Martial Arts College of Clayton

MARTIAL ARTS COLLEGE OF CLAYTON

MACC

JUDO

BOOK FOUR

– 3RD KYU REQUIREMENTS –

BROWN BELT

Theodore Angelo Povinelli

Korean Judo Association

Certification No. 1542

MARTIAL ARTS COLLEGE OF CLAYTON

MACC PRESS

“MACC JUDO BOOK FOUR” 2ND EDITION

6348 S. ROSEBURY, CLAYTON MISSOURI 63105

UNITED STATES OF AMERICA

ACKNOWLEDGEMENTS

I WOULD LIKE TO THANK SUSAN GARVERICK, JUDOKA SANKYU, FOR ALL HER HELP IN CREATING BOOK FOUR OF JUDO FOR ADULTS.

SUSAN GARVERICK

THEODORE ANGELO POVINELLI

AUGUST 2009

“There is nothing so strong as gentleness;

and nothing so gentle as true strength.”

Frances de Sales

MACC JUDO BOOK FOUR

– 3RD KYU REQUIREMENTS –

BROWN BELT

STUDENT

START DATE

TEST DATE

INSTRUCTOR

TABLE OF CONTENTS

SECTION 1: INFORMATION

PRINCIPLE OF MACC 9

PRINCIPLE OF JUDO 9

HISTORY OF JUDO 10

ETTIQUETTE OF JUDO 11

SECTION 2: TERMINOLOGY

JAPANESE TERMINOLOGY 12

JAPANESE COUNTING 14

SECTION 3: TECHNIQUES

OSAE KOMI WAZA 16

KESA GATAME 16

KESA GATAME ESCAPES 16

KAMI SHIHO GATAME 16

KAMI SHIHO GATAME ESCAPES 16

KATA GATAME 16

KATA GATAME ESCAPES 16

KUZURE KESA GATAME 17

TABLE OF CONTENTS (CONTINUED)

SHIME WAZA 18

NAMI JUJI-JIME 18

GYAKU JUJI-JIME 19

KATA JUJI-JIME 20

KAPPO 21

SO KATSU 21

SASOI KATSU 22

KANSETSU WAZA 23

UDE-GARAMI 23

UDE HISHIGI JUJI-GATAME 24

UDE HISHIGI UDE-GATAME 25

SECTION 4: NAGE WAZA

IKKYO NO WAZA (GROUP #1) 26

NIKYO NO WAZA (GROUP #2) 26

SANKYO NO WAZA (GROUP #3) 26

TABLE OF CONTENTS (CONTINUED)

YONKYO NO WAZA (GROUP #4) 27

SUMI GAESHI 27

TANI OTOSHI 28

HANE MAKIKOMI 29

SUKUI NAGE 30

UTSURI GOSHI 31

O GURUMA 32

SOTO MAKIKOMI 33

UKI OTOSHI 34

SECTION 5: EXERCISE TRAINING

EXERCISE CHART 35

SECTION 6: COURSE PROGRESSION

REQUIREMENTS FOR BROWN BELT 36

CLASS CHART 1 - 51+ 37

3RD KYU EXAM SHEET 63

SECTION 1: INFORMATION

PRINCIPLES OF MACC

· HUMILITY

· RESPECT

· DISCIPLINE.

PRINCIPLE OF JUDO

JUDO IS BASED ON TWO PRINCIPLES: FIRSTLY, THE PRINCIPLE OF MAXIMUM EFFICIENCY AND MINIMUM ENERGY. BY OFF BALANCING A PERSON, AND THEN APPLYING LEVERAGE AT A POINT BELOW HIS CENTER OF GRAVITY, WE CAN OVERCOME HIM WITH MINIMAL EFFORT.

UTILIZING THIS PRINCIPLE PREVENTS US FROM BECOMING TIRED AND TOO WORN OUT TO CONTINUE FIGHTING. IT ALSO ALLOWS US TO OVERCOME ADVERSARIES MUCH LARGER THAN OURSELVES. THIS IS WHY JUDO WAS DEVELOPED: TO ALLOW A SMALLER PERSON TO OVERCOME A LARGER PERSON.

IN ORDER TO APPLY THIS PRINCIPLE, THE STUDENT MUST FOLLOW FOUR STEPS DURING THE THROW: (1) APPLY KUZUSHI TO OFF BALANCE YOUR UKE; (2) FIT YOUR BODY INTO A PARTICULAR THROWING POSITION WITH TAI SABAKI; (3) EXECUTE THE THROW; AND (4) RECOVER INTO A BALANCED JIGO TAI POSITION SUPPORTING THE THROWN UKE .

THIS FINAL STEP IS IMPORTANT FOR TWO REASONS: (1) BECAUSE WE WANT TO DEVELOP COMPLETE BALANCE AND CONTROL OF OUR BODY DURING EVERY ASPECT OF A THROW TO ENSURE THAT WE REMAIN IN A SUPERIOR READY POSITION THAN OUR OPPONENT, AND (2) TO ENSURE THE SAFETY OF OUR OPPONENT IN ACCORDANCE WITH THE SECOND JUDO PRINCIPLE OF MUTUAL BENEFIT AND WELFARE FOR ALL.

HISTORY OF JUDO

JUDO WAS CREATED IN JAPAN IN 1882 BY KANO JIGORO FROM HIS EARLY TRAINING IN JUJUTSU. HE STARTED WITH NINE STUDENTS IN A SMALL TWELVE MAT SCHOOL WHICH WAS A FORMER BUDDIST TEMPLE. HE HAD STUDIED AND MASTERED THE JUJUTSU SCHOOLS OF KITO-RYU AND TENJIN SHINYO-RYU BEFORE DECIDING TO CODIFY WHAT HE CONSIDERED THE MOST VALUABLE OF THE TECHNIQUES UNDER THE NEW TERM KODOKAN JUDO. HE DECIDED TO DROP THE JUTSU ENDING, WHICH MEANS “ART” OR “PRACTICE”, AND SUBSTITUTE THE WORD DO, WHICH MEANS “WAY” OR “PATH”, TO EMPHASIS THE DIFFERENT DIRECTION HE WAS TRYING TO TAKE WITH HIS NEW METHOD. Jujutsu techniques that USED ONLY superior strength were REJECTED or MODIFIED in favor of those that involved redirecting the opponent's force, off-balancing the opponent, or UTILIZING BETTER LEVERAGE. HIS SCHOOL GAINED NOTED PROMINENCE IN A FEW YEARS WHEN HIS STUDENTS WON THE tOKYO pOLICE bUJUTSU TOURNAMENT OVER THE TRADITIONAL JUJUTSU STUDENTS.

IN THE EARLY YEARS, THE JAPANESE PEOPLE DID NOT DISTINGUISH A DIVISIVE DIFFERENCE BETWEEN JUJUTSU AND JUDO, OFTEN REFERRING TO KANO’S NEW TEACHING AS “KANO JUJUTSU”. JUDO MEANS “THE GENTLE WAY”, AND KANO WANTED TO ADVOCATE FOR A WAY TO BETTER A PERSON PHYSICALLY, MENTALLY, EMOTIONALLY, AND MORALLY. THIS HE SAW AS A SIGNIFICANT DEPARTURE FROM THE TRADITIONAL JUJUTSU SCHOOLS WHOSE SOLE PURPOSE WAS TO TEACH THE STUDENT HOW TO KILL.

KANO NEVER LOST SIGHT OF HIS JUJUTSU ROOTS HOWEVER, AND ALWAYS CONSIDERED JUDO AS A FURTHERMENT OF THE JUJUTSU OF THE PAST. HE FOUNDED HIS NEW TEACHING OF JUJUTSU AT THE SCHOOL HE NAMED KODOKAN, THUS WE GET THE NAME KODOKAN JUDO. BUT IT MUST ALWAYS BE REMEMBERED THAT THE PAST CONTRIBUTION OF JUJUTSU WAS THE FOUNDATION FOR KANO’S DEVELOPMENT OF JUDO.

ETTIQUETE OF JUDO

WE SHOW GRATITUDE AND RESPECT TO EACH OTHER BY BOWING WHEN WE PRACTICE. WE ARE THANKING EACH OTHER FOR PROVIDING THE OPPORTUNITY TO IMPROVE OURSELVES.

WE MUST FEEL THIS GRATITUDE IN OUR HEARTS AND THINK ABOUT IT IN OUR MINDS AS WE ARE BOWING TO OUR FELLOW STUDENTS. THE PERSON WE PRACTICE WITH IS RISKING HIS OR HER PHYSICAL WELL BEING SO THAT WE MY IMPROVE OUR THROWING AND HOLDING SKILLS. THE POSSIBILITY OF INJURY ALWAYS EXISTS WHEN YOU ARE ENGAGED IN PHYSICAL ACTIVITY. IN JUDO, OUR UKE IS ALLOWING US TO THROW HIM OR HER UP IN THE AIR AND MUST FALL TO THE GROUND. THIS IS A TREMENDOUS GIFT THAT THEY GIVE TO US IN ORDER THAT WE MAY BECOME PROFICIENT IN JUDO. ON THE GROUND DURING OSAI KOMI PRACTICE, THEY ARE LETTING US CRUSH THEM SO AS TO LEARN HOW TO SUBDUE AN OPPONENT. LATER ON, WE WILL LEARN TO CHOKE AND APPLY ARM BREAKING TECHNIQUES WHICH CAN POSE AN EVEN GREATER RISK.

WE NEED TO KEEP OUR UNIFORMS CLEAN AND IN GOOD REPAIR. WE MUST KEEP OUR NAILS TRIMMED TO AVOID INJURY.

WHITE PIGMENT IS THE ABSENSE OF ALL COLOR. WE WEAR A WHITE UNIFORM TO SYMBOLIZE THE ABSENSE OF KNOWLEDGE AND TO SHOW WE ARE WILLING AND READY TO LEARN.

SECTION 2: TERMINOLOGY

JAPANESE TERMINOLOGY

KIOTSUKE ATTENTION

REI BOW

TORI THROWER

UKE FALLER

SENSEI TEACHER

DOJO SCHOOL (PLACE OF ENLIGHTENMENT)

MATE STOP

HAJIME BEGIN

JUDOKA JUDO STUDENT

JUDO GI UNIFORM

OSAI KOMI HOLD

TOKETA HOLD BROKEN

NAGE THROW

TAI SABAKI BODY MOVEMENT

UKEMI FALL

CHUGARI TUMBLING

JIGO TAI LOWER BODY STANCE

GOKA ONE QUARTER POINT

YUKO ONE THIRD POINT

WAZARI ONE HALF POINT

IPPON ONE POINT

SOKOMADE END

YOSHE CONTINUE

OBI BELT

TACHI WAZA STANDING TECHNIQUES

TE WAZA HAND TECHNIQUES

GOSHI WAZA HIP TECHNIQUES

ASHI WAZA FOOT TECHNIQUES

SUTEMI WAZA SACRIFICE TECHNIQUES

MA SUTEMI WAZA BACK SACRIFICE TECHNIQUES

YOKO SUTEMI WAZA SIDE SACRIFICE TECHNIQUES

YOKO UKEMI SIDE FALL

MA UKEMI BACK FALL

GO NO SEN NO WAZA COUNTER THROW TECHNIQUE

SHIME CHOKING

KANSETSU ARMLOCK

KAPPO RESUSITATION

OHAYOU GOOD MORNING

KONNICHIWA GOOD AFTERNOON

KONBANWA GOOD EVENING

HAI YES

IIE NO

DESU I AM

ARIGATO GOZAIMASU THANK YOU

JAPANESE COUNTING

ICHI ONE

NI TWO

SAN THREE

SHI FOUR

GO FIVE

ROKU SIX

SHICHI SEVEN

HACHI EIGHT

KYUU NINE

JUU TEN

JUU-ICHI ELEVEN

JUU-NI TWELVE

JUU-SAN THIRTEEN

JUU-SHI FOURTEEN

JUU-GO FIFTEEN

JUU-ROKU SIXTEEN

JUU-SHICHI SEVENTEEN

JUU-HACHI EIGHTEEN

JUU-KYUU NINETEEN

NI JUU TWENTY

SAN JUU THIRTY

YON JUU FORTY

GO JUU FIFTY

ROKU JUU SIXTY

SHICHI JUU SEVENTY

HACHI JUU EIGHTY

KYUU JUU NINETY

HYAKU ONE HUNDRED

SECTION 3: TECHNIQUES

OSAE KOMI WAZA (HOLDING TECHNIQUE)

KESA GATAME (SCARF HOLD- 6TH KYU REFERENCE)

ESCAPE TECHNIQUES FROM KESA GATAME (6TH KYU REFERENCE)

1 COLLAR GRAB-LEG THRUST 3 BACK SHOULDER ROLL

2 LEG HOOK AROUND THIGH 4 KNEE WEDGE ROLL OVER

-- INNER PULL OUT 5 UPPER BODY SPRING

-- OUTSIDE ROLL OVER 6 BODY SEPARATION SITUP

KAMI SHIHO GATAME (FOUR CORNER HOLD – 5TH KYU REFERENCE)

ESCAPE TECHNIQUES FROM KAMI SHIHO GATAME (5TH KYU REFERENCE)

1 ELBOW LOCK SIDE ROLL

2 ARM PULL

3 BACK BRIDGE SIDE ROLL

4 ARM PUSH ACROSS THE NECK

5 BELT GRAB – LEG KICK

KATA GATAME (SHOULER HOLD – 4TH KYU REFERENCE)

ESCAPE TECHNIQUES FROM KATA GATAME (4TH KYU REFERENCE)

1. GRAB THE BELT OR CLASP YOUR HANDS AND PULL OVER

2. LEG BETWEEN YOUR CLASPED HANDS AND KICK

3. ROLL OVER OUTER SHOULDER

4. SNAKE THE LEG AND ROLL OVER

KUZURE KESA GATAME (VARIATION SCARF HOLD)

THERE ARE THREE BASIC SCARF HOLD VARIATIONS:

1. HOLD AS YOU DO REGULAR KESA GATAME, BUT INSTEAD OF PUTTING YOUR ARM AROUND YOUR UKE’S NECK, SLIDE IT UNDER YOUR UKE’S ARM.

2. FROM THE KESA GATAME POSITION, ROTATE YOUR BODY UNTIL YOUR FRONT LEG IS UNDER YOUR UKE’S HEAD. TAKE THE ARM THAT WAS AROUND YOUR UKE’S NECK AND PUT IT UNDER YOUR UKE’S ARM AND GRAB YOUR OWN LEG. TAKE YOUR OTHER ARM AND WRAP IT UNDER YOUR UKE’S NECK AND GRAB HIS COLLAR ON THE OPPOSITE SIDE. YOUR BACK LEG SHOULD EXTEND OUT AS YOU APPLY PRESSURE TO HIS SHOULDER.

3. CONTINUE ROTATING YOUR BODY UNTIL YOUR RIGHT LEG IS ALONG YOUR UKE’S LEFT SIDE AND YOU ARE FACING THE SAME DIRECTION HE IS. GAB HIS LEFT ARM AND PU TIT UNDER YOUR LEFT ARMPIT. HOLD THE RIGHT SIDE OF HIS BELT WITH YOUR RIGHT HAND (YOUR RIGHT ARM SHOULD BE DRAPED OVER HIS SHOULDER). PRESS DOWN ON HIS LEFT SHOULDER WITH YOUR RIGHT SIDE.

1. 2.

SHIME WAZA (CHOKING TECHNIQUE)

CHOKING TECHNIQUES ARE VERY DANGEROUS WHEN APPLIED CASUALLY. EXTREME ATTENTION AND CARE MUST BE MAINTAINED AT ALL TIMES WHILE PRACTICING THESE TECHNIQUES, ESPECIALLY DURING RANDORI. ALWAYS LISTEN AND BE AWARE OF YOUR UKE’S VULNERABILITY AND, AS THE UKE, BE PREPARED TO TAP OUT WHEN THE TECHNIQUE IS EFFECTIVE.

NAMI JUJI-JIME (NORMAL CROSS LOCK)

· WHILE YOUR OPPONENT IS LYING ON HIS BACK, STRADDLE YOUR LEGS ACROSS HIS BODY AND SIT ON HIS STOMACH FACING HIM.

· CROSS YOUR ARMS AND SLIP YOUR RIGHT THUMB INSIDE HIS RIGHT COLLAR AND YOUR LEFT THUMB INSIDE HIS LEFT COLLAR AS YOUR GRASP EACH COLLAR WITH YOUR HANDS.

· YOUR FINGERS SHOULD BE ON THE OUTSIDE OF EACH COLLAR.

· GRIPPING FIRMLY, TWIST YOUR ARMS SO YOUR THUMBS ROTATE AWAY FROM YOUR UKE’S NECK TO APPLY PRESSURE ON THE SIDE OF HIS NECK WITH YOUR UPPER KNUCKLES.

· YOU CAN LEAN YOUR UPPER BODY FORWARD AS YOU APPLY THIS CHOKE.

GYAKU JUJI-JIME (REVERSE CROSS LOCK)

· WHILE YOUR OPPONENT IS LYING ON HIS BACK, STRADDLE YOUR LEGS ACROSS HIS BODY AND SIT ON HIS STOMACH FACING HIM.

· CROSS YOUR ARMS AND SLIP YOUR RIGHT FINGERS INSIDE HIS RIGHT COLLAR AND YOUR LEFT FINGERS INSIDE HIS LEFT COLLAR AS YOUR GRASP EACH COLLAR WITH YOUR HANDS.

· YOUR THUMBS SHOULD BE ON THE OUTSIDE OF EACH COLLAR.

· GRIPPING FIRMLY, TWIST YOUR ARMS SO YOUR THUMBS ROTATE AWAY FROM YOUR UKE’S NECK TO APPLY PRESSURE ON THE SIDE OF HIS NECK WITH THE RIDGE OF YOUR PALMS.

· YOU CAN LEAN YOUR UPPER BODY FORWARD AS YOU APPLY THIS CHOKE.

KATA JUJI-JIME (HALF CROSS LOCK)

· WHILE YOUR OPPONENT IS LYING ON HIS BACK, STRADDLE YOUR LEGS ACROSS HIS BODY AND SIT ON HIS STOMACH FACING HIM.

· CROSS YOUR ARMS AND SLIP YOUR RIGHT FINGERS INSIDE HIS RIGHT COLLAR AND YOUR LEFT THUMB INSIDE HIS LEFT COLLAR AS YOUR GRASP EACH COLLAR WITH YOUR HANDS.

· YOUR RIGHT THUMB SHOULD BE ON THE OUTSIDE OF THE RIGHT COLLAR AND YOUR LEFT FINGERS SHOULD BE ON THE OUTSIDE OF THE LEFT COLLAR.

· GRIPPING FIRMLY, TWIST YOUR ARMS SO YOUR THUMBS ROTATE AWAY FROM YOUR UKE’S NECK TO APPLY PRESSURE ON THE SIDE OF HIS NECK WITH YOUR KNUCKLES AND THE RIDGE OF YOURPALM.

· YOU CAN LEAN YOUR UPPER BODY FORWARD AS YOU APPLY THIS CHOKE.

KAPPO (RESUSITAITON TECHNIQUE)

SO KATSU (COMPOSITE METHOD)

· ROLL YORU OPPONENT ONTO HIS STOMACH.

· STRADDLE HIS THIGHS KNEELING ON THE GROUND WITHOUT PUTTING YOUR WEIGHT ON HIS UPPER BACK.

· PLACE YOUR HANDS ON HIS LOWER BACK AND GENTLY, BUT FIRMLY, PUSH UPWARD TO EXPAND HIS CHEST AND LUNGS.

· RELEASE THE PRESSURE AND RETURN YOUR HANDS TO THEIR STARTING POSITION.

· REPEAT THE MOTION UNTIL YOUR UKE IS REVIVED.

· A VARIATION OF THIS METHOD IS WHEN YOU KEEP YOUR UKE ON HIS BACK. YOU ARE NOW GOING TO PLACE YOUR HANDS RIGHT BELOW HIS RIB CAGE.

SASOI KATSU (INDUCTIVE METHOD)

· GO AROUND TO YOUR UKE’S HEAD. GRAB UNDER HIS SHOULDERS AND NECK TO SIT HIM UP.

· GO BEHIND YOUR UKE’S BACK AND IN A KNEELING POSITION PLACE ONE KNEE IN THE UPPER MIDDLE OF HIS BACK.

· SLIP YOUR ARMS OVER HIS SHOULDERS AND PLACE YOUR HANDS UNDER HIS ARMS.

· WITH YOUR ARMS, FIRMLY, BUT GENTLY, PULL HIS SHOULDERS AND CHEST TOWARD YOU EXPANDING HIS RIB CAGE AND CHEST WHILE GENTLY PUSHING HIS BACK FORWARD WITH YOUR KNEE.

· RELAX YOUR ARMS AND RETURN TO YOUR ORIGIONAL POSITION.

· REPEAT THIS MOTION UNTIL YOUR UKE IS REVIVED.

KANSETSU WAZA (JOINT LOCK TECHNIQUES)

ARM AND JOINT LOCK TECHNIQUES ARE VERY DANGEROUS WHEN APPLIED CASUALLY. EXTREME ATTENTION AND CARE MUST BE MAINTAINED AT ALL TIMES WHILE PRACTICING THESE TECHNIQUES, ESPECIALLY DURING RANDORI. ALWAYS LISTEN AND BE AWARE OF YOUR UKE’S VULNERABILITY AND, AS THE UKE, BE PREPARED TO TAP OUT WHEN THE TECHNIQUE IS EFFECTIVE.