat, the
crick will not work.
Incomplete over-bead throw and fulL arm lock. Many
expert judo-players begin an over-head throw bot carry it
only half-way over; that is, they never fully throw the op-
ponent, but sort of balance him in mid-air on one foot and
d1en use their other foot to spin him around and throw him
back on rhe mat, at the same rime applying an arm lock.
Figures 40r and 402.
This crick can be done only when you start it out of a
Figure 401. Study this illustration closely, and note thot if' is the start of an
over-head throw, but also note that the opponent is held in this position and
that you can easily place your other foot against his ankle as shown here, or
against his knee. Sweep his legs toward your left side, ond straighten out your
left leg, thus throwing him backward in such a way that ho falls on his left
side and near your crotch, enabling you to secure an orm lock.
Figure 402. With practice
this throw-and-lock can be
perfected so that your
opponent lands exactly as
required, his arm between
your legs and the lock
completed.
Figure 403. Similarly, all
sorts of locks can be in-
corporated into a shoulder
throw. Remember not to
waste any moves but to
get a lock or hold against
a thrown opponent as
quickly as possible.
Sport Tec/mique 9
stand still posmon, since too much momentum will smely
chrow your opponent over on his back.
Thus, you fall back and bring your left foot into his stom-
ach, and then begin to take him O\'Cr. \\'hen he is directly
o,er you, stop. By chis time your right foot should have
found either his ankle or knee, and (tf you are using your
right foot) should sweep his legs to\\ ard your left side. At
rhe same rime straighten out your left leg and throw the
opponem from where he originally started, bur now he will
land on his back. As he falls backward ) ou must quickly
take your right leg om of his way and have ir ready to lock
his arm, as sho"n in Figure -f02.
Open-shoulder throw, rear-pull cboke; or rear cboke-lock.
\Yhcn you complete an open-shoulder throw your opponent
will have his back ro you, and thus two of the best rear-
chokes can be quickly applied before he realizes what has
happened.
Figure 404. The moment you have thrown him, figure out what lock can be used.
Figure 405. As he sleds to get up
your best chances are before you'
In a serious combaf, of course, y o ~
could use kids and hitfing.
Figure 406. In this ease a regular
pull choke is practical, in which your
right hand reaches in front of his
~ e c k and grabs his left lapel, pull-
ong ot hard across his ned, whi le
your left hand forces his head to
the front.
Figure 407. Or you can drop behind your opponent and place your left fore-
arm across his neck and
Fiqure 408. Complete the fu ll rear choke-lad as shown.
Figure 410. As your op-
ponent takes the fall you
must retain your original
grip on his sleeve and
lapel, then place your
knee hard against his
heed as shown, Md pull
upward against his left
lapel.
Figure o9. From this posi-
tion of the locked-shoulder
throw, a pull-choke is the
easiest to secure. Review
Figures 96, 97, and 98.
Sport Tecbnique
I J
figures -fOJ, 404, 405, and 406 show a thrown opponent
and the natural way in which he tries to rise; ir is a simple
matter to reach in lor his left lapel, pull it across 10 from of
his neck, and with your left hand force Jm head forward,
and so complete the choke.
Figures 407 and 408 illustrate the rear choke-lock being
used after the same open-shoulder throw.
Of course, an experienced judo-player wilJ not get to his
feet in 1 he abo,e-described manner but will roll w e1rher
side in his attempt ro get away from you.
Locked-sboulder tbrow and pull cboke. The point to
remember in this trick is not to let go of rhe opponent's lapel
after you throw him with this throw, since dle end of the
rhro\\ places your opponent in d1c exact positiOn for a pull
choke. Figures 409 and 41 o.
The choke is accomplished by pulling hard on the right
lapel, but at the same rime placing the left side of the oppo-
nent's face against your righr knee. Do not lift yotlr right
foot off the mat; both vour feer remain fim1ly on the mat
(Figure 41 o) in such way that the opponent's head au-
tomaticall y rests at your right knee. When properly exe-
cuted, the opponent will not be able ro roll awny.
Other throws th;u lend themselves to this trick are rhc
hip thro\\ series, ur ;tny throw which begins in a manner in
nhich you ha\' e a gnp on your opponent's sleeve and lapel.
See Figure 74-
A nk/e-fiip .md arm lock. As your opponent advances you
have the upportunit} to execute the ankle-flip against him,
bur here again your concern '' dl be more rhan a throw-
you will ,,am to perform the throw quickly and accurately,
and then you will want to secure an arm lock against your
opponenr.
Thus. at the instant in which you fup your opponent's
left foO[ out of the way and begin rhrO\\ing him (Figure
41 1 ), pull your own attacking foot quickly back and swing
Figure -411. After
throwing your op-
ponent w it h an
<'lnlle-flip. you can
drop to the mat
Md catch his right
arm in an arm lock.
Figure 412. So long
as you bring your
right leg acrou his
chest to prevent
him from getting
up you have suc-
ceeded in the trick.
Your left leg can
remain bent at the
of body as
shown.
Figure 413. The same
arm lock can be se-
cured after a spring-
hip throw; as you
throw your opponent
end he slarls falling,
you should at the
S<'lme time drop lo
the mat and spin
into position for the
lock.
it across the opponem's neck when he drops. Figure 411.
If your opponent has retained a grip on your left slee\'e, as
slmwn, then you can break his hold l>y rhe method gi,cn in
Figure 399-place your foor on his arm and force it off.
Spring-bip tbrow .md emil lock. flus is another example
similar ro the abmTe one, except rhat in this case the arm lock
is secured after a spring-hip tluo\\.
The importance of being able ro throw and at the same
instant apply a lock cannot be stressed strongly enough; it is
the best method l>y which you \\ill train yourself ro use
speed and more speed in judo-playing.
It is actually to perform the spring-hip thruv. and
drop to the mar ready for the arm lock before the opponent
lands. Figure .p 3 shows the beginning of the throw, and
Figure 414. The lock con be accomplished much the ume as in Figure 57
h
b.ut to make tho lock fully foolproof ploc:e your two logs across his c:host, with
" captured arm between your logs.
f
Fig
11
ure. '115. Here you seo an ankle bloc:klng throw which is completed in the
o owang illuatrotlon.
Figure 416. At this point you can allow your opponent to roll awoy from you
jan olperionced judo-player will roll away, whorees on inexperienced one will
t ry to sit up straight).
F igure + 1-1- illustrates the lock; iL is left to you to practice
reaching the lock from rhe initial starting position in rhe
shortest possible time. \\ irhour any waste of <.,reps or moves.
Re,iew Figures 81, 82, 83, and 8+
Ankle-block and from cboke- fock. Opporrun.icics for
Jocks and holds sometimes present themselves when you
t hnm your opponent and then ;tllow him ro begm to roll
awar from you, as any judo expert "mild tr) w roll .1way
r:tthcr rhan attempt ro sir up as in Figure 4-05.
Pr.1ctice the ankle-blocking rhnl\\ (Figures -1-1 .'i and -1-16),
but as your opponent rries to roll :l\\':1) from you tm\ ard his
right side (Figure 417) quickly drop next co him and place
your right forearm under his neck as shown. Now simply
Figure 417. The moment your opponent starh to roll away you must kneel
dose to him and catch him in a reverse head lock.
Figure 418. To lessen his chances of escape from this head lock, fall back
on your thigh and use your left foot to force his body hard against the mat,
all the while forci"g his head down with your shoulder and lifting your fore-
arm up against his neck.
Figure 419. From a cross-hook throw you can drop right into a side erm hold.
fall back, bur be careful not co do it with a hard rug while
practicing, and you will complete rhe choke-lock against
him.
Figure 4' R shows ho\\' rhe Jefr leg may be used to force
the opponent's body do,vn, rhus intensifying rhe effect of the
choke.
Cross-hook aud side ar111 bold. To secure the arm hold as
shown in Figure 410 the best throw is the cross-hook, some-
rimes called rhe hock-hock throw (Figme 419).
As you hook your leg behind opponent's advancing leg,
you must son of turn in your waist in order to throw him.
Figure 420. As you fa ll
to the met after the
throw, you must get the
opponent's left arm to
rest on top of your left
thigh. At the same time
slip your left arm under
his head. Also, place
your own heed closely
beside his.
Figure 421. The side ar'"
hold can olso be secured
after this throw
Figure 422. Since opponent's arl'!l is already locked tightly against your body.
and it is this turning in the waist rhat makes it easy to fall to
rhc mar beside your opponent and secure the hold as shown.
Also sec Figures 6z, 63, 64, and 65.
As you fall ro the mat with him, keep your head close to
hi!> and immediately pull his left clbo\\' toward your right
side in such a way that your left thigh rests under his lcf t
arm (Figure 420). Even if opponent puts up a struggle, once
you have reached this position you should be :Lble ro get
your left arm under his head and complete rhe hold.
Arm-lock j'alling thro'l.v, side ,um bold; or from head lock.
\Yirh your left leg blocking your opponenr's left leg, you
release your grip on his right lapel and bring your left arm
over for the throw, your right hand retaining the grip on his
left sleeve (Figure . .pl). Th1s is really :1 winding rhrow, and
it is not necessary to place your left arm on the mat as shown
in Figure 422, though for practice purposes it is the safer
22 MODERN J UDO
Figure 423. If, however, your opponent tries to roll away from you after
you have thrown him, you may want to let him start to roll away, and then .
Figure 424. Quickly swing your own body around and into position for the
roverse head lock..
Figure 425. In counter
throwing your main job is
to keep every part of your
body relaxed in order to
sense what your opponent
will try to do. As he
twists around for a thigh
blocking throw, your own
movements must already
be sueh as to render his
move worthless.
way. Figure 42 3 illustrates the approximate posmon .It the
completion of the throw. \\'hich affords you the chance of
gening the side arm hold as explained in Figure .p o. (In <I
re;tl \vinding throw, where you do not place your palm on
the mar for support, you would be A;lt on the mar beside
your opponent and in perfecr position for rhc hold; for
safety, and until more experienced, praccicc this rricl< the
way ir is shown here.)
Sometimes your opponent will twist to his right side from
his position in Figure +! 3, in which case you shouiJ swing
around and meet him when he is face down ro rhe mar, rhus
catching him in a from head lock (Figure +2+).
The examples in no way end here, for the variations of
Figure 427. As you land on your
left foot you must pivot quickly
a round.
Figure Being able to sense
his moves, you can easily iump
over his attacking leg.
Figure 428. At the
same time pull your
opponenfs weight
wit!l you in order to
have him In the right
position for the thigh
throw which y o u
have planned to use
against him.
start and finish are endless. \ Vith this as a guide, it is left to
you to evolve other ways of secwing other locks and holds
on a thrown opponent. Try things our. experiment, reach
yourself some judo, but nJways be careful.
COF:'\'TER-T
To successfully counter the throwing moves of your
opponenr you train yourself' to kaep relaxed rz.vbile
playing judo. \ou cannot coumer-throw when your arms,
legs, and body tensed!
Even yom grip on the lapel and sleeve of your opponenr
must be loose-firm, but loose; otherwise vour arms wi ll
warn him of your intentions. Expert judo players are able
to feel the exact throw that an inexperienced player is trying
to use. (This business of relaxing also applies to regular
Figure 429. With proper t iming this
counter-throw must succeed. If your
timing is slow your opponent will be
able to yank you backward off your feet .
Figure 430. A hip throw, from a stand-
ing position, is easily slopped.
Sport Tec/mique 2]
throwing pracrice.) Therefore, your first job, whether it be
for form-practice or for frec-sryle playing, is to train your-
self to keep relaxed, since it is the only way in which you
can build up speed for your attacks and defenses and
counter-moves.
V\' hile practicing, you and your opponenr should nor
attempt to hold each other off at arm's length because neither
you nor he will then be able to perform.
Bear the foUowing rule in mind: your oppo11e11t is weak-
est pbysically wbeu you pltrce bim off his bttlmll:e. ln this
way, even if he is a great deal stronger and heavier than you,
your rotal strengrh (no matter how little it is) is superior to
his off -balanced total strength.
This, roo, is nor only a rule bur an aU-dictating principle.
It is rhe secret of all judo; it is the base on ;vruch aU judo is
dependenr for its success. \ Vhenevcr you stray from rhis
pnnciple or de,iate from irs demands, then you arc no longer
performing judo.
Tbigb throw to tbigb throw. As you advance at your
opponent he may attempt to throw you by suddenly turning
in his waist and blocking your legs with one of his legs (Fig-
me 42 5). You must be able to sense this move even before
he turns for his attack, and when his arms pull you toward
him (Figure ..p.6) you must step over his attacking leg as
sho\Yn, and pivot quickly on rhat foot, turning your back to
your opponent (Figure 42 7).
You are now in a positicm ro rhrnw your opponent by
using either rhc same thigh rhro"v against him, or :my other
throw that approximates it (Figures +2 8 and -P9).
Remember, however, that no counrer-throwing can be
done if you resist roo violently the etforrs of your opponent.
You must anticipate his moYe, then giYe-in to his efforts,
rhus letting him pbce you into position for your counter-
throw. It is by far the e ~ i e s t wav to rhrow a man, because
you more or less induce him to throw himself.
Figure 432. At the same time use
your arms to aid your counter-throw.
Figure 431. As your opponent be-
gins the throw, simply place your
thighs against his and lean bacL
Figure 433. You
can e asily force
him down on his
back. With rrac
tice you wil be
a ble to use your
thig hs in t h is
counter-throw and
throw your op
ponent high into
t he air, then slam
him down.
It is not a rule rhat you must counter the thigh throw by
using a thigh throw against it; you can usc any other rhrow
you want, so long as you can do so without any waste of
st eps or eff orr. Expert judo-players sornerimcs go for a long
ti me countering the moves of each other, each time employ-
i ng a different throv. and each time being counrered some
other throw-attempt; ir means rhat both men are able
to feel and sense the inrennons of the orhcr, or ebc their
experience enables them to allo'' a throw ro begin, then they
side-step it or otherwise block ir.
Keep mo,ing across the m:1r in your practice, at the same
time trying to coumer the mm es of opponent; if } ou
try to counter the mmes of opponent h} standmg in
one spot, you will nor learn much about the art of counrer-
th rowing.
Stopping tbe bip throru. . . \ssuming rhat you arc st ;mding
in one spot ;md your opponent attempts to usc a hip thrmv
against you (Figure +JO), then your besL defense or counrer-
throw is to slip your thigh under and behind hi-; thighs (Fig-
Figure 435. A counter-throw
is possible by quickl y lifting
your attacked fool out of t he
way and .
Figure 434. Here an op
ponent is starting a n ankle-
flip as you both stand in one
spot without moving either
forward or backward.
Figure 436.
back against
then throwing
shown.
Pla cing it
his a nkl e,
him as
urc B r) and, by the p(l\\er of your legs, lifr him off
rhc mat and rhrow him on his back.
For practice purposes. ho\\e\er, break ) our opponent'!:>
position by pulling him hanJ b<tcln, ard. mcr )'our thigh, and
force him to the mar, as shown in Figures 4- Jl and 4-3 3.
Experience will Later show you hm\ ro thro\\ an opponent
high inco the air by using then srep in under
him and employ other thro"s.
Ankle-flip to ankle-ftip. In judo-playing femring or fool-
ing is \'ery important and is practiced to a grent exrem
rhroughour judo schools and cluus. Of course, fooling calls
for speed and proper riming, otherwise your opponent is not
fooled but will instead succeed in throwing you. Experience
is your only reacher in building up your speed anJ riming.
Figure 437. As you
throw him, I e a n
badward in order
to his weight
move forward in
your direction.
Figure 438. If your
opponent executes
the start of o n
over-head throw in
a loose manner, you
can step to one side
of his attacking leg.
-
Figure 439. At ihe same time you can employ your arm as shown hero to
force your opponent's leg out of the way and allowing you to drop beside him.
A good example of fooling is presented here in the ankle-
flip throw (Figure +H), whe:rcin you step our bolJ1 y with
your right foot. Your opponent ta kc!> the cue and uses his
left foot to flip your foot to one side and so throw you.
Speed and timing, remember! You must let his attacking
foot barely skim your foot, then you must inst:mtly attack
his leg to succeed in the thr<m. Sec Figures + 35, + 36,
nnd 437
Sjde-step O'i.:er-betrd throw, use arm bold. \\"hen an
over-head throw is done it is almost impossible to
side-step it. bur if your opponent should perform the throw
loosely or hesitantly then it is an ea!) matter to side-step the
rhrow and secme an arm hold against him.
Figure 438 shows the start of rhc rhro\\, while in Figure
4W you see how the arm is used ro quickly push opponent's
Figure 440. Once you 11re beside him on the mat the thing will be
4 side arm hold.
Figure 441. In the side arm hold remember to keep your head closely to
his, and to keep your thigh under his captured arm.
Figure 442. Keeping
relaxed cannot b e
stressed s t r o n g I y
enough. It will help
develop every form
of technique! In this
illustration your op
ponent b e g I n s a
while you
both stand in one
spot.
leg out of the way, then drop beside him on the mat (Fig-
ure 440).
Figure 441 shows the hold half-completed; to fully secure
the side arm hold, slip your left arm under opponent's right
arm, rather than attempt ro get the hold by going over his
arm.
Side-step cross-book. This trick will work when standing
in one spot and your opponent cries to use the cross-hook
throw (Figures 442 and 443). Simply take your foot our of
the way of his attacking foot, then step back, and twist him
Figura 444. Slip your
own leg out of his way
and start twisting his
upper body.
Figure 443. As he
raises his leg for the
attack . .
I
Figure 445. P111f
hard against ~ s
left lapel, and
lake a s t e p
backward.
off-balance, rhus completing a throw agamst him. Sec Fig-
ures 4+4 445, and 446.
Since the cross-hook is usual! y execured when your oppo-
ncm is backing a-.vay from you, you ,.,.iJJ not be able to
coumcr the throw as here described because \rour momenru111
will uc forward. toward your opponent ,.Vho is trying to
rhro\\' ) ou. ln such a case your best counter-move is ro step
fun,artl faster rhan he expects you to. thus purring him off
his ualancc.
O'ter-kuee drop c:Otllltl!red by sprillg-bip tbrrnv. Tl1e
O\'er-kncc drop woultl usually be used by your opponent
,,hen you assume a defensi,re pos;rion, thar is, whenever you
sink low in your knees he will rry w place his knee agajnst
Figure +46. Continue to
retreat and twist his upper
body, and he must fall.
Figure 447. In this case
your opponent sei1ed t he
chance to employ an over-
knee drop against you as
you assumed a defensive
position.
Figure 448. Let
him fo rce your
left ~ n inward,
but a t the same
time s I o p in
close with your
right foot.
\'Ours and wiU uy ro rhro\\ \' flU ro lhe side ( Figure H 7) .
. [n SUch a C<ISe, \ou lllliSt 111SCanth- 1110\' C in closC._\\' Ith \'Ollr
right foot (assun;ing your left f,;ot was the leading foot)
and u ~ your left hanJ to pul l his \\'tight onro your hq>
(F'igurc ++H). The last stage is sho\\'n in Figure -H-9 \\ hich
is the beginning of rhc spring-hip rhrow.
Cou11teri11g a pusbing opponent. Gi\'e- in to the dforrs of
your opponent. T his is one of the dict:tting principles of
judo. B) gi\'ing-in, you \\'i ll lctd your opponenr to a point
\\'here his balance is lost ro hun or "here his balance is 111 a
position for a throw in your fa\.or. Therefore, any opponent
who is pushing hard against you is placing himself \\'ide open
Figure 450. The above il-
lustration exemplifies the
iudo principle of giving-in
to t he efforts of your
opponent. As he pushes
cJgainst you, you should
resist sufficiently to induce
him to push harder, but
at the same moment you
have a planned of
your own.
Figure 449. him on your
thigh you place your left
foot into position for spring-
hip throw. All you need now
is turn and throw him.
Figure 45 1. You
suddenly 9 i v e
completely
under his efforts
and go back
futer than he
expected, and at
the same t ime
turn i n your
waist.
for a til row sucll <ts the t high-block or st raight thigh rh row
or the spring-hip throw ()r over-head throw.
Figures 450, 4.P and 4-52 shm\: t his pri11ciple of giving-in
to tbe pushing of t !u (){?-p()nent employed.
Cross-book agLrinst CT()S' r-book. Your opponent, in backi11g
away from you. might t ry to emp loy a cross-hook throw
(Figure +53) in which case you Jnust .instantly place your
attacked foot firmly on the mar and t hen use the power of
yom arms to t\.rist him off his balance (Figure 454). By
conti nuing to twist his upp er body, and blocking his attack-
ing foor (Figure 455 ). you can easily force him on his back
or throw him h:trd r:o t he mat.
Figure 453. Opponent
again tries a cross-hook
while you both stand in
one spot.
Figure 452. Your opponent
will thus find himself off-
balanced and already in
position for your throw.
Regardless how jowerful
he mey be, he wil not be
able to defend himself at
this stage, and your throw
is completed.
Figure 454. T h is
time you simply
brace y o u r s e I f
against his attack
and lean hard to
your front.
Figure 455. Thus throwing your
opponent with the leost effort.
Figure 456. If your
o p p o n e n t is ex-
perienced enough to
be able to jump
properly and with the
right timing into the
above scissor jump,
you will not be able
to defend or counter
it.
Figure 457. If, how
ever, you sense the
throw coming, simply
drop to the mat and
thus render the throw
worthle$$.
Figllre .. 58. Expe.ience
wiOI teach you how to
an ticipote attacks.
Here your opponent
is getting ready to
l
'ump up and lock his
e 9 s around your
wa ist.
Defending tbe scissor jump. The scissor jump is a dan-
gerous and violenr throw when executed by an C'<perienced
judo-player. It is next to impossible to counrer it by some
other throw, and the only way of defending the scissor jump
is to immediately sink to rhe mar (Figures 4-56 and +57).
Kiduey-scirsor jump, its defense. '\'hiJe playing JUdo
you might encounter an opponent who has developed a pet
technique of jumping up and locking his legs around your
waist for a kidney-scissors (Figures 458 and 459). In the
onajoriry of c..oses you would probably drop to the mat under
the weight, but be would still have the best of the situation.
\\ hcnever you think your opponent will employ chis
Figure 460. Instead, slam his
uppor body (shoulder$ and
back I hard against the mat
and so cause him to release
his lock. If he holds on, con
tinue to slam him down by
lifti ng him up, about waist
high. In a serious combat,
crash his head against the
ground.
Figure 459. Thus he would
have a perfect kidneyseissor
lock against you, and as you
fall to the mat he would be
able to exert pressure and so
cause you to give up t he
point in his favor. The th1n9
to do, however. is to brace
yourself for his jump and not
go down to the m t ~ l
Figure 461. In sparling contests in judo-p:aying, you are expected to guide
your thrown opponent so that he fa lls properly and without danger of injury,
but in a serious combat your judo experience will oneble you to throw your
assailant on his head.
trick, brace yourself for rhe jump, bur then slam him down
hard (Figure 460). If he continues to hang on with his
scissors, you should continue co slam his back against the
mat until he lets go of his lock. ln a street emergency you
'' ould naturally slam his head against the ground.
Certain skeptics have long argued that the sporting side
of judo would be of little value in a srreet emergency, that
the rough-and-tumble fighting of Pier 6, or even plain box-
ing, would be worth more ro a man in the event he were
attacked in a serious combat. They claim that judo, as a
sport wherein techniques of throwing are practiced and per-
fected, could not be relied upon to in jure an antagonist
sufficiently, whereas a bard blow to rhe jaw or a kick to
the stomach would put an end to any fight.
Figure 462. Other throws will enable you to quickly dispenso with an
in serious combat by throwong him in such a way that he lands on the top
of his shoulder, breaking his collor bone instantly.
Fiqure 463. It is also pouiblo to throw an antagonist and thon disjoint his
olbow by snapping his arm across your thigh or knee os he is falling down.
These forms, of course, are not for tporling practices but are shown to
let the skeptics and doubters realize just how valuable judo thowing teehnoques
con be when the emergency arises.
Sport Teclmique 49
To these skeptics it should be pointed out that judo throws
arc useci in sporting contests and free-style playing ( randori)
to enable the judo smdem ro meet any emergency and that
knowing how to throw an ant:Jgonist is of more value than
knowing how to use "tricks" as usually taught in "quick
and easy" lessons.
A worthwhile judo technique is built up after a period
of consistent and intelligent practice and study, but there-
after the judo-player can usc his knowledge far more effec-
tively than those smdcnrs who mastered but a few "dirty
tricks." For instance, a judo-player can handle his antag-
onist and make him fall on the back of his head (Figure
461) and break his neck, and it can be done with very little
effort on the part of the judo-player.
Other throws can similarly be used for self-defense or
for attacking purposes, as shown in Figure 462, in which
an opponent is thrown in such a way that he lands on his
shoulder tip and fractures his collar bone.
In still other instances it is possible to throw an antagonist,
rhen break Ills arm or disjoim his elbow by snapping it
against your thigh as he falls do\\'nward in front of you.
Sec Figure 463.
In shon, it is not wise to compare judo to boxing or to
wrestling or to Pier 6 fighting because judo, like the other
methods, depends on irs O\Vn principles for irs success. The
most that can be said is that in ::ttl the other forms and
methods of dose combat you must be physically strong and
tough before you can enrcr imo a bout, whereas judo de-
pends so much on brain vs. brawn, on speed and timing,
that it i!. the only method by which a physically weaker,
and smaller, man can defeat a stronger and hea,icr antagonist
by using but few mastered judo principles.
Too often, also, it has been said that the sporting side
of judo cannot be effective in a serious encounter because
the amagonist would nor always act the way you had been
Figure 464. Escape trom !his rear two-arm hold is difficult when opponent
has sufficient experience to feel your moves. He will not hos head too
far toward yo
11
r legs and so will no! get his head caught tn a head scissors.
See Figure I 12.
Figure 465. An _P'ayer c.an be forced into a he<>d scissors by
grabbing his belt and pulling hos body onto place.
Sport Technique
caught he would act. It is only natural that an antagonist
will never do what the book says, but on the other hand
you know that in free-style (randori) practice you have
trained yourself to meet all sorts of attacks and that there-
fore you are able to carry out your own attacks despite the
countering efforts of your opponent. In short, you know
you are capable of controlling the body of a thrown op-
ponent, and so it .is up to you how you guide your thrown
man to the mat-instead of controlling him properly, you
could just as easily twirl his body .in mid-air and cause him
to fall not on his back but on his head or his shoulder rip,
with disastrous results.
As pointed out elsewhere: "If the srudem of judo keeps
an open mind to the ways of judo he will learn more than
he expected; if he becomes too preoccupied in weighing
judo-values in relation to those of boxing or wrestling he
will learn little."
M.n-FIGHTING
The major part of the grappling or mat-fighting tech-
nique hinges on the intricate methods of strangulation, lock-
ing, and holding an opponem down. The few escapes and
locks presented here are intended as an addition to your
practice.
Escaping the r,ear two-arm hold. Review first Figure 1 1 2
and its text. Whether your opponent holds you down in
this hold in a fully flat position or in the kneeling position
shown in Figure 464, if experienced he can easily render an
escape .impossible. Not much strength is needed to hold
a man down, and unless you can free yourself inside 2 5
seconds (in a sporting contest) you would lose the point
to your opponent.
You might attempt an escape by reaching up with your
arms and grabbing his belt (Figure 465) and so have some-
thing by which to pull his body toward your legs for a
possible neck-scissors (Figure 466).
F" re 4bb. Though you may not be able to roll him off you, the scissors will
against his hold, so thai the point will be a If your
cannot take the pain accompanying tho scissors, he woll gove up the poont to
you by patting the mat or your body.
Figure 4b7. Sometimes it is possible. to escape this hold by arching your body,
then suddenly flipping over lo one sode.
Figure 4b8. AI the same time your hands will be holding his belt, so that
should you succeed in rolling over you will have the rear two-arm ho!d against
him.
Another manner in which escape is possible is to begin to
rotate tu either side. Your opponent, to l'eep from being
placed into a weak position, will rotate in the opposite direc-
tion w his original hold. Then. you should suddenly
stop and arch yourself off the mat as shown in Figure 467,
and immediately twist over and try to force your opponent
onto his back (Figure 468). You will end up by having
) our opponent in the same t\\'o-arm hold.
Escaping the side-ann bold. Of course, the success of the
different holds and the escapes from them depends a great
deal on the experience and ability of the individual con-
testants; an inexperienced heavy man could not escape from
a small, light judo experr, and on the other hand seldom
will a highly experienced smaU judo expert escape from a
heavy man if that man knO\\'S what he is doing. I Iowevcr,
t he \.vriter has seen many contests in which the exact op-
posite has happened, so rhar, in general, the outcomes of
sporting bouts definitely depend on the ability of the in-
dividuals.
Review Figure r r 1 and irs text.
Figure <169. Here your opponent has caught you in a ferfeC: side h?ld
and he is keeping his head low to prevent you from usong tneks agaonst hom.
If he menages to hold you this way for a count of twenty-five seconds the
point will be in his favor.
Figure <170. The moment your opponent lifts hi_s h_ead out of p
1
aee as shown
here, over with your free arm and grab hos roght lapel.
Sport Technique
5'5
Figure <171. Pull hard against it, end since lt crosses his neck it might cause
him to release his grip. Your aHading arm, in this ease your left arm,
be held straight when you begin to pull and force away against his lapel.
In attempting to escape from the side-arm hold you
definitely cannot hope to roll your opponem over your body
ro your left side (Figure 469) w1less you arc a powerful
person and your opponent a [jght and weak one.
The better escape is to reach over with your free arm,
your left arm in this case, and grab his right lapel in such
a way that it will cross his neck for an effective choke, as
shown in Figures 470 and 471. Tf the choke is effective he
will Le forced to release one of his grips, either your right
sleeve or. the back of your lapel, and rhus afford you the
opportumry to escape.
The success of rhe hold depends on your opponent keep-
ing his original position as in Figure 469. If you can bring
your left leg around quickly enough and at the right
moment, you will arrest his body (Figure 472), rhus break-
ing his position and making your escape possible.
Escaping tbe cross-body bold. Figure 473 shows the op-
ponent holding you down. Nore he is keeping his head
Figure 473. In this
cross-body hold your
opponent i s wisely
h i s head
pressed against your
riqht thigh for protec-
tion.
Flqure 472. The only r-
at her pract ical OlC4pe
is to be able to fool
him into makinq a
wronq move, I h n
arrestin9 h 1 ,
leqs by your leq around
his. Esc a pinq the holds
is always dependent
upon t he ability and
experience of the in.
dividual players.
Fiqure 474. Shoul d
he keep his head
froe as shown here,
place your hand
aqainst it and force
it toward your le9S
Figure 475. Bri n9
your ri9ht le9 up
o n d continue to
Ioree his head away.
F'
ogure 477. ll your
opponen t stradlos
You and knows how
to move with your
moves whi le he is
hplying a straight
c you will find
05
""Pe difficult.
Fi9ure 47b. T h u 1
catc:hin9 him in a
head sc:issors and
breakinq his hold.
Figure 478.
conies h.
Hitti ng
4
gainst the elbow as shown here is not permitted in spod
Figure 479. To render a straight choke. place both forearms across
the orms of your oppoMnt and preu hos orms toghtly to your chest.
Figure 480. If
your legs are to
t he outside o f
opponent's legs
the s I r a i g h t
c hoke is the
simplest to de-
fend.
t ightly to your right thigh, which is the proper way. Review
Figure 113 and its text. You 11re helpless because the rules
of judo conrests permits you to use only skiU in escaping
f rom d1cse holds- pressing nerve-centers, pinching, and such
actions are forbidden.
Bur if your opponent holds his head away from your thigh
(Figure 47+) you can easily force his head down coward
your legs and apply a neck-scissors (Figures 475 and 476).
Stopping the straight cboke. If your opponent grabs your
lapels as in Figure 477 and applies the choke (Figure 478)
and in addition is srraddling your body, meaning that his
legs are on the outside of yours, you will have a hard rime
freeing yourself. The best method of stopping the choke
before its effect is felt is to cross your arms on top of your
opponent's arm, and press rhcm hard ro your chesr (Figure
479)-
Tf, howe\' er. your opponent's body is on the inside of
your legs and be grabs your lapels for the straight choke
(Figure 480), then you must twist in your waist in the
Figure 481. Twist slightly with the c h o ~ e so that your right thigh resh flat
against the mat.
Figure 482. Now grab opponent's right arm and hold onto it as you bring
your left leg over his arm and ...
Sport Technique 6r
Figure 483. And h o o ~ it under his c:hin.
direction of tbe choke. Tf your opponent is using his right
arm to force your left lapel across your neck you must twist
to your right side; if opponent uses his left arm, twist to
your left side. This action on your p<trt will ease the effect
of the choke. See Figure +8 1.
At the same time bring you lefr leg up, since it is the
nearest one to the attacking arm of rhe opponent, and place
ir in front of his face and under his chin (Figures f82 and
+8 3), but all the while retain a firm hold of his right arm
or irs sleeve. By straightening your left leg, and straighten-
ing om in your waist, you force your opponent m' er w your
left side (Figure 48+).
If your opponent continues to grip your lapel after this
action, you can easily break his hold by using the power of
your leg-place the sole of your leg against the inside of
Figure 484. Force him over on his back by straightening out your left leg and
rolling your own body so that both your shoulders rest against the mat.
l'igure 415. Shou'd your opponent hang on to your sleeve or lapel. place the
sole of your left or right foot against the inside of his left elbow as shown
and force his arm off.
Figure 486. The grip can thus be broken.
Figure 487. And you have him
Figure 488. Look at Figure 483 again, from which position your opponent may
twist into the position shown here.
Figure 489. In such a case, simply face the mat yourself the arm
lock in this reverse position. Be careful! The arm lock apploed on thos manner
is very dangerous and can easily snap the elbow or a bone.
Figure 490. If your opponent catches you in this rear pull-choke and at the
same time applies a kidney-scissor lod against you, do not roll to either side
but remain as shown. An experienced judo-player will try to roll to one side
for better effect.
his elbow and force his arm off (Figures 485, 486, and 487).
The fuiJ arm lock is rhus attained.
If your opponenr releases his grip before you have the
rime to roll him over on his back, you can still at[ain the
full arm lock except that ir will be' in a reverse position-
your opponent will be facing coward the mar,
as shown in Figures 488 and 489. In this lock be particular! y
carcf ul, because a disjointed elbow can easily result from too
much eagerness to complete the trick.
Couutering the rear pull-cboke, and kid11ey-schsors. Your
opponent, whene\'cr he finds himself behind you, can easily
apply a kidney-scissors and a rear pull-choke (Figure 490)
the two being a formidable combination when employed
against an inexperienced judo-player.
To escape, all you need do is grip your own lapel and
pull it free (Figure 49r) rhus lessening the effect of the
choke, and at the same time cross your legs over rhe legs
F' 491 Simply pull on your lapel to ease the choke, .. nd cross legs

of his in a reverse scissors, arching your body to create pain an cause

him to glvo up the point.
Figure 492. To ease the regular chokes in which your opp.onent employs your
lapels, the best method it to grab your own lapel and pull ct away.
Sport Tecbnique
Figure 493. The choke will be broken. Of course, you cannot go through a
contest by simply easing choke .,u.,cks; you must counter with locks and holds
or the referee will disqu<!lify you,
of your opponent (Figure -+9') and arch your body back-
ward. This trick is sometimes called re\'crse scissors, and
"\\'ill incite sufficient pain to your opponent ro cause him
to gi,e up the point.
Lessening tbe effect of the straigbt, jugztl11r, and rear
cbokes. To lc.!>'Sen the effect of any of rhc chokes illustrated
from Figure 492 to soo inclusi,c, you should grip either your
own lapel or rhe arms of your opponcnr and force rhe
choke off as shown.
The straight choke in Figures 492 and 493 is being applied
Ly rhe left arm of rhe opponent, rhus you pull downward
on your right lapel.
6R
MODERN JU D O
Figure 494. Here is t he dart of a jugular choke.
Figure 495. Opponent straightens out to apply the choke. You should keep
your arms free as shown.
Sport Teclmique
Figure 496. 6rab his forearms and pull them off, at the same time lifting your
hood so that your neck esc a pes tho choke.
The jugular choke illusuated in Figures 494 and 495 can
best be broken by grabbing opponenr's forearms and pulling
them apart, at the same time lifting your head <J\vay as
shown in Figure 496.
Figure 497 shows a rear pull-choke; remember rhat an
experienced judo-player can stay with you in this choke
regardless what you do or how you try to twist away. For
average bouts the same trick of pulling down on your lapel
will lessen the effect of the choke (Figur:e 498).
\\' hen the choke shown in Figure 499 is execurcd properly
your right arm would be straight up instead of as shown,
and your head would be pressed tightly against the upper
part of your right arm. Then the lapel would be used for
the choke.
Figure 497. In this pull-choke from the rear, your opponent is pulling your .left
lapel acrou your neck while his left hand is p ressing your head forward tnto
the choke.
Broak the choke by p11lling downward against your left lapel.
Sport Technique
71
Figure 499. In t his more complex pull choke your opponent should have forced
your right arm straight up with his own right forearm.
1-Jo\vever, if the choke is scarred loosely, as shown, you
can easily break it by pulling the lapel ofT (Figure soo)
\\ ith your left hand and forcing opponent's right down with
your own right arm.
It must be pointed our that these arc merely tricks by
\\ hich you might lessen the effect of a choke; you cannot
hope to go through an cnrire bout in this manner since it
is bur a defensive acrion on your parr, and you are expected
ro try and secure locks and holds against your opponent.
Bur these tricks do have their place in contests and for this
reason arc given here.
Escaping cross-cboke, i11to rear body bold. The only time
you can escape t he cross choke when it is applied from the
MODERN JUDO
Figure 500. There-
fore you are able to
break the choke by
keeping your right
arm down as shown
and using your left
hand to pull against
your right lapel to
ease the choke.
F i g u r e 50 I The
cross-choke applied
from the bottom by
your opdonent as il-
lustrate is difficult
to break when your
opponent catches
your body as well in
a kidney-scissor lock.
Sport Tecbuique
73
Figure 502. If your legs are to the outside of his you can unwind from this
choke by placing your right hand next to his right ear to prevent him from
turning around, and with your left hand grab his left sleeve as shown.
bottom, is when your legs arc to the outside of your op-
ponent's body (Figures 501 and 502).
Since you plan to secure a rear bod) hold against your
opponent who now holds ) ou in a hard cross choke, it is
necessary to plan ahead and usc such moves which will
render his moves worthless. The first thing is to make
certain he cannot follow you around when you start to
unwind from his choke, s.o you should place your right
hand on the mat close to his head and right shoulder, and
with your left hand reach inside between your body and
his and grip his left sleeve (Figure 502). Study this move
closely.
Sport Teclmique 75
Figure 503. You can now unwind in safety toward your right side; always note
which arm of opponent is closest to your chin, Figure 501 , and unwind to that
side, in this case toward your right.
Figure 504. As you unwind from the choke grab opponent's belt at his side
with your left hand.
Figure 505. With your right also grab his belt, and you have a hold.
Figure 503 shows the beginning of your unwinding
escape, yet your right arm prevents him from following
you around and your left hand, holding his left slee,e, aids
you in this trick.
Figures 504 and 505 show the completion of the escape
and the rear body hold applied.
Locking the elbow and shoulder. \Vhcnever the oppor-
tunity presents itself, providing your opponent is flat on his
back and has left his arm as shown in Figure so6, you should
place your own forearm across his and slide your other
Figure 506. In mat-fighting all sorts of opportunities present themselves for
arm locks. Anytime your opponent leaves his arm in the position shown, cover
It with your arm and slip your other arm under his elbow.
Sport Technique
77
Figure 507. Lock your arms and now pull his forearm to you in such a way
that his forearm is off the mat but the bock of his palm still against the mot.
Figure 508. Properly applied, this lock will create pain in the shoulder and
elbow. Some judo-players press their chest against opponent's elbow, thus
executing a wrist lock instead as they force the forearm of tho opponent hard
into the mat and against the bent wrist.
arm under his elbow, then place the palm of your bottom
hand, in this case your right hand, on your left forearm as
shown in Figure 507. To apply the lock all you need do
now is lift your opponent's elbow and upper arm upward
by the power of your right forearm, while you keep his
'' rist pressed ro the mar by the power of your left arm
(Figure ;o8).
Locking oppoueut's leg. To create pain in this particular
leg lock you must make sure your opponent cannot turn
aw<ly when you start applying the pressure for the lock.
Figure 509 illlustratcs how you must hold your opponent's
upper body down by gripping his slce,e or arm and holding
Figure 509. With your right arm hold your opponent's left side down to the
mot as shown, slip your right leg in pest his left nkle.
MODERN JUDO
Figure 510. Continue to hold his body flat to the mal, and now straighten
out your attacking leg.
it to the mat, while you slip your leg under his leg (Figure
51 o) and then straighten your attacking leg out for the
effect of the lock (Figure 51 I).
1f you are flat on top of your opponent, you can lock
borh his legs at the same time, in that way eliminating the
necessity of holding either side of his body co the mat. It is
an effective trick for mat-fighting purposes.
Now restudy Chapter 5 in whole, with particular emphasis
on how you can improve your present ability. Try to be
very critical in evaluating your own judo technique.
Sport Tccbuique
F1gure 511. Here you see the leg lock completed. It is possible to lie flat
on your opponent and employ both your legs for this trick.
2
Methods for Attack
T HIS PART OF THE BOOK, coupled with Chapter 4,
is intended solely for coaches and .particularly
those who arc associated with the Amencan M1htary Close-
Combat Training Programs.
Be careful while practicing! .
From your study and training in throwmg you should be
more than familiar with the methods used ro off-balance
your opponent, and from your study and in mat-
fighting you should know how to attack the JOints
holds and locks. The phase on nerve-centers IS
familiar to you also, but this. chapter o.f . the book w1ll
elaborate upon it to teach you JUSt how vtctous and deadly
these scientific attacks against nerve-centers can be.
Tn view of the above paragraph, let us state a theorem:
1
. The surest and quickest way to render an opponent
helpless is to concentrate your attack on his weakest and
most sensitive points.
2
The opponent's weakest and most sensiti\e points
his nerve-centers and joints; physically, an opponent IS
weakest when he has lost his balance.
3 Your job, then, is t? devise \vays t? effectively attack
his nerve-centers and jomts, and to dehver most of your
attacks while the opponent is off-balance.
The above three afford the most. solid,
most pliable, and most effecuve foundatiOn on whtch to
Metbods of Attack 8t
build your judo knowledge, and such a knowledge will
withstand any test you care to impose.
It is not enough to say that hitting the collar bone will
break it (Figure 5 q.); rather, you should disco,er the
9uickes.t way to break rhar bone while your opponent
IS holdmg on to your arm (F1gures 51 2 and 51 3), which
proves to be nothing more complex than a simple defense
move on your parr, bur this move will surely throw your
opponent off-balance and so make your attack (Figure 514
again) foolproof.
The same applies to hitting the solar plexus, the front of
the neck, under the nose, or the cop of the nose (Figures
518, 51 9 5 20, and 5 z 1). Such attacks are all right, but
Figure 512. In serious combat you want to do more than just free your hand
from a grip of this kind; you want to free your hand and at the same time
want to deliver an attack against the opponent.
Flguro 513. Freo your hand by snapping your forearm up as shown, bending
the arm at the elbow only.
Figure 514, The instant your hand is free you ean chop bad at opponent's
col!or bone. Reme mber to ~ e e p your attacking arm relaxed-the moment you
hit, your hand must snap awey from his body in e whip-like ection. The force
of this blow is sufficient to r e o ~ the collar bone.
Figure 515. This is t he some hold as in Figure 512, but follow t hrough and
note t hat In this case you will free your hand in a different way.
Figure 516. By bending your elbow again, snap your forearm toward your
opposite hip, as shown here.
Figure 517. You will break the hold as you did in Figure 513, and now you
are re
11
dy for an entire set of aHach, and all of them can be executed by
whipping your hand's edge against the most sensitive spots of your opponent.
518. You can easily strike him across the abdomen.
Figure 519. Or chop upward against his neck.
Figure 520. From Figure 517 you con just as easily strike opponent under the
nose where a highly sensitive nerve-center is located.
F 521 Or you can strike him a little higher across the eyes or across
of his nose where another nerve-center is loea!ed. In thes.e forms
of hitt;ng with the edge of the hand, be careful whtle praet.emg wtth your
partner.
F
. 522 Note that this is a reverse grip on your forearm, in which ease
tg u re . ' h d 'th f h d
you should cover your opponents an wt your ree an
Figure 523. Make sure you turn your captured forearm so that your opponent's
palm is in a perpendicular plane, at the same time press his hand tightly to
your forearm and use your own right forearm to force his left forearm down-
ward. This trick is painful and hard on opponent's wrist, so practice carefully.
they can be easily done to top-off a defensive move such
as freeing your arm from oppone.tr's grip (Figures 515, p6,
and 51 7) and then delivering the hits wherever they fit best.
Figure 5 22 illustrates a reverse grip on your right fore-
ii rm, which can easily be broken by covering your op-
ponent's palm with your left hand, then forcing his forearm
downward by the power of your own right forearm
(Figure 52 3). In this trick you must be sure that the out-
side of his hand is vertical, otherwise there will be no pain
accompanying the trick.
Figure 524 shows tlu.s same grip, but on your left forearm.
You start to use the same trick as in Figures 522 and 523,
but instead of holding on to your forearm your opponent
releases his grip, and your left hand comes out free. See
Figure 525. You be-
gin as you did in
Figure 523, but then
assume that your op
ponent decided to
release his grip.
Figure 524. This is the
same grip as in Figure
522, e ~ e p t that the
opponent has t a k en
hold of your left wrist.
This and the previous
trick can be practiced
to either side.
Figure 526. Thus with
your left arm free and
your right hand holding
the h.snd of your op-
ponent, you are in .,
position to att.sc:k.
Figuro 527. Your at-
lack can be any of the
set shown in Figures
518, 519, 520, and 521.
Figure 528. This is a right-hand-to-right-hand g rip and can e asily be broken
by the method shown in Figure 513, by twisting your hand around to your
right side and the n sna pping your forearm upward to your right shoulder.
Figure 529. In infl ict injury, you can cover opponent's fore arm with your left
hand, pla cing your right hand on your own left fo rearm as shown.
Metbods of Attack
Figure 530. Keep opponent's c a ptured hand tightly against your body, and
now bend forward and sink low to cause opponent's wrist to bend in the wrong
d irection.
Figures H5 and p6. The most natural move, on your part,
is to strike upwards for his nose or front of the neck, as
shown in Figure 52 7.
Figure 528 shows a right hand ro right hand grip; you
can free your hand in a manner similar to that shown in
Figure 5' 3, or you may want to cause your opponent some
pain, in which case you should lock his hand as in Figure
529, and then bend forward hard, keeping his hand pressed
tightly w your body, Figure 5 30.
In the following exercises in kicking opponenr's nerve-
centers you see the models posing bare-footed. lt is only
narural that for emergency purposes and in serious combat
you must have st reet shoes on if these kicks are to be effective.
There are mainly two kinds of kicks: the swinging-kick, in
Figure 531 . In all the following methods ot attack of this part of the book
you must use street shoes if your ottod (mostly kids) is to be succeufu,l.
Pr.sctice barefooted. Bend your leg .ss shown, then aim your heel at opponents
ankle.
Figure 532. The force of this must come from the downward stroke
of your leg. The distance must be correct; it is better to be c' ose to your
oppone-nt than to be short of distance when your heel lands. look up the
charts on nervecenters in Chapter 12 for the exact spot to kick againlt.
Figuro 533. From Figure 531 you can direct your power-kick against the knee
of your opponent.
wh!ch you mostly use your roes; and the power-kick, in
whtch you employ your heel. Both types are dangerous,
often deadly.
f'>ractice all kicking bare-footed I
Po'U;er-Kicks at Ankle and Knee. In order ro protect your
O\\'n body from a kick, you should always stand sideways to
your opponent's position. Contract your leg for a power-
kick as shown in Figure 53 1, and direct .the force of the
kick either downward at the ankle of your opponent or else
slightly higher at his knee. See Figures 532 and 533 Aim
your kick in such a manner rhar your heel is the point of
conract.
The kicking action illustrated in Figure 5 33 can be sub-
stituted by another form, in which case you must grab your
opponent's belt (or other clothing near the waist b el) and
pull him to\ovard you at the time you deliver the kick
(Figure 534).
Figure 534. This is the same kic:k against opponent's knee, with the difference
that ynu have grabbed part of his clothing or his belt and are pulling hard
toward you ..t the moment of kicking. When practici ng, be c:aroful.
Figure 535. For this kick you must sink low in your supporting leg, then raise
your attacking foot high, aiming for opponent's groin.
'
Figure 536. Kic:k straight out, using your heel. If you happen to be too far
owoy, or if your opponent tries to jump away from you, it is possible to jump
toward him end still deliver the kid.
In all kicks of this type your supporting leg, in these
illustrations your left leg, must be bem slighrly to afford
the balance necessary. Ne,errheless, your encire body must
be kept relaxed throughout, rhus making it possible to jump
our of the way of your opponent should he counter your
kick or attempt ro grab your attacking foot. Lean toward
him as you kick.
The same sort of power kick can be aimed for the groin
or stomach. You must pull your attacking leg high and
sink slightly in your supporting leg, then kick straight out
(Figures 5 35 and 53 6). These kicks are execmed with
speed. leaving the opponent helpless to defend himself, un-
less, of course, we assume he is another judo experr, in
which case he would sense your form of attack from the
position you assume at the beginning of the encounter.
Figure 537. These s ~ m e power-kicks can be used in serious combat when you
have downed your opponent. In this ease his leg is straight, and a fracture
or dislocation of the knee is easily aeomplished by kicking straight down on
top of his knee joint or slightly above it.
Figure 538. If opponent has bent his leg as shown here, and has as well laid
it so that his thigh is flat against the ground, then sufficient injury ~ n be
inflicted against the knee by crashing your heel hard into the joint. If you
kid downward across his shin you can break the bone.
Figure 539. The hardest kick and the most dangerous is the solar plexus power
kick, shown here.
Po'IJ:er-kicks ,1gninst downed opponem. You can easiJy
disjoint the knee of your antagonist by using a power-kick
as shown in Figure 537, Jircccing the force of the kick ~
straight down "hen his knee and leg are flat against the
ground. The kick would, again, be started from the con-
tracted posicion shown in Figure 53 .
Should the antagonist bend his leg at the knee, you can
still inflict damage by kicking his knee in its exact bending
center as shown in Figure 5 38.
Place yourself in a posicion beside your downed op-
ponent so that your feet are ncar his hips. Before he can
rise, drive a powerful lcick at his solar plexus (Figures 539
and 540). Again, it is your heel that must be made to do
the work.
If you suspect that your antagonist might attempt to throw
Figure 540. Your heel h used again , but in approaching your downed .op
ponent lor this altad you must be on guard not to be ihrown yourself. s;nce
your opponent might know something about judo or other systems of closl'
combat.
Figure 541. This is the simple swinging-kick, delivered to opponent's stomach
01 groin. You aim your toes into the direction of the kick.
Figure 542, This ~ the same swinging-kick aimed for opponent's chin. Do
not perform these kich with a loose swing, rather try to do them with snap
and speed, as quickly u possible, or your opponent might be able to grab
your attacking foot a nd throw you on your back. See Figures 573 and 574.
you off your feet when you approach him for your kick,
you must be on guard and should close-in carefully. Re-
member, a really clever opponent will always rry co deceive
you in every way!
Swing-kick at stomach and cbin. In these types of kicks
you use your toes and the kicking action is the same as when
you kick at a football.
Kicks can be delivered against any part of the body of
your opponent (PRACTICE ALL KICKING BARE-
FOOTED) but by far the most sensitive points are the
stomach or groin (Figure 541) and the chin (Figure 542).
Kicking the stomach is a simple matter; to some the chin-
kick might appear impossible or impractical, but rest assured
Figure 543. Kicks to the nerve-centers of opponent's head and neck con be
deadly. Swinging-kicks are required for tftese attacks, since the toe of the
shoe is more efficient for the purpose.
i g u r ~ 544. In this barefooted exercise you see tfte kick delivered to the
norvo-conlor be!ow the ear.
Figure 545. From the same start as in Figure 543, you can deliver the kick
to opponent's temple.
that the kick shown in Figure 542 can be easily executed and
irs effect is quite sufficient to floor anybody.
For practice purposes, extend your arms to the front of
your head at about chin level and kick upward with your
feet, alternating from left to right foot, and then begin lift-
ing your finger tips higher and higher, all the while kicking
ar them with serious intent. In this manner you cannot in-
jure yourself nor your opponent in practice, yet the exercises
are really of value for a possible future emergency. By way
of warning: if you overestimate the height at which you can
kick in safety you will kick yourself off your supporting
foot.
To deliver a kick at the head of your downed antagonist
it is best to employ these swinging-kicks instead of the
Figure 54b. If your oppone11t has been thrown and then starts to g e ~ th h ~
feet, and your position is behind him as shown, -4 kick to the base of IS ea
will have disastrous results.
Figure 547. Assuming that you have delivered a kick against opponent's groin
that fell short of its mark, you must instantly drop to your hands and let your
attacking foot dide past the t high of your opponent.
Figure 548. As your attacking foot slides to the outside of opponeht's leg,
as shown, kick out with your other foot and place it between both his legs.
driving power-kick. In swinging-kicks you usc the point of
your shoes, the toes, and your kicks, naturally, are aimed
for some nerve-center along the neck or head of your
downed opponent.
Figures 543 and 544 illustrate a kick being delivered at
the nerve-center located below the car- the kick must be
directed inward (tOward the opposite ear).
Figure 545 shows rhe same type of kick delivered to the
temple.
If you are behind your antagonist and he has started to
rise, you can employ the swinging-kick to base of the head
as sho\\n in Figure 546.
Practice carefully! ALL Tl TREE OF THE DESCRIBED
KICKS ARE DEADLY!
In case your kick falls short of irs mark and your op-
Figure 549. Now roll over on your back, at the same time locking your legs
into opponent's legs, In this case throwing him by the power of your left leg.
Figure 550. He will fall alongside of you.
Figure 551. Jump t o your feet, and you con omploy any attad for the purpose.
ponent remains standing, the following trick of throwing
him might be of value to you at son1e rime:
Say you ha\e used your right foot for rhe kick to his
groin, but you missed. Instantly face ro your left and
fall on both your palms (Figures 5+7 and 5+8), leaving your
attacking right foot on the outside of opponent's right leg,
and at the same time throw your left foot between both
his legs.
Continue co roll toward your left side, and by hooking
your legs into his, you can him down with you and
then jump to your feet for some other (Figures 549,
550, and sp).
Such attacks as ripping anragonisr':. lip and sticking your
fingers into his eyes are primitive forms of attack and are
useful in certain cases where lhe ourcorne of the fight will
spell life or death, bur remember that such <IS pure
attacks, can be easily warded off or defended, so that you
must find a way of holding your opponent in a foolproof
106 MODERN J UDO
manner before you can hope to tear his lip off. In such
an attack all he needs to do is back away or tum his head,
and your attack fails.
The same holds true for rhe type of attack where you
jab your fingers into opponent's eyes. lf he cannot back
away from your attack, all is well. Otherwise this form
of attack is not sound fundamentally.
Review the theorem stated at the beginning of this Chapter.
3
Self-Defense
y OU C ~ USE throwing technique and your knowl-
edge of mat-fighting, and you can also use the various
methods of attacking the nerve-centers of your assailant-
all this you can use in self-defense.
There is no definite rule as to what constitutes self-
defense in judo since most of the moves begin as a defense
then face-about and become scientific attacks. If you are
attacked and you kick your antagonist in the most hap-
hazard manner you have defended yourself; if someone aims
an automatic at you and you beat him to the fire, you have
again defended yourself.
\Vhichever move you employ for self-defense it must be
a quick and shon move, and it must be to the point, to
the purpose you want it to serve. Do not perform tricks
for the sake of their trickery or because they "look nice,"
as so many do. Tricks which are suitable for exhibition
purposes will not be practical in serious combats!
Notice that in almost every defense given here the. grip
or hold is broken first, but then some form of attack
takes place against your opponent. In short, you couple
several moves into one continuous mo,e, and for this reason
you might call this chapter on Self- Defense really Defemive-
Attack.
Freeing hands, tben butting. It is nor unusual for someone
at some time to grab your forearms in the manner shown
in Figure 552.
To break the grip, force your elbows to the outsides
and at the same time drop your wrists to the inside in a
Figure 553. Roll your fore-
arms down and outward at
the same time.
Figure 552. In this grip
keep your arms relaxed and
use the power of your body
to bend forward.
Figure 554. At this point
the grip will be broken,
and you will be low in your
knees and in a position to
butt your opponent down.
circular motion (Figures 553 ami 554). To insure the
effectiveness of this escape you should sink low in your
knees.
By thro\\ing your arms far to the outside as shown in
Figure 55-+ the grips \\ill be broken, and from this stage
you 111ltSt immediately slap your hands against the thighs
of your opponent, pull his legs toward you, and use your
head to butt him d0\\"11 (Figure 55 5).
Figures 5 56 and 55 7 illustrate the same defense. \\'ith
the exception that you remain straight in your legs and take
a shon step toward your opponent.
This shon step you take toward him will place you in
position to chop against his neck (Figure 5 8 ~ stunning
him momentarily, then employ the butting-down action
(Figure 559). Note that you have coupled first but two
Figure 556. From Figure 552 you
cen roll your forearms only this
far and keep your body in a
stright position.
Figure 555. Grab him be-
hind his thighs, and use
your head to throw him
over on his bad.
Figure 557. Then free your arms
as shown, which will leave thom
high up.
Figure 558. Chop with both hand
edges, pa'ms up, against op
ponont's jugular veins on his ned,
and right after that employ a
butting throw.
Figure 564. You plac:e
your thumb on top of
his, and with your left
hand hold tightly to his
wrist.
F i g u r o 563. Another
way of breaking the
same grip is to bend
your opponent's thumb
inward.
Figure 565. Bend
the tip of his
thumb down and
in; the pain will.
c:ause him to re-
lease his grip on
the lapel.
moves (defense and the burring anack) and then three
moves (defense, hitting nerve-centers in neck, and butting
auack).
Freeiug a lapel g;rip. If your assailant grips your lapel
and pushes against you, the defense is shown in Figures 560,
561, and 562, and is done while you arc retreating under
his power. At Figure 562 it is possible to also deliver
a kick.
Another effective way to free your lapel is to cover
your assailant's hand (in this case you are using your Jeft
\
Figur& 566. Should a
very powerful person
grip your lapel, you can
use this thumb pressure
trick to break the hold,
but in such a case cover
opponent's thumb with
your whole palm to
render his escape im
possible, and apply'full
pressure quickly a nd
with a ll the power you
have.
Figure 567. Here your
opponent has placed
his palm on your chest
and is pushing you
badward.
Figure 568. Cover
his palm with your
t wo hands but press
his palm tightly to
you.
hand to do this) and place your rhumb on top of his thumb
(Figure 563). Bend rhe tip of the thumb inward toward
rbe palm, and the pain created will be sufficient to cause
him to let go his grip (Figures 564 and 56 5) .
If your assailant is a very powerful person, you must
then use all your power in pressing the tip of his thumb in,
and to do so it is best to use your full right palm, as shown
in Figure 566.
Defending a straight push and hair grip. Your opponent
stands in front of you and places the palm of his right hand on
your chest and begins to push you backward. Retreat under
Figure 569. Bend to
the front, at the
same time take sev
eral steps to the
rear and keep to
your bent position,
forcing him all the
way to the mat.
Figure 570. The same
form of attaek ean
be used if your op
po.nent grips your
h a ~ r
Figura 571. Take him all the way down-in a serious eombat you ean use
your feet at the same time for kicking.
his effort (Figure 567) but place both your palms tightly
on his, then bend hard forward (bur continue to retreat
throughout this action) and force him to the mat as shown
in Figures 568 and 569. Be sure to press his palm tightly
to your chest, or else this move will be ineffective.
The same trick can be used when your opponent grips
your hair (Figure 5 70). Cover his fist with both your
hands and [ress them tightly to your head to ease the pain
to yoursel , then retreat fast and bend violently forward
(Figure 571).
Kicks can also be incorporated into this defense.
Defending a kick. If you expect your assailant to kick
you, stand with your side, toward him; never face bim
squarely. Do not attempt to stop the kick, but rather let
it come and then simply twist our of its way, at the same
instant grabbing assailant's attacking foot from underneath
Figure 573. Grab his at-
tacking foot from under-
neath and lift it higher to
throw him off his support-
ing fopt.
Figure 572. If you expect o
kick, stand with your side to
your opponent; never face him
squarely. As he kicks you
witl be able to twist your hips
out of his way, taking a step
to one side at the same time.
Figure 574. Then
crash him into the
mat. Be careful
while practicing.
(Figures 572 and 573), and then lift his captured foot
high up to throw him off his supporting foot.
The finishing action is to slam him hard against the
ground as shown in Figure 574
Using kicks against knife attacks. Figures 575 to 582
illustrate what to do when your assailant advances at you
with a knife. Swinging-kicks and power-kicks can be em-
ployed against him to good effect, whether he is holding
the knife in the under-hand grip (Figure 57 5) or in the
over-hand grip (Figure 58 r).
Of course, the' effect of your kick depends on hard-soled
shoes; bare-footed practice is presented here for safety pur-
poses.
Leg throw; and defense. Should your opponent assume
the wrestler's stance as illustrated in Figure 58 3, you must
F i 9 u r e 576. The
quickHt defense is
a kicking attaclt to
some part of op-
ponent's b o d y.
Power-kicks are most
effective since your
upper body leans
back out of reach
while your foot de-
livers a hard kick to
the knee or groin.
Figure 575. If your
opponent i1 threat-
ening you with e
knife your funda-
mental h-aining in
knife defense can be
employed (see
Chapter 7.
F i g u r e 577. All
p o w e r kids are
started from this ap
proi mate position.
Figure 578. Swrng
ing-kicks can also be
used with good ef-
fect, in which case
you must face your
opponent.
Figure 580. Kicking
the groin or abdo-
men is a lso ef-
fedive, Should he
strike with t he knife,
lean hard to the reer
as you kid for his
groin or chin. See
Figure 542.
Figure 579. Kick fo r
his knee. Not e that
your upper body con
be kept out of range
of his knife.
Figure 581 . All the
described kicks can
be used whether the
opponent holds the
kn ife in the under
hnd or overhend
manner.
Figure 582. Keep
your upper body out
of range and let
your kick reach him
with plenty of power
and with the proper
timing.
Figure 584. Y o u r
r i g h t hand has
grabbed his right
thigh and is pulling
it toward you, and
your right shoulder,
wedged against his
mid-section, is forc-
ing him backward.
Figure 583. One of
the surest W4YS to
throw an opponent
is to rush him and
grab his thigh with
one hand as the
weight of your body
throws him over.
Figure 585. He can
thus be tasily taken
down.
Figure 586. The only
e f e n ~ e against this
leg throw is to hook
your left hand under
yo u r opponent's
right armpit and try
to place your right
forearm across the
top of his body or
neck when he rushes
in for his attack.
Figure 588. N o w
simply drop to the
mat as you take a
step to the rear and
roll him over toward
your right side, both
your arms acting in
the manner of a
lever.
i g ~ r e 587. He has
grabbed your leg
already, but you
have caught hia erm
pit with your left
h a n d and heve
placed your right
forearm acron his
neck.
Figure 589. When
ever your opponent
starts to apply a
regular forearm lock,
as shown here, in
stently twist your
captured arm so that
y o u r palm faces
downward, and step
behind your oppo
nent with your near
est foot.
do the same. The most effective way of downing your
opponent is to rush for his leg and grab it behind the knee,
bracing your shoulder against his body (Figure 584).
Pull his leg toward you and continue to advance, pushing
against his body with your shoulder, and he must fall
(Figure s8s).
The defense for this leg throw is to hook your left hand
(if opponent is attacking your right leg) under opponent's
right armpit (Figure s86) and when he bends low for his
attack place your right forearm across the back of his neck
(Figure 587), and at the same time drop to the knee of your
right leg, twisting his body hard to your right side (Figure
s88), for which purpose you use your right forearm to
Figure 591. In this full
arm loek keep your
body bent well to the
front as your opponent
lakes your arm to ap
ply the lock, and step
behind him slightly.
Figure 590. Applying
leverage, you ean easily
throw him over on his
bad.
Figure 592. Pull him
over your right thigh
with the combined
power of your arms,
as shown.
force his head down and your left forearm to force his
body to roll over.
Defending standiug locks agaimt your arms. The point to
remember in these defenses is that most of the locks can be
defended up to a point, after which they arc too far gone
and brealcing them is next to impossible. Thus, whenever a
lock is begun against you, you must instantly begin your
own counter-attack.
Figure 589 shows the regular forearm lock being applied
against you. To render it worthless, turn your arm in such
a way that your palm faces downward, and be sure to
bend your elbow and keep ir bene, at the same time step
behind your opponent wtth your nearest foot, then tip
him over backward (Figure 590).
Figure 591 illustrates the full arm lock as it is begun by
Figure 594. By exe
cuting a forward
roll, you can easily
a sea pe. Be on guard
after your roll-out,
or opponent might
follow up and de-
liver a kick to your
head.
Figure 593. To es-
cape this elbow lock,
bend far to the
front at the moment
opponent begins to
apply pressure.
Figure 595. To es
cape the same elbow
lock, it is possible to
bend far to the
front and straighten
out your aHacked
arm, then quickly
slip your straight
arm slightly around
till you can grab
yo u r opponent's
right lapel.
your opponent, who, in order to secure the lock correctly,
must step in front of you as shown. Remain in your posi-
cion, but quickly grab his left arm with your own left
hand, then wedge your right thigh against the back of
his left thigh, and force him back with the power of your
attacked right arm (Figure 592) .
A simple escape from the elbow lock is shown in Figures
593 and 594, wherein you place your free hand on the mat
in front of you and execute a forward roll-out fall. Another
way to free yourself from this elbow lock is to sink low in
your knees and straighten out your attacked arm as shown
in Figure 595, then quickly drop that same hand to op-
Figure 597. As easily
as you can butt your
opponent. he can do
the same to you.
T 1ke the fall, then
instantly reach out
and grab his legs or
his pants.
Figure 591>. This ac-
tion will then place
you in perfect posi-
tion for a thigh
throw, and in this
way you need not
fall yourself to es-
cape the lock and
risk a kick to the
head thereby.
Figure 598. H o I d
tightly to his pants
and str1ighten out
your body, forcing
your opponent to
fall backward.
ponent's collar, while your right hand grabs opponent's left
sleeve (Figure 596) , and thus you are in a perfect posicion
for a thigh throw.
Throwing opponent after you are butted do'W'Tl. It can
easily happen that your opponent beats you to the attack
and grabs your legs, then butts you down by using his
head against your chest or stomach (Figure 597).
As you take the fall, reach to the front with both your
hands and grab either his ankles or his pants, pull them
hard to you and then straighten out your legs (Figure 598).
Since your opponent cannot take a backward step in
this case, he will fall to the rear, after which you can easily
get on top of him to continue the fight (Figure 599).
How to stand on-gwrrd against a boxer. Remember that
a boxer cannot fight when he has clinched with his op-
Fi9ure 599. A s
he falls
ward, you can
quickly follow up
the throw and
9el on lop of
him to continue
your attack.
F i 9 u r 0 600.
When-ever you
s I a n d squarely
facin9 your op-
ponent you risk
receivin9 a kick
to I he 9roin.
Stand with your
side to him.
Fi9ure 601. You can
take his arm off your
shoulder by 9rab-
bin9 it at the elbow
and forcin9 it in to
your left side as
shown.
ponent, but also remember that a boxer can become quite
deadly in his attack at the point of breaking a clinch. In
general, your aim shouJd be to keep clear of his fists or
else try to arrest his arms. Once a boxer is thrown to t he
he has entirelr lost his effecci\'eness and even an
mexperienced wrestler or judo-player can easily defeat him.
If the boxer can remain on his feet and keep his distance
from you he is quire a formidable opponent and must be
tricked or fooled into a wrong move.
Boxers, from champions co the average street brawlers,
prove that the clinch is inevitable whenever both opponents
Figure 602. Should h11
then att&mpt to punch
you, swing his body
farth11r around end
jab your free hand
into his abdomen.
Figure 603. Faee a
boxer in t he sa me
stance he is using.
Keep your arms and
body relaxed.
Self De{ ense
1
39
are using only their fists against each other. Thus, the point
is that it is an easy matter to close-in with a boxer and
employ throws and other tricks for the fight. It must be
pointed our, however, that a boxer who knows or suspects
that you are planning to use wrestling or judo against him
will be careful to keep his distance, and will be difficult to
approach.
In street fighting the usual method of attack is that of
pushing first, following it up with a swinging right to the
head. Sometimes a kick may follow the push, and for this
reason you should always stand sideways to your assailam,
as shown in Figure 6oo, thus eliminating the danger of a
knee ro rhe groin or a kick to the stomach.
If the siruarion is such that you c.an hold the arm of your
assailam (Figure 6oz) then his swinging right to the head
can be retarded or even entirely blocked by pushing his
body against the force of his punch, at the same time using
your own free hand to deliver a jab to the abdomen or
even a hard uppercut (Figure 6oz). Should Ius punch land
on your neck or face, most of irs force will have been
stopped when you swung his body against his attacking arm.
If your opponent stands boxer-fashion you should stand
the same way (Figure 603), and even if your intentions are
not to use throws against him you can still attempt to
block his punches with whatever boxing knowledge you
have.
Should your opponent use a straight right at your head,
you can tum slightly in your hips as your left forearm
brushes his right forearm roward your right side (Figure
604), and at the same time bring your own right hand
down and chop at his nerve-center under his right ear
(Figures 6os and 6o6). This chopping action must be
quick and hard, and at the moment of impact you must
snap your hand away (figure 607). In other words, your
arms remain relaxed throughout your defense and attack to
Figura 605. As his
r i g h t ftst shoots
p;ut, bring your
right hand In for a
chop against his
neck.
Figure 604. To de.
fend a straight right
to the head, use the
full length of your
left forearm, and
twist In your waist
towa rd your r ig ht
side.
Figure 606. Up to
this point your de-
fe nding and your
attacking arms were
relaxed. At the
point of Impact your
right arm should be
suddenly tensed.
Figure 607. As soon
as you have de-
livered t h e blow
with the edge of
your hand, . relax
your arm agaon and
snap lt away.
Figure 609. A
right swing to
the head eon be
easi!y countered
by leaning first
to the rear and
t h e n ducking
under the oppo
nent's arm.
Figure 608. If yout
opponent suspe.ch
that you ore goong
to use judo tricks
against his boxing
he will be doubly
c:oreful an d O n
guard. For this
reason you should
olwoys assume the
some stance os he.
Figure 610. As
you step in place
your right foot be-
hind his right leg
and place your
right arm around
his body so that
your hand grabs
his left shoulder.
the point of acrually hitting him, when your attacking arm
stiffens for the split second of impact, then again relaxes
as you soap your arm away.
If your opponent uses a swinging right to your head,
your job will be to either back away from it and attack
him as he completes his swing, or else to duck under his
attacking arm as illustrated in Figures 6o8, 6o9, and 6ro, at
the same time making sure that your own right arm rests
across his chest and is grabbing around his left shoulder and
neck, and thar your right leg is firmly placed behind his
right leg (Figure 6ro). Now you can throw him over your
leg by simple leverage; in some cases it is possible to step
in quite close to your opponent's right hip and wedge your
right hip against his, then throw him in a complete circle
over your back. In both forms you use the power of your
Figure 612. Here
is shown a hard
right to the body.
At such dose quar
tors it will be diffi-
cult to defend or
counter, so that the
judo-player must at-
tack befure the blow
lands.
Figure 611. You
can throw him
over your hip or
simply kid out
his right foot
from under him.
Figure 613.
Move in for any
of the hip or
t h i g h throws,
turning your back
to your oppo-
nent. In this way
the body blow
will not have the
sa me force as in
Figure 612.
entire body for the throw-do not cry to accomplish the
whole tnck through arm and leg power alone. See Figure
6u.
Body blows are difficult ro defend !lucccssfully because
they arc short punches delivered at close quarters (Figure
612). The best form uf dcf ensc is to turn your back to
your opponenr and at the snme time grab some part of his
clothing, or grab his arm with one hand and with your
other hand slide w1der his armpit. and so execute any of
the regular judo throws (Figures 6t 3 and 614). But re-
member that body blows are usually followed up with
hard uppercuts.
DO NOT jmagine that you can bear a boxer at his own
game! On the other hand, a boxer cannot beat you once
you clinch with him!
You kno'v an uppercut begins at the bottom and comes
up for the point of your chin or the side of your Jaw,
Figure 614. Showing
how you must grab op
ponent's arm or sleeve
to prevent him from
using short punches to
the head as you throw
him.
Figure 615. Another
dangerous blow used at
close quarters is the
upper-cut.
Figure 616. If you
are not on guard
an upper-cut will
knock you out in
short order, even
when delivered by
a n inexperienced
boxer.
therefore do nor srand jndifferenrJy when you expect your
opponent ro use boxjng methods (Figures 6r 5 and 6r6) or
you will be knocked out.
If you expect an uppercut, try to deliver your own at-
tack firsr. Keep your arms up ro protect your abdomen and
watch rhe eyes of your opponent, and with palms open
deliver a chopping attack at opponent's neck, base of his
nose, or eyes, as shown in Figures 6 r 7, 61 8, and 6 r 9
Keep the following in mind:
1 In all forms of attack and defense you musr be re-
laxed if your timing and speed is to be effective.
2. An expert judo-player is the one who has trained him-
Figure 618. Even be
fore he has a chance
to land his blow or
even dart It, strike
him across the ned or
face w t ~ the edge of
your hand.
Figure 617. If you think
your opponent will try an
upper-c:ut against you,
keep your arm high end
be ready to step bad.
Figure 61 '?. Note
that your athc:k-
ing left hand
starts from your
c:hest and strikes
right for his nec:k
or fac:e , and that
in this manner
there is no warn-
ing of the punc:h.
In regular bo-
ing the drive is
out of the shoul-
ders and body,
and c:an easily be
detected.
self in all phases of rhe art, and has done so consistendy
and intelligeorly.
3 Do not become o\erconfident; there is always some-
dung you can learn from others.
4 Think about rhe basic principles of judo, rehearse them
to yourself, and then keep w them in your judo practice.
5. Your opponent must be the one ro defeat himself-
you just help him along.
6. Have a ready, thought-out defense for the instant your
own attack has been hlocked or stopped.
7. Bring your hips into play more than any other part of
your body; in most of your throwing forms your hips must
be below those of your opponent.
MO D ERN ] U DO
8. In mat-fighting or grappling you must keep track of
every part of your body-what it is doing, and what it
could do.
9 Do not simply leam nhout judo through reading; go
and practice it so that you can lettm to do judo expertly.
10. And, while practicing, always be careful. 4
Stick-Play
T O TRACE THE. ORIGIN of the "stick-method" of
defense and attack would be a most difficult task and
for this reason irs place of invention is left open. Upon close
study, however, it proves to employ many systems, some
from kendo, the Japanese two-handed sword-play, and some
systems from the \Vest lnclies. Doubtlessly other systems
enter into it, for ir is only narumJ that man has known the
use of a heavy club since prehistoric times.
The use of a stick or club has been perfected through rhe
years (being i n official use in the India Police), and little
thought is regwred to realize hmv formidable this weapon
can be against an assailant armed with a knife or when the
same weapon is used for general attack and defense.
Practice is essential. T his treatise covers the simple forms
of attacking the nerve-centers (Chapter 6, Volume I ) of
your assailant, and though these forms can easily be learned
and mastered a definite practice is necessary in order to de-
velop skill in the exercises presented here.
Do nor try ro learn the whole merhod in one day or
one week. Starr with the practices shown from Figure 638
and go through to Figure 666, then remm ro rbe other forms
of attack.
Whatever exercises or move you do with your right arm
change over and do the same with your left arm.
The stick or club need nor be as long as the one here
illustrated, though a longer stick ~ w l l give you better con-
trol for your initial practice.
Figure 620. When handled properly. a light dick or short club cen be of
great value in serious combat. The technique is to strike the nerve-centers
with the tip of the stick, cutting or jabbing, as lt were. To deliver a cut at
opponent's k:nee or shin, sink low, but be ready to retreat or advance. Hold
the stick loosely.
F i g u r e 621.
The momenf
you de I i v '
y 0 u t etta<l
stand ereel and
step bad , at
the same tim
getting readY
for another at-
tack.
Stick-Play
'53
The shore police club c:tn then be substituted, or any-
thing that can be gripped at one end and swung in the
similar manner. Alter you have developed some skill with
the stick, you wiJl agree that even the light walking cane
can be a deadly weapon when you know what part of your
assailant to hit or jab.
DO NOT grip the stick in such a way that your thumb
rest on it, for such a grip will limit your movements. Your
thumb should rest on your index finger, and your grip in
general should be loose, your last two fingers merely tOuch-
ing the stick.
First impress yourself with what a stick can do in the hands
of an expert:
1. Tt can cut like ~ sword, stab like a rapier or foil.
2. The stick can guard the man using it, and can be
used as a club.
Now think about this and rry to figure things our for
yourself, then go on to the simple but effective exercises
given here.
Using stick agrti11St armed or murrmed opponent. (lf the
stick or club is heavier at one end, grip ic by its lighter end
for all rhe forms that follow.)
A powerful attack can be directed against your op-
ponent's knee or shin if you sink low and swing the stick
so that the point strikes the knee (Figures 620 and 62 1). The
same attack, aimed slightly lower, can be directed against
his shin (Figure 62 2).
It is important to aim in such a way that no more than
the tip of the stick makes the contact, otherwise the effect
of striking against those nerve-centers will be lost.
Tn the event that your opponent steps back quickly with
his foot and you miss (Figure 623) it is possible to reverse
the swing without any loss of time and again strike his
Figure 62-4. Note that your palm must fac:e up as you mlu hitting your
opponent's leg. From this position you c:an c:ut bec:k gainst his other
leg or you c:an c:ut upward against his head.
other foot (Figures 624 and 6z 5), or to switch the attack
at Figure 624 and swing the stick's point upward for op-
ponent's neck or chin as shown in Figure 6z6.
As said before, in order to develop skill in swinging
the stick or club experdy, study and practice the exercises
as presented in Figures 638 to 666 inclusive.
If you are armed with a stick or short club you should
be able to meet any emergency. The quickest forms of
attack that will stop an assailant are: jabbing the point of
Figura 622. The same attack delivered at the opponent's shin, swinging the
d ick toward your right side.
Figura 623. Your opponent might sido-step the stic:k, in whic:h c:ase you mud
turn your wrist in suc:h a way that your palm fac:es up.
Figure 627. When you and your opponent are at close quarters, you must be
the first to attack.
the scick into the groin (Figures 627, 628, ami 629), into the
chin or across the neck (Figures 630, 631, 6p, and 633). a
hard jab into the stomach or abdomen (Figures 634, 635,
and 636). and using the full stick against opponent's neck
or face ( Figure 637).
Figure 667, at the end of this part of the book, shO\\'S
the ineffectiTencss of a boxer facing you when vou arc
armed with a stick or club.
Fund amema/ Exercises. Snck -swinging or stick -twirling
is somewhat similar to the forms used in s\nnging the Indian
Figure 625. This illustration shows that but 11 split second is lost in hitting back
from the miss in Figures 623 and 624.
Figure 626. From Figure 624 you can aim your stick in an upward sweep for
the head or chin of your opponent.
Figure 629. This is
one of the most ef-
fective attads, but
should be followed
up with another jab
or cut for full suc-
cess. The sticks as
s h o w n here a r e
slightly over-length
because they ore
intended for prac-
tice purposes, as
seen in Figures 638
to 665 inclusive.
Figure 628. Grab the
slid at both ends end
lunge at your op-
ponent.
Figure 630. If your
opponent is the first to
ottod, your counter-at-
tock must be quick and
powerful, directed at
his groin or head.
Figure 631. Jab the
t ip of the stick
straight up against
his chin. Use al-
ways the shortest
distance bet w e e n
tl.e start of your at-
tack and _the spot
you want to reach;
do not raise the
stick or club over
your head and then
try to bring it down
as you would a
hammer.
Figure 633. Bring the
stick up and t h en
sharply cut across the
neck of your opponent
in such a way that the
force ~ n o k s him to-
ward his right side. As
he loses his balance,
you can then easily fol-
low up this attack and
use the stick against
any part of his body,
head, or arms. See the
Charts on Nerve-Cen-
ters in Chapter 12.
Fig u r e 1>32. As
your o p p o n e n I
reaches out to grab
your s h o u I d e r ,
stretch o u t y o u r
arms toward the op-
ponent' s left side.
Figure 634, Never
let your opponent
get a grip on your
stick or dub.
Figure 635. Move the
stick out of the way
end the shortest dis-
tance in this c a s e
would be an attack at
his stomach or groin.
Figure 637. Showing how
the middle part of the
stick or club ean be used
at dose quarters. From
this attad you can fol-
low through by using the
tip of the stick in chop
ping downward against
his jaw or neck.
Figure 636. In jab-
bing the tip of the
stick into the eb-
domen of your op-
ponent, be sure to
direct the attack in
ward, as if trying
to reach the spine.
Figure 638. The fol-
lowing twirling prac-
tices ore of great value
in learning to handle a
stid or club. Practice
using both hands for
these exercises. Keep
your weight on your
rear foot os you start
from this position.
clubs, except that in the forms uset.l here the hand must
ne\'er be lowered below the level of your eyes.
The upper body must be kept upright, though at the
completion of a swing the upper body might be leaned
to the from or rear, and it also mighr be swayed from side
to side to keep from striking the stick against your hips.
The knees should be slightly bent, anti the feet are placed
as for fencing practice-right roes pointing straight at op-
ponent, left foot at right angles to the right foot. The
toes of your leading foot must always point toward the
toes of your opponent's leading foot regardless where he
moves to. The weight of your body should be on your rear
foot, in this case the left foot.
Figure 640. Swing the stick
past your left sway t?
word your right sode to avood
the tip of the stick as it
swings past, and carry the
stick to the rear, up, and then
to the front again.
Figure 639. Note that your hand
never drops below the level of your
head. Hold the stick loosely
to permit a rototing movement woth
ease ond freedom. Keep your free
hond dose to your side.
Figure 64 I. At this point
shift your weight to your
fronf foot and straighten
out your orm, reaching as
far as possible to the front
at the imaginary oppon
ent.
Figure 642. Showing the posi-
tion lor swaying your hips to
the right as the stick is swung
put your left hip. Reverse
these exercises and swing the
stick to the rear from the
position shown in Figure 641,
and complete the swing io
ward the bottom and then up
in front again.
Figure MJ. As the
stick reaches this posi-
tion, turn your wrist so
that your palm faces
up.
Figure 6+4. Then drop the tip of
the stick toward your right hip. Re
member to grip the stick loosely
with the thumb and first two fingers.
Figure b<4S. As the stick
is swung past your right
hip, sway toward your
left side. Be sure to
keep your hand above
heed level.
Figure Mb. Carry the
stick to the rear.
Figure 648. Be sure to sway
your hips toward your left
side to avoid the stick. Re-
verse the exercise from Figure
643, going in rev e r s e to
Figures 647, 646, 645, 644,
and bad again to 643. After
which you should be able to
coup!e up the entire twirling
practice and describe figure
S's to the front and to the
rear in continuous sweeps of
the stick or club.
Figure 647. From this position shift
your weight again to your front foot
and out for the front as in
Figure 643.
Figure 649. Swinging
the stick laterally, start
as shown here, weight
on your rear foot.
Deep breathing in stick-phly is as import;ll1t as in judo
practice. Do nor tense your muscles; keep relaxed.
Ftgures 6 38. 639, 1, and 6.p illustrate rhe ex-
planation gi,en here, ''hen the stick is swung from high
in from wward your leh hip. and then brought up t o the
rear. and again mer your head and ro rhe f ronr.
The stick can also be swung from high in from down
to\\-;Hd your right htp, to the rcnr, and brought mer your
head to the from again (Ftgures 646, and
). Figure 64H how the body should be swayed
out of line to let the stick swtng pnst the right hip.
Both of the above exercises should be coupled into one
continuous twirling move, <lltern:ningly swinging the stick
Figure 65 I. In facing an
opponent, keep your eyes
on his as you cut for his
head.
Figure 650. Swing the dick
to your right side and toward
the front. Keep your free
arm against your side out of
the way.
Figure 652. Turn your
wrist over * this point
to llow the stick to go
round in completing the
swing.
around, first past your left hip and then past rour right hip.
Do not let your hand drop below the level o your eyes.
After gaining some skill with these exercises, reverse the
swings so that the stick swings backward over your head
and down past your hip, then cuts up in front to its
original position. In this manner you can practice describ-
ing figure 8's, first to the front, then the rear.
Practice advancing and retreating while twirling the stick
or dub. Keep your other arm loosely at your side as
shown. Sway in your waist. Do not try ro guide the stick
with your thumb.
Your next exercise is ro practice swinging the stick
horizontally around from side to side at about head level.
Figure 65<4. This is the
proper position at which
the swing is completed,
and now you can start
cutting back, which would
end at the position
shown in Figure 6<49.
Figure 653. The s t i c ~ must com-
plete the swing; do not attempt
to cut b c ~ from this position.
Figure 655. Keep low in
your knees for this low
swinging exercise.
lr is also a good exercise to practice swinging the stick com-
pletcl y around and around your head as you did when you
were a boy. bur rhis rime stretch out your arm full'r everv
rime the si:ick completes the circle and comes to rlie frorit
of your head. Figmcs 6-J-9 6so, 6sr, 6p, 65 3, and 65+
By lowering your body slightly at the knees, and at the
same rime lowering your right arm with the stick or club,
you can direct your arrack at opponent's hands or mid-
section. Figures 6ss. 6s6. 657. 6s8. and 659
The abme exercises arc ,aiuable ro 't'OU in C\ ery respect,
since you will not waste motion bv raising the stick first
before. hitting but will strike at the sensitiv; points of your
Figure b57. At this point,
if you w e r e attacking
s o m e o n e, y o u could
straighten out your right
arm for a groater reach.
In practice you should
train yourself to keep your
right elbow .sgainsl your
side.
Figure bSb. Your weight is on
both feet, something in the man-
ner of a fencer. Keep your el-
bow c!ose to your side, ond ~ p
your free hand out of the way.
Figure b58. Let the stick swing
around tow.srd the rear.
Figure 659. At thls point the
swing ends, and then the
samo swing is executed in re-
verse, cutting qackward and
ending at Figure bSS.
Figure 660. It is of value to practice with an opponent, so that one of
can atlack while the other defends, much as in fencing and sabre practice.
Figure 661. Here a cut to the opponent's leg is defended by simply lowering
the stick against the attacking stid. Both contestants would start from the
position of the man on the left in Fiqure 660.
Figure 662. Stick-play can be improved by a study of fencing and sabre work.
particular:y where guard position< are required.
assailant while you are swinging up\\'nrd or Jo\\ n\\'ard or to
the sides or when you arc holding the stick or club by both
ends, ere. 1\lany experts h:nc found rhcse methods of stick-
play practical enough to emplo) them against :tssailanrs
anned wirh a re\olver.
Figures 66o, 661, and 662 illustrate pracncc cxerctScs
which you and your partner-opponent can undertake, in
which you strike and he defends, then the arrack should be
reversed and place you on rhe defcnsi\'e.
For this type of practice a rolled newspaper \\ill be
found practical since injury is less likely co occ!ur.
Also practice warding off opponent's s w n ~ and in the
same move cur upwards against his neck or chin as sho\\'n
in the exercises in Figures 663, 66f, 665, and 666.
Figure 665. Note that the man on right does not w.ute time in bringing his
dick immediotely upward for opponent's head.
Practice these by advancing and retreating with your
opponent.
Speed is necessary, but you can develop it only by prac-
ticing regularly, but such practice will repay itself because
you will be able to defend yourself from the most powerful
amagonist, be he an e'\:perr boxer (Figure 667) or eyen if
armed with a knife.
The accompanying Charts will help you locate the
major nerve-centers and sensitive points on the body.
Always be careful!
Figure 663. The man on the right in this illustration stands in the proper man
ner as shown in Figure 638, and the man on left attach with a downward sweep
of his stick.
Figure 664. At the point of contact the opponent's stick will slide off as shown
here.
I I
figure 667. With
proper training
in the use of a
stick you need
not fear an as
sailant a r m e d
with a knife or
one who is an
expert box e r.
Even an expert
'ludo-player will
ose the bout to
you under these
conditions.
figure 666. This
cut to the oppon
enfs head would
not be pouible if
you try to bring
your stick or elub
first up over your
head as you
would use a ham
mer. A good
method for prae
tieing these forms
is to wear regular
fencing masks and
use r o II e d u p
newspaper instead
of real stids.
Nerve Center Cbarts
CHART A
3. Direct pressure or a
~ n u l e blow inward at the
bone. Use thumb for pres
sure; ~ n u e k l e of middle finger
for hitting.
4. Pressure of the thumb or
a blow with the knuckle should
be direeted at the shoulder
bone.
5. Use the knuckle or the
edge of the hand to strike
against this spot, but be sure
to direct the force of the
blow toward the bone.
6. About two inches above
the wrist. A hard blow with
the edge of the hand can
cause partial paralysis. Pinch-
ing the spot causes intense
pain.
CHART B
2
3
I. To have any effeet,
the pressure should be
direeted inward at this
spot, using either the
thumb or knuckles. Gen-
erally used to Ioree open
a elenehed fist.
2. Using thumb and in-
dex finger, pinch deep
inward on the soft por-
tion between the thumb
and first finger.
5
MODERN J U D O
CHART C
II. Paralysis can be
caused by a sharp blow
to this spot. To locate
the spot, practice with
plain thumb pressure.
12. Same as II. In
serious combat you can
use anr kind of hard
object slick or club) to
deliver your a t t a c k s
against these points.
12
CHART 0
7. On this spot on the inside
of the arm use either a blow
or pressure; it is located about
two inches upward from the
protruding elbow bone.
8. Use a b:ow, pressure, or
" pinch.
9. Best located by pinching
the muscle running from the
upper arm down to the lower
part of the shoulder.
10. Use pressure or a knuckle
blow.
Nerve Center Charts
17
CHART E
13. To locale, use finger pressure.
Press inward, toward the bone. For
effective llack, you must use the toes
of your shoes in a swinging-kid:..
14. For best effect kick or use slid or
club against this spot.
15. Same as 14.
16. Situated slight ly below t he ankle
a nd to the front of it. In serious com-
bat, crash your heel down into this
spot.
17. This spot is generally used for
CHART F
20
21
21
... /
I
16
CHART G
resuscitation. C.n be a deadly blow
when ecuted aga inst a barefooted
person.
18. In pressing against this point to
locate the nerve-center, direct the force
toward the shin bone, inward. See
Figures 622 and 625.
19. Same as 18.
20. A power-kick to this spot c an
p r l ~ e the leg. locale it by pressure
or a slight hit with the knuckle.
21. Pinch the two points at the same
t ime.
MODERN JUDO
25. Same os 2 ~ .
24
25
26
22. Located under the
muscles on top of the
shoulders. Very painful
when pinched.
23. Same as 9, except
slightly lower.
2-4. The region around the
kidneys; very sensitive and
dangerous, should be lo
cated by slight pressure.
26. Located on the hip bones; knuckle pressure will usua lly Incite pain.
27. The base of the spine. Highly sensitive and dangerous.
28. Located just below the two collar bones and con easily be found by
pressing the thumb straight in on these spots.
29. Located on the sides of the abdomen; a hard blow is dangerous.
30. Use knuckles to
press against these spots
located on the insides of
the thighs and high up
at the groin.
31. This spot is not on
the surface as shown but
is set deep behind t'he
stomach and in front of
the spine. Direct the
force of your blow down
ward to reach and affect
this nerve-center. Practice
with ca re!
10
I\---+--- 3o
CHART I
Nerve Cemer Cbttrts
22
3 4
36
CHART J
35. The Adam's apple, and very dangerous for practice.
36. The center hollow on the lower port of the throat. See H.
37. Knuckles of the midd!e fingers should be used against this
spot on the temples. Not to be practiced.
38. The bridge of the nose. Very dangerous!
r8s
32. This is a pressure
point; direct the
pressure straight to
the rear by using
the thumbs of both
hands at the same
time.
33. These are also
pressure-points lo-
cated on both sides
of the ned as those
in 32. Proper press-
ure can cut off tile
blood supply to the
head.
H. Highly sensi-
tive poinh when
the t h u m b is
pressed down into
these spots. Mili-
tary personnel are
taught lo drive their
knives and bayonets
through these spots
when they attock an
enemy from the
rear.
39. The root of the nose, where the full finger or thumb should be placed
and the pressure directed upwards in 11 line running half-way between the
eyes and the ear.
-40. The point of tho chin,
used for the knock-out
punch.
-41, Located by pressing
the bottom of the cheek
bones inward.
-42. Located by pressure
slightly below the jaw
hinge and on the jaw line,
where a kink in the bone
will cause pain when
pressed hard inward
against the jaw bone.
-43. This is a preuure-
poirtt located within the
jaw hinge.
-4-4. Intense pain can be
created by pressing both
thumbs into the soft de-
pressions behind the bot-
tom of the eors.
43
CHART K
l"'t"--38
~ 4 1
49
186
<45. Direct the prenure of
your thumbs upward to
locate these spots.
<46. Prenure must be from
the sides, and should be
directed inward.
47. Very dangerous spot.
Not for practice.
32
35
MODER N J U D O
41
48
CHART L
48. located in line
with 47, running
along the spone.
Not for practice.
49. Locate these
spots by preuure
along the upper
rims of the eye
sodets, and pren
upward.
SO. located on top
of the skull . slightly
ahead of center.
49 V e r y dangerous!
Not for practice.
CHART M
Part III
5
For Judo Instruct ors
J T MIGHT BE SAID that the .final test is: How much
judo has the smdent learned, and bow well has he
learned it?
The answer to this question is: How much has the in-
structor taught, and how well has he taught it?
Most of us accept the fact that everybody and anybody
can not teach, regardless how expert or proficient he hjm-
self may be in the subject- particularly the teaching of judo
or ju-jutsu.
It becomes evident then that a special aptimde is re-
quired in order to "get things across" and to cause the
srudent of judo to "see" what you are talking about when
you tell him of the importance of first doing this and then
following it up with that.
To cover the point of How much judo has the student
learned, and how well? it is in order to outline certain
important factors which (it is hoped) will help in teaching
of the art of judo. The outline of the factors presented here
is in no way intended as a criticism of any individuals or
schools-the writer is fully aware of the ease of criticism as
compared ro the difficulty of creation.
01ganization and System. The first consideration for the
instructor is Organization and System, for without these the
best instruction job will sooner or later bog down. In most
cases the Organization will already exist, and so the instr uc-
tor's main job, under this heading, will then be that of
For judo instructors
System (assuming the Organization has not instituted its
own System of instruction).
It is always left to the instructor to devise an easy
approach to judo phases, an approach that will not confuse
the students.
The usual approach, tO date, has been to throw a wide
and fancy maze of tricks at everyone starting in a course
of judo. These tricks, in most cases, represented a super-
structure, with no instruction (or very little of it) in
Principles or Fundamentals of Judo-the base upon which
this superstructure is built, with the result that very few
ever learned judo and its real values. The trick-superstruc-
ture usually developed a flaw, too often collapsed entirely,
and the students were unable and untrained to analyze and
extricate themselves from the mess.
Teaching judo, then, is more than teaching tricks. Teacb-
i17g judo centers first and primarily in standardizing an easy
approach or method wbich 'U)il/ point out and prove to the
students tbe importance and values of the major judo prin-
ciples, those or uwvement, balance, leverage, and the prin-
ciple of giving-in to the efforts of your opponent in order
to defeat him.
In standardizing your teaching methods you must make
them meet the needs or limitations of a great variety of
student types; remember-what is good for one man may be
poison for another.
As for teaching the principles of judo: it is appalling to
meet young men and women who discuss judo in terms of
"Jab your elbow in his side" and "I can break your wrist
with one t-..vist of my two fingers." So speaks and acts the
tough school, doing it for want of better understanding of
true ways of judo. The popular demand is for tricks and
more tricks, secrets of the trade, and how to learn it all
quickly, and far too many good instructors have made it
a habit to teach what the layman demanded.
MODERN J U DO
Systen:t the instructor should classify and form
an outlme for Ius own use of the following three points:
1. What co teach.
2. How co teach it.
3 \Vhy reach it that way.
1. W bat to teach. 'Vil l you teach the sporting side of
judo? ''' ill you reach methods of attack and defense?
Both are legitimate judo phases and can be used to good
advantage, yet, which will you teach to your students?
What you reach will depend on your students. If you
are. a member of some government agency or rnilicary,
or f?rce Y?U will teach your men phases that
are m keepmg w1th the1r work. The military man wants
know the quickest and easiest way to kill his enemy
tn battle (should they by chance meet in bare-handed
combat) while the police officer is interested mostly in
effective "come-along" tricks and defensive moves. Both
groups shou.ld, of coll!se, be familiar with the other judo
phases, parucularly With the major throws and definitely
with Principles.
On the other hand there will be civilians, men and women
who are mainly interested in the sport of judo. These mus;
be thrO\'_'S, holds and locks, and every other phase
as used tn sponmg contests.
The techniques of breaking falls and the principles of
movement, balance, l.everage, and giving-in should be taught
to every student of JUdo, regardless of the particular phases
he may later specialize in.
2. How to teach it. This is method. Your particular
method may be a speedy demonstration of a throw (for
the purpose of effect) so that the student realizes how
9uickly the throw can be performed, and then demonstrate
It once more slowly to illustrate irs ease of execution.
For Judo Instructors 93
Another instructor may employ a different method. He
may start the introduction of the particular throw in a slow-
motion-li ke manner, anti only after the student has shown
some abi li ty in repeating the throw simi larly will this in-
structor present the speedy \ersion to show irs effect.
Both ways are legitimate, but the contention again is that
where one method works it may fail with another type of
student. For instance, when a student sees for the first
time a throw done with a flash and smash his normal re-
action might be fear-fear that he may not be able to master
that throw, and thus when he attempts it in practice (even
at a slow pace) he may show signs of dislike for the throw,
he will appear awkward, afraid.
Now consider the following:
If the throw is at first demonstrated slowly so that the
student is immediately able to see how the trick works, how
he must stand for it to work, how and at what moment he
must do a certain thing in order to make the throw or trick
work, then the student will feel "That's easy; I know I can
do that just rhe way he showed it." And he usually does
it, or at least comes close to it.
The instructor should strive to make everything appear
easy and simple to in that way b.uilding con-
fidence in the student who as about to try domg the same
thing. If you make things appear difficult, dangerous, then
rest assured that your students vvill make your instruction
job difficult, and dangerous.
Certain instructors pair-off their students, and after the
instructor and his assistant have demonsm1ted what is to be
done the paired-off men follow through as best as they can.
This is a particularly bad method of teaching and should be
a\oided; irs only excuse is that it may train an exceptionally
large group of men in a comparatively short time, such as
military and police groups.
The instructor must make it a point to explain the main
points of a throw or trick or break to his studentS. He must
1
94
MODERN JUDO
then demonstrate it in such a manner that they can easily
understand what he is doing. He must then have an inexpe-
rienced student try to do the same thing in front of the class,
make corrections if corrections are needed as the inexpe-
rienced student demonstrates, and then have another student
and still another come out and try to do what the instructor
had done-all the while corrections being made and the im-
portant points, the high-lights of the trick or throw, stressed
and pointed out to the class. ',Yhen finally the class is
allowed to pair-off and try it, the instructor must go among
them and follow up his instruction.
The usual fault is that inexperienced students are expected
to learn things as speedily as the instructor imagines they
should. The instructor forgers that he himself knows judo so
well and so expertly that he is in all probability overlooking
the important points of the throw or trick, points which
must be explained to the student if he is to learn. The stu-
dent has no way of knowing what is in your mind; what you
do not explain and point out to him he will never know.
3 Why teach it that way. Since the hardest and most
critical test for judo players comes through a free-style
(randori) contest, and since such contests employ, (a) fall-
ing; (b), the technique of off-balancing and throwing an
opponent; (c), the technique of grappling, locking, holding,
and strangulation, it stands to reason then that the serious
students of the art should pursue these studies, since these
phases of the art can be employed to best advantage under
widely different conditions. Other phases of the art, such as
scientific methods of attack and defense, etc., are too limited
and specialized and will not withstand all conditions.
If you teach judo principles you will invariably dem-
onstrate to your students how a physically inferior person
can defeat someone twice his size and power.
If you reach scientific tricks your students will soon de-
viate from the science side and will begin to use strength,
For Judo Instructors
1
95
and when they meet up with a powerful and clever oppo-
nent they will realize that their judo knowledge is not suffi-
cient to defeat him.
Teach your students the value of basic judo principles
rather than scientific tricks.
Attention and Interest. The study of judo is in itself
s?fficiently interesting and in most cases will command atren-
aon.
Your students will be interested and curious to know more
and more and to Jearn something new, and yet your job is
to reach them the right thing at the right time.
If you reach more than just the right proportion the
chances are your students will run ahead of you before they
have had a fair try at the phases given them. Instead of
learning, they will be clogging themselves full with things
they do not know how to use, things t!-tey at"e not yet ready
for.
\,Yhenever you teach more than what they are able to
grzsp you are indirectly crushing their ability, deterring
their advancement. They can learn only so much and no
more. You teach them more and what happens is that they
begin to feel a lag, they feel they are not as good as they
thought they were, and so their original dies out.
It is this fine point in the fine art of teachmg that enables
some instructors to talk about little things yet in1bue these
little things with couches that command and
interest in hearers and onlookers. Such an mstructor wtll
keep your interest alive in A, B, and C, and only when you
have mastered these points will he allow you to start in on
points D, E, and F.
Feel when you have told enough, when too much, when
too little. Feel what can possibly be going on in the minds
of your students, and conduct lesson. accordingly. .
Interesting anecdotes and stones about JUdo help to revtVe
attention and a desire to learn.
MODERN JUDO
In teaching judo the surroundings are as important as any
other factor. Too much noise cuts away at whatever atten-
tion you have gained and whatever imerest you have created.
On the other hand, too much silence causes some men to fall
asleep. The man who is over-eager and the man who is tired
never make ideal students.
Surroundings in the training hall itself are important. If
you are reaching judo in an average gymnasium, one packed
with various apparatus, punching bags, Lifting weights, etc.,
you will find it difficult to keep your students from wander-
ing away from the mats and trying their skj)! on rhe rings,
par.allels, or light punching bag rather than trying their skill
at JUdo. For this reason the average gym is not considered
the ideal training hall for judo. To teach and practice judo
nothing more is needed than a large room with a high ceil-
ing; the floor must be covered with mats. Contest rules
should be displayed on one of the walls. Members wearing
street shoes should not be permitted on the mats, and since
rubber-soled shoes are dangerous, there should be a rule
against members practicing in them. Shoes with soft leather
soles are the best for judo practice, though many schools and
clubs make it a rule to practice bare-footed.
Certain judo schools attempt to create an oriemal atmos-
phere by erecting screens and drapes, even lighting insense
burners; actually they create nothing more than an artificial
background which is most uncomfortable for sport or study
purposes.
Under Attention-Interest might be mentioned that the
teaching of judo should be divided into clear phases and
these should be explained to students. Explain how all of
judo can be divided into two distinct parts (Sport Judo and
Judo) and how Sport Judo can then be divided
mto two parts (Stand-Up Throwing and Mat Fighting) and
how Stand-Up Throwing can be divided into three main
parts (Throwing by the Hand Technique, Throwing by the
For Judo lnstmctors '97
\Vaisr Technique, and Throwing by the Foot Technique)
while 1\tar Fighting is also split into three main parts (Hold-
ing an Opponent Down, Locking, and Strangulation). The
\'arious forms and techniques afford a hiCThly imerestinCT
0 0
study.
How 1111/C/.J to teacb, in bow many stages. Obviously,
never try to teach too much roo quickly.
"-hen you explain and show a certain judo throw or move
ro a student and ask him "Do you understand?" he will nat-
urally say chat he does. So show him another thing, and
again ask "Oo you understand this coo?" and again he will
say, in full s.incerity, that he does. Keep this up, and you
\nll be surpnsed when through a full two hour period your
student conrinues to answer "Yes, 1 certainly understand
rhat."
The point is that he does understand. You explain and
shov., and he sees exactly every move you make and under-
stands. Bur now try him out, have him try the simplest move
on you, and you will find tum unable to perform. Yet he
does understand what you were doing and what you were
showing him.
From the above it becomes evidem that the student must
be gi,en just the right dose. The instructor must set up cer-
tain elements to be taught the student, but these elements
must not exceed what the student is able to assimilate cor-
rectly. The instrucror must also set up certain stages of
progress along ,,hich the student will travel-so many ele-
ments per stage- and an approximate time-standard in wluch
students will reach the many different stages.
Look back on your own training days anc form a rough
idea how many hours of practice were necessary to perfect
your falling technique or to learn to execute in simple form-
practice the now-easy hip-throw or cross-hook throw, and
then formulate your training schedule, set up your elements,
stages, and rime-standards.
MODERN JUDO
For an example, the very first elements to be taught must
be those of break-falling, and you will naturally present only
the forward roll-ours for an approximate period of 1 5 min-
utes. Do not make the mistake of forcing your students to
practice these roll-outs for too long a time, for it will surely
kill their interest and cause them to become impatient.
Therefore, you add to these roll-outs one or two highly
effective throws (easy-to-do throws which do not depend
on expert technique). As you end off this first session you
will have the men review the forward roll-out and the few
throws.
In your second session you 'Will still keep to these first
elements, explaining the basic principles as related to the few
throws you have shown them. Now your students will not
only know those few throws but will as well know what
the throws depend on for their success. In this second ses-
sion you will shift from the forward roll-outs to teaching
them the backward roll-ours, and then again showing them
some effective throws or tricks. In your third session you
will demonstrate the underlying principles behind these
throws, and so forth.
In this manner, experience has shown that students' interest
is kept alive, and the instruction has sufficient variety and is
practical.
Your best method, and one that will keep the interest of
your students alive, is to demonstrate and prove the value of
basic judo principles, particularly the principle of giving-in
to the efforts of your opponent to defeat him.
Student Types. One of the main problems that arises for
judo instructors is that of student types and how to deal
with them.
Timid types must be encouraged; rowdy types must be
disciplined; brawny types who persist in employing strength
rather than judo principles must be guided and coached end-
lessly. The list is long, and the most that can be done here
For Judo Instructors 1
99
is point out certain factors, causes, and treatments which,
through experience, the writer has found of definite value.
1. Do not make favorites. Meaning, do not busy yourself
with one student (who may show better judo ability than
the rest) while the others stand by idly watching.
2. Do not allow your students to take the initiative.
ShouJd they claim there is :t better way of doing the same
trick or throw that you have demonstrated, then make it
emphatically clear that they are to do it your way until some
rime in the future when you will allow them to experiment.
3 Never allow new or partially trained students to experi-
ment- they must do things in the exact manner as you have
taught them.
4 Establish the fact that you know how every major
throw or trick is performed.
5. Guard against in juring a student, bur also guard against
being injured by him. New students have a habit of sud-
denly and very speedily doing the unexpected whenever the
instructor is off -guard (talking or explaining), and the sorry
result might be an elbow in your eye or a knee in your groin
(roo often they attempt to throw you on your head just to
see if they can do it).
If your students have had previous athletic training, such
as boxing, wrestling, or foil fencing, they will tend to stand
in a manner contrary to judo ways. ~ o s t of these students
will be unable to realize why you want them tO relax v,:hile
practising, why they must bring one foot up to the other
and never cross their feet while walking against an opponent
in practise, and many other things. Realize chat they are
entering into a new sport and new art; it will be your job as
instructor to foresee and correct all these errors.
Wrestlers tend to employ strength to escape from certain
holds and locks; the instructor must point out and prove by
200 MODERN JUDO
example how much better and easier an escape is through
the employment of proper judo principles.
You will have similar experiences with your students who
have already had boxing lessons.
Keep the following in mind: as an instructor you must
assume at all times that your student knows nothing of what
you are showing and telling him. In other words, your in-
struction must at all times be complete and thorough, never
haphazard, condensed, or modified.
Another point that you must keep in mind is that you
must always discover in a safe manner how much judo your
smdent really knows. Never take for granted anything he
claims- the writer performed a throw against a player who
insisted he could fall, and broke his collar bone.
But regardless of type, whether rowdy, timid, or what,
your students are interested in learning judo, and your job
as instructor is to correct all their acquired or inborn short-
comings and teach them the arc of judo in an effective and
proper manner.
The Instructor and the Student. There is a saying that
you should not be a merchant if you haven't a smiling face.
If you can't explain, get things across, make your hearers
understand you- all in all, if you can't teach chen don't sec
yourself up as an instructor. Not in judo, at any rate.
The writer has known many expert judo players, orientals
and whires, who could do judo but invariably failed in their
attempts to teach judo. It is simply that if you are a cham-
pion chess player it will not mean that you will be able to
teach chess to a layman. In short, there is a difference
between doing and teaching.
Power of analysis is the first requisite for an instructor.
You must be able to sense the needs of your students, and
then be able to analyze, correct, and make the smdents fully
understand you.
For Judo Instructors 201
Without entering too deeply intO the speculative philos-
ophy of what makes an instructor, it is enough to say that
the greatest harm, whether the subject be judo or grammar
or trigonometry, is done by men and women teachers and
instrucrors who persist in going on in their work although
they are totally unsuited for it.
The usual question that arises in the minds of students is
"How much judo should the instructor know before he can
teach?"
Outside of Japan, there are no specific diplomas or degrees
of proficiency that enable a judo player to teach. If one man
knows how to do the hjp-throw and you do not know any-
thing at all about this throw then it stands to reason that the
man can teach you sometbing about the hip-throw. And so
on to infinity-the more a judo player knows the more he
can reach those who do not know it.
But remember that all of judo cannot be learned from one
instructor.
One student might attend classes under a particular in-
structor, whom we shall name Instructor A. T he student
learns sport technique from this Instructor A, but all through
the practice the student feels that he is not entirely clear on
certain movements. He calls this to the attention of Lnstruc-
tor A, and, since this instructor is a good one, a check-up
wd review is started immediately to make these movements
clear to the student.
Instructor A understands the problem and begins to an-
alyze and explain, confident the student will soon be over
this obstacle. But the student shows no improvement.
Time passes and this same smdenr mjght sign under a dif-
ferent instructor-Instructor B-and a few sessions of sport
technique are taught him. By chance the student mentions
those old difficulties in understanding certain movements.
Instructor B explains casually where the trouble might be
202
MODERN J UDO
and how to correct it, and soon after chjs the student shows
marked improvement in these phases.
Now the point is that both instructors explained this stu-
trouble in the same way and both showed the same
lme to be followed in correcting it, with the exception that
Instructor B used, perhaps, different words or terms, words
terms. that must have hit the student's imagina-
tion or h1s concepnve powers and thus caused him to vis-
ualize what it was that he was doing wrongly. It is not that
Instructor A was in any way inferior to Instructor B, for
now the student might realize that both instructors rold him
the very same thing.
For this reason it was stated that all of judo cannot be
learned from one instructor. A slightly different method of
approach or of explaining and doing wiJJ spell the difference
between success and fai lure for some students whereas to
?thers it may not make much difference either way. J udo
mstructors, as well as judo students, should keep this in mind
for possible future reference.
Impatient, irritable, arrogant, careless people make bad
instructors. T hese also make bad students.
. How to instruct. Let us assume, in spite of your expe-
nence as a judo instructor and in spite of what has so far
been outlined, that you still want to ask "\Vhat is the best
way to teach judo? How should I instruct?"
The need of Organization and System has been stressed,
and under System an outline of \Vhat to teach, How co
reach it, and Why teach it that way, was presented.
The factors of Attention and Interest were outlined and
the general importance of Surroundings, as an aid to
ing, was also given.
Without stressing it under Rules or such, a sort of time-
table or time-standard was suggested under the heading How
much tO teach, in how many stages.
For Judo Instructors 203
And in conclusion, Student Types and The Instructor and
The Student offered suggestions which, the writer trusts,
will prove of practical value to all who are engaged in
athletics.
\\'hen the above block is tabulated and properly sub-
di\-ided it will prove one fact: that before the student can be
shown or taught any judo (or anything, for that matter)
there must exist first a definite system or a prearranged set
of steps or stages to be systemancally employed hr the in-
structor. If the student should prove slow in graspmg ideas,
the instructor must have a definite plan on how to speed up
this particular student; if the student grasps ideas quickly
and correctly, then the instructor mu.t be prepared to ad-
vance his instruction, thereby keeping up with the particular
student's ability.
No one is in a posmon to dictate to an instructor "Use
such and such method for speeding up a slow student" or
"After you've taught him the hip-throw you 1uust teach him
the spring-hip throw." Methods cannot ?e dictated, for the
simple reason that no two students are ahke. You may plan
out your time-standard to the minutest detail and say "John
Doc must be able to perform the spring-hip throw after four
lessons" and then find that it took John Doe fourteen lessons
before he could perform the spring-hip throw in form-
practice alone.
But ho"e\er this may be, it is still an accepted fact that
the instructor must always prepare himself, fortify
aO"ainst his students. The instructor must always be leadmg,
going ahead of the srudenrs, always his
students. He must have prearranged steps, defirute stages,
which he can use should any of his students disrupt the nor-
mal training routines and the training time-standards.
Assume that suddenly one of your students finds himself
unable to perform the hip-throw in the manner in you
have shown and explained it. \rVhat has happened IS that
J\1 0 DE R N J U 0 0
your normal training routine does not work satisfactorily in
this particular case, so that you now must h:we a different
way of showing and explaining rhc same thing.
:\s for training time-standards, whether these arc actually
""rirren out on special sheers of paper or whether they are
mere mental pictures, they should tell you how capable your
srudents ,,ill be in a gi,en period of time. It is the instruc-
tor's job to check himself on this quire if the student
group is taking too long to learn certain phases,_ then
either they arc a dumb aroup or else the mstructor IS nor
b
doing a good job. There aren't many dumb groups.
\ \'ithour effort and quite naturally you employ one or all
of the pointers that follow enry rime you attempt to teach
something. Read them carefully.
1. Do nor frighten your student. Do not give him
to imagine tho:1t you will handle him roughly or that he 1mght
be injured.
!. Get him interested in judo ways, by proving how much
superior this sport is in comparison to other hand-to-hand
sports.
Find our "hethcr he is totally ignorant of judo phases
or whether he has had pre,ious training. "'here, under
''hum' Decide right then and rhcrc whether this previous
training is acceptable.
+ Beain \our first carefully and slowly. Take
;f rintc to explain things properly.
and showing, make sure the student can see what IS gomg on.
5. Encourage him to ask questions relative to what he has
learned.
6. Explain, show; show, explain. Always keep .in mind
that sruJcnr knows nothing until you explain and show
it- correctly- to him.
7 Ah\ays keep in mind that he cannot learn judo by
For Judo Instructors
s1ttmg around and watching others doing it. The student
must practise.'
8. Stress the main points in a throw or trick. The main
points are those little things that either make or break what
the student is trying to do. He may stand only an inch roo
far ro the right (and cannot perform the throw) and it is as
much as if he were a mile from his opponent.
9 Do not teach more than your student can swallow.
Remember that he can undoubtedly swallow a great deal,
but undoubtedly he will have indigestion- and you will be
labeled a bad instructor.
1 o. Find ways to .improve this list.
6
How to Apply Principles
GENERAL REVIEW
BEFORE THE STUDENT can practise any forms and
phases of judo he must be experienced in breaking his
falls. In view of what was said in the preceding chapter, it
would not be wise to imroduce the srudem to break-falling
by showing him the forms in Figures 669 and 670. Instead,
the student should be started with the simple and safe posi-
tion shown in Figure 67 1, and he should as well be told of
Figure 669. This is a spectacular stunt fall. Jump into the air from o standing
or running start, and break the fall by slapping your forearms against the mat
a spilt second before your body hits.
How to Apply Principles
Figure 670. An example of the forward roll-out.
Figure 671. The best and easiest way to learn falling is to start with this
simple crouch and roll forward.
Figure 672. All roll-out
types of falls require that
the body be ball-shaped.
Note the circle formed by
the arms and curved back.
Figure 673. This is the
start of a backward stop
fall. As soon u the body
begins the fall, the arms
are raised to the front.
Fall close to your heels.
Figure 674. Be sure to keep your chin preued tightly to your chest, and hold
your breath.
the importance of keeping his body shaped like a ball
throughour the forward and backward roll-outs, Figure 672.
Falling backward from a standing position as shown in
Figure 67 3, 67+ and 67 5 should not be attempted uncil the
student has shown good form and ability in the simpler falls.
Employing the fuU arm to break a fall, as well as placing
the feet correctly, is important and should be explained to
students (Figures 676 and 677). New students as a rule
always attempt to break their falls with the use of their
elbows (Figure 678); the instructor should caution them of
the danger involved.
The first judo principles needed by new students are
those of unbalanced forms, and the simplest way to explain
Figure 675. By slapping the mat hard with your arms you will break the
lmpect of the fell.
Figure 676. Use the full arm for breaking the falls. In this illustration the
right leg is bent, and the sole of the left foot used to aid in breaking the fall.
F i 9 u r e 677. The
same form as in
Figure 671>, except
that the right leg is
h e ~ straight. Both
forms are good.
F i g u r e 678. Stu
dents must be cau-
tioned against fall-
ing in this manner,
since in jury to the
elbow, shoulder, or
collar bone may
easily result.
How to Apply Principles
l I I
Figure 680. Demon-
strating an unbalanced
form to the r .. r.
Figure 679. Demon-
strat ing an unbalanced
fo rm to the front.
Figure 681. Un-
balance your op
ponent while move-
ment is t o ~ i n
place. Review the
first portion of
Chapter 3.
anJ sho'' these is to ha\ c the sruJenr tr\' ir out on himself,
as in Figures 6j9 and 68o.
\\' irh a little practice he can now realize how he c;1n
unbalance his opponent b) proper pull or push against him,
but doing so while they arc both moving across the mnt
(Figure 681).
This is the all-impowmr poinr:
Uubfllflnce your oppont!llt wbile 1IIO'I.'C'II1e77t is taking plttce.
The judo costume affords grips and holds on rhe slcc\'es
F i g u r 683. The
Japanese form is the
reverse of Figure 682,
in which the right
hand grips oppo
nant's left lapel and
the left hand grips
his right sleeve. The
position of Figure 682
comes closest to our
boxing stance, and
for this reason finds
m ore favor with
Americans.
F I g u r 682. To
start judo prec:
tice, both playen
t a k the hold
shown here.
Figure 684. A II
throws are executed
into the direction
where the opponent
has no support.
Here he is leaning
hard against you,
his position being
like that in Figure
679.
and lapels and the costume rhus !.erves as sneer clothing.
The regular hold should be rhe one sho\\ n in Figure 682,
your left hand on the right lapel of opponent's jacket and
your right hand holding his left !>lee\'e. The writer has used
this fom1 since it most closely approximates our . \ merican
boxing stance; the Japanese form is shown in F1gure 683 and
is used throughout the oriental schools and clubs.
For best results, students should be made to practice wirh
both forms. The most \'ersatile hold is the one in which you
grip both slee,es of your opponent, since such a hold gives
Figure 686. And place
yourself into position for
the throw before your
opponent has the time
to regain his balance.
At this point your oppo-
nent has no means of
stopping the throw or
defending himself.
F i 9 u r e 685. Without
fumbling steps, you must
pivot under your oppo-
nent's pushing.
Figure 687. The
final move requires
very little effort on
your P"'* and the
t h r o w is com-
pleted. Note the
straight arm used
to break the fall.
~ ou more le,crage \\hen attempting ro force opponem \
bod) into turns and twists.
The basic prim:iplcs of judo Jict;Hc rhar c\ er\ rhnm
must be e.\ecured into rhe direction "here rhe opp<;nenr l1;1s
no su pporr.
By follm,ing this principle. \\ c find an opponent pushing
h:m.l against you, so much so rhar his upper h o ~ is in .1
lc,111ing position ro the from (Figure ()1{4). 't ou will
naturally employ the gi,ing-in principle :tnd \\ill :dim\ your
<Jpponcnr to push you a few steps tm,ard your rc;tr, bur
at the same time ron \\ill turn slightly in your \\'aist and
F i 9 u r e 689. Tho
front-ankle sweep.
Figure 688. The side-
ankle sweep.
Figure b90. Tho
a nkle-flip.
sink low in your knees ro place your hips below those of
your opponent (Figure 68 5).
'Vhat you have done so far is to catch your opponent
off his balance, and you have moved in for your throw. In
short, in Figure 684 and 68 5 it \vas your opponent who
did all the work, it was his effort rhat placed you in p o s i i o ~
for the throw. If your opponent is unable ro correct IllS
mistake and finds himself in the posicion shown in Figure
686, then he will be lost, since this posicion is the final stage
in the throw and very little effon on your part is needed
ro execute the throw itself (Figure 687).
Figure 691. The cross-hook or hock-hook.
Figure 692. The knee-wheeling throw.
Figure 693. Blocking the ankle.
The lll:tnner in \\'hich vour
weight and the lllanner in ". hich
to be closclv \\'atched, for these
forms of arrack.
opponent distribute!. his
he projects his efforts arc
f:tctors dictate your O\\'n
Remember also. throughout judo playing ~ ou must keep
your O\\ n baLmce while t r ~ ing w unb;tbnce your opponent
or break his position. Breaking your opponenr's position de-
pends on timing and speed, and t h ~ two are achie,ed
through ~ ~ relaxed posture, free <tnd easy mm-clllcnrs.
You know, of course, char e\ery throw utilizes one of
the f oll<l\\ing principles: le\eragc, blocking or stopping, and
sweeping awa) The major throws nrc presented here in
picture form for re,ie\\ purposes nnd ro sene as a quid-:
guide in teaching (Figures 688 w 704- inclusive).
Figure 694. Body-over-thigh roll.
Figure 695. Fdlling and blocking the
Figure 696. throw.
:\!> pointed out in an c;trlicr p;trr of this book, bear rhree
rules in mind:
1. Tr.tin yourself menr;tll) 111 rhc \\ ay., of judo, and
\\ hene,er pht) ing alwty-; guard your 0\\ n body.
l. Resist rhe effort!> of ) our opponent on!) ro rhe degree
required ro fool him uno '' \\ eak posirwn; ne,er waste
cncrg) in an) other ""'').
3 Ar all rimes conccnmlte on the fundament;tl pnn-
tiplcs of your art: rhc opponcnr mu.,r be rhe one ro exert
rhe efforr that is w defeat him.
Figure 699. Spring-hip throw.
Fiqure 700. Open shoulder throw.
7
Kuatsu or K wappo
Artificial Respiration
K UA_TSU C?R is a Japanese method of ani-
. . . fic1al and IS used whenever a judo player
IS lflJUred, either through strangulation or a blow. In some
cases this will. bring to life an injured player who
has been by a blow against a nerve-center.
In kuatm reg1ons of the body and certain nerve-
are ct_her_ struck or rubbed by a special method, rhus
mducmg rcsptranon.
Since kuat m closely resembles our own methods of arti-
ficial and since success in kuatsu depends largcJy
on the of the person administering it, it is best
t? treat the subJect accordng to our own standards of first
a1d.
ln . the first place, sufficient care and system should be
by. all_ who practice judo to make first-aid and
arofic1al enr1.rely unnecessary! However, should
there be need, s1nce acc1denrs do occur then the advice con-
tained in the inexpensive Red Cross Fi;st Aid Te:-ctbook will
do as much as the best methods of kuJTtsu.
The judo student should make it a point to learn all he
can about anatomy. Study the skcJeton, joints, ligaments,
muscles,_ tendons; learn abour the heart, arteries, veins, and
the rcsp1_ratory and nervous systems.
of course, is to know what to do in case
of lflJUnes, and smce these would mostly be bone, joint, and
Arti fici,ll Respiration ! H)
muscle injuries, make it a poinr ro know \\hat to do in such
instances.
Bones. A bone fracture can be of the simple or compound
type. If you thml, the bone is b_rokcn, it h)
paring that parr of the body or limbs With m correspondmg
part which i!> nor injured.
Do nor try to set the bone!
Before \ ou mme the inJured person, even a short dis-
ranee, be sure to apply splints.
Do nor attempt to ser a fractured nose or ja\\; a ja''
fracture should be by a light bandage under the jaw
so that it holds lower ;tnd tipper teeth together. Then get
:t doctor.
Tre.n a broken coll.tr bone in the s;tme manner- usc a
sling for the arm, and ne snugly to the body
(nor so tight that blood c1rculauon ts cut off).
Fracture of ribs C<ltl be determined by rnnning your
fingers geml_y along the rib. The iu.red. \\'ill
in shill low gasps. as the fracture wtll pam. a
aid measure, until he is taken to a hospital, have hun hold
his palm over the broken pnrr w keep it from mo\'mg as
he breathes.
fohtts. Disjointed fingers, clbo\\'S, knees, and hips arc a
common occurrence in gyms. They arc due usually ro
violent effort or to a blow or "iolent pull.
Immediate swelling will t<tke place and control of
movement of rhe injured parr \Yill be lost.
Cold compresses might relieve pain.
Elbow and shoulder dislocations can be aided by a sling
until the victim reaches the hospital. The most serious dis-
location is that of the hip, and for this reason be 'cry
careful in handlin!! rhc victim so injured.
A finger c.m be pulled into placp (i( has htp-
230
MODERN JU D O
pened to the writer) bur do not attempt it if tbere is an
open wound near the injury.
Tpraim arc temporary dislocations-bones arc thrown
puled of place, but they instantly spring back.
and S\\Clling takes place rapidly. Apply a cold compress
a If the ankle is sprained, be careful
I CI110Ying VICtim S shoe .
. Strnim are injuries .to muscles or tendons, and usually re-
from Rub rhe part genrly, since this
acaun helps c1rculatwn. Always rub upwmd.
By way of warning: PRACTICE CAREFULLY!
8
The Basis of Judo Techniques
There is nothing complex about technique. By this rime
you have developed quite a technique of yom O\VO, even
if you arc not aware of it. There is equally norhing complex
about the basis of such technique. By tllis rime you should
be well acquainted with, and able to employ, such elements.
Consider-
The way you move across the mat, the way you fool
your opponent inro attacking, the way you then perform
your own anack-these arc technique.
Since you know that artack can hardly take place with-
out movement, you had to induce your opponent into a
wasted move. Movement then is part of rhe basis of your
technique.
Let us look more closely at these elements, these principles,
ami particularly their relation to one another. A study of
rhcse elemcnrs wil l prove the safest and soundest foundation
on which to build your technique.
Tr is a proved fact that the superior fighter is and nlways
\\'ill he the one who keeps his body relaxed throughout
rhc encounrer. This is based on the principle that tensed
muscles rend to hamper and retard movements, retard
changes in positions, in riming, retard attacks. Speed in
fighting, and the ability to time rhe attack correctly, nrc
therefore ac(juired through keeping a rel::lxed posnue.
All of lighting springs from movement, and for rhis
reason attacks and defenses are carried our while !110\' C-
mcnr is raking place. The opponent must be forced or lured
intll moving, and the attack is then performed.
Remember rhat ypur opponenr, like yourself. is endowed
\\'ith thinking powers, with training, with cunning, wirh
232
MODERN J UDO
lllore skill in fighting than might seem likely at
firsr. Therefore keep aJerr! Is he f oolinrr ls he
really poor on h1s feet, or is he tricking iiito making a
false step through O\'ercon fidcoce? You cannot tell "hich,
hut you cnn_ keep on the alert. Keep in mind that he will
sull for arrack you have planned. and
l,eep 111 m.nd that he nughr have a planned arrack or counrer-
:ltnlck ng1umt you.
Arrack Y?Ur opponent \\hen or while he is off-balance
Is then . wc:1kcsr physically. Direct your attacb
agau_1st h1s. weak lmes in stand-up fighting; in holding and
l_o7k1ng._ d1rect your attacks against his nerve-centers and
JOintS, smcc he 1s weakest and moo;t sensiti\'e at these poinrs.
M<tinrain your o\\'n balance while fighting! A lost
ba_lancc to your opponent, that you are weak and
\\'Jth_our effi_c1ency, and that he is free to arrack you with
no nsk to himself.
. changes in 111ovemenr, or in riming, surprises in
these arc the of the pro-
fighter, and they are the well-founded secrets
of JUdo.
_lf you oppose strength. with strength you can IJe the
wmncr-lF IS greater than that of your op-
ponenr. Real1ze rh1s s1mple face! \Yhy go aaainst it? Jr
1s,_ far more efficient ancl practical co oppose
sn_enwh w1rh bur to employ a \'ery basic combat
pnnc1ple-r_hc ?f off-balancing your opponent be-
fore arrackmg hun.. Th1s can be resol\'cd imo: arrack your
when he 1s off-balance. This is the so-called secret
With_ wh1ch the small and weak judo e-xponent defeats his
and powerful opponents who are not familiar
wnh JUdo rechmques.
Arrack and defense go together, and it is not wise to dis-
connect the two in training. The sayinrr "Offense is the
best defense" has its good points, but certainly would
Technique 2J3
nor l>e well prepared if yoLU" training consisted of no more
than off ensi,e tricks. Similarh, knowinrr only defensiye
tricks would place you ar a rhe defensive
tricks were of the judo type '" hich in mosr instances reverr
all defensive moves into final offcns1ve locks or strangles).
Learn about abdominal breathing, and pracricc ir, since
it is the surest method of building your endurance.
Think out, try ro imagine and visualize, what possible
mO\'CS your opponent will mal:e or can make. In relation
to this, try ro simplify and unify your own moves.
To lise these elements in rhei r order:
1-Kcep relaxed.
2-,\1 ovement.
3 - Keep alert.
+-Off-balance.
5-1\Llinrain your own balance.
6-Change o"f timing.
?- Strength vs. strength is \\'ithout success.
1-!-Learn artacks and defenses .
9-Abdominal breathing.
IC)-T hink of opponent's possible moves; simplify yonr
own moves.
This then i!> the basis of vnur judo technique. The
clements are there before you," all you need do is consider
them and applr them in practice. "-nd in applying them
you will be basing your technique on a sound and solid
foundation which will forever keep your superstructure
intact, and you will also find rhnt rhese elements will enable
y_ou to devise any number of attack and defense combiml-
nons.
In conclusion, remember that judo is n sporr and a sport
should ne\'er be dangerous. Practice carefully, ''cirh ease
;md smoothness; help your opponent in his falls; don't
234
MODE R N J U D O
attack blindly and find rhe resulr ro be a broken bone. It
. ' .
1sn r necessary.
This ndvice applies to lone srudenrs and to groups. and
regardless whether you are doing form-practice or randrm
free-style playing.
For conducted judo contests, re,ic\\' rhc lasr part of
Chapter s in Volume One.