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Open & Close Hand Striking

SenseiSam — Wed, 25 Nov 2009 09:35:17 CST

Introduction

A striking attack is a weapon that uses a part of the body, intended to cause an effect upon an opponent. The effect of the strike depends upon the location of the target, intensity of the strike and your objective.

To understand the differences between open hand and closed hand striking techniques, first there is a need to investigate the purpose and principles in using these methods.

Striking Techniques Principles:

1. To inhibit or slow the subject,

2. To immobilise / control, or

3. To damage

Training

Striking with the hands requires more than just innate power it requires understanding. The hand itself is made up of many small bones and joints that can be injured if one doesn't understand proper hand strikes.

Power in the hands is not entirely generated from the muscles of the arm. A martial artist learns how to use their body dynamics to generate much more force. With the use of proper balance and an understanding of how the body moves you can develop powerful technique. Power isn't the only consideration. Precision in hand strikes and an understanding of how the hand works allows the martial artist to focus their attack on pressure points which can incapacity an opponent quickly. In this way, a small person with relatively little strength can defeat a larger person.
For beginners, an injury takes place when they attempt to execute techniques they haven’t been trained in. Learning hand formation, application and location for use is import before actively participating within sparring practice.
Most people practicing free sparring use leg or hand padding to minimise possible injury occurring. We as martial artist sometimes train ourselves to be set up for injury in a real situation.
For example, boxer’s use hand wraps and padded gloves for protection, so they can deliver more power without damaging the fists. Many times within the media it has been reported that professional boxer’s have been caught within a street confrontation and obtained serve damage to their hands. The boxer is confident in the extra power they can generate due to this protect but forgets that the hand is actually a very fragile part of body when not protected.
Involuntary a boxer will resort to the same methods they use within the ring as to counter a real situation. Not just boxers but all people participating within a fighting system do this, and by doing so will decrease the success in their defence strategy in a real situation. Many assaults presented need more than striking techniques to end the confrontation and for this reason we need to protect out hands in training and for real situations. Off course adrenaline will take over when in a situation and your pain tolerance will heighten. If your hands are damaged you will be only be able to block and not grab to restrain. This is essential for disarming a weapon such as a gun or knife and in multiple attack situations.
Practising striking drills that emulate a real situation will increase your chances of performing the right technique and application. In Jujitsu we combine self-defence, restraint and striking into one package to minimise injury. Providing options within training will allow the practitioner to flow into correct technique when called upon and not be forced to execute incorrect methods.
It is an important note that training that only offers static practice still places the practitioner into a false realisation. Striking techniques change when you and your opponent move. Your stance and angle of attack and defence adapt between movements reducing the desired affect when executed in a static attack.
The analogy of a weight on the end of a string - as the weight spins around it builds up centrifugal force. If that string is then released, the weight will travel in a straight line originating on the circle. Straight strikes begin by establishing a circle (and based on the second point there are infinite possibilities) and then shooting out the strike from a point on that circle.
This is evident in a sparring match, due to the rules of engagement within the contest we use controlled touch contact. In my experience within free sparring when faced with a Tae Kwon Do player they present great ability in technique but usually fail when needing to execute technique with force when moving. Due to this they loose balance reducing their mobility, strength and defence. Just like the weight on the string, there are many possibilities; one is the possible amount of injury.
Striking the correct target with the right strength (full control is necessary), it is import to take care of other practitioners within a training hall but realism is needed to ready the practitioner for a real life situation, otherwise it would not be necessary to train.
The real measure of quality for every self-defence system is the amount of protection it offers in real world critical or life threatening situations. Such a situation will always be perceived different than a training or tournament situation. If a person, inexperienced in street fights, is confronted with a real hot self-defence situation, then he or she will very likely experience the psychological and physiological effects of the human stress and fear reaction (also known as the 'body alarm reaction' or 'fight or flight reflex').
While you are grappling, take the time to mimic the motions that you would use to strike the opponent when appropriate. You can even do your one-step or three-step sparring with the mission of using open hand strikes to the hard parts and closed handed strikes to the soft parts.
Even if you tell yourself that "in a real fight" you will remember to strike differently, your training will override your conscious thought.

Control / Legal Considerations

Open hand tactics for situation control and conflict management, relates to the second principle of striking, that is immobilise or control. That is why open hand technique suits the needs of contemporary security and civilian self-protection. The open hand tactic can easily be incorporated in natural body language, that appears to the aggressor and bystanders (witnesses) strong, yet it is non-aggressive and peaceful, thus giving ideal possibility to diffuse situations without the need to resort to physical violence. Looking less "violent" to bystanders will be beneficial to the practitioner legally.

They also allow you to grab and grapple more directly if serious damage isn't called for. This is the reason Jujitsu utilises these methods, so that the practitioner can combine techniques I.e. to strike and then take hold so that the subject may be controlled in a restraining technique.

When the practitioner is in a confrontational situation and has a need to strike, open hand methods provide them with a means to break a mindset of continuous striking. As opposed to close hand strikes, that draws the operator into maintaining the mindset of only striking instead of moving into a gripping technique or controlling move.

Closed Or Open Striking Attributes

Both methods of striking have advantages and disadvantages. Hard strikes do not require as much accuracy as soft strikes, but you are more liable to damage your hitting surface unless it is well formed, conditioned, and hardened. Hard strikes to soft targets are much safer and more effective. Soft strikes to highly sensitive targets are very effective as long as you are extremely accurate. This is not so easily accomplished on a moving target. Additionally, sensitivity at specific nerve points varies widely by individuals. Some people may not react at all.
The open hand uses the fluid shock principle (dispersing force when delivered) that assists in upsetting the subject’s structure so that the operator may use one of the Striking Techniques Principles.
Because of our understanding of natural movement, fight stress behaviour, legal issues and considering the importance of real power and teaching time, the open hand methods are predominantly used as the major counter-offensive tool of the self-defence system.
Open hand is a round, very natural movement, that is similar to the movement of throwing a stone or deflecting a flying mosquito.
Open hand can be used for parry, control or to attack to temporarily disturb vision, to disturb balance or simply to knock out the opponent, also manipulates his balance and position to reduce his offensive options.
Sometimes open hand techniques such as a spear hand has more effect on the target then a closed hand method, where it is used strike the floating ribs and the underarm. Another open hand technique, the sword peak hand is used to strike or claw the throat, groin, or eyes.
Open hand techniques are underrated and can sometimes be more effective than a punch. Depending on the circumstances, sometimes the fist is better, other times, the open hand. What are these circumstances?
One circumstance.... If you train at a school that does mostly fist strikes, then I would hazard that these strikes will serve the person better, with power, accuracy and confidence.
Plus, I know there’s always the talk of how bone to bone can cause the fist to be damaged, but doesn’t the same apply to open hand, how easy is it to catch a little finger for example.
A close-handed technique, when delivered to a hard strike zone creates injuries to the hand of the operator and causes the hand to tense slowing the reaction time. Closed hand methods of striking are used on soft targets, limiting injury to the operator.
The only closed hand method that can be used on a hard target is a hammer fist, using the soft edge of the hand in a relaxed manner. The hammer fist’s advantage as a versatile weapon allows you to still strike even if you are holding an object in your hand, say like a small torch.
The closed fist creates tension and if placed in a danger situation triggers the 'fight or flight'-reflex that 'kills' the fine motor skills needed to support maximum body power. If the techniques you have learnt have not subconsciously been stored, the learnt 'technical' moves are the first to disappear.
On the other hand, closed hand techniques have an intended purpose in self-defence, where they are used to strike to vulnerable targets to end an assault or to allow the operator to remove him or herself from a situation (third principle of striking).

Injury / Healing – You And The Opponent

Hard to soft, soft to hard - you hit soft things with the hard knuckles and hard things with the softer open hand (e.g. palm heel). If, for example, you punch someone in the chin with your closed fist you'll almost certainly hurt your hand. Not so with a palm heel... Conversely an open hand technique to the solar plexus will not have as much affect a Forefist or single knuckle strike will... It's a matter of targeting primarily.

In demonstrating open and closed hand methods of striking, a sample of vulnerable target points will show the differences in the effect when both methods are struck to the same point

Throat

Closed Hand – Fore fist: Collapsing of the throat and swelling of the muscles surrounding the throat, possibly causing death by asphyxiation.

Open Hand – Sword peaked hand: Slight swelling of the muscles surrounding the throat and choking effect (creating the subject to cough and gasp).

Xiphoid Process

Closed Hand – Thumb one-finger fist: Fracturing the xiphoid process will then damage the stomach wall creating it to split causing internal bleeding, unconsciousness and possibly death.

Open Hand – Palm strike: Sharp pain, dispersing force to the stomach and chest creating breathing difficulties and the heartbeat to be irregular.

Between 5th and 6th Vertebrae

Closed Hand - Elbow: Trauma to the spinal cord, aorta, heart and lungs and possibly fracturing the spine cord leading to cerebral trauma.

Open Hand – Palm strike: Creating a loss in breath and partial sensory motor function, and the inhibition of breathing.

The human hand is made up of many small bones, which may be damaged by heavy impact. If a hard part of the opponent's body or other hard object is inadvertently struck, the metacarpals may splay on impact and break. Boxers tape their hands so as to hold the metacarpals together and keep them from splaying. One can toughen one's bones by striking objects to induce osteoclasts (cells which form bone) to grow bone over the struck area increasing the density of bone at the striking surface.

The wrist must also be kept in proper alignment during a fist strike. If the wrist bends on impact, it can easily be sprained, dislocated or broken. Boxers tape their wrists to reduce wrist flex.

In human anatomy, the wrist is the flexible and narrower connection between the forearm and the hand. The wrist is essentially a double row of small short bones, called carpals, intertwined to form a malleable hinge. The wrist-joint (articulatio radiocarpea) is a condyloid articulation allowing three degrees of freedom. The metacarpus is the intermediate part of the hand skeleton that is located between the fingers distally and the carpus, which forms the connection to the forearm.

Punching with the knuckles is anatomically quite weak - its good for bags, speed balls, floor to ceiling and focus mitts, but punching a face or onto the skull may cause injury to the person throwing a punch. If that punch ends the fight then ok, but if it doesn't your survival chances diminish.

A forceful punch that lands wrongly or strikes the wrong target may damage the hand; for this reason padded gloves are worn in many sports that involve punching (such as boxing). When punches are practised on a heavy punching bag, bag gloves are worn to protect the skin of the hand, and the hands are wrapped tightly to protect them from damage due to repetitive impacts.

The elbow should not be locked out at the extension of a punch. This weakens the punch and makes the elbow susceptible to be broken. In the long term, it wears the cartilage, which can eventually lead to arthritis.

A reverse bite injury (also called a clenched fist injury, or closed fist injury) is when one person punches another person in the face. The skin (and sometimes tendons) of his or her knuckles is cut against the teeth of the person he or she is punching. The medical treatment of this injury is similar to those of a human bite, but may also involve damage of the underlying tendons. Management may involve cutting away infected tissue, which may include tendons and therefore involve loss of use of the hand; infection also tends to spread along the tendon sheath, so that what was originally a small injury goes on to involve the entire hand.

If tendons or bone are visible through the wound the urgent referral to a specialist hand surgeon is mandatory, even if there is no visible damage to the tendons. Unfortunately, the nature of these injuries is such that even if the injury is optimally managed, catastrophic outcomes (loss of use of the hand, or loss of the hand) are not unusual.

A broken bone or dislocated joint will typically heal and probably the injury will be forgotten after some weeks or months – much more serious in it's consequences is the problem of blood exchange.

When a bare-knuckle punch connects to the head, it typically causes a strong bleeding wound. Another not unlikely result of the bare-knuckle punch is that the skin at the connecting knuckles is cut open (typically a not so heavy bleeding wound). This means that, in the moment of impact, blood of the opponent may enter into the body of the bare-knuckle striker. Even if the likelihood is small, there is still the chance of transferring HIV, Hepatitis and other blood diseases. Having apparently “won” a fight, but then having to wait and worry several months of not being sure, if the other person maybe was a carrier of a blood disease, is not really something to look forward to. Not to mention, what happened in case he was.

Open hand techniques are also used in Kappo, when someone has received a striking technique to a motor or muscular point, creating partial paralysis or numbness. Striking upsets or blocks the natural energy flow through the meridian of the effected strike zone, overloading it like an electrical system.

For example, the energy flow of the arm is down the ulna side crossing at the knuckles returning on the radial side. Further self study is needed to understand the whole bodies energy flow to utilise this method. To relax the effected point, you need to stimulate it by striking again to the same point with an open hand (one third to half the force of the original strike) delivered in the direction of energy flow

Another technique uses an open hand strike to the 5th and 6th thoracic vertebrae to assist with the recovery of an unconscious person. The Phrenic nerve at this location stimulates the diaphragm to contract and creates an adrenaline rush and assisting in the resuscitation of the Uke. The vertebral reflexes act on the cardiac contractions. The diaphragmatic reflexes involve artificial forced breathing.

Home Theory

Stairway Strategy and Self Defence Principles

SenseiSam — Wed, 25 Nov 2009 09:34:08 CST

IntroductionThe situation is when two
attackers have pinned you in on a stairwell one above and the other below, they may be static in motion, making threats or actively advancing to attack you.

Positioning
When the attackers are in a static position, it is important to maintain at an equal distance, ensuring you do not make sudden movements that will draw attack. This allows substantial time to conduct a threat assessment and to align possible targets. When the attackers have commenced their advancement, rapidly move toward the closest attacker or the attacker closest to the exit point. Distancing yourself from one of the attackers will provide you with an increased reactionary gap allowing you more time to immobilise the first of the attackers. The first step you should undertake is to create a good stable base, by positioning yourself against the handrail closest to the wall. This will provide you with an anchor point increasing balance to create power when delivering a kick. The rail against the wall will reduce the possibility of being bent over or thrown over the open rail. The wall rail also provides you with the best observation angle and another means of reducing the amount of attack angles the attackers may advance from. The position you have created also uses the “middle stair attack principle”. This is when you have positioned yourself against the wall handrail and the attacker has to leave their stable position (handrail or level surface) to now move towards you. The attackers are now vulnerable to attack, by opening target areas when they walk and increases the chance to loose their balance, inturn affecting the power and reaction time of their attack.

Forcing the Resolve and Movement If the two attackers are static and you believe that they have made real threats for your safety or life, you will need to force the resolve of the situation making the first attack. You may need to move one way or another to first resolve the situation before moving to your desired exit point. It is an advantage to move toward the lower attacker due to the speed you can generate and the ability to use the momentum of your own body weight in the attack. If you have decided to undertake this option you must move in a sideways manner against the rail, maintaining your stability and observation of the situation. Using the rail will also provide you with a method of stopping if you have accelerated too much in your advancement. Ensure you have balance when defending yourself, stop motion when being attacked until you resolve the initial attack.

Attackers Strategy
The attacker’s strategy from a high position is to kick or bend down to you for a grab or punch. A reminder is that this attacker can use their advancement to quickly move downward. The attacker from a lower position has their strategy of grabbing or punching you to the lower section of your body, in doing so will try to bring you down leading to punch or kick. They will do this by dragging or pulling you off balance when you kick or move towards them to quickly.

Targets and Method of Application
Your strategy is much the same as the two attackers, differing in the way you will place your self against the wall or rail. This principle will assist you in minimising the negative outcome that the attacker’s have. To counter the lower attacker you must aim at their knee with a sidekick holding onto the rail. For the higher attacker you must use the same dragging and pulling strategies as the “lower attacker”. If they kick you, you must block and hook their leg either levering them backward onto the stairs or to drag them forward to ground stabilise them. Targets for the higher attacker are the groin and leg creating them to lose their balance and collapse.

Use of Shield The use of a shield is ideally achieved when you have taken control after you have immobilised the attacker, most affectively when one has taken a grip. Using one of the attackers in a shield will increase your chance of exiting the situation with minimal injury to you and the attackers. When the shield is taken ensure to move one step at a time in a sideward position against the rail, maintaining control limiting the possibility of a counter attack. Keep the attacker that has been taken in a shield in a lowered position omitting their ability to effectively use their legs for balance. Ensure the attacker within the shield is unable to exert downward pressure onto you. Doing so will slow you down and can reduce your balance and mobility. This would allow time for the second attackers to bridge the gap. Use your voice to communicate your intention to both attackers when using a shield for your withdrawal from the situation. If the second attacker continues their attack, drop the shield in their path to provide you with an increased reaction time to reposition yourself for the continued attack or to vacant the situation.

Home Theory

Fatal Errors

SenseiSam — Wed, 25 Nov 2009 09:27:49 CST

Fatal Risk Protocols

The longer a physical incident occurs the greater the likelihood of injury. This exposure to injury is not restricted solely to the resistor but also to all Personnel involved in its application. A continued risk assessment of the subject’s behaviour will determine a suitable application of force. Prolonged application of this force or restraint may create medical distress to the subject. Being aware of these medical risks will assist the Operator with the safety and welfare and the foreseeable fatal risks if ignored.

These include:
- Neck restraint
- Pain compliance
- Medical distress signals
- Positional asphyxia

There are many physical and environmental influences that can suddenly change what was initially a well intentioned use of force option into a fatal and devastating outcome.

Neck Restraint

The addition of information regarding the lateral vascular neck restraint and respiratory neck restraint (choke hold) serves primarily as an educational opportunity to highlight the associated dangers and considerations that accompany its use and application.

Lateral Vascular Neck Restraint (LVNR)
Lateral vascular neck restraint is a technique that uses a controlled application of pressure to the vagus nerve, carotid artery and jugular vein found to the side of the neck. Pressure to these points effects the flow of oxygenated blood to the brain, creating a reduced heart rate to slow due to a stimulation of various nerves to the brain, causing the subject to become unconscious. The vagus nerve controls the withdrawal of blood from the brain; over stimulus of the vagus nerve can create the subject to have a seizure that may mimic active aggressive resistance to the Operator. Prolonged pressure, more than four or more minutes may cause permeate brain damage or death. (See Example 1 page 50)

Respiratory Neck Restraint
Respiratory neck restraint is a technique that uses a controlled application of pressure to the trachea (throat) found at the front of the neck. Compression to the throat generates a high degree of pain creating an adrenal rush, which can trigger the fight or flight sensor, enhancing the subject’s pain and survival threshold once again creating the subject to mimic active aggressive resistance. This will also make it hard to identify if the subject has attained an injury. Prolonged pressure will create the muscles surrounding the trachea to swell causing possible death by affixation.

Pain Compliance

Most of the techniques we will discuss rely on a physical control concept known as ‘pain compliance’. Pain compliance is the controlled application of force to manage resistance or aggressive behaviour in an individual. Pain compliance relies on a basic punishment / reward system. If the individual is non-compliant by resisting or behaving in an aggressive, obstructive or threatening manner, the Operator(s) can apply controlled pressure. This controlled pressure, in turn, causes a sensation of pain as a form of discipline. This behaviour management system should be coupled with effective communication skills, particularly focusing on non-abusive verbal commands. When the individual complies with the requests of the Operator(s), such that the individual is no longer aggressive or ceases to resist, the individual is rewarded. This reward is in the form of pain reduction, usually exhibited by the Operator(s) relaxing the pressure or releasing the individual. This is usually achieved once the pain experienced by the individual equals or exceeds the individual’s ‘pain threshold’. Pain threshold is a term used to describe the upper limit of an individual’s tolerance to pain. The two major components required for pain compliance techniques to be effective are: § Application of pressure and counter-pressure techniques § Effective communication skills, especially loud, clear vocal commands Case studies have shown that without loud, clearly audible and repetitive vocal commands, the application of pain compliance techniques will actually increase the level of resistance and aggression from the individual. It has been shown that at any time the individual experiences unexpected, moderate levels of pain, the individual’s ability to hear and comprehend commands is greatly impaired. Therefore, it is necessary to repeat verbal commands at least three times before most individuals who are individual to pain compliance techniques will actually hear or comprehend requests. An Operator must remember that individuals cannot comply with requests or understand what is expected if they do not hear or understand the requests. Since the entire concept of pain compliance relies on the punishment/reward system, it is very difficult to justify the use of pain compliance techniques if the individual simply does not understand what is expected of him/her. It is therefore recommended that, at any time a pain compliance technique is employed, the Operator(s) should repeat any verbal requests until the individual complies.

How is pain compliance techniques used?
The main objective in using pain compliance techniques is to hinder the aggressor’s movements or counter attack. This is achieved by keeping the subject off-balance and to ensure you are out side the aggressor’s-fighting arc. This will prevent the attacker to execute a counter measure, to strike or regain their balance.

Pain compliance techniques are used to:
- Off-balance the aggressor or subject, effecting their stance and mental focus
- To create or to inhibit movement
- To reduce reaction time of the aggressor
- To create distance or a gap
- To immobilise the attacker or subject
- Used as a distraction method

When to reduce pain?
The application of any pain compliance technique shall be discontinued once the Operator(s) determines that full compliance has been achieved and when you and your restraint team are safe and out of harms way. Remember a promise of pain is used if the subject continues or attempt to continue with unacceptable behaviour. Before any pain is reduces you must ensure that the subject is unable to attack. You do this by lowering their stance creating a downward pressure reducing their ability to generate attack with a kick or substantial power to off balance you or your team.

Use of Voice Commands When Applying Pain Compliance
Use clear, loud, simple commands combined with the application of pain compliance, this will assist the Operator in gaining subject control. For example, walk, will you comply, stop, extend your legs, spread apart your legs, turn away from me, pain will be released if you comply (remember tat all the pain is not released) etc. Allow time for the subject to act, their physical and mental facilities may be affected due to an injury, fear, intoxication, communication barrier or confusion.

Visual Signs of Pain
The study of pain is of great importance for an Operator, due to the duty of care of the Subject and the legal obligation to justify every action when applying any amount of force upon a Subject. During a training session we use the word “Danger” or a tap to indicate pain or discomfort. This is made clear during training but will certainly blur the clarity in a real situation. The subject we wish to control or escort will not have the knowledge of the techniques or may be intoxicated. Their body will react in different ways in which we are not usually aware of in training. When placed into a situation your fear will reduce your ability to react in a sound manner. Visual awareness is important to seek out and scan the signs of pain upon the subject. Some of the following may be displayed: - Shaking - Change of colour - Excess sweat - Stop of motion - Facial Tension - Over reactive response - Desire to comply by changing stance, by drawing away from pain. Knowing these signs will assist you in having better success in controlling the situation and may provide you with the correct amount of force needed for the application of the techniques.

Positional Asphyxia

Definition Death as a result of body positioning that interferes with breathing, also known as restraint asphyxia. In its broadest sense, it refers to a state in which the body is deprived of oxygen while in excess of carbon dioxide. This results in a loss of consciousness and or death.

Factors that may increase risk of positional asphyxia are:
- From neck and chest compression or airway obstruction which restricts breathing
- Increased when the subject is placed in a prone position (on stomach)
- When the subject is exhausted or have tense muscles
- Increased when intoxicated (Alcohol and drug use)
- Have excess weight, elderly, or pregnant
- Medical problems - Respiratory problems, Cardiac disease
- Chemical agents, allergic reaction For examples of two such positions see pictures Example 1 and 2 below.

Avoidance Procedures
The Operatives leader and all team members involved in the restraint of the subject must ensure that:
- The Subject has a clear, unobstructed airway
- No pressure is applied to the nose, mouth, neck, chest or abdomen of the Subject
- The use of supine or sitting positions must be used as a priority § Observations for signs of distressed breathing; and
- Observations for signs of fainting, drowsiness or collapse / shock.

Pay attention to reports by the Subject that they are experiencing difficulty with breathing; such reports should never be dismissed as a ploy by the Subject to increase their chance of evading the restraint. In such cases the team may relax their restraint as much as possible in order for the Subject to recover, either by a 'stop and rest' manoeuvre or in 'recovery position’.

Home Control and Restraint

Control and Restraint

SenseiSam — Wed, 25 Nov 2009 09:26:37 CST

Listed topics relating to control and retraint:

- Use of Force
- Pain Compliance
- Fatal Errors
- Pressure Point Application

- Carotid Restraint Principles
- Environment & C& R
- Fluid Shock Wave - Striking
- Open & Close Hand Striking
- Knife Defence Strategies
- Principle of the Fighting Arc
- Reaction Time
- Visual Awareness

Jujitsu Theory

Pressure Point Application

SenseiSam — Sun, 15 Nov 2009 03:17:57 CST

Pressure Point Application

Pressure point techniques have been incorporated into the advanced defensive tactics syllabus as a low-level force option in the use of force continuum. These techniques create options that allow the Operator to adapt for the changing situation Security Personnel are placed into. They are used to assist in controlling an aggressive subject and without the knowledge of pressure points; striking and kicking techniques have no purpose other then being blind movements that can cause potential harm to the subject.

Pressure points are separated into two categories
Nerve pressure points
Nerve pressure points can be described as those pressure points, which are located on the head, neck and used to control passive or defensive resistance through pain compliance.

Nerve motor points
They are 3 – 5 inches in diameter and are located in the large muscle mass in the shoulders, arms, and legs and used to interrupt the body’s motor functions and generally cause a stun, which can last for three and to seven seconds. Nerve motor points are sensitive to specific types of strikes, which can result in motor dysfunction. The strikes are normally delivered in three styles – snapping, cutting and fluid shock wave.

Methods of Application

There are three methods of application each with individual attributes for varying effects, touch pressure, quick penetration and striking (Fluid shock wave).

Touch pressure
Application designed to create pain compliance by using digital pressure and coordination with verbal instructions. Touch pressure is used to maintain low-level resistance, for example passive or defensive resistance. The following steps should be adhered to when applying pressure to nerve pressure points:
- Stabilise the head
- Apply pressure / counter pressure
- Give loud and clear instructions
- Reduce pressure when instructions are obeyed.

Quick penetration
Is designed for situations where the Operator(s) has or is losing control of a situation with touch pressure. By location a pressure point and repetitive strong strikes with the digital tip will result in stunning the subject on an average of three to seven seconds, allowing the Operator(s) to re-establish control with another technique.

Striking methods
This technique can be the most severe application of pressure point or nerve motor point techniques. Striking techniques are used to stop forward motion of an aggressor, so you can withdrawal or apply restraining accoutrements. Striking methods have been designed to create an instant stun (lasting three to seven seconds), caused by either a defensive counter measure or a strike from an impact weapon.

Fluid shock wave principle

Due to the body consisting of approximately 90% water the fluid shock wave principle has its name derived. It is sometimes called the hit and stick method of striking. The strike is made to a nerve motor point, energy from the source into the target is known as kinetic energy. The amount of kinetic energy that dissipates into the nerve motor point will depend on the velocity, the mass of the energy source and the duration of the transfer. The efficiency of the strike will determine by the length of the motor dysfunction.

Note
- It is important that an Operator reduces pressure as soon as the subject complies as failure to do so may cause the Subject to increase resistance or become unconscious.
- Ensure to place yourself into safe position before releasing pain compliance techniques.
- During training caution should be exercised as prolonged application can cause bodily upset.

Pressure point – Mandibular Angle
Nerves affected: Hypoglossal, Vagus and Glossopharyngeal
Location: Where the three nerves come together at the base of the ear lobe, behind the Mandible.
Application: Touch pressure, quick penetration
Force category: Open hand
Direction of pressure: Towards the centre of the head, directed with a slight angle towards the nose.
Expected effects: medium to high level pain and cease intentional motor activity
Principles of application: To be utilised by applying the thumb (digital tip) with touch or quick penetration pressure. Stabilise the head with a head clamp technique.

Pressure point – Hypoglossal Nerve
Nerves affected: Hypoglossal
Location: The hypoglossal is located approximately 2.5 centimetres down the mandible from the mandibular angle, towards the chin, under the mandible.
Application: Touch pressure, quick penetration
Force category: Open hand
Direction of pressure: Pressure should be applied in an upward direction, under the mandible, towards the centre of the skull.
Expected effects of touch pressure: When this technique is applied in the correct method the subject will experience or display the following: - Medium to high intensity of pain - Immediate signs of submission - Weakening or interruption of all motor activity
Expected effects of quick penetration: When this technique is applied in the correct method the subject will experience or displays the following: - Immediate decrease in level of resistance - Mental stunning – lasting between 3 – 7 seconds
Principles of application: Distraction technique, pain compliance, balance displacement Application of this technique is best applied with the thumb supported by the first, or by using the middle two fingers unsupported. Use in conjunction with a head clamp technique to stabilise the head.

Pressure point – Brachial Plexus Tie-in
Nerves affected: Median, radial, and ulnar
Location: Located where the brachial plexus runs through the shoulder and arm. The motor point is at the junction of the pectoralis major, the bicep and the deltoid muscle.
Application: Striking technique – fluid shock wave
Force category: Open hand
Direction of pressure: Direct pressure to the point, stopping forward motion of the subject.
Expected effects: Medium level pain, motor dysfunction of the effected arm and hand, immediate sign of submission probable,
Principles of application: Developed, as a striking location to create motor dysfunction of the shoulder, arm and hand for disarming, delivered no less than three strikes with fluid shock wave striking principle to ensure motor dysfunction. Also used to immobilise the subject’s movement enabling the Operator(s) to adapt to an alternative technique. Applied with a palm heal striking technique

Pressure point – Brachial Plexus Origin
Nerves affected: Median, radial, ulnar
Location: Side of neck, approximately 1 2 centimetres from the base
Application: Touch pressure, quick penetration, striking technique
Force category: Open hand
Direction of pressure: Angled downward pressure to the base of the neck
Expected effects: Medium to high level pain, motor dysfunction to effected arm, neck, shoulder, mental stunning between 3 – 7 seconds
Principles of application: Either the palm heel or hammer fist of the Operator, to the side of the subject’s neck. A stun should never be delivered by a bony part of the hand or wrist or hand. With increased pressure to the point, it creates a sympathetic response to both of the legs.

Pressure point – Clavicle Notch
Nerves affected: Brachial, radial, ulnar
Location: Located directly behind the clavicle bone in a depression, which is approximately half way between the shoulder joint and sternum.
Application: Touch pressure, quick penetration
Force category: Open hand
Direction of pressure: Applied downward pressure at a 45 degree angle towards the body centre
Expected effects: High level pain, motor dysfunction of the arm, mental stunning between 3 – 7 seconds
Principles of application: This is best applied from behind the subject, assisted with a rear head clamp. Once found the Operator delivers pressure to the nerve by pressing down with the fingers towards the feet of the subject, creating a knee reflex to the subject causing him or her to sit.

Pressure point – Jugular Notch
Nerves affected: Superior laryngeal, recurrent laryngeal
Location: The trachea and small nerve fibres in the jugular notch region.
Application: Touch pressure, quick penetration
Force category: Open hand
Direction of pressure: Pressure is in a downward direct towards the centre of the body at a 45-degree angle from either or rear of the subject.
Expected effects of touch pressure: When this technique is applied in the correct manner the subject will experience or display the following: - Loss of balance and or over balancing - Involuntary reflex away from the source of pressure - Immediate change in the subjects thought process - Pressure applied creates a gagging affect, indirectly elevating the subject’s heart rate.
Expected effects of quick pressure: When this technique is applied in the correct manner the subject will experience or display the following: - Stop immediately all intentional motor activity - Shifting of subjects balance - Involuntary reflexing away from source of pressure - Low level mental stunning
Principles of application: Distraction technique, balance displacement This technique is useful tool when dealing with an uncooperative subject in a confined space.

Pressure point – Suprascapular Nerve
Nerves affected: Suprascapular
Location: The suprascapular never motor point is found at the junction where the trapezius muscle connects to the side of the neck.
Application: Striking technique
Force Category: Closed or open hand
Direction of pressure: The angle of the strike should be directed to the floor
Expected effects: When this technique is correctly applied the subject will experience or display the following: - High level of pain, - A temporary motor dysfunction to the affected arm and hand - Involuntary motor dysfunction flexing of the hand - Mental stunning lasting between 3 – 7 seconds - Subject may experience numbing of the affected hand and arm
Principles of application: Motor dysfunction The delivery of a strike to the suprascapular nerve motor point, delivered in the correct manner, will create a motor dysfunction to the subject’s shoulder and arm area. An extremely effective technique will create a motor reflex to the subject’s legs causing a leg collapse. Used when the subject is actively focusing on a prospective victim (applied from position three). Strikes can be delivered with either hammer fist or palm strike using a fluid shock wave technique.

Pressure point – Radial Nerve
Nerves affected: Radial nerve
Location: The radial nerve is approximately 50 mm below the elbow joint on top of the forearm.
Application: Striking technique
Force category: Closed hand
Direction of pressure: Toward the centre of the arm
Expected effects: When this technique is correctly applied the subject will experience or display the following: - Medium to high tensity of pain - Motor dysfunction to the affected arm - Flex – reflex response to the affected hand
Principles of application: Motor dysfunction, stunning Strikes should be delivered with a hammer fist using a fluid shock wave method of striking, designed to encourage grip release for disarming of a weapon.

Pressure point – Median Nerve
Nerves affected: Motor nerve of hand
Location: Inside of the forearm, approximately 30mm from the base of the wrist
Application: Striking technique
Force category: Closed hand
Direction of pressure: Toward the centre of the wrist
Expected effects: When this technique is correctly applied the subject will experience or display the following: - Medium to high pain - Muscular and motor function lasting between three to seven seconds
Principles of application: Motor and muscular dysfunction, stunning Strike delivered with a fluid shock wave strike with a hammer fist, palm strike or with a baton, designed to encourage grip release for disarming of a weapon.

Pressure point – Femoral Nerve
Nerves affected: Femoral nerve
Location: Located on the inside of the thigh, the nerve runs the length of the thigh the preferred target area is situated mid-way from the groin to the knee
Application: Touch pressure or striking
Force category: Open hand or baton strike
Direction of pressure: Inside of thigh, mid-way between the groin and knee
Expected effects: When the correct application of a strike or touch pressure is applied the subject will experience or display the following: - Strike – temporary paralysis of the affected leg - High level of pain - A mental stun lasting between 3 – 7 seconds
Principles of application: Motor dysfunction, stunning Creates a knee bend reflex of the affected leg Also used in ground control with knee pressure to create movement

Pressure point – Common Peroneal Nerve
Nerves affected: Common peroneal nerve
Location: Located on the outside of the thigh approximately at the lower centre of the thigh and about at fingertip position when the hand hangs relaxed by the side.
Application: Striking technique (knee strike)
Force category: Baton strike and striking technique (closed hand)
Direction of pressure: Impact should be directed towards the centre of leg mass
Expected effects: When the correct application of a strike is applied the subject will experience or display the following: - Temporary paralysis of the affected leg - Involuntary flex reflex response to the affected leg - High level of pain - A mental stun lasting between 3 – 7 seconds
Principles of application: Motor dysfunction, stunning Also used in ground control with knee pressure to create movement

Pressure point – Superficial Peroneal Nerve
Nerves affected: The superficial peroneal nerve
Location: Lower shin above ankle joint
Application: Striking technique (kicking)
Force category: Striking method (closed hand)
Direction of pressure: Downward kick, toward the subject’s heel
Expected effects: High level pain, mental stunning lasting between 3 – 7 seconds
Principles of application: Motor dysfunction, stunning Creates balance displacement and paralysis of the affected leg

Pressure point – Tibial Nerve - Motor Point
Nerves affected: Tibial nerve
Location: Located in the centre belly of the calf muscle
Application: Kicking technique (front kick) and touch pressure
Force category: Baton strike, striking method (closed hand) or open hand
Direction of pressure: Downward pressure to the centre of calf muscle
Expected effects: When the correct application of a strike or touch pressure is applied the subject will experience or display the following: - Strike – temporary paralysis of the affected leg - Involuntary reflex response in the unaffected lag - High level of pain - A mental stun lasting between 3 – 7 seconds
Principles of application: Motor dysfunction, stunning Also used in ground control with knee pressure to create movement

Home Control and Restraint

Grading / Obi

SenseiSam — Mon, 28 Sep 2009 10:03:29 CDT

Introduction

It is not a character from Star Wars. So what is it?

The belt or obi (Japanese name for belt) is an outward sign displaying to others the achievement or progression with their system of martial art. How did the belt come about? There were no Black belts as such. The sash or belt is meant to have come about in the following way. The sash which held the practice jacket together was in fact nothing more than a strip of material, with no particular colour; this can be seen in early photographs of Jujitsuka in Japan. The strips were not necessary when hakama’s were worn. The ‘Uma-nori-Hakama’ was the traditional divided skirt worn by noblemen and warriors in Japan, and adapted particularly for horse riding. At such times the strip was used as a headband.

One common “legend” concerning the tradition of belts claims that early martial artists began their training with a white belt, which eventually became stained black from years of sweat, dirt, and blood. However, there is no real evidence for this story, so it should be relegated to the status of myth. In fact, given the standard of cleanliness common in the traditional Judo or Karate dojo, a student arriving with a bloodied or dirty uniform would probably not have been allowed to train. In some arts and schools there is the opinion that the belt should not be washed; by doing that one would "wash away the knowledge" or "wash one's Ki away." This is all related to the “dirty belt” myth.

How did the grading system come about?

One of the first know schools to use an inaugurate ranking system, was the Shin-no-shindo Ryu.
Beginners achieved Shodan (first grade) which bears no relation to the modern Kano-based Kyu -Yudansha black belt system. The second grade was the Chu-dan meaning “middle rank”. The final rank is the Jo-dan or upper rank.

The Cherry Blossom jujitsu school has a cherry blossom on their gi jacket. A coloured centre of the flower indicates the grade, instead of using a belt like other schools.
Jujitsu Master Kano, the founder of Judo, was an educator and came up with a ranking system, in which he divided those who practice into grades according to their skill and experience. These are indicated by the colour of the belt they wore.

Master Kano was the head of the Japanese school system. He based the belt system on the arts of kyodo and the modern academic school systems, coloured belts were based on the elementary grades of public schools, the 1st to 5th dan belts were the BA program at college, the 6th to 8th dan, black belt ranks were masters and the 9th & 10th dans were at the doctorate levels of university (which is why these higher rank holders were usually addressed as “professor”).

It is paradoxical that today some martial artists take a wire brush to their ‘black belt’ and reduce it to a length of worn tatters in an act of bravado to impress the casual onlooker that he or she is a well practised and seasoned martial artist.

Each coloured belt has a significant meaning, white - purity, Yellow through to brown each take on one of the five elements (godai) wind, water, earth, fire and void. Purple is included within Jujitsu schools and has itself a deep history and meaning. It is written one of the head masters of Takenouchi Ryu, the founding school of jujitsu demonstrated the schools technique to a high official of the Emperor and then was presented a purple cord (rope) to demonstrate the restraint techniques (hojo). The official was so impressed he gave the purple cord to Master Takenouchi to indicate the schools most high and supreme level of restraint. The purple colour was only used for nobles and royalty and has a very difficult process to develop the purple dye created from a certain beetle. So the grade of purple belt represents the progression of proficiency of the individual who wears it. The wearer should be able to demonstrate maturity, fluid movement and high standard in executing jujitsu technique.

Our school of Jujitsu has taken a similar approach. We have Kyu or student grades. You can look at all these grades as pupil grades and then from Shodan you finally receive your degree (1st Dan).
All Dan grades up to and including 5th dan wear a black belt, their title is Sensei. From 6th to 8th a red and white striped belt, their title is Shihan. A red belt indicates 9th and 10th dan; their title is Soke or Professor.
The red/white and red belts are general only wore for formal proceedings i.e. grading, seminars and demonstrations.

Beyond The Black Belt

Around 1930 Jigoro Kano created a new coloured belt to recognize the special achievements of those reaching high Dan ranking black belts of 6th Dan or above.
These Dan grades became known as the Kodansha, meaning “person of high rank”, the “Ko” in this case meaning high, “Dan” meaning rank and “Sha” meaning person. However the actual recognition of Kodansha itself starts at 5th Dan, when it is deemed that a student has completed the school’s curriculum or syllabus of Judo techniques.
Jigoro Kano chose to recognize the achievements of 6th, 7th, and 8th Dan black belts with a special “Obi” or belt, made of alternating red and white panels, known as the Kohaku Obi. The Japanese ideograph “Kohaku” may be directly translated as Red and White.

The Significance of Red and White in Japanese Culture
The Genpei Wars between 1180 and 1185 were a conflict between the Taira and Minamoto clans, equally matched sides, in the late Heian period of Japan. These wars, however eventually, resulted in the downfall of the Taira clan and the establishment of the Kamakura Shogunate under Minamoto Yorimoto in 1192.
The Taira clan was often referred to as Heike and the Minamoto clan as Genji. They were identifiable on the battlefield by the use of coloured flags. The Heike used red flags and the Genji white flags.
Following this war and its aftermath, the colours red and white, of the Taira and Minamoto standards, were established respectively, as Japan's national colours. The white represented purity and peace, whilst the red represented not only the “Rising Sun” but the intensity within the Japanese people themselves, combined, the flag represented a national unity.
This unity of colours represented the opposing sides of equal ability.

Opposing Sides of Equal Ability
As a direct influence of this event, the Japanese began to use these two colours to represent opposing sides of equal ability, in just about any area of social cultural activity, whether through logical board games, sporting activities, Martial Arts or other areas of Japanese culture such as Chado (Tea ceremony) and Ikebana (Flower arranging).
These social cultural activities often resulted in contests against different schools, and the colours of red and white were used to differentiate the individual contestants or even the schools themselves, often by the wearing of small red or white ribbons.
The colours red and white are an enduring symbol of Japanese Culture, and they have been used in Judo since Jigoro Kano started the first ever Judo tournament, the Red and White Tournament, known as the Kohaku Shiai, in 1884. This tournament seems to have had a direct influence on Kano’s use of the Kohaku Obi.

The “Kohaku Obi” – Red and White Panelled Belt
Generally, the Kohaku Obi is often worn for special ceremonial occasions only, it is not a requirement to be worn at all by Kodansha and the black belt still remains the standard attire for all the Yudansha (Black belts) ranks regardless of level.
The uses of the combined colours of red and white on one belt also have been a symbolic representation of the principles of harmony suggested by the balance of yin and yang. This use of contrasting colours is used throughout Japanese culture.
These colours represented the deeper symbolic philosophy of Yin and Yang, or opposite forces. The white representing purity, peace and calm whilst the red represents the intense desire to train and the sacrifices that have been made. Therefore the wearer has reached a level where these forces meet, they meet equally united, the opposing of complementary harmony.
Usually it is thought off, that the wearer using the Kohaku Obi is on a ceremonial function i.e. instructing formally, conducting a demonstration, a course or a seminar. If the holder is in general practice, i.e. regular training, randori training or still actively competing, it is the norm to still use the black belt.
In Japan, it is very rare for high Dan ranks, regardless of level, to outwardly display the wearing of the Kohaku Obi unless it is on a formal occasion. The very opposite can be said in the west, where it is common place for Kohaku Obi wearers to use the belt on a general day to day basis, regardless of occasion, although this practice can vary immensely between different associations.
Originally when Kano created the new Kohaku Obi, they were presented only to the 6th – 8th Dan seasoned veterans of the Kohaku Shiai, hence his natural use of the combined colours of Red and White. The Kohaku Shiai itself will be discussed in a future article.

Kohaku Dan Graded Syllabus
Generally, in the west, when practitioners have reached the level of 5th Dan, it is unusual for the individual to have to take another formal grading.
Most associations hold an annual review, set up by a steering committee which usually includes members of their National Governing Board of Directors. This committee meets and assesses all current 5th Dan practitioners for suitability for further promotion to 6th Dan, the successful applicants will have had to meet several stringent guidelines, some which will contain minimum requirements such as time in present grade, competition achievement record and such areas as services to Judo. Also other areas such as current practice involvement, coaching ability, leadership, or research, publication, etc. In some associations, 5th Dan or above can put forward proposals for themselves to be considered for higher Dan rank, in other associations the process is an automatic yearly evaluation of all 5th Dans.
Technical Dan Grade promotions require similar guidelines with the exception of competition achievement record.
The Kodokan, however require all higher Dan ranked individuals to be apt at Judo Kata, the performance of a stated designated Kata is still a requirement of senior gradings from 6th to 8th Dan. At the Kodokan, these same candidates also undergo a written or verbal examination prior to any subsequent successful promotion.
The practice of Kata itself has somewhat been lost in the west in most associations, however there is currently a large resurgence towards Kata. The need to perform Kata for Dan grading of all levels, is now becoming a standard within a lot of Dan syllabi.

Beyond 8th Dan
Jigoro Kano also created the solid red belt to recognize 9th and 10th degree Yudansha. Very little is known behind this actual creation; however it is believed that the solid red signifies the holder as having trained intensely for many years and sacrificed much in their pursuits of the study of Judo.
However for women, the difference between belt colours also still exists, with the solid red belt being an option for a Joshi Hachidan (woman 8th dan), whereas for males it indicates a 9th Dan minimal.
There are no testing requirements for promotions to 9th or 10th Dan. Those promotions are based on time in grade, achievements and status by the promotions committee. In the entire history of Judo, there have been numerous promotions to 9th Dan, but very few to 10th Dan.
However there does appear to be some definition to constitute the awarding of either a 9th or 10th Dan and they are as follows: -

The Coaching Record of the Candidate
Organizational Leadership
Teaching of Jujitsu
Creative Contributions to Jujitsu
Devotion to Jujitsu without a Break

There are many definitions within these classifications; however they are not for discussion in this article.
Kyuzo Mifune, 10th Dan, was once asked what made a person a 10th Dan and he answered “That the person should have added something new to the theory of Judo”. Mifune himself was famous for his analogy of the way a ball reacts when pushed, and this was apparently considered to be an important theoretical contribution to the theory of Judo.
Kano also signified the use of a solid white belt for anyone who could be deemed beyond 10th Dan i.e. 11th Dan or above. This solid white belt would be off double width thickness to the usual beginners white belt, to signify the substantial difference and to recognise that holders of this rank would have come full circle….the final objective of any Judo student.
However, in the entire history of Judo, no-one has ever been promoted above the rank of 10th Dan. (Discussions surrounding Kano’s 12th Dan have been previously written).

How do you gain your belt?

The objective for each grade you face is to present the right attitude and principles of jujitsu. This may include the body mechanics and application of technique and theoretical knowledge. Each of these disciplines will help direct and develop the individual with skills that can be used practically.
You must understand that no matter what level you are you must strive to achieve each level to a competent standard. Sometimes you may feel that you have failed parts of a grading, just like anything in life you will get better. To reach your black belt only means that you have learnt the basics and is only the beginning of learning Jujitsu and the martial arts.
I hope this is the same goal that all students, regardless of size, gender, ability and strength strive for in the mastering of their chosen art.
Be proud of your achievement in coming this far and remember, keep striving to become better in training, work and in life and not just for the belt.

Grading

Season’s turn,
Techniques tuned,
Testing day,
Conflicting movement,
Bitterness exhales,
Mushin,
All is renewed.

Home Theory

Pinning Techniques

SenseiSam — Fri, 04 Sep 2009 21:13:29 CDT

Osae Waza

A set of ground controlling techniques that lock your opponent's movement by removing their natural use of physical mechnaics to counter.

Osae waza are grouped into seven main holds, each having a vairation on the main technique. All pinning techniques flow from one another by the resistance of the opponent's movement. When moving around our opponent in a circular movement either clock wise or anti clock wise, we nic name this moving around the clock. You may continually flow back and foward continuously around the clock flowing into the next technique.

Each pinning technique utilise the same principles:
- Gripping
- Forming a base
- To reduce mechanical movement of the opponent
- To maximise on downward pressure (diaphragming)

Techniques

1a Kesa gatame - Scarf hold (Also called Hon kesa gatame)
Kesa gatame technique name is derived from the scarf a monk wears across one of their shoulders. The creator a monk named Takeda Butsugai the founder of Fusen Ryu Jujitsu.

Description
1. The uke is positioned on their back.

2. The Tori begins by sitting close to the uke’s right hand side beside their lower ribs, almost with their back to Uke, but slightly towards Uke’s head.

3. Then take hold of the Uke’s right arm and position it under your armpit, anchoring their elbow for maximum control.

4. You then place your right arm under the opponent’s neck with your hand cupped under the Uke’s right shoulder. This creates upward lift reducing the ability to counter.

5. Your right knee is moved as far forward (as close as possible to the Uke’s right ear), and the left leg is thrust back as far as possible with comfort. Your legs are positioned in this formation to strengthen your base and the opponent’s counter ability. The tripod is formed between your two legs and your hip.

6. Finally, your head leans forward to assist with maintaining downward pressure and the reduction of anchor points the opponent can use to escape. The main objective for the head is to lock the opponent’s head movements, inturn securing the opponents options in pivoting their body to gain a counter technique.

Remember to keep your body completely relaxed maintaining downward pressure on the opponent’s diaphragm.

Many throws lead naturally to Kesa gatame, since many throwing techniques places one grip on the opponent's lapel and one grip near the opponent's elbow. Then as one enters the ground phase, one arm goes around the opponent's neck and the other arm secure's the opponent's arm.

Escapes
1. Hell strangle

2. Arm pull out to reverse cross arm lock
3. Left leg hook roll
4. Bridge and roll kesa gatame (pressure on lower ribs)
5. Collar / leg hook combination into ude gatame.
6. Waki gatame

1b Kuzure kesa gatame - Broken scarf hold

This is the first of two variations for Kesa Gatame, used when Uke attempts to remove the tori by bridging and levering in a rolling fashion to the opposite side where Tori is positioned.

Description
1. The uke is positioned on their back.

2. The Tori begins by sitting close to the uke’s right hand side beside their lower ribs, almost with their back to Uke, but slightly towards Uke’s head.

3. Then take hold of the Uke’s right arm and position it under your armpit, anchoring their elbow for maximum control.

4. You then place your right arm under the opponent’s armpit opposite to the side you are positioned, with your hand (palm) placed firmly onto the mat (elbow positioned close to the uke's body). This creates a third post for the Tori and inhibites the Uke's counter ability.

5. Your right knee is moved as far forward (as close as possible to the Uke’s right ear), and the left leg is thrust back as far as possible with comfort. Your legs are positioned in this formation to strengthen your base and the opponent’s counter ability. The tripod is formed between your two legs and your arm.

6. Finally, your head leans forward to assist with maintaining downward pressure and the reduction of anchor points the opponent can use to escape. The main objective for the head is to lock the opponent’s head movements, inturn securing the opponents options in pivoting their body to gain a counter technique.

Remember to keep your body completely relaxed maintaining downward pressure on the opponent’s diaphragm.

Many throws lead naturally to Kuzure kesa gatame, since many throwing techniques places one grip on the opponent's lapel and one grip near the opponent's elbow. Then as one enters the ground phase, one arm goes under the opponent's armpit and the other arm secure's the opponent's arm i.e. Kubi nage, Koshi nage, Hikiki otoshi, O soto gari.

Escapes
1. Hell strangle

2. Arm pull out to reverse cross arm lock
3. Left leg hook roll
4. Ebi and apply arm lock
5. Collar / leg hook combination into ude gatame.
6. Waki gatame

1c Makura kesa gatame - Pillow scarf hold

This is the second of two variations for Kesa Gatame, used when Uke attempts to remove the tori by bridging turning into the Tori.

Description
1. The uke is positioned on their back.

2. The Tori begins by sitting close to the uke’s right hand side beside their lower ribs, almost with their back to Uke, but slightly towards Uke’s head.

3. Then take hold of the Uke’s right arm and position it under your armpit, anchoring their elbow for maximum control.

4. You then place your right arm under the opponent’s neck to take hold of your leg or alternatively place your hand with relaxed grip onto your leg (thigh).This diverts the Uke's counter motion (turning) and strengthens your base (legs and hip) creating further downward pressure on uke's body.

5. Your right knee is moved as far forward (as close as possible to the Uke’s right ear), and the left leg is thrust back as far as possible with comfort. Your legs are positioned in this formation to strengthen your base and the opponent’s counter ability. The tripod is formed between your two legs and your hip.

6. Finally, your head leans forward to assist with maintaining downward pressure and the reduction of anchor points the opponent can use to escape. The main objective for the head is to lock the opponent’s head movements, inturn securing the opponents options in pivoting their body to gain a counter technique.

Remember to keep your body completely relaxed maintaining downward pressure on the opponent’s diaphragm.

Many throws lead naturally to Makura kesa gatame, since many throwing techniques places one grip on the opponent's lapel and one grip near the opponent's elbow. Then as one enters the ground phase, one arm goes under the opponent's neck and the other arm secure's the opponent's arm i.e. Kubi nage, Koshi nage, Hikiki otoshi, O soto gari

Escapes
1. Hell strangle

2. Arm pull out to reverse cross arm lock
3. Left leg hook roll
4. Collar / leg hook combination into ude gatame.
5. Waki gatame

2 Kata gatame - Shoulder hold

3a Kami shiho gatame - Upper forequarters hold

3b Kuzure kami shiho gatame - Broken upper forequaters hold

4a Ushiro kesa gatame - Rear scarf hold

4b Kuzure ushiro kesa gatame - Broken rear scarf hold

5a Yoko shiho gatame - Side forequarters hold

5b Kuzure yoko shiho gatame - Broken side forequaters hold

6a Mune gatame - Chest hold

6b Kuzure mune gatame - Broken chest hold

7a Tate shiho gatame - Longitudinal forequarters hold

7b Kuzure tate shiho gatame - Broken longitudinal forequarters hold

Home Technique Analysis Turn Overs

Technique Lists

SenseiSam — Fri, 04 Sep 2009 21:12:02 CDT

Rei Waza - Bowing Technqiues
Method	Technique
	Japanese	English
	Ritsurei	Standing Bow
	Zarei	Sitting bow

Osae Waza - Pinning Techniques
Method	Technique
	Japanese	English
	Kesa gatame	Scarf hold
	Kuzure kesa gatame	Broken scraf hold
	Makura kesa gatame	Pillowscraf hold
	Kata gatame	Shoulder Hold
	Kami shiho gatame	Upper forequarters hold
	Kuzure kami shiho gatame	Broken upper forequarters hold
	Ushiro kesa gatame	Rear scarf hold
	Kuzure ushiro kesa gatame	Broken rear scarf hold
	Yoko shiho gatame	Side forequarters hold
	Kuzure yoko shiho gatame	Broken side forequarters hold
	Mune gatame	Chest hold
	Kuzure mune gatame	Broken chest hold
	Tate shiho gatame	Longitudinal forequarters hold
	Kuzure tate shiho gatame	Broken longitudinal forequarters hold

Kuzushi Waza - Breaking Balance Techniques
Method	Technique
	Japanese	English
	Mae	Front
	Migi mae sumi	Right front corner
	Migi yoko	Right side
	Migi ushiro sumi	Right rear corner
	Ushiro	Rear
	Hadari ushiro sumi	Left rear corner
	Hadari yoko	Left side
	Hadari mae sumi	Left front corner

Ukemi Waza - Breakfalling Techniques
Method	Technique
	Japanese	English
	Mae (Kata) kaiten	Forward (shoulder) Roll
	Yoko ukemi	Side breakfall
	Mae yoko kaiten	Forward side roll
	Morote ude yoko kaiten	Double arm side roll
	Ushiro kaiten	Rear roll
	Ushiro ukemi	Rear breakfall
	Hashi ukemi	Bridge breakfall
	Mae otoshi ukemi	Forward drop breakfall
	Uwabe ukemi	Hard surface breakfall
Tai Sabaki Waza - Body Movement / Evasion Techniques
Method	Technique
	Japanese	English
	Nagashi	Avoiding
	Okuri	Sliding
	Kawashi	Dodging
	Irimi	Entering
	Hikkomu	Withdraw
	Irimi senkai	Entering rotation
	O irimi senkai	Major entering rotation

Uke Waza - Blocking Techniques
Method	Technique
	Japanese	English
	Tome uke	Stopping block
	Midari uke	Deflecting block
	Torae uke	Grabbing block
	Juji uke	Cross block
	Oshi uke	Pushing block
	Nacare uke	Pulling block
	Nashi uke	Empty block

Ude Ate Waza - Arm Striking Techniques
Method	Technique
	Japanese	English
	Shotei	Palm heel
	Tettsui	Fist edge (hammer fist)
	Shuto	Knife hand
	Haito	Inner knife hand
	Hiranken	Half clenched fist
	Kote	Forearm
	Hiji	Elbow
	Haisho	Backhand
	Seiken	Forefist
	Toho	Sword peak hand
	Nukite	Spear hand
	Oyayubi ipponken	Thumb one-finger fist

Ashi Ate Waza - Foot or Leg Striking Techniques
Method	Technique
	Japanese	English
	Mae geri	Front kick
	Hiza geri	Knee Kick
	Kin geri	Groin kick
	Yoko geri	Side kick
	Ushiro geri	Rear kick
	Keage geri	Front high kick
	Mawashi geri	Roundhouse kick
	Sune geri	Shin kick
	Mikazuki geri	Crescent kick
	Ushiro mawashi geri	Rear roundhouse kick
	Kakato geri	Heel kick
	Ono geri	Axe kick

Kansetsu Tachi Waza - Joint Locking Standing Techniques
Method	Technique
	Japanese	English
Yubi gatame waza	Yubi gatame	Finger lock
Finger locking	Oya yubi gatame	Thumb lock

Te kubi gatame waza	Kote hineri	Under arm twist
Wrist locking	Kote gaeshi	Wrist twist
	Kote mawashi	Circular wrist grip
	Shiho nage (te kubi te nage)	Four directional throw (Wrist hand throw)
	Te kubi hishigi	Wrist crush
	Yoko te kubi hishigi	Side wrist crush
	Tenkai kote hineri	Turning under arm twist
	Tenkai kote gaeshi	turning wrist twist

Ude gatame waza	Ude gatame	Arm lock
Arm locking	Hara gatame	Stomach (arm) lock
	Ude gaeshi	Arm returning

Kata gatame waza	Ushiro ude garami	Rear arm entanglement
Shoulder locking	Ude garami	Arm entanglement
	Gyaku ude garami	Reverse arm entanglement
	Hiji otoshi	Elbow drop

Sebone gatame waza	Sebone gatame	Spine lock
Spine locking	Kami sebone gatame	Upper spine lock

Kansetsu Ne Waza - Joint Locking Ground Techniques
Method	Technique
	Japanese	English
Ude gatame waza	Ude gatame	Arm lock
Arm locking	Juji gatame	Cross (arm) lock
	Gyaku juji gatame	Reverse cross (arm) lock
	Ude hishigi yoko hiza gatame	Arm crush side knee hold

Kata gatame waza	Kesa garami	Scraf etanglement
Shoulder locking	Ude garami	Arm entanglement
	Waki gatame	Armpit hold
	Gyaku waki gatame	Reverse armpit hold
	Ushiro ude garami	Rear arm entanglement

Koshi gatame waza	Koshi gatame	Hip lock
Hip locking	Yoko goshi gatame	Side hip lock

Kubi gatame waza	Kao gatame	Face lock
Neck locking	Yoko kubi gatame	Side neck lock
	Mae kubi gatame	Front neck lock
	Kubi hishigi gatame	Neck crush lock
	Ushiro kubi gaeshi gatame	Rear neck twisting lock
	Ushiro juji kubi gatame	Rear crucifix neck lock

Sebone gatme waza	Ushiro sebone gatame	Rear spine lock
Spine locking	Ushiro kami sebone gatame	Rear upper spine lock
	Morote ashi sebone hishigi	Double leg spine lock

Ashi gatame waza	Sune gatame	Shin lock
Leg locking	Ashi gatame	Leg lock
	Ashi kubi gatame	Ankle lock
	Ashi kubi garami	Ankle entanglement
	Ushiro ashi kubi gatame	Rear ankle entanglement
	Hiza gatame	Knee lock
	Ushiro ashi gatame	Rear leg lock
	Gyaku ashi garami	Reverse leg entanglement
	Te ashi kubi garami	Hand ankle entanglement
	Ushiro hiza garami	Rear knee entanglement
	Hiza garami	Knee entanglement
	Juji hiza gatame	Cross knee lock
	Kakato gatame	Heel lock

Shime Waza - Strangle (Air Restriction) Techniques
Method	Technique
	Japanese	English
	Hadaka jime	Naked strangle
	Ushiro jime	Rear strangle
	Nami juji jime	Normal cross strangle
	Gyaku juji jime	Reverse cross strangle
	Kata juji jime	Single cross strangle
	Eri jime	Collar strangle
	Ushiro eri jime	Rear collar strangle
	Okuri eri jime	Sliding collar strangle
	Kata ha jime	Single wing strangle
	Tsuri komi jime	Push pull strangle
	Tenkai kata jime	Turning half strangle
	Sode guruma jime	Sleeve wheel strangle
	Sankaku jime	Triangular strangle
	Yoko sankaku jime	Side triangular strangle
	Ushiro sankaku jime	Rear triangluar strangle
	Jigoku jime	Hell strangle
	Hadaka eri jime	Naked collar strangle
	Kani jime	Crab pinch (scissor) strangle
	Ju yubi jime	Ten finger strangle
	Kakato jime	Heel strangle
	Hadaka tenkai kate jime	Naked turning half strangle

Nage Waza - Throwing Techniques
Method	Technique
	Japanese	English
Te Waza	Hachi mawashi	Head turning
(Hand)	Gyaku hiki otoshi	Reverse pulling drop
	Hikki otoshi	Pulling drop
	Ippon seoi nage	One point shoulder throw
	Kata guruma	Shoulder wheel
	Kibisu gaeshi	Heel trip
	Kubi nage	Neck throw
	Kuchiki daoshi	Dead tree falling
	Morote gari	Double reap
	Morote seoi nage	Double shoulder throw
	Morote seoi otoshi	Double shoulder drop
	Obi otoshi	Belt drop
	Seoi otoshi	Shoulder drop
	Suki nage	Scooping throw
	Tai otoshi	Body drop
	Uke otoshi	Floating drop
Koshi Waza	Hane goshi	Spring hip
(Hip)	Harai goshi	Sweeping hip
	Juji goshi nage	Cross hip throw
	Ko tsuri komi goshi	Minor drawing hip
	Koshi guruma	Hip wheel
	O goshi	Major hip
	Sode tsuri komi goshi	Sleeve lift pull hip
	Tsuri goshi	Lifting hip
	Tsuri komi goshi	Lift pull hip
	Uki goshi	Floating hip
	Ushiro goshi	Rear hip
	Ushiro juji goshi nage	Rear cross hip throw
	Utsuri goshi	Changing hip
	Yama arashi	Mountain storm
Ashi Waza	Ashi guruma	Leg Wheel
(Leg or Foot)	De ashi barai	Advanced foot sweep
	Uchi mata	Inner thigh
	Hiza guruma	Knee wheel
	O uchi gari	Major inner reap
	O soto otoshi	Major outer drop
	O soto gari	Major outer reap
	O soto guruma	Major outer wheel
	O guruma	Major wheel
	Ko uchi gari	Minor Inner reap
	Ko soto gari	Minor outer reap
	Sasae tsuri komi ashi	Propping lift pull foot
	Okuri ashi harai	Sliding foot sweep
	Tsubame gaeshi	Swallow counter
	Harai tsuri komi ashi	Sweeping lift pull foot
Sutemi Waza	Daki wakare	High lift separation
Sacrificing	Hane makikomi	Spring winding
	Harai makikomi	Sweeping winding
	Kani basami	Crab pinch
	Soto makikomi	Outer winding
	Sumi gaeshi	Corner counter
	Tani otoshi	Valley drop
	Tawara gaeshi	Bale counter
	Tomoe nage	Stomach throw
	Uchi makikomi	Inner winding
	Uchi mata makikomi	Inner thigh winding
	Uchi otoshi	Inside drop
	Uki waza	Floating technique
	Ura nage	Rear throw
	Waki otoshi	Armpit drop (short arm hanging)
	Yoko guruma	Side wheel
	Yoko otoshi	Side drop
	Yoko tomoe nage	Side stomach throw
	Yoko wakare	Side separation

Hikkuri-gaeshi Waza - Turnover Techniques
Method / Application	Technique
	Japanese	English
S - BB / J	Ude komi	Arm pull
SR - J	Eri hiza kaiten	Collar knee roll
S - BB / J	Morote ashi haku	Double leg sweep
SR - BB / J	Tettsui kaiten	Hammer fist roll
F - BB / J	Kaiten inu	Rolling dog
S - BB / J	Atami teko	Head lever (x2)
SR - BB / J	Ashi kubi hikkuri-gaeshi	Ankle turn over
S - BB / J	Kaiten ude hikkuri-gaeshi	Revolving arm turn over
FS - BB / J	Kaiten kame	Rolling turtle
S - BB / J	Jigoku jime kaiten	Hell strangle roll
S - BB / J	Kaiten jime ude gatame	Rolling choke arm lock
S - BB / J	Kaiten juji ude gatame	Rolling cross arm lock
F - J	kaiten kata juji jime	Rolling single cross strangle
S - BB / J	Ashi teko hikkuri-gaeshi	Leg lever turn over (x2)
FS - BB / J	Daku ude hikkuri-gaeshi	Hugging arm turn over (crucfix)
S- BB / J	Ippo teko kaiten	Stepping lever roll
S - BB / J	Suwaru yoko sankaku jime	Reclining side triangle strangle
R - BB / J	Kaiten ushiro sankaku jime	Rolling rear triangle strangle
S - BB / J	Suwari waki gatame	Sitting armpit lock (x2)
S - J	Suwari kame	Sitting turtle
F - BB / J	Obi tori	Belt attack
F - BB / J	Obi tori gaeshi	Belt attack counter

Kansetsu Nage Waza - Joint Locking Throwing Techniques
Method	Technique
	Japanese	English
T	Juji goshi ude gatame nage	Cross hip arm lock throw
S	Suwaru juji ude gatame	Sitting cross arm lock
S	Ude gatame otoshi	Long arm hanging
T	Suwaru ude otoshi	Reclining arm drop
T	Morote juji ude gatame nage	Double cross arm throw
T	Eri seoi nage	Collar shoulder throw
S	Ude garami sumi gaeshi	Arm entanglement corner counter
K	Ude garami goshi nage	Arm entanglement hip throw
T	Ushiro ude garami irimi nage	Rear arm entanglement entering throw
S	Gyaku ude garami sumi gaeshi	Reverse arm entanglement corner counter
S	Kote hineri yoko guruma	Under arm twist side wheel
T	Uke kote hineri otoshi	Floating under arm twist drop
T	Kote hineri nageru	Under arm twist cast
A	Kote hineri tai otoshi	Under arm twist body drop
T	Ko tsuri komi goshi	Minor drawing hip
T	Kote gaeshi nage	Wrist twist throw
A	Tenkai te kubi otoshi	Turning wrist drop
K	Ude gaeshi goshi nage	Arm returning hip throw
A	Ude gaeshi soto guruma	Arm returning outer wheel
A	Ude gaeshi soto otoshi	Arm returning outer drop
S	Gyaku ude gaeshi otoshi	Reverse arm returning drop
T	Gyaku ude gaeshi hikki otoshi	Reverse arm returning pulling drop
T	Te kubi te nage	Wrist hand throw
S	Te kubi te yoko wakare	Wrist hand side separation
T	Te kubi te kata otoshi	Wrist hand shoulder drop
S	Te kubi hishigi yoko otoshi	Wrist crush side drop
S	Te kubi hishigi ushiro otoshi	Wrist crush rear drop
S	Te kubi hishigi yoko guruma	Wrist crush side wheel
A	Yoko te kubi hishigi soto otoshi	Side wrist crush outer drop
T	Hiji otoshi	Elbow drop
S	Gyaku kata gatame otoshi	Reverse shoulder lock drop
T	Yubi hikki otoshi	Finger pulling drop
T	Atami teko irimi otoshi	Head lever entering drop
T	Mawashi orosu	Round house takedown
T	Gake ashi teko orosu	Hooking leg lever takedown
S	Suwaru ashi nage	Reclining foot throw
T	Ashi nage	Foot throw
S	Gyaku daki ashi mawashi	Reverse hugging leg turn
S	Ashi kubi otoshi	Ankle drop
T	Ryu neji	Dragon screw
S	Mae daki ashi mawashi	Forward hugging leg turn
T	Ude hishigi orosu	Bicep crush takedown
S	Ashi teko otoshi	Leg lever drop
S	Kaiten juji hiza gatame	Rolling cross knee lock
S	Kani kaiten	Scissors roll
S	Suwaru hiza mawashi	Sitting knee turn
T	Oshi goshi orosu	Pushing hip takedown

Kappo Katsu - Resusication Techniques
Method	Technique
	Japanese	English
General Relaxation	Ashi oshimasu	Foot Press
	Keiyaku katsu	Breath holding method
	Ishi katsu	Temple method
	Me katsu	Eye method
	Me oshimasu	Eye press
Head Ache	No katsu – hiza oshimasu	Brain method - compress head with knees
	No Katsu - te oshimasu	Brain method - compress head with hands
	Shuko katsu	Shuko method (large intestine 4)
	Atamani katsu	Head method
	No katsu	Migrane headache method
Nose Bleed Stop	Hanaji Tome ichi	Nose bleed stop - one
	Hanaji tome ni	Nose bleed stop - two
	Yoko komi	Side method
Locked Diaphragm	Hon katsu	Major method (for a smaller person)
	Tanden katsu	Tandem method (for a bigger person)
	Eri katsu	Lapel method
	Sasoi katsu or tachi katsu	Inductive or standing method
Strangulation /	Kubi katsu	Neck method (hanging)
Breathing	So katsu	Composite method - breathing
Relieving Discomfort	Mukatsuku kimasu Ichi	To feel nausea – one method
in the Stomach	Mukatsuku kimasu ni	To feel nausea - second method
	Mukatsuku kimasu san	To feel nausea - three method (stage fright)
Relieving Discomfort	Jinzo katsu	Kidney method
in the Kidneys
Stimulation	Hiza katsu	Knee method
	Tsume katsu	Nail method
	Jinchu katsu	Jinchu method (governor vessel 26)
Striking Relief	Atemi katsu	Striking method
Unconsciousness	Se katsu	Back Method
	Ashi katsu	Foot Method
	Nuki katsu	Insertion method
Testicle Relief	Kin katsu ichi	Testicle method one
	Kin katsu ni	Testicle method two (foot method)
	Inno katsu	Scrotum method
	Kin katsu san	Testicle method three
	Manaka oshi	Centre press

Syllabus Map Technique Analysis

Turn Overs

SenseiSam — Fri, 04 Sep 2009 20:58:40 CDT

Turn Over’s Turns over techniques are designed to place your opponent into a suitable position, enabling you to execute a submission or pinning technique. These methods also aid personnel in law enforcement, where the objective is to control and move the subject into a position for body safety, so the operator can apply restraints i.e. zip-ties or handcuffs.

Legend of attack angle S – side F – front R – rear
BB – bareback J – jacket

See below for a description:

Hikkuri-gaeshi Waza - Turnover Techniques
Method / Application	Technique
	Japanese	English
S - BB / J	Ude komi	Arm pull
SR - J	Eri hiza kaiten	Collar knee roll
S - BB / J	Morote ashi hake	Double leg sweep
SR - BB / J	Tettsui kaiten	Hammer fist roll
F - BB / J	Kaiten inu	Rolling dog
S - BB / J	Atami teko	Head lever (x3)
SR - BB / J	Ashi kubi hikkuri-gaeshi	Ankle turn over
FS - BB / J	Kaiten ude hikkuri-gaeshi	Revolving arm turn over (x3)
FS - BB / J	Kaiten kame	Rolling turtle
S - BB / J	Jigoku jime kaiten	Hell strangle roll
S - BB / J	Kaiten jime ude gatame	Rolling choke arm lock
S - BB / J	Kaiten juji ude gatame	Rolling cross arm lock
F - J	Kaiten kata juji jime	Rolling single cross strangle
S - BB / J	Ashi teko hikkuri-gaeshi	Leg lever turn over (x2)
FS - BB / J	Daki ude hikkuri-gaeshi	Hugging arm turn over (crucifix)
S- BB / J	Ippo teko kaiten	Stepping lever roll
S - BB / J	Suwari yoko sankaku jime	Reclining side triangle strangle
R - BB / J	Kaiten ushiro sankaku jime	Rolling rear triangle strangle
S - BB / J	Suwari waki gatame	Sitting armpit lock (x2)
S – BB / J	Suwari kame	Sitting turtle
F - BB / J	Obi tori	Belt attack
F - BB / J	Obi tori gaeshi	Belt attack counter

Please Note:
1. All techniques will be executed left-handed or on the left hand side of the Uke for clarity of explanation of each technique, unless otherwise specified.
2. The term "Dog position" will be used instead of "All-fours".

Ude Komi - Arm Pull (S-BB/J)
This technique is executed from side attack, either from bareback or with a jacket. It commences with the Uke in a dog position with their head to your left side. First place your left hand cupped on the Uke’s neck and with the right hand / arm reaching under the Uke between their elbow and knee to take grip onto their right elbow area. Now that you have anchored the Uke, shift your body weight onto the Uke by placing your chest onto their left-hand side. Your left hand moves from their neck and reaches around to also take an anchor to the Uke’s right elbow. With this weight shifting action and the pull of your arms, Uke is turned over into either a chest hold or side four quarters hold. Be sure to extend your arms before the final motion of the turn over as you may have them pinned under the Uke’s body.

Eri Hiza Kaiten - Collar Knee Roll (SR – J)
This technique can commence from either side or rear attack, with the Uke wearing a jacket. It commences with the Uke in a dog position with their head to your left hand side. The Uke has the point of their elbow and knee butting against each other to form a triangle with their hip and armpit. Reach through and form a grip to the Uke’s lapel, in line with the opening of the triangle. To create a larger opening against a potential counter, first take a grip with your left hand to the Uke’s shoulder and right hand grip to the Uke’s hip (belt if they have a jacket on), with a thrusting motion wedge open the triangle with your knee. When this is achieved take a left-handed grip onto the lapel, pull the slack of the jacket back through the opening towards yourself. The jacket will act as a lever assisting in the execution of the technique. Then move to the rear of the Uke placing both your knees onto and in line with the Uke’s buttocks, pressure created with the knees will minimise the Uke’s ability to counter attack. Take a second grip to the lapel on the opposite side parallel to the first grip, with the second grip and the pressure of the knees on the Uke, relax and throw yourself over the Uke in a right shoulder roll. The sudden shift of body weight will propel the Uke and yourself into a tight roll with a final position of kami shiho gatame. An alternative option is to release the right grip within the roll, wrapping your right arm around the Uke’s neck forming a naked choke.

Morote Ashi Hake - Double Leg Sweep (S – BB/J)
This technique is commenced from side attack, when the Uke is bareback. It commences with the Uke in a dog position with their head to your left side. The Uke has the point of their elbow and knee butting against each other to form a triangle with their hip and armpit. To create a larger opening against a potential counter, first take a grip with your left hand to the Uke’s shoulder and right hand grip to the Uke’s hip (belt if they have a jacket on), with a thrusting motion wedge open the triangle with your knee. With your left hand / arm reach through the Uke’s triangle and cup / grip the Uke’s right knee and with your right hand clasp the Uke’s right ankle at the point of the bend. The bend of the ankle is a nature anchor point of the body that allows the Tori to easily form a grip to bend that is a natural void. This void is created when the Uke is resting on their toes and ball of their foot. The Uke’s right leg will act as a lever and will be readjusted to counter Uke’s counter attack, similar to a boats rudder. The leg is levered in an upward motion to shift Uke’s base weight from the leg to their kneecap, supplying the least amount of surface resistants when the technique is executed. The Tori’s right grip will transfer from the Uke’s ankle when they’re have been off balanced. With the use of the downward angled pressure from the Tori, the pulling effect of both the Tori’s arms and the weight of the Uke and Tori, the Uke is swiftly flipped over to their right side. After the completion of the turnover you will find that the Uke’s legs have been pinned together allowing you to easily move into a tate shiho gatame or any number of submission techniques. Be sure to extend your arms before the final motion of the turn over as you may have them pinned under the Uke’s body.

Tettsui Kaiten - Hammer Fist Roll (SR – BB/J)
This technique commences when the Uke is in a dog position from a side or rear position of Uke, with either a jacket or bareback. The Tori executes this technique by making the Uke roll over longitudinally. This is achieved by jumping over the Uke and hooking your right arm over the Uke’s right shoulder with your inside bend of your right arm at the point of the Uke’s brachial origin (intersection of neck and trap), to form a hammer fist at the point of the Uke’s sternum. Tori’s left arm then reaches through under the Uke’s left armpit to form a c-grip onto their own right wrist, to create a clench. With this formation within the roll the Uke’s body joins with the Tori’s momentum to create a pendulum forcing the Uke over in a tight forward roll. The Uke’s final position is between the Tori’s legs in a rear guard position.

Kaiten Inu - Rolling Dog (F – BB/J)
This technique commences with the Uke in a dog position from a frontal attack, when they are in either in a jacket or bareback. This technique can be executed from a squatting, kneeling or standing position, the objective of this technique is to secure and roll the Uke side wards. First pressure is applied to the Uke’s head in a downward angle with the left hand in the direction of travel (left). Simultaneously reaching under the opponent’s body, secure the Uke’s right elbow with their right hand in a cupped position. As the Tori rolls, the left hand will relocate from the head to Uke’s right elbow overlapping the right hand. The Tori right shoulder / upper arm area assists in the off balancing of the Uke, as the Tori uses their body to push pressure against the Uke’s brachial plexus origin. Tori then throws themselves in a side ward roll, generating torque with the use of the legs pushing off the ground moving into a tight left side roll. Within the roll Tori’s head moves in a circular path from above the Uke’s head around and under the Uke’s chest. Additional torque is generated by the Tori throwing their body in a sideward spiral using the weight of their legs and body to accelerate the movement. There are many techniques the Tori may continue to i.e. Strangle, pinning technique or neck lock.

Atami Teko - Head Lever - Variation 1 (S – BB/J)
This technique commences from the side, with the opponent in either bareback or in a jacket. This technique starts with the opponent in a dog position with their head to your left side. You first apply pressure to the opponent's head (rear) in a diagonal downward motion with your left hand, maintaining your body contact. Pressure is then transferred to your right hand as you snake the right hand under the opponent's left armpit to rest on top of the opponent's head (at rear).
Your right arm simultaneously levers the opponent over with the opponent's head and armpit as you move towards the opponent's head. You are then able to move into a pinning technique like upper four quarters, or a submission technique like cross arm lock etc.

Atami Teko - Head Lever - Variation 2 (S – BB/J)
This technique commences from the side, with the opponent in either bareback or in a jacket. This technique starts with the opponent in a dog position with their head to your left side. You first apply pressure to the opponent's head (rear) in a diagonal downward motion with your right hand, maintaining your body contact. Pressure is then transferred to your left hand as you snake the left hand under the opponent's left armpit to rest on top of the opponent's head (at rear).
Your left arm simultaneously levers the opponent over by the opponent's armpit and head as you create forward motion with your body against the opponent's. You are then able to move into a pinning technique, such as chest hold or a submission technique like cross arm lock etc.

Atami Teko - Head Lever - Variation 3 (S – BB/J)
This technique commences from the side, with the opponent in either bareback or in a jacket. This technique starts with the opponent in a dog position with their head to your left side. You first apply pressure to the opponent's head (rear) in a diagonal downward motion with your left hand, on the far side of the opponent's head. Your right hand then reaches under the opponent's body (under the armpit closes to you) to take hold at the same position of the opposite hand (stacking the hands to create a clasp grip).
The turnover is created when both your hands pressing down on the opponent's head levers the neck in flexion to create forward motion, allowing you then to move into a pinning or submission technique.

Ashi Kubi Hikkuri-gaeshi - Ankle turn over (SR – BB/J)
The ankle turnover technique commences with you kneeling near the opponent’s feet from the side or rear position, with either bareback or jacket. The opponent in a dog position with their head facing to the left, where the turnover is initiated by placing your right foot onto the opponents left ankle, making them move away from you when the pressure is applied, allowing you to off balance the opponent creating the turn over.

Kaiten Ude Hikkuri-gaeshi - Revolving Arm Turn Over – Variation 1 (FS – BB/J)
This techniques starts when your opponent (bareback or jacket) is laying face down (prone position) and you are kneeling at the opponent's head facing towards their feet. The first step is to place one hand onto the opponent's bicep, cupped with four fingers pointing towards the ground and thumb pointing towards the opponent's feet. The second hand is placed on the opposite bicep with your thumb pointing towards you and fingers pointing towards the opponent’s feet. Simultaneously scoop up first grip across the opponent’s body and pull the second grip towards you in a circular motion, moving your base to the location of the first grip to turn over the opponent.
Both actions are made in a wind mill motion extending the subject’s arm in a circular movement to create a turn over allowing you to move into an alternative submission technique. This variation can start when the opponent is face down.

Kaiten Ude Hikkuri-gaeshi - Revolving Arm Turn Over – Variation 2 (FS – BB/J)
This techniques starts when your opponent (bareback or jacket) is laying face down (prone position), with you lying perpendicular to the opponent across their body, hooking their far arm (right arm) with your left hand lying under their right arm (under their right arm pit). Turn your body clockwise maintaining downward pressure (stretch out your body to maximise leverage).With your right hand brush along the ground to capture the opponent’s left arm. Both actions are made in a wind mill motion extending the subject’s arm in a circular movement to create a turn over allowing you to move into an alternative submission technique.

Kaiten Kame - Rolling Turtle – (FS – BB/J)
This technique commences with the opponent in a dog position with you kneeling at their head facing towards their feet, with the opponent in either bareback or jacket. Reach with both hands to take grip on the opponent’s belt or pants if bareback. Position your right leg with knee bent over the opponent’s head. These two steps are achieved simultaneously as you reposition your kneeling leg to a squatting position to provide you with explosive power when you sit backwards to turn over the opponent. The leg over the opponent’s head acts as a fulcrum and your body acts a counter weight to create a reverse pendulum to create movement to allow for the turnover. Generally the turnover smoothly transitions into a side triangle strangle and wrist crush combination.

Jigoku jime Kaiten - Hell Strangle Roll (S – BB/J)
This technique commences with the opponent in a dog position either in bareback or jacket, with you on one side of the opponent. Take hold with the hand furthest from the opponent to their opposite lapel closest to the opponent’s neck (If bareback, take hold of the windpipe). Position your arm closest to the opponent between you and the opponent nearest to the first grip. The turnover is initiated when you roll across the opponent’s back towards the opponents opposite shoulder (bottom first). With your body shifting weight to the opponent’s opposite should, combined with the first grip creates the turnover and submission of hell strangle.

Kaiten Jime Ude Gatame - Rolling Choke Arm Lock (S – BB/J)
This techniques commences with your opponent in either bareback or jacket in a dog position facing to your left with you kneeling to the side. Grip with both your hands on the opponent’s back area as push your right knee through the opponent’s elbow and knee. Then hook the opponent’s left arm with your left foot/leg and sweep it back towards yourself to trap it between you sweeping leg and right leg. Simultaneously hold the opponent’s arm as with your legs as you apply a naked choke with your left arm and roll across the opponent’s body to their opposite should to execute the turnover with choke and arm lock combination.

Kaiten Juji Ude Gatame - Rolling Cross Arm Lock (S – BB/J)
This techniques commences with your opponent in either bareback or jacket in a dog position facing to your left with you kneeling to the side. Take grip with both your hands – first grip on the opponent’s lapel (bareback – opposite neck/ shoulder area of opponent) and second grip – on opponent’s belt on opposite side (bareback – cupping grip on opponent’s hip). Then step over the opponent’s body as if you are mounting a horse, applying pressure downward on to the opponent’s back with your right leg as you pull the two grips upwards. Anchor the opponent’s right arm with your right hand (grip that was on belt) simultaneously repositioning your right leg hook under the opponent’s body as you execute a right shoulder roll. Within the roll your left leg repositions hooking under the opponent’s face as you let your first grip off (originally on lapel) to re-grip on to the opponent’s right arm to aid the other grip to execute a cross arm lock.

Kaiten Kata Juji Jime - Rolling Single Cross Strangle (F – J)
x

Ashi Teko Hikkuri-gaeshi - Leg Lever Turn Over - Variation 1 (FS – BB/J)
x

Ashi Teko Hikkuri-gaeshi - Leg Lever Turn Over - Variation 2 (FS – BB/J)
x

Daki Ude Hikkuri-gaeshi - Hugging Arm Turn Over (Crucifix) – (FS – BB/J)
x

Ippo Teko Kaiten - Stepping Lever Roll (S – BB/J)
This techniques commences with your opponent in either bareback or jacket in a dog position facing to your left with you standing to the opponent’s side. Take hold of the opponent’s armpit and pull upward and toward their head simultaneously stepping over the opponent’s head with your right leg to create a fulcrum to lever the opponent over to set up for submission such as: cross arm lock or a leg locking technique.

Suwari Yoko Sankaku Jime - Reclining Side Triangle Strangle (S – BB/J)
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Kaiten Ushiro Sankaku Jime - Rolling Rear Triangle Strangle (R – BB/J)
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Suwari Waki Gatame - Sitting Armpit Lock - Variation 1 (S – BB/J)
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Suwari Waki Gatame - Sitting Armpit Lock - Variation 2 (S – BB/J)
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Suwari Kame - Sitting Turtle (S – BB/J)
This techniques commences with your opponent in either bareback or jacket in a dog position facing to your left with you standing to the opponent’s side. Shoot your right foot through the gap between the opponent’s elbow and knee turning clockwise to hook your right foot against the opponent’s left leg, as you sit on the opponent’ back. The turnover is initiated by you sitting backwards off the opponent’s back, your seated position as a fulcrum and your leg as a lever and your body falling backwards as a reverse pendulum. This technique allows you to move into a rear attack technique i.e. naked choke, arm lock or pinning technique.

Obi Tori - Belt Attack (F – BB/J)
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Obi Tori Gaeshi - Belt Attack Counter (F – BB/J)
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Home Technique Analysis Pinning Techniques Grip Fighting

Principle of the Fighting Arc

SenseiSam — Tue, 18 Aug 2009 09:49:31 CDT

Definition: Fighting Arc – is the peripheral zone of an aggressor to utilise physical and verbal attack i.e. spitting, threats, striking.

Being within the aggressors fighting arch promotes the continuance of confrontation, which draws potential harm to you as the victim and may directly escalate the situation into an assault.

When you are at a personal distance within the fighting arc, you challenge the aggressor’s space and pride, which directs focus towards you. This minimises the chance for the aggressor to divert their tension or anger from the situation.

If positioned within the aggressors fighting arch you should place yourself at a reactionary gap of approximately one to two metres. Being too close to the aggressor minimises your peripheral vision, picking up on potential threats of a weapon and potential attack. At a distance greater then two metres, the aggressor is able to generate too much momentum within their attack and allows for the aggressor to broaden their peripheral zone. This provides the aggressor a larger area to scan, picking up on potential weapons and to signal near by friends. At a greater distance both you and the aggressor will naturally increase the volume of your voice that will indirectly minimise the chance to deescalate the situation and aides in escalating the confrontation.

To minimise on a surprise attack from the aggressor you should position yourself where you or the aggressor can take one step to advance, in making your defence or their attack. It is better to position yourself in an angled stance allowing you to reduce body targets. This also allows the aggressor to have another option other than attack and that is, exit the situation. Instead of being forced or focused at directing their physical or verbal aggression towards you. Most importantly, it presents an opening for a third person to enter into the situation that may be better equipped at deescalating the confrontation.

Ensure you use open body language when negotiating the verbal confrontation and not closed body language that goes against what you’re trying to say. For example, folded arms, hand in pockets, hands on hips and clenched fists. Most people will attempt to say words to deescalate the situation but involuntary send poor body language that instead escalates the situation. When negotiating, ensure you use a control neutral voice, with words that are simple and clear.

The aggressor may be under the influence of drugs or alcohol, have a hearing problem or not understand you due to a language barrier. Monitor your tone, pitch and volume when talking. When placed in a potential assault you will have an increased amount of adrenaline that will affect your speech and body language, sometimes working against you especially when you’re trying to withdraw from the situation. To help you control this adrenaline, you should use simple language and closed questioning and remember to breath, holding your breath will decrease your reaction time and creates tension. Tension in the muscles causes you to be slow in your reactions and affects your speach.

Allowing time for the aggressor to vent increases your chance to resolve the situation. If the aggressor believes that you are willing to listen you will have a better chance of success.

You may use a barrier such as a fence, table or if out side, a hedge to assist in the negotiation process. Ask the aggressor to move towards a certain area allowing both parties a chance to withdraw from the situation or not to feel as intimidated, reducing the potential for injury if an assault were to happen. This technique is often used within an interview, having the table angled to allow for both the interviewer and the interviewee to have an outlet if the discussion becomes heated. Legally this shows to others that you have attempted to withdraw or negotiate within the situation if an assault has taken place.

Simple language and closed questioning can be related to gross motor techniques, used when you or the aggressor is under pressure, when the aggressor has vented use open questioning that can be related to fine motor techniques. This is where you can use an active voice i.e. “I understand you have a concern”, “I spilt your drink, I am to blame, let me buy you another”. Outside of the aggressors fighting arch reduces the possibilities of attack and increases your body safety.

This may be achieved by using techniques such as elbow control within a handshake or a gentle directive guide in elbow control to move to the out side of the aggressors fighting arc. If a physical confrontation commences use deflecting or redirection techniques to move outside of the aggressors line of attack. This will reduce the potential for the aggressor to continue the fight and injury between both parties.

Home Theory

Aussie Jujitsu - Home Page

SenseiSam — Sat, 25 Apr 2009 08:58:06 CDT

Welcome to my Internet Dojo. My name is Sensei Sam Koch of Tohkon Ryu Jujitsu, located in Queensland Australia. I have set up this site to hopefully educate others about Jujitsu and also gain feedback and knowledge from others. Thank you for taking the time to visit my site, I hope that you are able to take something away with you. There are many great sites on the internet for Martial Arts and especially Jujitsu. I hope this site will also be a great resource for information as it develops. Please contact me if you have any queries, Sensei Sam :-)

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Disclaimer The following information contained within the "Aussie Jujitsu" site is the property of "Aussie Jujitsu", and content found within "Aussie Jujitsu" do not take any responsibility for the actions of the user or reader of the content. All content within this site is to be only used and practised under the direction of a qualified Jujitsu instructor. Jujitsu should only be used within legal and moral parameters. Please note: All information contained within this website has been copyrighted (c) Sam Koch 2006 - 2009 All rights reserved.

Aiki Ryu

SenseiSam — Sun, 12 Apr 2009 11:27:03 CDT

	The founder of Aiki Ryu is Sensei Mike Jeans (5th Dan), born 1941 (picture on left 2005). Sensei Jeans has a diverse background in his training. Sensei Jeans, martial arts journey began when he discovered Jujitsu training at the wharfs. Sensei Jeans would go to the wharfs and yell out to the Japanese Sailors, "Judo, Jujitsu". When he would find a couple of practitioners he would train for hours in one of the local parks (BCOF - “British Commonwealth Occupied Forces personnel 1956 (Tenjin Shinyo Ryu, Datio Ryu and Fusen Ryu Jujitsu).
Sensei Jeans also studied wrestling (1958 Pictured above)	Sensei Jeans boxing during his colledge days (1959 - Pictured above)
Sensei Jeans trained under many of the Instructors that formed what Jujitsu is today within Australia and now continues doing the same. Jeans Sensei now is in his prime, a friendly gentleman with a great love of ground work and also has a passion in sharing his skills between others. Jeans Sensei called his school of Jujitsu Aiki Ryu, mainly due to the influences that had affected him in his journey within the martial arts. Jeans Sensei is a great source of information and makes class enjoyable with his personality and little jokes. At 68 years old, Sensei Jeans says he like to give more to the the art, so he has gone back packing to Japan to visit various Jujitsu schools for 6 weeks to record a video documentry. So look out for his epic.	On the left Sensei Mike Jeans receives his Shodan Black Belt 1966. Panel L to R: Ray Hudson, Len Noyes (handshake) and Mike Henagan.
Pictured above - Sensei Jeans executing a tani otoshi (valley drop) during a competition during the 1960's.	Sensei Jeans executing a kote gaeshi (wrist twist), picture featured in a martial arts calenda 1984 (left).

The bulk of Jean Sensei Kyu grade training was over the course of the 1950’s and 1960’s, receiving instruction from -
Les Blancette from Kam Hock Hoe Born in Malaya in 1903, Professor Kam Hock Hoe commenced his jujutsu training in 1928 under the Japanese teacher, Professor Jiichi Watanabe in Singapore. In 1931 Kam Hock Hoe went to Kyoto in Japan to study what is likely Kano Ju Jitsu. Most probable the Kokusai Jujutsu Ryu - International Jujutsu Institute (IJJI) carries on the tradition and syllabus of the Kyoto Kokusai Jujutsu Daigakuin (1899-1945). The original Kyoto Institute was opened during a time of Japanese nationalistic aggression and aimed to train imperial forces and intelligence personnel. Few women trained in the organization during this period. Professor Kam Hock Hoe, a graduate of the Kyoto Institute, who also instructed there, began teaching jujutsu to women and men. He opened his own school in Kuala Lumpur in 1935. However, the original jujutsu, taught as a complete system to the Japanese Imperial Forces, has almost vanished. This system is a very spectacular and effective martial art and it is this system that was passed on by Professor Kam and is now taught by the Kokusai Jujutsu Ryu - International Jujutsu Institute (IJJI). The International Jujutsu Institute (Kokusai Jujutsu Ryu) syllabus, techniques and teachings have been preserved and passed down from the original Japanese institute, in the form of the “Divisions of Jujutsu”. In brief, the ten divisions include etiquette, body exercises and movement, way of falling, throwing techniques, lethal striking, grappling, reviving and restoring life, strategy, awareness and secret oral transmissions only passed on to the most senior students. The aim of the IJJI is to preserve, study and pass on the art. The most guarded teachings are associated with Katsu and include the combat application of the old techniques. Katsu involves the old arts of Sappo or killing and immobilising through strikes to vital points, strangulation, and bone-breaking and joint dislocation techniques. Once students have an understanding of Sappo, they then begin their study of kappo. Kappo involves reflexogenic revival actions, bone setting, joint manipulation, Katsu massage and healing methods to reverse the effects of lethal blows, strangles, as well as general health problems. 'On the 23rd of June 1980, Professor Kam was awarded Judan (10th Dan) jointly by the Singapore Judo Federation and the Malaysian Judo Federation' Les Blanchett while enlisted in the Australian Royal Air force stationed in Butterworth Air force Base in Malaysia learnt directly from Professor Kam and then brought this style of Jujitsu back to Australia and in 1962 Sensei Mike Jeans became a graded student.
Mike Jeans from Seiichi Sugano However, true Aikido did not come to Australia until Sensei Sugano (8th Dan)arrived in 1965, complete with his Australian bride. Sensei Sugano was originally a uchideshi (live in student) of O-sensei Uyeshiba and the the first Hombu instructor to travel internationally at the direction of O-Sensei Uyeshiba. Sensei Sugano founded the Australia Aikido Association and then left Australia after raising some fine students to take over the teaching of Aikido and is now in the USA, but still returns to Australia periodically. Left: Sensei Seiichi Sugano Sensei jeans trained under Sensei Sugano from 1959 to 1965 and was the influence to call his Jujitsu school Aiki Ryu.
Len Noyes from Rugoro Fukushima (Also known as "Ray Shima") Cecil Elliot taught Australia’s first Ju-Jutsu classes in 1905. Mr. Elliot was graded to Shodan in Yokohama in 1904 and came to Australia shortly afterwards. He brought two Japanese instructors with him, Sensei Rugoro Fukishima 8th Dan and Sensei Jinkichi Iwanagu 7th Dan. Sensei Fukishima later went on to become the Australian Lightweight Wrestling Champion. Sensei Rugoro Fukushima originally taught 13 years at Hagiwara's school, 8 years at the Kotobuki Police Station in Yokohama, and then came to Sydney 1906 with Jinkichi Iwanagu, to introduce Ju-jutsu. It was rumoured that Mr Fukushima may have been a member of either the Tenjin Shinyo Ryu or Datio Ryu and may have been members of the infamous Black Dragon Society and were on an intelligence gathering expedition for the Japanese military. Sensei Rugoro Fukushima and other Jujitsu exponents travelled Australia with a group of circus performers and wrestlers, where he eventually befriended and taught Mr Len Noyes. Mr Len Noyes was an Australian wrestling champion in 1936, fighting under "Sid Neal" and later graded to a black belt by Sensei Fukishima. Sensei Noyes established a class in the Bjelke-Petersen Academy of Physical Culture his own Jujitsu school calling it the “Mercury Jujitsu Club” in 1938. Mr Fukishima married in Australia and travelled to New Zealand where he lived for sometime and eventually died (buried in Rotorua Cemetery). On the 28th August 1956, the Australia Society of Jujitsuans (now called "Australian Jujitsu Federation") was founded at Mr Noyes home (49 Ada Street, Oatley, New South Wales), where Mr Noyes was elected president. Individual members of the Society were affiliated to the Nippon Sosuishi Ryu Jujutsu Kai in Japan. This is where an influence of Sosuishi Ryu has affected the development of Jujitsu here in Australia. Sensei Mike Jeans trained with Sensei Len Noyes as a brown belt where he finally was graded to Shodan in 1966. Left: Sensei Len Noyes
Jim Robinson from Kodokan Judo (Jigoro Kano) Jim Robinson travelled and trained at the Kodokan and finally received his Shodan in 1927 and returned to Australia where he became a successful Instructor. Sensei Jeans trained under Sensei Robinson 1968. Left: Sensei Jim (James) Robinson - corner judging at a competition. A brief story about Sensei Robinson: Jim Robinson was born in 12 January 1902 in the north of England and is now a resident of Sydney, Australia and his first exposure to the art of Judo was as early as 1912. One day while on his way to school he spotted a copy of S. K. Uyerzishi’s, “The Text-book of Ju-Jutsu as Practised in a sports store window. It cost 2/6d; expensive when considering his weekly pocket money was only 6d. To earn the extra money he soon found a job peeling potatoes in a local fish and chip shop from 5pm to 10pm. After buying the book, he earnestly applied himself to the practice of Seoi-nage (shoulder throw), Koshi-nage (hip throw), O soto-gari (outer reap throw) and O goshi. He concentrated on O goshi more because it matched the hip throw that was common to wrestling of the north and this proved beneficial to him as he recalls he was able to “bring off quite a few O goshi to the consternation of his opponents” in schoolyard fights. In 1925 he successfully completed the British Civil Service examination and a month later he was posted to Shanghai. In 1927 Jim joined the Shanghai Municipal Police (See records). After arriving and finding the presence of some 30,000 Japanese living there, he not about to pass up this golden opportunity of starting formal Judo practice, He began a search for a dojo and eventually was told of one in the Han Kew district of the city, behind the Japanese Club in Boone Road. Robinson describes his search, “That night I took a Rickshaw to Boone Road and entered a long, dark alley way, which led to the rear of the club, where the dojo was situated. Nearing the end of the alley I heard a noise of bump-bump-bump, of people being thrown. After 12,000 miles I knew I had arrived.” The training at the Budo-kai, as the dojo was called in Japanese, was from 7pm to 9pm, six nights a week, and as can be expected training was hard. Six months after starting he remembers his Judo had improved, “...especially break falling, which I had plenty of.” One night some students from the Tung Wen College Judo Club came to practice and seeing Robinson there invited him to their dojo to train. Robinson agreed making a date for the following Saturday. The college located about 10 miles to the north of Shanghai was affiliated with Kyoto University in Japan, and the students were very proud of their training in only Ne waza saying that standing techniques were “too sissy. Robinson arrived at 2pm on the appointed day. Practice began with warm-up exercises, which lasted 15 minutes. He thought the Judo practice would then start. But this was not the case. Without pausing they did 40 “scoop— type” push-ups, of which Robinson could only manage 30, then, onto their backs with legs extended out and raised 6 inches off the mats, they vigorously kicked out some 400 times. Robinson remembers, “the stomach muscles seemed to be gripped by a giant hand, a most peculiar feeling, you are afraid to stop as then you get the spasms in reverse. By this time we were wet through with sweat and you feel you have had enough, but this was only the beginning for you, then commenced two hours hard Ne waza.” The Ne waza that were most popular there included the Sankaku-jime and Juji jime. It must be remembered that in southern Japan at this time it was not uncommon for Judo tournaments to be held allowing only Ne waza. These contests began from a grounded position. After a few years Robinson’s Judo had improved. His best throw was Soto kami Komi and his method of executing this technique by coming down on the opponent with the throw was not generally popular. However, as practice in the junior ranks was very rough, no one seemed to really care. The Ne waza was also practiced with great enthusiasm, “... you got your man on the ground and tried to pull his head off if he didn’t tap, “they usually tapped”, after all, you can’t prepare for war by playing noughts and crosses.” It was not long after that he started thinking about going to Japan. He had heard so much of its natural beauty and about Judo. After three years training, the last six months of which was a self-imposed period of hard training never missing a session and with four weeks annual leave, he left for the island of Kyushu in southern Japan during the spring of 1927. He arrived at Nagasaki, checking into a hotel and quickly began chasing up a dojo. He found one a few streets from his hotel called the Bushu—Kan located in an old temple that practiced from 6pm to 9pm. It was on this first day and undoubtedly the many that followed, that he was grateful for the time he had devoted to learning Japanese, as English was of little use in that part of Japan. He arrived at the Bushu—Kan at 6pm ready for practice. Almost immediately he was surprised to see a brown-belt called Kobayashi whom he had seen in a tournament in Shanghai. Kobayashi introduced Robinson, as being in the same tournament as himself and that he was very strong in Ne waza. This of course embarrassed the young Englishman who thought this was not the right way to start his Judo career in Japan. Not giving it another thought, he applied himself to training. His first bout was with Kobayashi who threw him with a couple of good foot sweeps. Robinson responded by taking him down in Ne waza and holding him. Afterwards everyone in the dojo wanted to challenge Robinson. He was thrown quite a few times but his Shanghai Judo experience had prepared him well. Of course when he did throw some of the players he would naturally follow through by landing on top of them much the same way he had done in Shanghai which seemed to take the enthusiasm out of a few. This was his very first workout in Japan and Robinson thoroughly enjoyed himself. After training finished everyone enjoyed a bath Japanese style, an experience that Robinson continuously records, followed by dinner of grilled eels, a Japanese delicacy. His next practice was in a dojo located at the side of a local police station. There were about ten young policemen, most of them white belts mixed with two brown belts and one black belt. He was invited to train, and the ease with which he handled dojo etiquette surprised the Japanese He trained with the white belts first and then with a brown belt, who kept throwing him. Robinson amusingly recalls, “During my practice with the white belts, I tried Uchi mata which I thought I could do because my opponent had adopted a defensive stance, and I thought it might come off but instead my leg slipped up a little high and I got him where I shouldn’t have done with my leg. He gave a howl and grabbed his private parts and all the others broke into a loud laugh, and there was much laughter in the place including the villagers who sat outside. But anyway, he took it in good part and sat down, but the black belt said to me this is how you uchi mata, and turned in with a devastating one and up in the air I went and down.’ Robinson left the next day, to the disappointment of his Judo friends and hiked the six miles to Katzusa located by the sea. Here a possible amorous adventure with the inn owner’s attractive teenage daughter presented itself. The owner, an old woman, thought it wrong for a young man to sleep alone, but her most kind offer was kindly rejected by her foreign boarder. He spent a week at Shimoburra and was able to pursue Judo at the dojo of a 5-dan. Here he found he was able to give the black belts “quite a battle” especially when it came to Ne waza, but he did have a lot of respect for the Tomoe—nage and Seoi-nage that were specialities of the old teacher. He took a ferry along the inland sea to Kobe. Here he asked a policeman where he could find a hotel and a dojo, which was very surprised to meet a Japanese-speaking foreigner looking for of all places a Judo dojo. One was located a mile away in a temple that had once belonged to the Zen sect of Buddhism. Training was from 2pm to 5pm and the teacher Kato, was very strong in Ne waza. He spent a week here training and enjoying the town of Kobe. He found that his defence was getting stronger and reactions becoming quicker. Others must have noticed this improvement because on the Saturday he was asked to come along the next day at l0am for a special temple celebration. Little did Robinson know that he was being lined up to represent Kobe in a tournament against another prefecture. He arrived on Sunday morning at l0am and was very surprised to see hundreds of people milling about the temple. Just as he was wondering how in heaven he could see anyone he knew, a waiting member of the dojo took his arm and he was led in to the middle of the temple. Here he immediately noticed two twelve-man Judo teams lined up. Robinson was then urged to get changed, which he did off the mats and in front of the waiting crowd before he realised that he was representing Kobe as twelfth man on its team. The scene was very noisy as the spectators crowded into the dojo. The Judo men too gave it their best kiai when each was called up to fight. Robinson remained calm. His opponent was very strong and as he found out later lived in the mountains. They were very evenly matched and nothing exciting was happening until Robinson went in for Harai goshi, and just as he thought he had the mountain man over, he collapsed under him. Immediately his opponent took a sidelong hold from which Robinson was able to turn out of it and managed to take Kesa gatame. The referee called Osae komi and the uproar from the crowd was deafening. As the seconds ticked away his opponent frantically threw a leg over Robinson’s rear leg and broke the hold. The matched ended in a draw but that was enough to give Kobe the tournament. His achievement was loudly acknowledged by most there and many came to pat him on the back and to congratulate him with “very good” in English. From Kobe he took a leisurely passage on a ship back to Shanghai instilled with a fire for more Judo and a deep inner self—promise to make it to the Kodokan next year. He threw himself into hard practice and never missed the monthly Budo-kai tournaments. He wanted to improve and to improve quickly he knew what was needed. At this time he was still a white belt, and from the way he describes the ranking situation common at that time, with many white belts being equal in skill to the black belts, but refusing to take promotions, it would seem that being a white belt was considered more desirable. In 1928 he took his annual leave in Tokyo, at the Kodokan, the Mecca of Judo. He arrived by ship at Yokohama, went by train to Tokyo where he booked into the Kanda YMCA. Training at the Kodokan was from 2pm to 6cm and it was conveniently located within walking distance. He arrived at the Kodokan to find a 5-dan guarding the entrance and checking who came in. Robinson explained it was his first time, and after paying 5 (a considerable sum when the monthly salary of a schoolteacher was 35) was allowed to enter. There were between 100 and 150 people all doing Randori, many of them were 2-dan and 3-dan from Meiji University. He quickly changed and asked the man nearest to him to play. He explains, “I hardly had taken hold of him and I hit the mat. Robinson thinks the technique may have been Seoi-nage, a throw commonly used by Japanese on foreigners at that time. As he got up he took hold of his opponent’s collar high up and when he turned to throw again, Robinson’s right arm went across his opponent’s throat and he quickly inserted his left hand inside and under the armpit and grabbed his opponent’s lapel and wrapped his legs around him for Okuri Eri—jime, a rear strangle. The Japanese did not want to give up to a white belt and they rolled around the floor, but he soon tapped out. One of the instructors, who had been watching the fight, came along and gave Robinson’s opponent a loud lecture so that everyone could hear. This embarrassed the Japanese who eventually bowed out and walked off. Revenge was taken on Robinson by the following five or six opponents who threw him with everything except Seoi nage. At the end of training while wiping himself of sweat he noticed an oldish man leaning against a wall watching him. Robinson decided to ask the man for a fight thinking that he would a bit easier than the young bulls he had just finished with. He went over and asked politely. Robinson recalls the rest, “He looked at me, smiled, stood up straight. He was nearly my height and slightly broader shouldered. I thought he must be a teacher. We went on the floor and I always seemed to be off balance. I was thrown with Uki-otoshi, Sumi—otoshi and various Kokuyu-nage in every direction. I always seemed to be off balance. I thought this fellow knows his stuff, so I asked him in my best Japanese what grade are you because I thought there was something queer about this bloke. He only smiled and said in perfect English ‘Never you mind but keep on trying’. After a while I got tired of floating around the air and as I said thank you very much I noticed his English was nearly perfect.” Afterwards a Japanese came to Robinson to ask him if he knew who the oldish man was. When he said no it was revealed to him that he had just challenged Mr Mifune, champion of all Japan. On the faces of all those watching was a big smile for they knew that the joke was on him.

The bulk of Jean Sensei Kyu grade training was over the course of the 1950’s and 1960’s, receiving instruction from -

Les Blancette from Kam Hock Hoe
Born in Malaya in 1903, Professor Kam Hock Hoe commenced his jujutsu training in 1928 under the Japanese teacher, Professor Jiichi Watanabe in Singapore.

In 1931 Kam Hock Hoe went to Kyoto in Japan to study what is likely Kano Ju Jitsu. Most probable the Kokusai Jujutsu Ryu - International Jujutsu Institute (IJJI) carries on the tradition and syllabus of the Kyoto Kokusai Jujutsu Daigakuin (1899-1945).
The original Kyoto Institute was opened during a time of Japanese nationalistic aggression and aimed to train imperial forces and intelligence personnel. Few women trained in the organization during this period. Professor Kam Hock Hoe, a graduate of the Kyoto Institute, who also instructed there, began teaching jujutsu to women and men. He opened his own school in Kuala Lumpur in 1935.
However, the original jujutsu, taught as a complete system to the Japanese Imperial Forces, has almost vanished. This system is a very spectacular and effective martial art and it is this system that was passed on by Professor Kam and is now taught by the Kokusai Jujutsu Ryu - International Jujutsu Institute (IJJI).
The International Jujutsu Institute (Kokusai Jujutsu Ryu) syllabus, techniques and teachings have been preserved and passed down from the original Japanese institute, in the form of the “Divisions of Jujutsu”. In brief, the ten divisions include etiquette, body exercises and movement, way of falling, throwing techniques, lethal striking, grappling, reviving and restoring life, strategy, awareness and secret oral transmissions only passed on to the most senior students.
The aim of the IJJI is to preserve, study and pass on the art. The most guarded teachings are associated with Katsu and include the combat application of the old techniques. Katsu involves the old arts of Sappo or killing and immobilising through strikes to vital points, strangulation, and bone-breaking and joint dislocation techniques. Once students have an understanding of Sappo, they then begin their study of kappo.
Kappo involves reflexogenic revival actions, bone setting, joint manipulation, Katsu massage and healing methods to reverse the effects of lethal blows, strangles, as well as general health problems.
'On the 23rd of June 1980, Professor Kam was awarded Judan (10th Dan) jointly by the Singapore Judo Federation and the Malaysian Judo Federation'

Les Blanchett while enlisted in the Australian Royal Air force stationed in Butterworth Air force Base in Malaysia learnt directly from Professor Kam and then brought this style of Jujitsu back to Australia and in 1962 Sensei Mike Jeans became a graded student.

Mike Jeans from Seiichi Sugano
However, true Aikido did not come to Australia until Sensei Sugano (8th Dan)arrived in 1965, complete with his Australian bride. Sensei Sugano was originally a uchideshi (live in student) of O-sensei Uyeshiba and the the first Hombu instructor to travel internationally at the direction of O-Sensei Uyeshiba. Sensei Sugano founded the Australia Aikido Association and then left Australia after raising some fine students to take over the teaching of Aikido and is now in the USA, but still returns to Australia periodically.

Left: Sensei Seiichi Sugano

Sensei jeans trained under Sensei Sugano from 1959 to 1965 and was the influence to call his Jujitsu school Aiki Ryu.

Len Noyes from Rugoro Fukushima (Also known as "Ray Shima")
Cecil Elliot taught Australia’s first Ju-Jutsu classes in 1905. Mr. Elliot was graded to Shodan in Yokohama in 1904 and came to Australia shortly afterwards. He brought two Japanese instructors with him, Sensei Rugoro Fukishima 8th Dan and Sensei Jinkichi Iwanagu 7th Dan.

Sensei Fukishima later went on to become the Australian Lightweight Wrestling Champion.
Sensei Rugoro Fukushima originally taught 13 years at Hagiwara's school, 8 years at the Kotobuki Police Station in Yokohama, and then came to Sydney 1906 with Jinkichi Iwanagu, to introduce Ju-jutsu.
It was rumoured that Mr Fukushima may have been a member of either the Tenjin Shinyo Ryu or Datio Ryu and may have been members of the infamous Black Dragon Society and were on an intelligence gathering expedition for the Japanese military.
Sensei Rugoro Fukushima and other Jujitsu exponents travelled Australia with a group of circus performers and wrestlers, where he eventually befriended and taught Mr Len Noyes.
Mr Len Noyes was an Australian wrestling champion in 1936, fighting under "Sid Neal" and later graded to a black belt by Sensei Fukishima. Sensei Noyes established a class in the Bjelke-Petersen Academy of Physical Culture his own Jujitsu school calling it the “Mercury Jujitsu Club” in 1938.

Mr Fukishima married in Australia and travelled to New Zealand where he lived for sometime and eventually died (buried in Rotorua Cemetery).

On the 28th August 1956, the Australia Society of Jujitsuans (now called "Australian Jujitsu Federation") was founded at Mr Noyes home (49 Ada Street, Oatley, New South Wales), where Mr Noyes was elected president.
Individual members of the Society were affiliated to the Nippon Sosuishi Ryu Jujutsu Kai in Japan. This is where an influence of Sosuishi Ryu has affected the development of Jujitsu here in Australia.

Sensei Mike Jeans trained with Sensei Len Noyes as a brown belt where he finally was graded to Shodan in 1966.

Left: Sensei Len Noyes

Jim Robinson from Kodokan Judo (Jigoro Kano)
Jim Robinson travelled and trained at the Kodokan and finally received his Shodan in 1927 and returned to Australia where he became a successful Instructor.

Sensei Jeans trained under Sensei Robinson 1968.

Left: Sensei Jim (James) Robinson - corner judging at a competition.

A brief story about Sensei Robinson:
Jim Robinson was born in 12 January 1902 in the north of England and is now a resident of Sydney, Australia and his first exposure to the art of Judo was as early as 1912. One day while on his way to school he spotted a copy of S. K. Uyerzishi’s, “The Text-book of Ju-Jutsu as Practised in a sports store window. It cost 2/6d; expensive when considering his weekly pocket money was only 6d. To earn the extra money he soon found a job peeling potatoes in a local fish and chip shop from 5pm to 10pm. After buying the book, he earnestly applied himself to the practice of Seoi-nage (shoulder throw), Koshi-nage (hip throw), O soto-gari (outer reap throw) and O goshi. He concentrated on O goshi more because it matched the hip throw that was common to wrestling of the north and this proved beneficial to him as he recalls he was able to “bring off quite a few O goshi to the consternation of his opponents” in schoolyard fights.

In 1925 he successfully completed the British Civil Service examination and a month later he was posted to Shanghai. In 1927 Jim joined the Shanghai Municipal Police (See records).
After arriving and finding the presence of some 30,000 Japanese living there, he not about to pass up this golden opportunity of starting formal Judo practice, He began a search for a dojo and eventually was told of one in the Han Kew district of the city, behind the Japanese Club in Boone Road. Robinson describes his search, “That night I took a Rickshaw to Boone Road and entered a long, dark alley way, which led to the rear of the club, where the dojo was situated. Nearing the end of the alley I heard a noise of bump-bump-bump, of people being thrown. After 12,000 miles I knew I had arrived.”

The training at the Budo-kai, as the dojo was called in Japanese, was from 7pm to 9pm, six nights a week, and as can be expected training was hard. Six months after starting he remembers his Judo had improved, “...especially break falling, which I had plenty of.”
One night some students from the Tung Wen College Judo Club came to practice and seeing Robinson there invited him to their dojo to train. Robinson agreed making a date for the following Saturday. The college located about 10 miles to the north of Shanghai was affiliated with Kyoto University in Japan, and the students were very proud of their training in only Ne waza saying that standing techniques were “too sissy.
Robinson arrived at 2pm on the appointed day. Practice began with warm-up exercises, which lasted 15 minutes. He thought the Judo practice would then start. But this was not the case. Without pausing they did 40 “scoop— type” push-ups, of which Robinson could only manage 30, then, onto their backs with legs extended out and raised 6 inches off the mats, they vigorously kicked out some 400 times. Robinson remembers, “the stomach muscles seemed to be gripped by a giant hand, a most peculiar feeling, you are afraid to stop as then you get the spasms in reverse. By this time we were wet through with sweat and you feel you have had enough, but this was only the beginning for you, then commenced two hours hard Ne waza.”
The Ne waza that were most popular there included the Sankaku-jime and Juji jime. It must be remembered that in southern Japan at this time it was not uncommon for Judo tournaments to be held allowing only Ne waza. These contests began from a grounded position.
After a few years Robinson’s Judo had improved. His best throw was Soto kami Komi and his method of executing this technique by coming down on the opponent with the throw was not generally popular. However, as practice in the junior ranks was very rough, no one seemed to really care. The Ne waza was also practiced with great enthusiasm, “... you got your man on the ground and tried to pull his head off if he didn’t tap, “they usually tapped”, after all, you can’t prepare for war by playing noughts and crosses.”
It was not long after that he started thinking about going to Japan. He had heard so much of its natural beauty and about Judo. After three years training, the last six months of which was a self-imposed period of hard training never missing a session and with four weeks annual leave, he left for the island of Kyushu in southern Japan during the spring of 1927.
He arrived at Nagasaki, checking into a hotel and quickly began chasing up a dojo. He found one a few streets from his hotel called the Bushu—Kan located in an old temple that practiced from 6pm to 9pm. It was on this first day and undoubtedly the many that followed, that he was grateful for the time he had devoted to learning Japanese, as English was of little use in that part of Japan. He arrived at the Bushu—Kan at 6pm ready for practice. Almost immediately he was surprised to see a brown-belt called Kobayashi whom he had seen in a tournament in Shanghai. Kobayashi introduced Robinson, as being in the same tournament as himself and that he was very strong in Ne waza. This of course embarrassed the young Englishman who thought this was not the right way to start his Judo career in Japan. Not giving it another thought, he applied himself to training. His first bout was with Kobayashi who threw him with a couple of good foot sweeps. Robinson responded by taking him down in Ne waza and holding him. Afterwards everyone in the dojo wanted to challenge Robinson. He was thrown quite a few times but his Shanghai Judo experience had prepared him well. Of course when he did throw some of the players he would naturally follow through by landing on top of them much the same way he had done in Shanghai which seemed to take the enthusiasm out of a few. This was his very first workout in Japan and Robinson thoroughly enjoyed himself. After training finished everyone enjoyed a bath Japanese style, an experience that Robinson continuously records, followed by dinner of grilled eels, a Japanese delicacy. His next practice was in a dojo located at the side of a local police station. There were about ten young policemen, most of them white belts mixed with two brown belts and one black belt. He was invited to train, and the ease with which he handled dojo etiquette surprised the Japanese He trained with the white belts first and then with a brown belt, who kept throwing him. Robinson amusingly recalls, “During my practice with the white belts, I tried Uchi mata which I thought I could do because my opponent had adopted a defensive stance, and I thought it might come off but instead my leg slipped up a little high and I got him where I shouldn’t have done with my leg. He gave a howl and grabbed his private parts and all the others broke into a loud laugh, and there was much laughter in the place including the villagers who sat outside. But anyway, he took it in good part and sat down, but the black belt said to me this is how you uchi mata, and turned in with a devastating one and up in the air I went and down.’
Robinson left the next day, to the disappointment of his Judo friends and hiked the six miles to Katzusa located by the sea. Here a possible amorous adventure with the inn owner’s attractive teenage daughter presented itself. The owner, an old woman, thought it wrong for a young man to sleep alone, but her most kind offer was kindly rejected by her foreign boarder.
He spent a week at Shimoburra and was able to pursue Judo at the dojo of a 5-dan. Here he found he was able to give the black belts “quite a battle” especially when it came to Ne waza, but he did have a lot of respect for the Tomoe—nage and Seoi-nage that were specialities of the old teacher. He took a ferry along the inland sea to Kobe. Here he asked a policeman where he could find a hotel and a dojo, which was very surprised to meet a Japanese-speaking foreigner looking for of all places a Judo dojo. One was located a mile away in a temple that had once belonged to the Zen sect of Buddhism. Training was from 2pm to 5pm and the teacher Kato, was very strong in Ne waza. He spent a week here training and enjoying the town of Kobe. He found that his defence was getting stronger and reactions becoming quicker. Others must have noticed this improvement because on the Saturday he was asked to come along the next day at l0am for a special temple celebration. Little did Robinson know that he was being lined up to represent Kobe in a tournament against another prefecture. He arrived on Sunday morning at l0am and was very surprised to see hundreds of people milling about the temple. Just as he was wondering how in heaven he could see anyone he knew, a waiting member of the dojo took his arm and he was led in to the middle of the temple. Here he immediately noticed two twelve-man Judo teams lined up. Robinson was then urged to get changed, which he did off the mats and in front of the waiting crowd before he realised that he was representing Kobe as twelfth man on its team.
The scene was very noisy as the spectators crowded into the dojo. The Judo men too gave it their best kiai when each was called up to fight. Robinson remained calm. His opponent was very strong and as he found out later lived in the mountains. They were very evenly matched and nothing exciting was happening until Robinson went in for Harai goshi, and just as he thought he had the mountain man over, he collapsed under him. Immediately his opponent took a sidelong hold from which Robinson was able to turn out of it and managed to take Kesa gatame. The referee called Osae komi and the uproar from the crowd was deafening. As the seconds ticked away his opponent frantically threw a leg over Robinson’s rear leg and broke the hold. The matched ended in a draw but that was enough to give Kobe the tournament. His achievement was loudly acknowledged by most there and many came to pat him on the back and to congratulate him with “very good” in English.
From Kobe he took a leisurely passage on a ship back to Shanghai instilled with a fire for more Judo and a deep inner self—promise to make it to the Kodokan next year. He threw himself into hard practice and never missed the monthly Budo-kai tournaments. He wanted to improve and to improve quickly he knew what was needed. At this time he was still a white belt, and from the way he describes the ranking situation common at that time, with many white belts being equal in skill to the black belts, but refusing to take promotions, it would seem that being a white belt was considered more desirable. In 1928 he took his annual leave in Tokyo, at the Kodokan, the Mecca of Judo. He arrived by ship at Yokohama, went by train to Tokyo where he booked into the Kanda YMCA. Training at the Kodokan was from 2pm to 6cm and it was conveniently located within walking distance.
He arrived at the Kodokan to find a 5-dan guarding the entrance and checking who came in. Robinson explained it was his first time, and after paying 5 (a considerable sum when the monthly salary of a schoolteacher was 35) was allowed to enter. There were between 100 and 150 people all doing Randori, many of them were 2-dan and 3-dan from Meiji University.
He quickly changed and asked the man nearest to him to play. He explains, “I hardly had taken hold of him and I hit the mat. Robinson thinks the technique may have been Seoi-nage, a throw commonly used by Japanese on foreigners at that time. As he got up he took hold of his opponent’s collar high up and when he turned to throw again, Robinson’s right arm went across his opponent’s throat and he quickly inserted his left hand inside and under the armpit and grabbed his opponent’s lapel and wrapped his legs around him for Okuri Eri—jime, a rear strangle. The Japanese did not want to give up to a white belt and they rolled around the floor, but he soon tapped out. One of the instructors, who had been watching the fight, came along and gave Robinson’s opponent a loud lecture so that everyone could hear. This embarrassed the Japanese who eventually bowed out and walked off. Revenge was taken on Robinson by the following five or six opponents who threw him with everything except Seoi nage.
At the end of training while wiping himself of sweat he noticed an oldish man leaning against a wall watching him. Robinson decided to ask the man for a fight thinking that he would a bit easier than the young bulls he had just finished with. He went over and asked politely. Robinson recalls the rest, “He looked at me, smiled, stood up straight. He was nearly my height and slightly broader shouldered. I thought he must be a teacher. We went on the floor and I always seemed to be off balance. I was thrown with Uki-otoshi, Sumi—otoshi and various Kokuyu-nage in every direction. I always seemed to be off balance. I thought this fellow knows his stuff, so I asked him in my best Japanese what grade are you because I thought there was something queer about this bloke. He only smiled and said in perfect English ‘Never you mind but keep on trying’. After a while I got tired of floating around the air and as I said thank you very much I noticed his English was nearly perfect.”
Afterwards a Japanese came to Robinson to ask him if he knew who the oldish man was. When he said no it was revealed to him that he had just challenged Mr Mifune, champion of all Japan. On the faces of all those watching was a big smile for they knew that the joke was on him.

Home History Main Tenjin Shinyo Ryu Datio Ryu Aikido Kodokan Judo

History of Jujistu

SenseiSam — Sun, 12 Apr 2009 10:52:49 CDT

Introduction
Jujitsu originated as an art forged through civil war by the samurai of old Japan, adapting with time to survive the constant changes to become what it is today. The early history of Jujitsu has been long lost as a result, though traces of its past scatter Japan’s mythology, theology and archology.

Many of the national archives of Japan were damaged by fire in 672AD during the Jushin Rebellion.
Clay figures of warriors have been uncovered in Neolithic tombs dating within the 'Haniwa' period approximately 5000 BC.
The ancient Shinto script 'Takanogawi' informs us of two gods, Kashima and Kadori that used grappling to chastise the lawless inhabitants of the eastern provinces.
More factual works, like the 'Nihon Shoki' chronicle appeared in 720AD, tells us in 230BC, the Emperor Suinjin to commemorate the completion of the seventh year of his reign held a 'Bugei Chikara Kurabe', (contest of martial prowess). It is recorded how during the contest Nomino Sukune killed his opponent Tomatetsu Hayato by throwing him to the ground and then finishing him by Atemi waza.
Its ancient traditions have transformed many martial systems within this period to form the basis of modern Judo, Hapkido, Nippon Shorinji Kempo and some systems of Karate.
There were as many as 700 Ryu (schools) that developed taking many methods of unarmed grappling within their syllabus. Jujitsu is a generic collective term used to describe the numerous systems which, when combined together, form Ju jitsu. Some of the systems were; Wajitsu, Taijitsu, Yawara ge or gi, kumiuchi, Yoro Kumiuchi, Kogusoku, hobaku, Torite, Shubaku and Koshimawari.
The Ryu (school)
The masters of Ju jitsu named their school by using various terms to differentiate between their Ju jitsu Ryu. These names came about by one of two ways. Either the techniques practised were of Chinese origin or the school simply gave the kanji or Japanese pronunciation of the synonymous Chinese calligraphy i.e. Ch'an-fa becomes Kempo. The second way was that a pure Japanese school would adopt a specific word, which would best illustrate the concept that lay behind his style of Yawara and how his would be used.

The Spelling of Jujutsu
The term JuJutsu is a romanisation of the Japanese term meaning Science of Yielding / Gentleness. As the Japanese use two alphabets, made of two different sets of symbols (Kanji and Katakana), the romanised version of the word (using the alphabet we use in the western world) cannot completely reflect how to spell the word. There is agreement that the first syllable is "Ju", pronounced "Joo", or "Jyoo" depending on where in Japan you come from. This is why in various parts of the world – the romanised spelling is either "Ju" or "Jiu". The second set of syllables is pronounced either "joots" or "jits" in some areas of Japan – or – "joots" with a barely audible "uh" sound at the end in other areas. Thus the spelling "jutsu" or "jitsu". That last "u" reflects that gutteral "uh" at the end of the word. Those who attempt to correct another in the spelling of the term in the western alphabet do so incorrectly. There is no correct spelling in our alphabet. We must all simply accept the fact that the Japanese sounds are best reflected in the alphabet created to reflect those sounds. So JuJutsu, Ju-Jitsu, Jiu-Jitsu, is the same.

My History
Before travelling through time describing various schools and events that has shaped the development and the course of Jujitsu, I believe I should start at my self. As a boy I would listen to my father speak of his time training with his father, older brother and uncles in Holland (Judo/Jujitsu). My grandfather and his brothers lived in Holland at a time when they had to learn such an art to defend themselves against others during the Second World War. Having a larger family with many boys in the family, they all would have competition wrestling and throwing each other to see who was the best.

Left: My Great Uncle Mathieu Koch (1950’s)

I lost my father when I was a boy due to illness, but before he passed he made sure my brother and sisters and I would also be able to defend ourselves, so he enrolled us into a local jujitsu school. It was good because I was a shy child always getting picked on and bullied at school.
Here I met Mark Haseman the teacher of the school. Over twenty-five years have passed and I am still part of the same school.
Mark started his training in Judo and then Jujitsu in the early seventies, where the school’s syllabus was simple though the techniques and skills were of a high standard. In the early nineties Mark needed to put a name to the school, due to his growth and the influences that has affected the school’s development. The school was christened “Tohkon Ryu” meaning fighting soul school. Not just for the reason of the success Mark has had in his early days fighting, but mainly for the passion he instils in others when departing his knowledge and kind character.
Marks son Chris has had a prosperous career as a professional fighter in no hold barred events and has travelled extensively around the world. Chris would bring home many new training ideas and techniques to become part of the schools syllabus.
Left: Chris Haseman landing a Spinning axe kick on his opponent

With other martial art practitioners around the world becoming more open in supplying their knowledge to others through seminars, books and now the internet, we all are able to as a community grown and expand our training syllabi. Australian Jujitsu Association Inc. - History
In Australia the late Jan de Jong (9th Dan) of Tsutsumi Hozan Ryu Jujitsu in Perth Western Australia has greatly contributed to the growth and development of Tohkon Ryu Jujitsu and Australian Jujitsu culture. Demonstrating many methods of body movement, kata, locking techniques and weaponry.
Many members of the Society were not happy with the dictatorial attitude the Australian Society of Jujitsuans (now known as the Australian Jujitsu Federation Inc) placed on its members, so many key members formed another group calling it self the Australian Jujitsu Association on the 12th May 1985. Their goal was to enhance the Art and bring as many styles together for a common purpose, that being the exchange of ideas and new techniques.

This committee of the new AJJA inc., were:
- President: Sensei Wayne Brabham (Vic),
- Vice-President: Sensei Bruce Watts (NSW),
- Secretary: Sensei Mike Jeans (Qld), and
- Director of Coaching: Shihan Jan de Jong (WA).
Other foundation members who originally formed the AJJA were Sensei Mark Haseman (Qld) and Sensei Brierley Bailey (NSW).

Shihan Jan de Jong OAM 9th Dan unfortunately passed away in April 2003.

Left: Shihan Brierley Bailey (AJJA Secretary) on the right handing a certificate and red belt to Shihan Jan de Jong OAM. Shihan de Jong was awarded 9th Dan by the Senior members of the AJJA - 1996

Right: Shihan Mark Haseman and his teacher Sensei Mike Jeans attending the annual AJJA National Semiar in Sydney 2005.

Mark was instructed by a national wrestling champion who had a diverse background in his martial arts training, Mike Jeans Sensei (5th Dan) trained under many of the Instructors that formed what Jujitsu is today within Australia and now continues doing the same. Jeans Sensei now is in his prime, a friendly gentleman that also has this passion in sharing his skills between others. Jeans Sensei called his school of Jujitsu Aiki Ryu, mainly due to the influences that had affected him in his journey within the martial arts.

Schools that developed Tohkon Ryu Jujitsu
Many schools and disciplines of martial systems have developed the schools of all martial arts today. Not one can credit its teachings and principles to claim the foundation of any school of learning. I will attempt to outline the schools that have shaped Tohkon Ryu Jujitsu in its journey.

To see the lineage chart Click Here

Click onto the school to see some details -

- Datio Ryu (Takeda / Minamoto)
- Takenouchi Ryu
- Namba Ippo Ryu
- Fusen Ryu
- Aiki Ryu
- Jikishin Ryu
- Kito Ryu
- Kodokan Judo
- Shin no Shindo Ryu
- Yoshin Ryu
- Tsutsumi Hozan Ryu
- Futagami Ryu
- Sosuishitsu Ryu
- Sessho Hiden Ryu
- Ito Ryu
- Takagi Ryu (Now Hontai Yoshi Ryu)
- Ryoi Shinto Ryu
- Tenjin Shinyo Ryu
- Sekiguchi Ryu
- Ono Ha Itto Ryu
- Hozoin Ryu
- Fukuno Ryu
- Shaolin Kenpo

This is a list of over twenty schools; many have directly or indirectly contributed to Tohkon Ryu and other martial arts systems.
Today Tohkon Ryu Jujitsu has grown in its syllabus from approximately 150 elements in the 1970’s to approximately 850 elements. The school has a good reputation and standard among the martial arts community here in Australia and has many that visit internationally.
Jujitsu has been banned many times in its history from being taught and practised, to ensure that this does not happen again the founder of Kodokan Judo, Master Jigoro Kano gathered the head master or representatives of Jujitsu schools to compile techniques to be included into his system of Jujitsu.

This event took place on the 24th July 1906 at the Dai Nihon Butokukai in Kyoto. This working group of instructors that constructed the Kodokan Judo syllabus are detailed in the photo below:

Front row, left to right is:
Katsuta Hiratsuka (Yoshin Ryu), Koji Yano (Takeuchi Ryu), Jushin Sekiguchi (Sekiguchi Ryu), Hidemi Totsuka (Totsuka-ha Yoshin Ryu), Jigoro Kano (Kodokan), Kumon Hoshino (Shiten Ryu), Takayoshi Katayama (Yoshin Ryu), Yazo Eguchi (Kyushin Ryu), & Masamizu Inazu (Miura Ryu)

Back row, left to right is: Yoshiaki Yamashita (Kodokan), Hajime Isogai (Kodokan), Sakujiro Yokoyama (Kodokan), Shuichi Nagaoka (Kodokan), Shikataro Takano (Takeuchi Ryu), Mataemon Tanabe (Fusen Ryu), Kotaro Imei (Takeuchi Ryu), Hoken Sato (Kodokan), Hikosaburo Ohshima (Takeuchi Ryu), Mogichi Tsumiyzu (Sekiguchi Ryu), Kibei Aoyagi (Sosuishi Ryu)

I thank today’s martial artists that will bring this great art to others in the future and most of all, the masters of the past that have provided us with the tradition, culture and skills that gives us our art today.

You will find that Jujitsu is still a growing and living art, because it has always been willing to change to adapt and yield in order to overcome, as its very name suggests. Flexibility!

To see the lineage chart Click Here

* More information to be placed here!! Coming Soon!

email - sensei_sam_oz1@hotmail.com

Shime waza - Air restriction techniques

SenseiSam — Fri, 10 Apr 2009 23:26:49 CDT

Home Technique Analysis


Method	Technique
	Japanese	English
	Hadaka jime	Naked strangle
	Ushiro jime	Rear strangle
	Nami juji jime	Normal cross strangle
	Gyaku juji jime	Reverse cross strangle
	Kata juji jime	Single cross strangle
	Eri jime	Collar strangle
	Ushiro eri jime	Rear collar strangle
	Okuri eri jime	Sliding collar strangle
	Kata ha jime	Single wing strangle
	Tsuri komi jime	Push pull strangle
	Tenkai kata jime	Turning half strangle
	Sode guruma jime	Sleeve wheel strangle
	Sankaku jime	Triangular strangle
	Yoko sankaku jime	Side triangular strangle
	Ushiro sankaku jime	Rear triangluar strangle
	Jigoku jime	Hell strangle
	Hadaka eri jime	Naked collar strangle
	Kani jime	Crab pinch (scissor) strangle
	Ju yubi jime	Ten finger strangle
	Kakato jime	Heel strangle
	Hadaka tenkai kate jime	Naked turning half strangle

Under construction!

Home Technique Analysis

Technique Analysis

SenseiSam — Fri, 10 Apr 2009 23:20:41 CDT

Technique Lists (Click here for quick lists - Eng /Jap)

Please select from the list below the technique area you wish to read:

Tachi Waza - Standing Techniques

Uke waza - Blocking techniques
Ude ate waza - Striking techniques
Ashi ate waza - Kicking techniques
Tai sabki - Body movements
Kumite - Free fighting

Kumi kata (grip fighting)
Nage waza - Throwing techniques
(Grappling Drills Uchi Komi)
Kansetsu nage waza - Joint locking throwing techniques
Renraku and Kaeshi waza - Throwing combination & counter throws
Ukemi waza - Breakfalling techniques
Randori - Free practice (throwing)

Kansetsu Waza - Joint locking Techniques

Rei - Bowing
Kuzushi - Breaking balance
Kobudo - Small weapons training
Kappo / katsu - Resuscitation techniques
Kyoji - Teaching skills
Itsutsu no kata
Kaeshi waza - Body Assault counter techniques
Kubudo gaeshi waza - Weapon defence techniques

Ne Waza - Ground Techniques

Suwari waza - Kneeling techniques
Hikkuri-gaeshi waza - Turn over techniques
Osae waza - Pinning techniques
Shime waza - Stangles (air restriction) techniques

Tachi Waza - Standing Techniques Uke waza - Blocking techniques Ude ate waza - Striking techniques Ashi ate waza - Kicking techniques Tai sabki - Body movements Kumite - Free fighting Kumi kata (grip fighting) Nage waza - Throwing techniques (Grappling Drills Uchi Komi) Kansetsu nage waza - Joint locking throwing techniques Renraku and Kaeshi waza - Throwing combination & counter throws Ukemi waza - Breakfalling techniques Randori - Free practice (throwing) Kansetsu Waza - Joint locking Techniques	Rei - Bowing Kuzushi - Breaking balance Kobudo - Small weapons training Kappo / katsu - Resuscitation techniques Kyoji - Teaching skills Itsutsu no kata Kaeshi waza - Body Assault counter techniques Kubudo gaeshi waza - Weapon defence techniques Ne Waza - Ground Techniques Suwari waza - Kneeling techniques Hikkuri-gaeshi waza - Turn over techniques Osae waza - Pinning techniques Shime waza - Stangles (air restriction) techniques

Syllabus Map Technique Lists
email - sensei_sam_oz1@hotmail.com

Kyoji - Teaching skills

SenseiSam — Fri, 10 Apr 2009 23:17:24 CDT

List the benefits of competitive fighting to overall skill development

Provides adaptability in training,
Provides alternative form of Jujitsu other than self defence and grading techniques,
Allow student to represent school, state or country
Strengthen courage,
Better understanding of bio-mechanics,
Confidence generating in the art, techniques and individual’s ability
Physical and mental conditioning,
Goal setting,
Develop sportsmanship,
Higher understanding of attack and defence options,
Place reality into training under controlled conditions without cooperation of a training partner,
Self feedback of training needs,
Focus calm,
Higher degree of technique applications, and
Higher practical ability.

List the skills you think essential in Jujitsu

Open mind,	Control – mentally and physically,
Humility,	Spatial Awareness,
Integrity,	Sharing – time, self, knowledge,
Patience,	Adaptability,
Observer,	Communicator,
Flexibility,	Focus calm,
Understanding of bio-mechanics and scientific principles	Attitude – respect or training, self, others and art

Suggest a warm-up routine and describe the benefits of these exercises

The warm-up should reproduce the movements of Jujitsu i.e. circular movements of all joints in positions which reflect joint lock techniques,
Movements to conditions the body and mind – to prepare the student for class i.e. ukemi, breathing and mediation exercises,
To help eliminate the risk of injury and minimise re-injuring of previous injuries,
To increase the intake of oxygen,
To increase flexibility to all joints of the body,
Ensure better irrigation of muscular tissues, assisting with the combustion of glucose,
To raise the bodies aerobic energy supply, and
To stimulate motor nerves giving faster reflexes, developing neuro-muscular pathways.

Describe the differences in teaching Jujitsu to a variety of classes
Children -

Development of confidence, coordination, balance,
Easy, fun (variety) and enjoyable session with proper demonstration without being complex, with basic and clear explanations,
Techniques that are free of risk i.e. weapon defence, joint locking on neck, knees, ankles and spine, strangles,
Understanding of right / wrong force option in self defence,
Activities to develop skill development and retention, and
Classes structured to age, skill, ability, size of students.

Mixed Adults –

Programmed with needs of students, audience, and skill level, fitness, and age and specialist groups.

Specialised Groups (Corrections, security, schools, and mental health etc) –

Needs of client, legislation, SOP (Standard Operating Procedures) requirements,
Clear techniques and theory using general terms that are relevant to the target industry,
Recommendation or advice - adjustments in training sourced from historical data, legislation and policy, and
In addition, possible risks to the industry, fatal errors and levels of harm to the industry.

List advantages and disadvantages of having all grades in the one class
Advantages –

Beginners get to see and develop their skills from higher grade students,
Higher grade students develop coaching skills, o Instructor receives help from higher grades, when the class size is high,
The instructor gets challenged by continually creating a change in the class,
Mixed class gives variety to students, and
Mixed class provides time for the instructor to assess the students i.e. needs, grading.

Disadvantages –

Beginners can be put off, by the skills, limitations, requirements that is demonstrated by the higher grades thinking they could never achieve the same level of skill,
Higher grades may not progress as quickly if they have to instruct instead of developing their own skills,
Overcrowding – difficulty with supervision and boredom, and
Too many beginners or lower grade students can reduce the development time of higher grade students and instructors.

Explain what is meant by stages of skill development

Skill Development – is the understanding and progression of an individual, by processing principles to create techniques.
The teacher’s objective in relation to skill development is to provide the student techniques to discover principles.
When the student learns to create technique from the principles this is the point where the student becomes a teacher.
Through correct teaching principles the student’s understanding can be accelerated to ultimately surpass the teacher.

Example of skill development – throwing

White Belt - Learning uchi komi and lifting,
Yellow Belt - Completing the throwing technique,
Orange Belt - Randori, moving uchi komi,
Green Belt - Combination and counter throws,
Blue Belt - Throws from attacks, joint lock throws,
Purple Belt - Proficiency of above, and
Brown Belt - Teaching ability, finishing techniques added, adaptability and variety of grips and training drills.

Home Technique Analysis

Charts

SenseiSam — Tue, 07 Apr 2009 01:38:11 CDT

Tai Sabaki - Body Movement Chart	Nerve and Pressure Control Points	Skeletal Joints Chart	Areas of Skeletal Weakness
Areas of Motor and Muscular Dysfunction	Tohkon Ryu Jujitsu - Syllabus Map	Ukemi Teaching Concept Map	Tohkon Ryu Jujitsu Lineage The Tohkon Ryu Jujitsu Lineage Chart is too detailed to see here, so please download the attachment thank you! Scroll down below to the "Attachment Section" Mircosoft Word file, when open zoom in 200 at least.

Note: To download a chart scroll down and click on the desired chat name.

email - sensei_sam_oz1@hotmail.com

Kappo / Katsu

SenseiSam — Mon, 06 Apr 2009 00:14:15 CDT

INTRODUCTION

Kappo, also known as Katsu, is the medical art of the restoration of life. This art is designed to resuscitate persons who have fainted or who have been knocked unconscious.

Originally it was felt that Katsu should be employed for reviving victims of attacks. Later, however, it was discovered that this art was also effective in some cases of drowning, sunstroke and in helping victims of accidents. It should be noted that these methods are ancient and are no longer considered the standard of modern medical care. Some of these methods have been replaced around the world by updated versions known of first aid.

Modern methods of first aid have been guided largely by chance; many methods of Kappo (resuscitation) have evolved into what we now call C.P.R. and modern first aid.

In the sixteenth century, fireplace bellows were used to blow air into victims, with an occasional success. In 1745 an English surgeon William Tossach reported reviving a suffocated coal miner with "mouth to mouth" breathing. From the mid 1800's through the late 1930's, methods involving pressing on the victims back became popular. The best known method of all these was, "Schaeffer Prone Pressure Method," that involved backpressure and then later, the "Hogler-Nielson" method added lifting the arms. During the late 1950's, researchers at the John Hopkins University Medical School, added mouth to mouth breathing techniques to their own newly developed "external cardiac compression technique." And, C.P.R. as we know it today was born.

Today with disease transfer the use of E.A.R. (Expires Air Resuscitation) component of C.P.R. has been changed to voluntary. The theory behind this change is, by compressing the chest you are also compressing the lungs, this then results in air transfer to occur, when the pressure is released from the chest. Through studies conducted around the world the survivability rate is no different for persons in cardiac arrest.

Kappo, methods of resuscitation were usually taught in conjunction with methods of Sappo (Killing blows), this balanced approach allowed the practitioners of jujitsu to subdue the aggressor and then quickly revive them. This dual concept fits the oriental ideas of Yin and Yang (opposites) and the importance of maintaining balance in life.

The characters on the title page are Katsu (resuscitation) and Ho (method). Together, they are pronounced Kappo. The correct Japanese pronunciation of Kappo places the emphasis on the pp and uses a short a-sound at the beginning and a long o-sound at the end.

WARNING AND DISCLAIMER

The methods of Kappo as taught in the Tohkon Ryu Jujitsu System, have been passed to students who hold the appropriate maturity and level of knowledge.

Kappo techniques are extremely sacred and are only taught to Black Belts so that they can apply immediate first aid to students or their attacker. Instructors have a responsibility to administer the appropriate first aid or Kappo method as quickly as possible in the dojo, as sometimes injuries do occur due to the very nature of the art.

Therefore this training manual for Kappo should be also held scared and hidden from the general class. Generally only lists of Kappo were passed on to students with no or little illustration.

Within in Tohkon Ryu Jujitsu, students have an introduction to Kappo methods as a probationary Black Belt, additional methods and details are then instructed to them after they receive their Shodan.

These skills must be taught only by a qualified Black Belt instructor allowing the student, hands on practice while receiving constant feedback and critiquing from a qualified instructor so that they do not cause bodily harm to the student.

Therefore this manual maintains the property of Tohkon Ryu Jujitsu, and Instructors of Tohkon Ryu Jujitsu do not take any responsibility for the actions of the user, training outside of scheduled classes, seminars, competitions or programs. All techniques within this manual are only to be practised under the direction of a qualified Tohkon Ryu Jujitsu instructor. Jujitsu should only be used within legal and moral parameters.

The directions are few and the student must observe simple, yet great care. Success cannot attend carelessness. The vital points that must be manipulated must be found with exactitude or the desired results will not be accomplished.

I recommend that each student, when practicing, perform the Kappo's very lightly. It is a curious fact that many of the points of the body manipulated while performing the Kappo's are also the points attacked for the purpose of causing death or disorientation. At all times follow the directions with painstaking care!

A prerequisite for participants learning Kappo techniques is to have reached the level of Shodan-Ho and holds a current first aid certificate.

WHY LEARN KAPPO ?

Originally, Kappo was, no doubt, employed solely for reviving the victims of attacks. In later centuries however, it was discovered that this strange science was potent in cases of drowning, sunstroke, and injuries from other accidental causes.

For those of us who need to have a first aid certificate, it would seem unnecessary to use methods from a different source such as Kappo. Sometimes it is necessary to maintain methods of Kappo in the syllabus to preserve the art and that it generally deals with more situations within the dojo. Keep in mind that variation is a very large part of our art; therefore, methods used in modern first aid training are all just variations and as such are tools for your repertoire. Just like a training, the variations you learn with it give you more versatility, Kappo techniques are sometime more relevant in the Dojo.

Nevertheless the traditional forms of resuscitation are considered advanced techniques of Jujitsu and instructors may wish to study them to complete their training for historical purposes or for use in special circumstances.

While there are many of these Kappo methods, this manual will only outline the most relevant techniques for use in the training hall and personal use.

MODERN METHODS AND THE LAW

Kappo techniques can be very useful in jujutsu, but not every injury situation calls for their use. The decision to use Kappo in a dojo emergency should be tempered with common sense. Our primary concern in an emergency is the health and well being of the injured person. Sometimes this means we should not try to fix everything with Kappo. In certain situations, a call for an ambulance can be a much wiser course of action.
For example, if someone is thrown onto his or her neck, we know that this will most likely cause a spinal injury and a method such as Se Katsu should not be attempted.
Before modern medical treatment, Kappo was often the only chance a person had to recover from a severe injury. Ribs broken in battle could puncture a lung, causing it to collapse and leading to almost certain death. These techniques were often desperate, last-ditch attempts to keep somebody alive. Today, modern emergency rooms can easily deal with this type of injury. The prudent sensei should be able to recognize situations for which Kappo would be inappropriate, and regular first aid methods should be used.
I encourage all instructors to use common sense and only use Kappo in the most trivial injury cases. World-class medical services are only a phone call away. In many cases we can save a life by quick and correct action!

In today’s modern society we must be careful in how and when we apply our Kappo techniques. We must realise when we need assist and many are reluctant to seek medical care, but sensei can gently remind them that some injuries can come much more complicated if they are not treated promptly.

Instructors should maintain a current first aid certificate in case of emergencies within the Dojo. Also all instructors should be aware of the equipment supplied in the establishment that they are teaching in, or if doing private lessons the instructor should supply a first aid kit.

There are many traditional methods of resuscitation that can assist the victim in recovery, but if the outcome is less than desirable these interventions may not be defensible in a court of law. Most methods have been replaced first aid, which is based on more modern medical knowledge. Among sports coaches and medical professionals, first aid is commonly recognised as the appropriate response to a medical emergency. Nevertheless the traditional forms of resuscitation are considered advanced techniques of Jujitsu and instructors may wish to study them to complete their training for historical purposes or for use in special circumstances.

Due to an Instructor being trained in first aid and kappo methods, you have a duty of care to assist students or those participating with a course, class or seminar. If you begin to provide care you must do everything reasonable in the circumstance until a person that has better qualifications take over.

If attempting to apply First Aid or Kappo techniques to a casualty you must ask yourself:
1. Am I performing techniques that I am trained to do?,
2. Will I be negligent?, and
3. Will my actions cause further injury or harm?

Before performing any first aid or kappo methods you must first obtain consent from the causality before you touch or move them, if not you can bring a charged of assault.

This rule is wavered only when you are unable to obtain this consent, this is when the causality is unconscious. You are now acting in good faith to prevent the causality from potential harm or injury.
When performing first aid or kappo methods on a child you must first gain this consent from the parent or guardian. If they are not available only then you may perform first aid or kappo methods to prevent harm or injury to the child.

Kappo Katsu - Resusication Techniques

Method	Japanese	English
General Relaxation	Ashi oshimasu	Foot Press
	Keiyaku katsu	Breath holding method
	Ishi katsu This technique is achieved by massaging the temples and the base of the skull. The fingers massage the temples in the direction towards the ears and the thumbs massage the hollow space just below the base of the skull. Both make a kneading motion until the Uke recovers. This stimulates the blood vessels to reduce the blood pressure indirectly relaxing the Uke.	Temple method
	Me katsu	Eye method
	Me oshimasu	Eye press
Head Ache	No katsu – hiza oshimasu	Brain method - compress head with knees
	No Katsu - te oshimasu	Brain method - compress head with hands
	Shuko katsu	Shuko method (large intestine 4)
	Atamani katsu This technique is used to assist in the relief of a headache, starting with the Uke lying down on their back in a relaxed position. Massage in tonification at the crown of the head with three fingers (thumb, index and middle finger) for approximately seven minutes. Then gradually massage from this point down along the neck to the trapezius muscle returning to the base of the skull. Alternatively this technique may be also done with the Uke in a seated position.	Head method
	No katsu	Migrane headache method
Nose Bleed Stop	Hanaji Tome ichi	Nose bleed stop - one
	Hanaji tome ni This method of stopping a nosebleed is also known as a self-application method. A shoelace or a thin cord is tightly wrapped around the hand at the point of the lower palm and the mid point of the web between the thumb and index fingers (Large intestine 4). After wrapping the hand tightly, you then form a fist. The affect of this application to the Large Intestine 4 point is the reduction of the blood pressure of the head slowing the blood flow causing the nose to stop bleeding. The pressure is applied to the hand of the effected side of the nose for approximately 1 – 2 minutes. Pressure to this point is also effective for headaches refer to Shuko Katsu.	Nose bleed stop - two
	Yoko komi	Side method
Locked Diaphragm	Hon katsu	Major method (for a smaller person)
	Tanden katsu	Tandem method (for a bigger person)
	Eri katsu	Lapel method
	Sasoi katsu or tachi katsu This method of relieving the diaphragm is also known as the standing method of relieving chest constriction “Tachi Katsu”. With the Uke in a seated position with one leg crossed to assist in stabilising the Uke. Stand behind the Uke with your right knee against his or her spine, ensuring that your right heal is off the mat. Spread your fingers and place your hands on his or her lower chest, hooking your fingers under the lower ribs. Pull back as if you are opening the ribs to either side, putting your weight on the shoulders to assist in bending the body back, and press with your right knee. Press forward allowing your right heal to return flat to the mat, this little lever will assist in drawing air into the lungs when the ribs have extended open as far as they will go then releasing them to allow for the lungs to exhale. Repeat this process slowly and regularly at a rate of 10 – 15 times per minute until the Uke begins breathing by him or herself.	Inductive or standing method
Strangulation /	Kubi katsu	Neck method (hanging)
Breathing	So katsu	Composite method - breathing
Relieving Discomfort in the Stomach	Mukatsuku kimasu Ichi	To feel nausea – one method
	Mukatsuku kimasu ni	To feel nausea - second method
	Mukatsuku kimasu san	To feel nausea - three method (stage fright)
Relieving Discomfort in the Kidneys	Jinzo katsu	Kidney method
Stimulation	Hiza katsu	Knee method
	Tsume katsu	Nail method
	Jinchu katsu	Jinchu method (governor vessel 26)
Striking Relief	Atemi katsu This method is used when the Uke has received a striking technique to a motor or muscular point, creating partial paralysis or numbness. Striking upsets or blocks the natural energy flow through the meridian of the effected strike zone, overloading it like an electrical system. For example, the energy flow of the arm is down the ulna side crossing at the knuckles returning on the radial side. Further self study is needed to understand the whole bodies energy flow to utilise this method. To relax the effected point, you need to stimulate it by striking again to the same point with an open hand (one third to half the force of the original strike) delivered in the direction of energy flow .	Striking method
Unconsciousness	Se katsu	Back Method
	Ashi katsu This technique is the secondary method used for resuscitation, but is the first of two methods used if the Uke is suspected of receiving a neck or back injury. Se Katsu would not be used due to the movement and cupping strikes to the back that may contribute to additional injuries to the Uke. The method is as follows, have the Uke lay before you on his or her back, being careful not to jerk or move the body unnecessarily. Kneel between the Uke’s leg with your left leg bridging over the Uke’s right leg and your right leg extended with the Uke’s left leg resting on top. The left arm is placed in this position due to the direct energy path to the heart. The Kidney 1 (Bubbling Springs) point located between the balls of the foot when stimulated has an effect on the respiratory system and heart. This point if stimulated correctly will bring the Uke out of unconsciousness with approximately one to four slaps. Contact will be made with a cupped palm. The mid point of the palm will be aligned with the Kidney 1point on the Uke’s left foot. The cupping slap on the foot is made in a brushing action towards the Uke’s heart, coinciding with a Kiai also towards the heart, producing the same effect as in Se katsu. The operator will look for overall knee movement if the technique is performed correctly.	Foot Method
	Nuki katsu	Insertion method
Testicle Relief	Kin katsu ichi	Testicle method one
	Kin katsu ni	Testicle method two (foot method)
	Inno katsu When a moderate strike has been delivered to the testicles and the Uke is unable to stand to conduct the self-application method, this assisted two-part method will be required. The initial stage of both parts are as follows; have the Uke seated with the Tori standing behind with feet at shoulder width apart. Then hook both arms under Uke’s armpits, gripping Uke’s wrists. Combining both parts within the method will contribute to the relief of the testicles. Part 1 - Rock Uke from left to right simultaneously striking the buttocks of the Uke, when the buttock is in the raised position. The strike is similar to a sweeping motion (heel and instep of foot) and the target point is at Gall Bladder 29. This point is located approximately half to one inch above the head of the femur bone in the soft area of the buttock. This point effects the static nerve and other muscles of the pelvic and lower back region, stopping spasms created by the strike assisting in relaxing the spermatic cords retuning the testicles to a normal position. Part 2 – Lift Uke with your legs at a 45-degree angle for operator safety, two to three inches above the ground and then make a controlled drop onto Uke’s buttocks.	Scrotum method
	Kin katsu san	Testicle method three
	Manaka oshi	Centre press

For more information please conact myself on email: sensei_sam_oz1@hotmail.com - A full coloured Kappo Training Manual with photos is available to all Black Belts and those sitting for Shodan-ho within the Tohkon Ryu Jujitsu School. Seven techniques have been described without photos to assist those for grading purposes.

Home Technique Analysis

Profile - Sensei Sam Koch

SenseiSam — Sun, 05 Apr 2009 21:54:53 CDT

At the age of eight, I commenced training within Jujitsu under Shihan Mark Haseman of the Tohkon Ryu Jujitsu system (Fighting Soul School). Still under the guidance of Shihan Haseman I continue to learn and develop in the art of Jujitsu. Jujitsu has given me a healthier outlook and focus in life, assisting me with my own life goals. This can also be your reward, even if you undertake a couple of sessions or study it for a lifetime. Jujitsu will give you skills that are practical off the mat to be used in everyday life. You will discover abilities within yourself never thought possible, assisting you with your self-esteem and confidence. Jujitsu will continually change you, as you learn of its principles, broadening your outlook and appreciation of others. Everyone contributes to your learning within the art of Jujitsu by direct instruction or by setting an example. Jujitsu is flexible and adapts just like wet paint on a canvas, your journey within Jujitsu will all depend on your own creativity. Throughout my journey within Jujitsu I have represented my school on many occasions at both state and national levels for Sport Jujitsu and have instructed within many industries.	Titles 1998 1st Queensland Jujitsu Titles 1997 1st Australian Inter state Jujitsu Titles 1997 1st Queensland Jujitsu Titles 1996 1st Australian Inter state Jujitsu Titles 1995 1st Queensland Jujitsu Titles 1994 2nd Australian Inter state Jujitsu Titles 1994 1st Queensland Jujitsu Titles 1994 1st Australian Martial Arts Extravaganza (MMA) 1993 2nd Queensland Jujitsu Titles 22 competitions with a total of 88 fights (77 W, 10 L, 1 D) Teaching Qualifications - Yondan (4th Degree) Black belt within Jujitsu, - Certificate IV in Workplace Training & Assessing, - Certificate III in Sports Coaching (Martial arts), - Blue Card (Children's), and - Senior First Aid Certificate.
Available for seminars, classes, and private lessons in: - Self defence (Jujitsu), - Sports Jujitsu, and - Control and Restraint.	email - sensei_sam_oz1@hotmail.com

At the age of eight, I commenced training within Jujitsu under Shihan Mark Haseman of the Tohkon Ryu Jujitsu system (Fighting Soul School). Still under the guidance of Shihan Haseman I continue to learn and develop in the art of Jujitsu.
Jujitsu has given me a healthier outlook and focus in life, assisting me with my own life goals. This can also be your reward, even if you undertake a couple of sessions or study it for a lifetime.

Jujitsu will give you skills that are practical off the mat to be used in everyday life. You will discover abilities within yourself never thought possible, assisting you with your self-esteem and confidence. Jujitsu will continually change you, as you learn of its principles, broadening your outlook and appreciation of others. Everyone contributes to your learning within the art of Jujitsu by direct instruction or by setting an example.

Jujitsu is flexible and adapts just like wet paint on a canvas, your journey within Jujitsu will all depend on your own creativity.
Throughout my journey within Jujitsu I have represented my school on many occasions at both state and national levels for Sport Jujitsu and have instructed within many industries.

Titles
1998 1st Queensland Jujitsu Titles
1997 1st Australian Inter state Jujitsu Titles
1997 1st Queensland Jujitsu Titles
1996 1st Australian Inter state Jujitsu Titles
1995 1st Queensland Jujitsu Titles
1994 2nd Australian Inter state Jujitsu Titles
1994 1st Queensland Jujitsu Titles
1994 1st Australian Martial Arts Extravaganza (MMA)
1993 2nd Queensland Jujitsu Titles
22 competitions with a total of 88 fights (77 W, 10 L, 1 D)

Teaching Qualifications
- Yondan (4th Degree) Black belt within Jujitsu,
- Certificate IV in Workplace Training & Assessing,
- Certificate III in Sports Coaching (Martial arts),
- Blue Card (Children's), and
- Senior First Aid Certificate.

Available for seminars, classes, and private lessons in:
- Self defence (Jujitsu),
- Sports Jujitsu, and
- Control and Restraint.

email - sensei_sam_oz1@hotmail.com

Yawara

Dissolving fear, focus calm, a profit of the heart.

Swiftness of motion, non-hesitate of thought, moving within the void.

Like swirling of water within a pond, or a whirlwind making trees dance, the suppleness of mind in movement.

Unifying of spirit, as you train, This is life.

The fighting spirit, a steadfast desire, a compound of fire within your heart.

That is the beauty, of my art.

Nunchaku

SenseiSam — Sun, 05 Apr 2009 21:52:57 CDT

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Introduction
Over 350 years ago, villages of Okinawa developed many methods of self defence, to defend against invading warlords. They crafted techniques from everyday farming tools to utilise them as a weapon. This is where the Nunchaku was born, originally used to pound grain, it could be easily carried or disguised from attackers thinking it was a harmless toy.

The Nunchaku was and still is constructed of two hard wood handles securely connected by rope or chain.
Even today, the Nunchaku because of the innocent appearance and ability to be hidden on ones person, is now used widely by undesirable characters and has been branded as a “thug’s weapon”.

The good intentions of its inheritors are now misused. Due to this problem the Nunchaku has been outlawed in many countries and a majority of its application of technique has been lost.

Some of the technique categories and basic examples of use are as follows:

Blocking / striking Combinations

Double hook – Ate carotid/ collar bone
Hook punch – deflect to groin
Low punch – stopping block – with chain then ate to throat
Hook punch – arm break swing
Jab – knee strike
Side kick – deflecting –cross block – striking to groin or leg
Over head punch – parry uke – strike combination

Blocking and locking techniques

Wrist grab – Yoko te kubi hishigi
Straight stab – pinch block
Hook punch – pinch block
Jab – shear block – Daki – kote gaeshi take down
Jab - reverse cross block – Ude Gatame
Low punch – Tome Uke - Kote Hineri
Low punch – Shiho nage
Low punch – outside arm break (similar to come along)
The main techniques portrayed to the public are striking and bludgeoning techniques.

This probably can be compared to the harder Ju jitsu techniques of breaking joints and Atemi. Just like the principle of “Ju”, the Nunchaku also has its softer and harder techniques adapted depending on the level of force needed within a situation.

The Nunchaku can develop many skills and can be self-disciplining in practice, just like the ease of executing a throwing technique within Ju jitsu; the Nunchaku becomes an extension of the hands and develops a fluid movement.
The combination of these and any of the weapon arts gives the advanced practitioner a new outlook and challenge that can only benefit their martial arts training.

One hand Techniques

Low punch – inside arm lock
Round house kick – knee bend take down – Ashi kubi gatame
Front kick – shin takedown
Front – metacarpal / ankle throw – Ashi gatame
Shime Waza

Back fist – reverse grip – Ushiro Jime
Hook punch – Upward inside block - Kubi gatame – tai otoshi
Front kick – O irimi senkai – Hadaka jime takedown
Over head punch – Tsuri komi jime
Whipping Waza

Low punch – Downward strike – deflect to temple

Mae geri – inside block – upward groin strike
Mae geri – dodging block – strike from behind groin
Home Weapon Training

Aussie Jujitsu - Recently Updated Pages

Open & Close Hand Striking

Introduction

A striking attack is a weapon that uses a part of the body, intended to cause an effect upon an opponent. The effect of the strike depends upon the location of the target, intensity of the strike and your objective.

To understand the differences between open hand and closed hand striking techniques, first there is a need to investigate the purpose and principles in using these methods.

1. To inhibit or slow the subject,

2. To immobilise / control, or

3. To damage

Training

Striking with the hands requires more than just innate power it requires understanding. The hand itself is made up of many small bones and joints that can be injured if one doesn't understand proper hand strikes.

Control / Legal Considerations

They also allow you to grab and grapple more directly if serious damage isn't called for. This is the reason Jujitsu utilises these methods, so that the practitioner can combine techniques I.e. to strike and then take hold so that the subject may be controlled in a restraining technique.

Closed Or Open Striking Attributes

Injury / Healing – You And The Opponent

In demonstrating open and closed hand methods of striking, a sample of vulnerable target points will show the differences in the effect when both methods are struck to the same point

Throat

Closed Hand – Fore fist: Collapsing of the throat and swelling of the muscles surrounding the throat, possibly causing death by asphyxiation.

Open Hand – Sword peaked hand: Slight swelling of the muscles surrounding the throat and choking effect (creating the subject to cough and gasp).

Xiphoid Process

Closed Hand – Thumb one-finger fist: Fracturing the xiphoid process will then damage the stomach wall creating it to split causing internal bleeding, unconsciousness and possibly death.

Open Hand – Palm strike: Sharp pain, dispersing force to the stomach and chest creating breathing difficulties and the heartbeat to be irregular.

Between 5th and 6th Vertebrae

Closed Hand - Elbow: Trauma to the spinal cord, aorta, heart and lungs and possibly fracturing the spine cord leading to cerebral trauma.

Open Hand – Palm strike: Creating a loss in breath and partial sensory motor function, and the inhibition of breathing.

The wrist must also be kept in proper alignment during a fist strike. If the wrist bends on impact, it can easily be sprained, dislocated or broken. Boxers tape their wrists to reduce wrist flex.

Punching with the knuckles is anatomically quite weak - its good for bags, speed balls, floor to ceiling and focus mitts, but punching a face or onto the skull may cause injury to the person throwing a punch. If that punch ends the fight then ok, but if it doesn't your survival chances diminish.

The elbow should not be locked out at the extension of a punch. This weakens the punch and makes the elbow susceptible to be broken. In the long term, it wears the cartilage, which can eventually lead to arthritis.

A broken bone or dislocated joint will typically heal and probably the injury will be forgotten after some weeks or months – much more serious in it's consequences is the problem of blood exchange.

Stairway Strategy and Self Defence Principles

Fatal Errors

Fatal Risk Protocols

Neck Restraint

Pain Compliance

Positional Asphyxia

Control and Restraint

Listed topics relating to control and retraint:

Pressure Point Application

Pressure Point Application

Methods of Application

Fluid shock wave principle

Grading / Obi

Introduction

How did the grading system come about?

Beyond The Black Belt

How do you gain your belt?

Grading

Home Theory

Pinning Techniques

Osae Waza

2. Arm pull out to reverse cross arm lock 3. Left leg hook roll 4. Bridge and roll kesa gatame (pressure on lower ribs) 5. Collar / leg hook combination into ude gatame.6. Waki gatame

2. Arm pull out to reverse cross arm lock 3. Left leg hook roll 4. Ebi and apply arm lock5. Collar / leg hook combination into ude gatame.6. Waki gatame

2. Arm pull out to reverse cross arm lock 3. Left leg hook roll 4. Collar / leg hook combination into ude gatame.5. Waki gatame

Technique Lists

Turn Overs

Principle of the Fighting Arc

Aussie Jujitsu - Home Page

Aiki Ryu

History of Jujistu

My History

Shime waza - Air restriction techniques

Technique Analysis

Technique Lists (Click here for quick lists - Eng /Jap)

Please select from the list below the technique area you wish to read:

Kyoji - Teaching skills

Charts

Kappo / Katsu

INTRODUCTION

Kappo, also known as Katsu, is the medical art of the restoration of life. This art is designed to resuscitate persons who have fainted or who have been knocked unconscious.

Modern methods of first aid have been guided largely by chance; many methods of Kappo (resuscitation) have evolved into what we now call C.P.R. and modern first aid.

The characters on the title page are Katsu (resuscitation) and Ho (method). Together, they are pronounced Kappo. The correct Japanese pronunciation of Kappo places the emphasis on the pp and uses a short a-sound at the beginning and a long o-sound at the end.

WARNING AND DISCLAIMER

The methods of Kappo as taught in the Tohkon Ryu Jujitsu System, have been passed to students who hold the appropriate maturity and level of knowledge.

Therefore this training manual for Kappo should be also held scared and hidden from the general class. Generally only lists of Kappo were passed on to students with no or little illustration.

Within in Tohkon Ryu Jujitsu, students have an introduction to Kappo methods as a probationary Black Belt, additional methods and details are then instructed to them after they receive their Shodan.

These skills must be taught only by a qualified Black Belt instructor allowing the student, hands on practice while receiving constant feedback and critiquing from a qualified instructor so that they do not cause bodily harm to the student.

The directions are few and the student must observe simple, yet great care. Success cannot attend carelessness. The vital points that must be manipulated must be found with exactitude or the desired results will not be accomplished.

A prerequisite for participants learning Kappo techniques is to have reached the level of Shodan-Ho and holds a current first aid certificate.

WHY LEARN KAPPO ?

Originally, Kappo was, no doubt, employed solely for reviving the victims of attacks. In later centuries however, it was discovered that this strange science was potent in cases of drowning, sunstroke, and injuries from other accidental causes.

Nevertheless the traditional forms of resuscitation are considered advanced techniques of Jujitsu and instructors may wish to study them to complete their training for historical purposes or for use in special circumstances.

2. Arm pull out to reverse cross arm lock
3. Left leg hook roll
4. Bridge and roll kesa gatame (pressure on lower ribs)
5. Collar / leg hook combination into ude gatame.
6. Waki gatame

2. Arm pull out to reverse cross arm lock
3. Left leg hook roll
4. Ebi and apply arm lock
5. Collar / leg hook combination into ude gatame.
6. Waki gatame

2. Arm pull out to reverse cross arm lock
3. Left leg hook roll
4. Collar / leg hook combination into ude gatame.
5. Waki gatame