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Judo (柔道, jūdō?), meaning "gentle way", is a modern Japanese martial art (gendai budō) and combat sport, that originated in Japan in the late nineteenth century. Its most prominent feature is its competitive element, where the object is to either throw one's opponent to the ground, immobilize or otherwise subdue one's opponent with a grappling maneuver, or force an opponent to submit by joint locking the elbow or applying a choke. Kicks, punches, chops and thrusts are also practiced, but only in pre-arranged forms. They are not allowed in Judo competition or freestyle practice. According to the International Federation of Associated Wrestling Styles (FILA), judo is one of the four main forms of amateur competitive wrestling practiced internationally today (the other three being Greco-Roman wrestling, Freestyle wrestling and Sambo).
Ultimately, the philosophy and subsequent pedagogy developed for judo became the model for almost all modern Japanese martial arts that developed from "traditional" schools (koryū). Practitioners of judo are called jūdōka.
History and philosophy
[edit] Early life of the founder
The early history of judo is inseparable from its founder, Japanese polymath and educator Jigoro Kano (嘉納 治五郎 Kanō Jigorō, 1860–1938). Kano was born into a well-to-do Japanese family. His grandfather was a self-made man; a sake brewer from Shiga prefecture in central Japan. However, Kano's father was not the eldest son and therefore did not inherit the business. Instead, he became a Shinto priest and government official, with enough influence for his son to enter the second incoming class of Tokyo Imperial University.
[edit] The founder pursues jujutsu
Kano was a small, frail boy, who, even in his twenties, did not weigh more than a hundred pounds, and was often picked on by bullies. He first started pursuing jujutsu, at that time a flourishing art, at the age of 17, but met with little success. This was in part due to difficulties finding a teacher who would take him on as a serious student. When he went off to the University to study literature at the age of 18, he continued his martial studies, eventually gaining a referral to Fukuda Hachinosuke (c.1828–c.1880), a master of the Tenjin Shin'yō-ryū and grandfather of noted jūdōka Keiko Fukuda (Fukuda Keiko, born 1935), who is one of Kano's oldest surviving students. Fukuda Hachinosuke is said to have emphasized technique over formal exercise, sowing the seeds of Kano's emphasis of free practice (randori) in judo.Je le pratique
A little more than a year after Kano joined Fukuda's school, Fukuda became ill and died. Kano then became a student in another Tenjin Shin'yō-ryū school, that of Iso Masatomo (c.1820–c.1881), who put more emphasis on the practice of pre-arranged forms (kata) than Fukuda had. Through dedication, Kano quickly earned the title of master instructor (shihan) and became assistant instructor to Iso at the age of 21. Unfortunately, Iso soon took ill, and Kano, feeling that he still had much to learn, took up another style, becoming a student of Tsunetoshi Iikubo of Kitō-ryū. Like Fukuda, Iikubo placed much emphasis on free practice; on the other hand, Kitō-ryū emphasized throwing techniques to a much greater degree than Tenjin Shin'yō-ryū.
[edit] The founding of judo
Formalism and strict conduct are typical of traditional judo.
Formalism and strict conduct are typical of traditional judo.
By this time, Kano was devising new techniques, such as the "shoulder wheel" (kata-guruma, known as a fireman's carry to Western wrestlers who use a slightly different form of this technique) and the "floating hip" (uki goshi) throw. His thoughts were already on doing more than expanding the canons of Kitō-ryū and Tenjin Shin'yō-ryū. Full of new ideas, Kano had in mind a major reformation of jujutsu, with techniques based on sound scientific principles, and with focus on development of the body, mind, and character of young men in addition to development of martial prowess. At the age of 22, when he was just about to finish his degree at the University, Kano took 9 students from Iikubo's school to study jujutsu under him at the Eisho-ji, a Buddhist temple in Kamakura, and Iikubo would come to the temple three days a week to help teach. Although two years would pass before the temple would be called by the name "Kodokan", or "place for teaching the way", and Kano had not yet been accorded the title of "master" in the Kitō-ryū, this is now regarded as the Kodokan's founding.
[edit] The meaning of "judo"
The word "judo" shares the same root ideogram as "jujutsu": "jū" (柔, "jū"?), which may mean "gentleness", "softness", "suppleness", and even "easy", depending on its context. Such an attempts to translate jū are deceptive, however. The use of jū in each of these words is an explicit reference to the martial arts principle of the "soft method" (柔法, jūhō?). The soft method is characterized by the indirect application of force to defeat an opponent. More specifically, it is the principle of using one's opponent's strength against him and adapting well to changing circumstances. For example, if the attacker was to push against his opponent he would find his opponent stepping to the side and allowing (often with the aid of a foot to trip him up) his momentum to throw him forwards (the inverse being true for pulling). Kano saw jujutsu as a disconnected bag of tricks, and sought to unify it according to some principle; he found it in the notion of "maximum efficiency". Jujutsu techniques which relied solely on superior strength were discarded or adapted in favour of those which involved redirecting the opponent's force, off balancing the opponent, or making use of superior leverage.
The second characters of judo and jujutsu differ. Where jujutsu (柔術, jūjutsu?) means the "art" or "science" of softness, judo (柔道, jūdō?) means the "way" of softness. The use of "dō" (道, "dō"?), meaning way, road, or path (and is the same character as the Chinese word "tao"), has spiritual or philosophical overtones. Use of this word is a deliberate departure from ancient martial arts, whose sole purpose was for killing. Kano saw judo as a means for governing and improving oneself physically, mentally, emotionally and morally. He even extended the physical principle of maximum efficiency into daily life, evolving it into "mutual prosperity". In this respect judo is seen as a holistic approach to life extending well beyond the confines of the dojo.
[edit] Combat Phases
Judo assumes that there are two main phases of combat: the standing (tachi-waza) and the ground (ne-waza) phase. Each phase requires its own mostly separate techniques, strategies, randori, conditioning and so on, although some special training is devoted to 'transitional' techniques to bridge the gap. Some judoka can become quite skilled in one phase and be rather weak in the other, depending on where their interests most lie, although most are rather balanced between the two.
Tachi-waza ends and ne-waza starts once the judoka go to the ground. The throw pictured is Ouchi Gari.
Tachi-waza ends and ne-waza starts once the judoka go to the ground. The throw pictured is Ouchi Gari.
[edit] Free-Style
Judo emphasizes a free-style sparring called randori as one of its main forms of training. A part of the combat time is spent sparring standing up, called tachi-waza, and the other part on the ground, called ne-waza. Sparring, even within safety rules, is considered to be much more effective than only practicing techniques. Using full-strength develops the muscles and cardio-vascular system on the physical side of things, and it develops strategy and reaction time on the mental side of things, and helps the practioner learn to use techniques against a resisting opponent.
[edit] Judo's Balanced Approach
Judo's balance between both the standing and ground phases of combat gives judoka the ability to take down opponents who are standing up and then pin and submit them on the ground. This balanced theory of combat has made Judo a popular choice for many.
[edit] The Standing Phase: Tachi-Waza 立ち技
In the standing phase, which the contest rules state has primacy, the opponents attempt to throw each other. Although standing joint-lock and choke/strangulation submission techniques are legal in the standing phase,[1] they are quite rare due to the fact that they are much harder to apply standing than throws are. Some judoka, however, are very skilled in combining takedowns with submissions, where a submission technique is begun standing and finished on the ground. Strikes (i.e. punches, kicks etc) are not allowed due to their certainty of injury, but an athlete is supposed to 'take them into consideration' while training by, for example, not fighting in a bent-over position for long, since this position is vulnerable to knee-strikes and others striking attacks.
The main purpose of the throwing techniques (nage waza) is to take an opponent who is standing on his feet, mobile and dangerous, down onto his back where he cannot move as effectively. Thus, the main reason for throwing the opponent is to control the opponent and to put oneself in a dominant position. In this way the practicioner has more potential to render a decisive outcome. Another reason to throw the opponent is to shock his body through smashing him forcefully onto the ground. If an exponent executes a powerful yet fully controlled throw, he can win a match outright due to the theory that he has displayed enough superiority. In actual fact, this kind of victory is very difficult to achieve if the opponents are equally matched. Therefore points are given for lesser throws in the standing phase of combat. In a real fight, throwing an opponent in itself can shock them, and the impact can potentially knock the opponent unconscious (depending on the hardness of the fighting surface).
In keeping with Prof. Kano's emphasis on scientific analysis and reasoning, the standard Kokokan Judo pedagogy dictates that any throwing technique is a four phased event: kuzushi崩し, off-balancing; tsukuri 作り, body positioning; kake 掛け, execution; and finally kime 極め, the finish or coup de grâce.
[edit] The Ground Phase: ne-waza寝技
In the ground phase, which is considered the secondary phase of combat, the opponents try to pin each other, or to get the opponent to submit either by using armlocks (leglocks are not allowed due to safety regulations) or by chokes and strangulations.
[edit] Osaekomi 押さえ込み (pins)
Osaekomi (pins) are considered important since in a real fight the person who has control of his opponent can hit him with punches, knees, the headbutts and other strikes. If osaekomi is held for 25 seconds, the person doing the pinning wins the match. (This time requirement is said to reflect the time necessary for a samurai to reach his knife or sword and dispatch his pinned opponent. It also reflects the combat reality that a fighter must immobilize his opponent for a substantial amount of time in order to strike effectively.) In a match, a pin must be held for ten seconds to gain any score; a pin of less than 25 seconds will score, but will not win the match. A pin may result in a submission if the opponent is exhausted or cannot endure the pressure from the pin. This occasionally happens in competition, usually if the pin places pressure on an already injured part of the body, like the ribs.
If the person being held down has wrapped his legs around any part of his opponent's lower body or trunk, he is pinning his opponent as much as he is being pinned, as his opponent cannot get up and flee unless the bottom man lets go. While his legs are wrapped around his opponent, the bottom man can employ various attacking techniques, including strangles, armlocks and 'do-jime' (body scissors), while tying the opponent so that he cannot effectively strike from above. In this position, often referred to as the guard in English, the man on top does not have enough control over his adversary for the position to be considered osaekomi. The man on top can try to pass his opponent's legs and pin or submit him, or he may try to break out of his opponent's guard and stand up. The bottom man can try to submit his opponent from his guard or roll his opponent over to get on top of him.
Scoring in judo consists of four grades of score: ippon, waza ari, yuko, and koka. An ippon literally means "one point" and awards the match. This is awarded for a throw that lands the throwee on his or her back, since it requires skill to do this in sparring, for a mat hold of sufficient duration (25 or 30 seconds), or for opponent submission. A waza-ari, for a throw that does not quite have enough power or control to be considered ippon, or for a hold of twenty seconds, is a half-point and if two are scored, they constitute the full point needed for the win. Yukos and kokas are lower grades of score-- tie-breakers-- that do not add up to one another, and scoring is lexicographic-- a waza-ari beats any number of yukos, but a waza-ari and a yuko beat a waza-ari with no yukos. It is not uncommon for a match to be decided based on kokas-- for example, 1W2Y2K vs. 1W2Y1K. If scores are identical at the end of a match, the match goes to Golden Score in which the match clock is reset, scores are cleared, and the first to score a single point wins.
The score for a pin is determined by how long the pin is held. A pin held for 25 seconds scores ippon, resulting in immediate victory. A score of waza-ari is given for a pin held for 20 seconds. A fifteen-second pin scores yuko and a ten-second pin scores koka. If the person pinning already has a waza-ari they only need to hold the pin for 20 seconds to score ippon by way of two waza-aris.
[edit] Joint locks
Joint locks (Kansetsu-waza) are effective combat techniques because they enable a judoka to control his opponent through pain-compliance, or if necessary, to cause breakage of the locked joint. Joint locks on the elbow are considered safe enough to perform at nearly full-force in competition to force submission from one's opponent. Judo has, in the past, allowed leglocks, wristlocks, spinal locks and various other techniques which have since been disallowed in competition to protect athletes' safety. It was decided that attacking those other joints would result in many injuries to the athletes and would cause a gradual deterioration of these joints. Even so, some Judoka still enjoy learning and fighting each other informally using these techniques that are banned from formal competitions, and many of these techniques are still actively used in other arts such as sambo and jujutsu.
[edit] Chokes/Strangulations 締め技
Chokes/strangulations (Shime-waza) are Judo's deadliest techniques. They enable the one applying the choke to force the adversary into unconsciousness and even death. (Strangulation cuts off the blood supply to the brain via compression on the sides of the neck, while choking blocks the airway from the front of the neck. The terms are frequently interchangeable in common usage, and a formal differentiation is not made by most judoka.) In competition, the judoka wins if the opponent submits or goes unconscious. A strangle, once properly locked in, can knock an opponent unconscious in 3 seconds. Although these are potentially lethal techniques, a properly-applied chokehold, if released promptly upon submission or unconsciousness, causes no injury or lasting discomfort.
When practicing ne-waza, the practitioners sometime start from their knees.
When practicing ne-waza, the practitioners sometime start from their knees.
[edit] Uniform
The judogi is of a heavier weave in order to withstand the stresses of throwing and grappling
The judogi is of a heavier weave in order to withstand the stresses of throwing and grappling
Judo practitioners wear white or blue cotton uniforms called judogi (which means Judo uniform in Japanese) for practicing Judo. Sometimes the word is seen shortened simply to "gi" (uniform). This judogi was created at the Kodokan and similar uniforms were later adopted by many other martial arts. The modern judogi consists of white or blue cotton drawstring pants and a matching white or blue quilted cotton jacket fastened by a belt, or obi. This belt is often colored to indicate kyu or dan rank. The jacket is intended to withstand the stresses of throwing and grappling, and is as a result much thicker than that of a karategi. Before competition, a blue judogi is assigned to one of the two judoka for ease of distinction by judges, referees, and spectators. In Japan, the traditional red sash (based on the flag's colors) is affixed to one judoka belt. In Europe and North America, a colored sash is typically used for convenience in local competitions, while a blue judogi is assigned to one judoka at the regional, national, or Olympic levels where the visibility, particularly to television cameras is more important than tradition or convienence. It is said that some Japanese practitioners and purists tend to look down on the use of blue judogis.
[edit] Techniques
For a full list of Judo techniques, see Judo techniques.
For the official Kodokan syllabus, see Judo lists.
While Judo includes a variety of rolls, falls, throws, pins, chokes, joint-locks, and methods of percussion, the primary focus is on throwing (nage-waza, 投げ技), and groundwork (ne-waza,寝技). Nage-waza is divided in two groups of techniques, standing techniques (tachi-waza, 立技) and sacrifice techniques (sutemi-waza, 捨身技). Standing techniques are divided in hand techniques (te-waza, 手技), hip techniques (koshi-waza, 腰技) and foot/leg techniques (ashi-waza, 足技). Sacrifice techniques are divided into those in which the thrower falls directly backwards (ma-sutemi-waza, 真捨身技) and those in which he falls onto his side (yoko-sutemi-waza, 橫捨身技).
The groundwork techniques are divided into: attacks against the joints or joint locks (kansetsu-waza, 関節技), strangleholds or chokeholds (shime-waza, 絞技), and holding or pinning techniques (osaekomi-waza, 押込技).
A kind of sparring is practiced in judo, known as randori (乱取り), meaning "free practice". In randori, two adversaries may attack each other with any judo throw or grappling technique. Striking techniques (called atemi-waza) such as kicking and punching, along with knife and sword techniques are retained in the katas. This form of pedgogy is usually reserved for higher ranking practioners (ie. blackbelts) (for instance, in the kime-no-kata), but are forbidden in contest,and usually prohibited in randori, for reasons of safety. Also for reasons of safety, chokeholds, jointlocking - and the sacrifice (sutemi) techniques, which can be very spectacular, but often dangerous are subject to age and/or rank restrictions; in the United States, one must be 13 or older to use chokeholds, and 16 or older, or hold the rank of shodan or higher to use armlocks.
In randori and shiai (tournament) practice, when an opponent successfully executes a chokehold or joint lock, one "taps out" by tapping the mat or one's opponent at least twice in a manner that clearly indicates the submission. When this occurs, the match is over, and the tapping player has lost, but the chokehold or joint lock ceases. Because this allows a merciful exit to the match, injuries related to these holds are quite rare.
[edit] Kata
Kata are prearranged forms displaying several judo techniques. They have several purposes: to illustrate the basic principles of judo; to demonstrate the correct execution of a technique; to teach the philosophical tenets on which judo is based; to illustrate techniques that are not allowed in competition; to preseve ancient techniques that are historically important but not used anymore in contemporary judo.
Knowledge of different kata is a requirement for the attainment of a higher rank or dan.
There are seven kata that are recognized by Kodokan today:
* Randori no Kata (Free practice forms), comprising two kata:
o Nage no Kata (Throwing forms)
o Katame no kata (Grappling forms)
* Kime no kata (Old style self-defence forms)
* Kodokan Goshin Jutsu (Modern self-defence forms)
* Ju no Kata (Forms of gentleness)
* Itsutsu no Kata (The five forms)
* Koshiki no Kata (Ancient forms)
* Seiryoku Zen'yo Kokumin Taiiku no Kata (Maximum-Efficiency National Physical Education Kata)
[edit] Gradings
Judoka are ranked according to skill and knowledge of judo, that grade being reflected by belt color: There are two divisions of grades, the student grades (kyu 級), and the advanced grades (dan 段). The kyu - dan grading system was introduced into the martial arts by Kano and has since been widely adopted. As initially designed the six student grades were ranked in decending order (rokyu, gokyu, yonkyu, sankyu, nikyu, and ikkyu) with ikkyu being the last before promotion to Shodan, the first dan rank. There are commonly 10 dan ranks are in ascending order; shodan, nidan, sandan, yodan, godan, rokudan, shichidan, hachidan, kudan, judan. For dan grades the first five are coloured black , rokudan, shichidan, and hachidan were to have alternating red and white panels beyond kudan the belts were to be solid red.
The tenth degree, judan, and those above it, have no formal requirements. The President of the Kodokan, currently Jigoro Kano's grandson Yukimitsu Kano, decides on individuals for promotion. Only 15 individuals have been promoted to this rank by the Kodokan. On January 6, 2006, three individuals were promoted to tenth dan simultaneously, Toshiro Daigo, Ichiro Abe, and Yoshimi Osawa - the most at the same time, and the first in 22 years. No one has ever been promoted to a rank higher than 10th-dan but:
Theoretically the Judo rank system is not limited to 10 degrees of black belt. The original English language copy (1955) of Illustrated Kodokan Judo, by Jigoro Kano, says: "There is no limit...on the grade one can receive. Therefore if one does reach a stage above 10th dan... there is no reason why he should not be promoted to 11th dan." However, since there has never been any promotion to a rank above 10th dan, the Kodokan Judo promotion system effectively has only 10 dans. There have only been 15 10th dans awarded by the Kodokan in the history of Judo.[2]
Although dan ranks tend to be consistent between national organizations there is more variation in the kyu grades, with some countries having more kyu grades. Although initially kyu grade belt colors were uniformly white, today a large variation can be seen.
In Japan, the use of belt colors is conversely related to the age of the student. Some clubs will only have black and white, others will include a brown belt for advanced kyu grades and at the elementary school level it is common to see a green belt for intermediate levels.
[edit] Belt colors
In the United States, only adults (or "Seniors", usually those age 16 and over) are allowed to earn shodan (first dan level, signified by wearing a black belt). Lower, non-dan levels, called kyu levels, are signified by wearing belts of various colors other than black. This is true for both Seniors and Juniors (children under the age of about 16).
Judo belt colors in the United States USJF Senior USJA Senior USJF Junior USJA Junior
"Junior 1st Degree"
Juichikyu
Jukyu
Kyukyu
Hachikyu
Nanakyu
Rokkyu
Gokyu
Yonkyu
Sankyu
Nikyu
Ikkyu
Shodan and above
The United States Judo Federation (USJF) lists four kyu belt colors for Seniors:[3]
* White for Rokkyu
* Green for Gokyu
* Blue for Yonkyu
* Brown (three levels) for Sankyu, Nikyu, and Ikkyu
The United States Judo Association (USJA) also lists four kyu belt colors for Seniors:[4]
* Yellow for Rokkyu
* Orange for Gokyu
* Green for Yonkyu
* Brown (three levels) for Sankyu, Nikyu, and Ikkyu
The USJA also mandates wearing a patch specifying the practitioner's level, for both kyu and dan levels.
The USJF Juniors rank system defines ranks to Juichikyu, or 11th kyu. The belt colors associated with these kyus are:
* White for Juichikyu
* White/Yellow for Jukyu
* Yellow for Kyukyu
* Yellow/Orange for Hachikyu
* Orange for Nanakyu
* Orange/Green for Rokkyu, equivalent to Senior White belt
* Green for Gokyu, equivalent to Senior Green belt
* Green/Blue for Yonkyu, equivalent to Senior Blue belt
* Blue for Sankyu, equivalent to Senior Brown (third) belt
* Blue/Purple for Nikyu, equivalent to Senior Brown (second) belt
* Purple for Ikkyu, equivalent to Senior Brown (first) belt
The USJA Juniors rank system defines twelve levels of kyu rank, beginning with "Junior 1st Degree" and ending with "Junior 12th Degree". The belt colors associated with these kyus are:
* Yellow for Junior 1st and 2nd Degrees
* Orange for Junior 3rd and 4th Degrees
* Green for Junior 5th and 6th Degrees
* Blue for Junior 7th and 8th Degrees
* Purple for Junior 9th and 10th Degrees
* Brown for Junior 11th and 12th Degrees
As with the Senior practitioners, the USJA requires Juniors to wear a patch specifying their rank.
In the UK, most of Europe, and Canada, the belt grading colors run: White, Yellow, Orange, Green, Blue, Brown and then Black. Some European countries additionally use a red belt to signify a complete beginner, whereas other European countries such as Scotland use a red belt as the belt one grade up from beginner.
Typical European judo belt colours White
Yellow
Orange
Green
Blue
Brown
Black
Brazilian belt colors White
Blue
Yellow
Orange
Green
Purple
Brown
Black
In Brazil the belt rankings are somewhat different and run: white, blue, yellow, orange, green, purple, brown and black. This is also consistent with the belt colors from Brazilian Jiu-Jitsu. Competitors are organized into two categories depending on grading: from white to green and then from purple to black.
Some countries also use colored tips on belts, to indicate junior age groups. Historically, a woman's belt had a white stripe at its centre.
Examination requirements vary depending on country, age group and of course the grade being attempted. They may include a grading competition and/or kata. The kyu ranks are normally awarded by local sensei but dan ranks are usually awarded only after doing an exam supervised by independent judges of the national judo association. For a rank to be recognized it must be registered with the national judo organization or the Kodokan.
[edit] Styles
Jigoro Kano's Kodokan Judo (講道館) is the most popular and well-known style of judo, but is not the only style. Kano took the name Judo from Jikishin Ryu Judo, which is an older school but not really seen outside of Japan. A sub-style of Kodokan Judo that developed in Japanese inter-scholastic competition is known as Kosen judo (高專柔道) with the same range of techniques but greater latitude permitted for Ne-waza (ground technique).
Teaching in France, Mikonosuke Kawaishi developed an alternative approach (Kawaishi Ryu Ju Jitsu) to instruction that continued to teach many techniques banned in modern competition. In Austria, Julius Fleck and others developed a system of throwing intended to extend Judo that they called Judo-do.
Mitsuyo Maeda introduced Judo to Brazil in the early 20th century. At this time, groundfighting (newaza) was very popular and not yet limited by the rules. He taught Judo to Carlos Gracie (1902-94) and others in Brazil. The terms Judo and Jujutsu were at that time interchangeable. Brazilian Jiu-Jitsu remained rather aloof to later changes in international Judo rules which added emphasis to the standing phase of the fight, and thus remains a distinctive form of Judo to this day.
[edit] Sport
Russian President Vladimir Putin throwing a sparring partner at a training session in Novo-Ogaryovo, 16 June 2002
Russian President Vladimir Putin throwing a sparring partner at a training session in Novo-Ogaryovo, 16 June 2002
Although a fully featured martial art, judo has also developed as a sport. Judo became an Olympic sport for men in 1964 and, with the persistence of an American woman by the name of Rusty Kanokogi and many others, a sport for women as well in 1988. Popular legend insists that the men's judo event in 1964 was a demonstration event, but according to Michel Brousse, official researcher and historian for the International Judo Federation, Judo was in fact an official sport in the 1964 games. Thanks to Dutchman Anton Geesink who won the gold medal in the All Categories division defeating Aiko Kaminaga, Japan, judo lost the image of being "Japanese only" and became an international sport. The women's event was a demonstration event in 1988, followed by becoming an official medal event 4 years later. Men and women compete separately (although they often train together), and there are several weight divisions.
The seven divisions are (These are subject to change, by both governing bodies and age):
Men
Under 60 kg 60~66 kg 66~73 kg 73~81 kg 81~90 kg 90~100 kg Over 100 kg
Women
Under 48 kg 48~52 kg 52~57 kg 57~63 kg 63~70 kg 70~78 kg Over 78 kg
Collegiate competition in the United States, especially between UC Berkeley and San Jose State, contributed towards refining judo into the sport seen at the Olympic Games and World Championships. In the 1940s Henry Stone and Yosh Uchida, the head coaches at Cal and SJSU, developed a weight class system for use in the frequent competitions between the schools. In 1953, Stone and Uchida successfully petitioned the Amateur Athletic Union to accept judo as a sport, with their weight class system as an official component. In 1961, Uchida represented the United States at the International Judo Federation meetings in Paris, where the IJF adopted weight classes for all future championships. Of course the IJF was created largely based on the earlier European Judo Union where weight classes had also been used for many years.
The object in a judo match is to either throw your opponent to the ground flat on his back, to pin him to the ground on his back, or to force him to submit using a choke or an armlock. This will score an ippon (一本), a decisive score(lit. "one round"). In the case of throwing, anything else, such as landing your opponent on the hip or shoulder from a throw, will be waza-ari (技有), yuko (有効) or koka (効果) (waza-ari being the highest of the 3, koka the lowest) or even no score. Technically speaking, a waza-ari is a "near-fall", two of which will earn the match. Yuko and koka are scores of lesser value that are not cumulative to either that higher waza-ari. Rather, they are used as deciders if the match ends before either of the higher scores is achieved. On the typical electronic scoreboard, yuko would score 010, vs. 001 for koka. In the event that the match a draw, the clock is reset to match-time; and the contest is to be resolved by a sudden death whereby the first contestant to achieve any score wins. This is called the Golden Score rule. If there is no score during this period, then the decision is by a majority of two--the referee and two corner judges.
After a throw occurs (whether or not it is scored), combat may continue on the ground. Pinning an opponent, with both shoulders on the mat, for 25 seconds (20 if you previously scored a waza-ari, since two half-points will complete your ippon) results in an ippon. An automatic ippon is also granted when one's opponent submits (which frequently occurs when strangleholds / armlocks are used). If there is no ippon, the one with the highest score wins. Penalties may be given for being inactive during the match or using illegal techniques and fighting must be stopped if a participant is outside the designated area on the mat (tatami). If the referee and judges need to discuss something during groundwork, the referee will call sonomama (which means "do not move") and both fighters must stop in the position they are in. When they are done, the referee says yoshi and the match continues.
All scores and penalties are given by the referee. The judges can make a decision to change the score or penalty given by the referee.
[edit] Rules of judo
Like any other sport, judo has an extensive set of rules. They can be baffling to the uninitiated observer, and even to the inexperienced competitor.
Judo rules tend to be motivated by one of two considerations. In the early days of judo, the primary consideration was safety. Thus, early rules prohibited joint attacks that were likely to result in injury before the player had an opportunity to surrender, e.g. finger and wrist locks. Later additions to the rules, while often also motivated by safety considerations, were also often motivated by a desire to keep matches dynamic and filled with action. For example, a late addition to the rules, motivated by the desire to avoid situations where players used non-standard gripping techniques to maintain small leads in points by preventing their opponent from attacking, allowed for penalizing the use of a non-standard grip for longer than three to five seconds. Similarly, late additions to the rules allowed for the awarding of penalties for stalling, noncombativity, and adopting a defensive posture.
Adding to the difficulty of understanding the rules of judo is that they are in constant evolution. For example, a change to the rules governing what constitutes being out of the bounds of the competition area was approved in 2006.
See Judo rules for more information on the rules of judo.
[edit] Sport and beyond
Despite the literal meaning of judo being "the gentle way", competition judo is one of the roughest and most demanding of sports. Regulation time in a World Championship or Olympic match is only 5 minutes, but will leave participants exhausted; in the event of a tie, matches proceed to an overtime phase called Golden Score which can last as long as regulation time.
Because competition judo does not contain the kicking and punching so common to other martial arts, Judo is often portrayed as friendlier than, for instance, Karate (although some forms of Karate emphasize the control of character and aggression). Proponents believe this contributes to judo being underrated as a method of self-defense although advanced kata do contain defenses against kicking, punching, and armed techniques. In addition, while throws executed with proper break falls on soft mats can seem light and graceful, their more practical application on a hard surface (and potentially with greater intent to harm) could be very dangerous. Even in the controlled environments of a match or dojo training session, injuries can easily occur due to a lapse in focus or overzealous application of a technique. Extensive anecdotal evidence demonstrates that Judo techniques are often effective in self-defense situations[citation needed].
Due to their knowledge in ne-waza/grappling and tachi-waza/standing-grappling, various accomplished judo practitioners have also competed in mixed martial arts matches. Fedor Emelianenko is PRIDE Fighting Championships's current heavyweight champion and consistently ranked the world's best heavyweight mixed martial arts fighter. Karo Parisyan is a top contender for the UFC's welterweight championship, and Hidehiko Yoshida, an Olympic gold medalist in 1992 and World Judo Champion in 1999, is another top fighter in PRIDE FC. Other Olympic gold medalist and world champion judokas such as Pawel Nastula and Yoon Dong Sik also fight in PRIDE. It should be noted that the ability to throw an opponent to his back and apply a pinning technique is of enormous importance in these kinds of competitions, as is the ability to finish off a downed opponent with strikes or a submission hold. Judo, uniquely among combat sports, puts equal emphasis on the initial throwing and the final pinning and submitting phases of combat, ideally enabling practitioners to dominate grappling-fights from the get-go.
[edit] Organization
The international organization of competition sports judo is the IJF, or the International Judo Federation.
In the US there are 3 different national organizations. One is USA Judo, which also has state organizations which host state tournaments and other judo related activities (USA Judo is the National Governing Body to the United States Olympic Committee). The other national organizations are United States Judo Federation (USJF) and the United States Judo Association (USJA). Each national organization in the US has its own promotion requirements. USJF and USJA are founding members of USA Judo with members often having dual membership.
In Great Britain, the British Judo Association (BJA) is the largest Judo Association and the only one affiliated to the IJF. Judo clubs can also be administered by the British Judo Council (BJC), which is popular in the north of England. Some minor judo administrations exist, such as the BJC-MAC (British Judo Council - Martial Arts Circle).
[edit] Judoka
A practitioner of judo is traditionally known as a judoka. According to Nobuo Akiyama and Carol Akiyama's Japanese Grammar, 2nd edition, "the suffix -ka, when added to a noun, means a person with expertise or special knowledge on that subject." The term judoka refers to any practitioner of a judo; no "expertise" as such is necesssarily implied.
See List of judoka
[edit] Judo organizations
List of judo organizations
[edit] Videos of judo
* Beautiful demonstration of judo techniques from Kyoto University. Primarily illustrates throwing techniques.
* Demonstration of judo techniques from Oklahoma City. Often shows transition into ne waza (matwork).
[edit] See also
* Aikido
* Kodokan
* Jujutsu
* Judo at the 2004 Summer Olympics (and similar articles for other Olympic years)
* Judo techniques, full list of judo techniques
* Sambo, a Russian martial art partially based on Judo
* Brazilian Jiu-Jitsu (BJJ), a Brazilian variant of Judo where newaza is emphasized
* Throw (grappling), More on throws
* Hard and soft (martial arts)
* The principle of ju
* List of martial arts
[edit] References
1. ^ Shiai rules
2. ^ Ohlenkamp, Neil. The Judo Rank System.
3. ^ United States Judo Federation Rank Requirements.
4. ^ United States Judo Association Rank Requirements.
[edit] Source
* Kano, Jigoro (1994) Kodokan Judo is the standard reference on judo. ISBN 4-7700-1799-5.
[edit] External links
Look up judo in
Wiktionary, the free dictionary.
Wikimedia Commons has media related to:
Judo
* IJF International Judo Federation. The worldwide governing body for judo
* USA JUDO - US governing body for judo
* Kodokan Judo Institute - the birthplace of judo
* Judo Info - The most comprehensive web site in the world about judo techniques, rules, history, etc
Karate (空手, Karate?) (listen (help·info)) or karate-dō (空手道, karate-dō?) is a martial art that developed from a synthesis of indigenous Ryukyuan fighting methods and southern Chinese martial arts. "Karate" originally meant Tang hand, i.e. Chinese hand, which was later changed to a homonym meaning 'empty hand' in Japanese. It is known primarily as a striking art, featuring punching, kicking, knee/elbow strikes and open handed techniques. However, grappling, joint manipulations, locks, restraints/traps, throws and vital point striking also appear in karate. A practicioner of karate is called a karateka (空手家).
The Practice of Karate
Motobu Choki in Naihanchi-dachi, one of the basic Karate stances
Motobu Choki in Naihanchi-dachi, one of the basic Karate stances
In general, there are many components to modern karate training. One common division is between the areas of kihon (basics or fundamentals), kata (forms), and kumite (sparring). Another popular division is between art, sport, and self defense training. Weapons (kobudo) comprise another important training area, as well as the psychological elements incorporated into a proper kokoro (attitude) such as perseverance, fearlessness, virtue, and leadership skills. Often in the execution of a technique, karateka are encouraged to issue a loud kiai or 'spirit shout'.
[edit] Kata (Forms)
Karate kata (型:かた) means "form" or "pattern," and despite how they might appear to the outsider, are not simply aerobic routines. They are patterns of movements and techniques that demonstrate physical combat principles. Kata may be thought of as a sequence of specific Karate movements that address various types of attack and defense under ideal circumstances. It is important to remember that they were developed before literacy was commonplace in Okinawa or China, so physical routines were the logical method for preserving a body of this type of information. It is also important to remember that the moves themselves may have multiple interpretations as self-defense techniques - there is no 'standard right or wrong' way to interpret them, but interpretations may have more or less utility for actual fighting. In karate, there are many types of Kata available. Depending on the current grade of the pupil, a specific Kata must be practised and ready to perform at a grading for one to grade to the next Kyu or Dan level.
Kata by the same name are often performed with variations between styles, within schools of the same style, or even under the same instructor over time. None of these variations are more "correct" than the other, though during testing only one version is typically accepted all around the world.
[edit] Kumite (Sparring)
Kumite (組手:くみて) literally means "meeting of hands," and has many incarnations. Sparring may be constrained by many rules or it may be free sparring, and today is practiced both as sport and for self-defense training. Sport sparring tends to be one hit "tag" type for points. Depending on style or teacher, takedowns and grappling may be involved alongside the punching and kicking.
Types of Kumite
* Ippon kumite - one step sparring, typically used for self defense drills
* Sanbon kumite - three step sparring, typically used to develop speed, strength, and technique
* Kiso kumite - structured sparring drawn from a kata
* Jiyu kumite - free sparring
Basic Footwork
* Nusumi ashi - back foot steps in first, front foot steps second to close distance
* Okuri ashi - front foot steps in first to close distance, back foot follow
* Tsugi ashi - stutter step, typically the front foot makes a small closing step followed by a much larger one to close distance with the back foot following as needed
* Ayu shi - the back foot steps through to the front to close distance
[edit] Kokoro (Attitude)
Kokoro (心:こころ) is a concept that crosses through many martial arts, but has no single discrete meaning. In context, it means something like "heart," "character," or "attitude." Character is a central concept in karate, and in keeping with the dō nature of modern karate, there is a great emphasis on improving oneself. It is often said that the art of karate is for self-defense; not injuring one's opponent is the highest expression of the art. Some popularly repeated quotes implicating this concept include:
"The ultimate aim of Karate lies not in victory or defeat, but in the perfection of the character of its participants." -Gichin Funakoshi[citation needed]
"The Way is not meant as a way of fighting. It is a path on which you travel to find your own inner peace and harmony. It is yours to seek and find." -Hironori Ohtsuka[citation needed]
Respect is another very important part of karate; it is about cleansing one's self and strengthening character. The spirit of "osu" is to push one's self to the limit of one's ability, to persevere under pressure, to endure. This is why it is said that "Karate always begins and ends with rei."[citation needed]
[edit] Traditional Concepts
The Three Attacks
* Sen sen no sen - to attack first
* Go no sen - to let the opponent attack first
* Tai no sen - to attack simultaneously
Kumite Priorities
* Ichi gan - first, eyes (awareness)
* Ni soku - second, footwork (ability and foundation)
* San tan - third, spirit (willingness to fight)
* Shi riki - fourth, strength (fitness of the body)
The Three Spirits
* Fukutsu no seishin - never give up
* Kanto no seishin - good fighting spirit
* Hissho no seishin - winning spirit
The Four Sicknesses
* Fear
* Surprise
* Doubt
* Confusion
The Three Minds
* Mushin - no mind (no need to think)
* Fudoshin - immobile mind (unaffected by anything external)
* Heijushin - common mind (always ready)
Other Concepts
* Seme - pressure towards the opponent
* Zanshin - awareness of self and surroundings
* Ki - universal life spirit
* Do - the "way"
* Embusen - location of the opponent
* Seichusen - center/centerline of either the opponent or yourself
[edit] Kobudō (Weapons Training)
Although technically meaning only "old martial way," in context kobudō refers specifically to the old martial way of Okinawa, and even more specifically, to the traditional weapons of Okinawa. These include most notably the kama (sickle), tonfa (stick with a handle), sai (fork), and bō (staff) jo (small staff) , although there are several others, as well.
[edit] Conditioning
Many styles of karate also include specialized conditioning equipment, known in Japanese collectively as "hojo undo." Some of the more common devices are the makiwara, the chi-ishi (a kind of off center free weight), and nigiri game (large jars used for grip strength).
[edit] Sport
Karate competition can be in three disciplines: sparring (kumite), forms kata (empty handed forms), or kobudō kata (weapons forms). Competitors may enter either as individuals or as part of a team. Evaluation for kata and kobudō are done by a panel of judges; sparring is judged by a head referee, usually with assistant referees at the side of the sparring area. Sparring matches are often divided by weight, age, gender, and experience classes.
Some traditionalists are concerned that the emphasis on competition is antithetical to the deeper values of the art. They feel that sport competition promotes a highly compromised interpretation of the art, including point fighting and demonstration of forms for entertainment value. In less traditional forms of tournament, usually in the United States of America, kata are occasionally set to music and even weapons that light up or glow are sometimes used. In extreme cases, martial practicality is eschewed in favor of gymnastics. Traditionalists feel this should not be regarded as emblematic of karate; others feel the publicity is helpful.[citation needed]
Karate may be practiced for many reasons, but was originally developed for self-defense. The kata contain a variety of techniques intended for this purpose: hand strikes, kicks, locking, and grappling. However, proper training is required to make these techniques usable against a determined aggressor. Most styles include some form of two-person pre-arranged self-defense exercises as well as sparring or semi-sparring (structured sparring with limited options allowed for either partner). This allows for the development of a sense of range and timing. A number of styles practice hard-contact sparring.
Some schools are criticized for claiming to teach practical martial arts despite a lack of two-person training to develop needed attributes. An instructor may believe that practicing kata suffices to develop the necessary skills.
Other schools may intentionally place emphasis on tournament preparation, physical conditioning, or aesthetics (developing form for form's sake), rather than self-defense. These schools will typically still teach self-defense techniques as well.
[edit] Rank
Originally, karate training did not use a ranking system, however, Gichin Funakoshi (船越 義珍 Funakoshi Gichin, 1868–1957) adopted the idea from judo founder Jigoro Kano using an identical scheme with a very limited set of belt colors.
As karate became more widespread there was a corresponding increase in the variation of rank numbers and belt colors. In traditional schools there are ten ranks of "color belt", referred to as kyu, and five or more dan or "black belt" ranks, with ten being the most common, or eleven if the rank of probational black belt (shodan-ho) is used. It is common for extensive periods of time to be required to pass before being allowed to test for promotion, and Jyudan is frequently awarded only after a notable karateka has passed away.
* Shodan-ho
* Shodan
* Nidan
* Sandan
* Yondan
* Godan
* Rokudan
* Shichidan
* Hachidan
* Kyudan
* Jyudan
The requirements for each belt vary as a student progresses, and each form of karate has a different grading system, however it is commonly noted that the progression of learning is in the following order:[citation needed]
1. Position - Stance
2. Balance - Control of position
3. Coordination - Control of balance and position in technique
4. Form - Performing the above correctly
5. Speed - Increase the rate of performance without loss of form
6. Power - Strengthening the techinique
7. Reflex - The technique becomes a natural movement
8. Conclusion - It is essential that the progression is not rushed, but developed at each stage.
Promotion is frequently a process of demonstration of acquired skill before a panel of judges, usually high ranking black belts of a particular style or school. Promotion can also be awarded by defeating a higher ranking competitor in kumite, particularly at dan levels. This practice is more common in Japan, though may still be practiced elsewhere.
Black belt testing is commonly done in a manner known as shinsa, which typically includes a written examination, a composition, kumite, kata, kobudo, footwork, and demonstrations of blocks, punches, kicks, etc.
[edit] Etymology of "Karate"
In the modern world, some could (and do) make the argument that, due to the generic meaning of the word "karate" (i.e. "empty hand"), any unarmed combat system or sport could technically refer accurately to itself as karate. This can be a difficult and sometimes inflammatory question, complicated by attitudes toward philosophy and competition, by questions of lineage and primacy, and perhaps above all by questions of nationalism and identity.
[edit] Chinese Hand
The word "karate", while always pronounced the same, was originally written with different kanji (Chinese characters). The first use of the word "karate" is attributed to Gichin Funakoshi, who wrote it not as we do today as 空手:からて (empty hand), but rather, as 唐手:からて (Tang Dynasty hand). The Tang Dynasty was a dynasty of China, and although it ended in 907 A.D. (well before Funakoshi's time), the kanji representing it remained in use in Okinawa as a way to refer to China, generally.[citation needed] Thus "karate" was originally a way of expressing "Chinese hand," or "martial art from China."
[edit] Empty Hand
Hanashiro Chomo
Hanashiro Chomo
The original use of "Chinese hand," "Tang hand," “Chinese fist,” or "Chinese techniques" (depending on one's exact interpretation of 唐手) reflects the documented Chinese influence on karate. Chomo Hanshiro (Hanashiro Chomo, 1869–1945) began using a homophone of the logogram pronounced "kara" by replacing the character meaning "Tang Dynasty"(唐から) with the character meaning "empty"(空 から) in 1905. This followed the so-called Meeting of the Masters in October of 1936, which included Hanashiro, Chōjun Miyagi (宮城 長順 Miyagi Chōjun, 1888–1953), Yabu Kentsu (1866–1936), Chotoku Kyan (Kyan Chotoku, 1870–1945), Genwa Nakasone (Nakasone Genwa, 1895–1978), Chosin Chibana (Chibana Chosin, 1885–1969), Choryo Maeshiro, and Shinpan Gusukuma (Gusukuma Shinpan, 1890–1954).[citation needed] Since this 1933-1936 period, the word pronounced "karate" has almost universally referred to the written kanji meaning "empty hand" (空手) rather than "Chinese hand" (唐手).
[edit] The Way and the Hand
Another nominal development is the addition of dō (道:どう) to the end of the word karate. Dō is a suffix having numerous meanings, including "road," "path," "route," and in this case, "way." It is used in many martial arts that survived Japan's turbulent transition from feudal culture to "modernity," and implies that they are not just techniques for fighting, but have spiritual elements when pursued as disciplines. In this circumstance it is usually translated as "the way of" as in aikido (合気道:あいきどう), judo (柔道:じゅうどう) and kendo (剣道:けんどう). Thus, "karatedō" is more than just "empty hand", but is "the way of the empty hand".
[edit] History of Karate
[edit] Okinawa
Japan annexed the nominally independent Ryukyu island group in 1874 after centuries of strong Japanese influence over the kingdom's affairs following the invasion by the Japanese Satsuma clan in 1609. The relationship between Okinawa and Japan is complicated. For purposes of discussing karate, it is convenient to speak of Okinawa and Japan as separate entities. The question of whether karate is Japanese or Okinawan is somewhat akin to asking whether the luau or the hula dance are American traditions or Hawaiian ones: They developed in Hawaii prior to when Hawaii became one of the United States, and so are usually described as Hawaiian, not American. The case is similar for karate, which is originally of Okinawan origin.
The Okinawan martial art "ti" was practiced by Okinawa royalty and their retainers for centuries before, and alongside, later Chinese influences. For the most part there were no particular styles of "ti", but rather a network of practitioners with their own individual methods and eclectic traditions. Early styles of karate are often generalized as Shuri-te, Naha-Te and Tomari-te, named after the three cities in which they emerged, although these are not concrete distinctions. Each area (and the teachers who lived there) had particular kata, techniques, and principles that distinguished their local version of "ti" from the others.[citation needed]
Members of the Okinawan upper classes were sent to China regularly to learn and study a variety of disciplines, political and practical; this exchange was not too different from the practice of exchange students today. The incorporation of empty-handed Chinese kung fu occurred partly because of these exchanges. Estimates of the Chinese influence in modern karate styles (or schools) vary considerably, and there are no clean divisions among 'styles'. To this day karate styles from some areas bear a striking resemblance to Fujian martial arts such as Fujian White Crane, Five Ancestors, and Gangrou-quan (Hard Soft Fist, pronounced "Gōjūken" in Japanese), while some karate looks distinctly Okinawan.[citation needed]
In 1806, Tode Sakukawa (1782-1838), who had studied pugilism and staff (bo) fighting in China (according to one legend, under the guidance of Koshokun, originator of kusanku kata), started teaching a fighting art in the city of Shuri that he called "Karate-no-Sakukawa" (at that time meaning "China hand of Sakakawa"). This was the first known recorded reference to the art of karate (written as 唐手).[citation needed]
Around the 1820s, Sakukawa's most significant student, Sokon Matsumura(1809-1899) taught a synthesis of te (Shuri-te and Tomari-te) and Shaolin (Chinese 少林) styles. It would become the style Shorin-ryū.
Anko Itosu
Anko Itosu
Matsumura taught his karate to Anko Itosu(1831-1915), among others. Itosu adapted two forms he learned from Matsumara, namely kusanku and chiang nan, to create the ping'an forms ("heian" or "pinan" in Japanese, as the symbols can be read differently) as simplified kata for beginning students. In 1901 he was instrumental in getting karate introduced into Okinawa's public schools. These forms were taught to children at the elementary-school level. Itosu is also credited with taking the large naihanchi form ("tekki" in Japan) and breaking it into the three well-known modern forms naihanchi shodan, naihanchi nidan and naihanchi sandan.[citation needed]
Itosu's influence in karate is very broad. The forms he created for beginners are common across nearly all forms of karate. His students included some of the most well-known karate practitioners, including Gichin Funakoshi, Kenwa Mabuni, and Motobu Choki. He is sometimes known as the "Grandfather of Modern Karate."[citation needed] In addition to the three early "ti" styles of karate, a fourth Okinawan influence is that of Kanbun Uechi (1877-1948), who, at the age of 20, went to Fuzhou in Fujian Province, China, to escape Japanese military conscription. While there, he studied under Shushiwa, the leading figure of Chinese Nanpa Shorin-ken at that time.[1] He later developed his own style of karate and brought it to Japan, though the style itself was neither taught in Okinawa nor rooted in Okinawan "ti".[citation needed]
[edit] Japan
Masters of Karate in Tokyo (1930s)(From left)Toyama Kanken, Ohtsuka Hironori, Shimoda Takeshi, Funakoshi Gichin, Motobu Choki, Mabuni Kenwa, Nakasone Genwa and Taira Shinken
Masters of Karate in Tokyo (1930s)
(From left)Toyama Kanken, Ohtsuka Hironori, Shimoda Takeshi, Funakoshi Gichin, Motobu Choki, Mabuni Kenwa, Nakasone Genwa and Taira Shinken
Gichin Funakoshi, father of Shotokan karate, is generally credited with having introduced and popularized karate on the main islands of Japan. He was a student of Anko Asato and Anko Itosu, who had worked to introduce karate to the Okinawa Prefectural School System in 1902. He brought Itosu's pinan kata to Japan (as did other of Itosu's students, such as Kenwa Mabuni, founder of Shito-ryu karate). Funakoshi worked specifically to introduce modernizations into karate and to spread it to Japan. However, there were many other Okinawan karateka living and teaching in Japan during this time period. Funakoshi's peers included such notable figures as Kenwa Mabuni, Chojun Miyagi, Motobu Choki, Toyama Kanken, Kanbun Uechi and several others.
This was an especially turbulent period in history for that area of the world, including Japan's official annexation of the Okinawan island group in 1874, the First Sino-Japanese War (1894-1895), the Russo-Japanese War (1904-1905), and the rise of Japanese expansionism (1905-1945). The karate styles within Japan have fairly clean lineages.
Japan was invading China at the time, and Funakoshi knew that the art of Tang/China hand would not be accepted; thus the change to "way of the empty hand". The "dō" suffix implies that karatedō is a path to self knowledge, not just a study of the technical aspects of fighting. Like most martial arts practiced in Japan, karate made its transition from -jutsu to -dō around the beginning of the 20th century. The "dō" in "karate-dō" sets it apart from karate "jutsu", much as aikido is distinguished from aikijutsu, judo from jujutsu, Iaidô from Iaijûtsu and so on.
Funakoshi Gichin
Funakoshi Gichin
As mentioned, Funakoshi changed the names of many kata and the meaning of the art itself (at least on mainland Japan). He most likely did this to get karate accepted by the Japanese budo organization Dai Nippon Butoku Kai. Funakoshi also gave Japanese names to many of the kata. The five Itosu pinan forms became known as heian; the three naihanchi forms became known as tekki; seisan' as hangetsu; chinto as gankaku; wanshu' as empi; etc. These were mostly just political changes, rather than changes to the content of the forms, although Funakoshi did institute changes to the content. The name changes may have been designed to make the art sound more Japanese (less "foreign"). Funakoshi had trained in two of the popular branches of Okinawan karate of the time, Shorin-ryū and Shorei-ryū. In Japan he was influenced by kendo, incorporating some ideas about distancing and timing into his style. He always referred to what he taught as simply "karate"; however, in 1936 he built the Shotokan dojo in Tokyo, and the school or style he left behind is usually called Shotokan.
The modernization and systemization of karate in Japan also included the adoption of the ubiquitous white uniform which consisted of the kimono and the dogi or keikogi - mostly called just karategi (pronounced 'gee' like 'key', and with a hard "g") - and colored belt ranks. Both of these innovations were originated and popularized by Jigoro Kano, the founder of judo, one of the men Funakoshi consulted in his efforts to 'modernize' karate.
In 1922, Ohtsuka Hironori attended the Tokyo Sports Festival, where he saw the Karate of Gichin Funakoshi. Ohtsuka was so impressed with this that he visited Funakoshi on numerous occasions during his stay. Funakoshi was, in turn, impressed by Ohtsuka's enthusiasm and determination to understand Karate and agreed to teach him all he knew about it. In the following years, Ohtsuka set up a medical practice dealing with martial arts injuries. His prowess in martial arts had led him to be the Chief Instructor of Shindo Yoshin Ryu Jujitsu at the age of only 30, and assistant instructor at Funakoshi dojo.
By 1929, Ohtsuka Hironori was registered as a member of the Japan Martial Arts Federation. Okinawan Karate at this time was only concerned with Kata, which is a set sequence of movements against an imaginary opponent (or group of opponents). Ohtsuka thought that the full spirit of Budo, which concentrates on defence and attack, was missing, and that kata techniques did not work in realistic fighting situations. He experimented with other, more combatative styles such as Judo, Kendo and Aikido. He blended the practical and useful elements of Okinawan karate with traditional Japanese martial-arts techniques from jujitsu and kendo, which lead to the birth of Kumite, or fighting, in Karate. Ohtsuka thought that there was a need for this more dynamic and fluid type of Karate to be taught, and he therefore decided to leave Funakoshi to concentrate on developing his own style of Karate - Wado.
In 1934 Wado-Ryu Karate was officially recognised as an independent style of Karate. This recognition meant a departure for Ohtsuka from his medical practice and the fulfilment of a life's ambition - to become a full-time martial artist.
Ohtsuka's personalised style of Karate was officially registered in 1938 after he was awarded the rank of "Renshi-go". He presented a demonstration of Wado Karate for the Japan Martial Arts Federation. They were so impressed with his style and commitment that they acknowledged him as a high-ranking instructor. The next year the Japan Martial Arts Federation asked all the different styles to register their names. Ohtsuka registered the name Wado-Ryu.
In 1944, Ohtsuka was appointed Japans Chief Karate Instructor.
A new form of karate called Kyokushin was developed by Masutatsu Oyama in 1964. Kyokushin taught a curriculum that emphasized contact, physical toughness, and practical application of karate techniques to self-defense situations. Because of its emphasis on physical, full-force sparring, Kyokushin is now often called "full contact karate." Many other karate organizations based, at least in part, on the Kyokushin curriculum have "spun-off" over the years.
There are four recognized (by the Federation of All Japan Karatedo Organization), traditional styles of karate:
* Shotokan
* Shito-ryu
* Goju-ryu
* Wado-ryu
Styles that do not belong to one of these schools are not automatically considered to be "illegitimate" or "bad" karate, just not one of the traditional schools. Many/most schools will be affiliated with or heavily influenced by one or more of these traditional styles.
[edit] The influence of karate
[edit] In Korea
Japan's occupation of Korea lasted from 1910 until 1945 and was marked by brutal repression of Korean culture and identity. [2]. Economic and social hardships of colonial Korea caused waves of migration of Koreans to mainland Japan[3] and the few Koreans who were able to receive education in Japan were often exposed to Japanese martial arts. Early taekwondo masters such Choi Hong Hi had studied Shotokan karate under Funakoshi Gichin. After independence from Japanese occupation, many of the martial arts schools in Korea were started by masters with varying degrees of training in Japanese (including karate), Chinese and Korean martial arts. In 1955, at the behest of President Syngman Rhee, the dozens of Korean martial arts schools were standardized and the resulting construction became Taekwondo. Although major techniques of taekwondo differ from Japanese Karate and reflect influence from indigenous Korean martial arts such as taekyon, karate provided an important comparative model for the early founders of taekwondo in their formalization of a standard Korean martial art. Taekwondo also inherited from karate the concept of linear striking to generate power as well as early karate "kata" and the belt and degree system.
[edit] In the United States
Traditional karate entered the United States principally via those members of the military who learned it in Okinawa or Japan and opened schools upon their return to the United States. For example, Robert Trias is often credited with opening the first Western karate school in the United States in Phoenix, Arizona in 1942. There are competing claims to this distinction; for example, it has been claimed that Ron Keiser instructed a number of his fellow Americans in his family's karate tradition while imprisoned in a Japanese-American internment camp.[citation needed]
[edit] Internationally
Since the 1950s, karate has exploded in popularity worldwide. By the end of the 20th century, karate was one of the most pervasive cultural exports from Asia to the Western world.[citation needed] It is impossible to enumerate the various schools and styles worldwide that are identifiably "karate". Nowadays one can learn karate (or one of its offshoots) almost anywhere. It is no longer something practiced in just certain countries: karate is universal.
There were two main avenues for the propagation of karate to the rest of the world. First, Allied servicemen, stationed in Japan and Okinawa after 1945, who studied karate and returned to their home countries. Second, the emigration of karate masters from Japan or Okinawa to other parts of the world, where they taught their art.
[edit] In film and popular culture
Another factor in the enduring appeal of karate is film; kung fu movies have propelled karate and other Asian martial arts into mass popularity. Some well-known stars who have related styles are:
* Jean Claude Van Damme - Shotokan
* Fumio Demura - Shito ryu
* Dolph Lundgren - Kyokushin
* Sonny Chiba - Kyokushin
[edit] Sports and the Olympics
An additional factor in the interest in karate is the availability of international competitions. There are bodies which sponsor competitions, including the U.S. Karate Association and Professional Karate Association.
Karate does not have Olympic status, although it received more than 50% of the votes to become an official Olympic sport; 75% of the votes are required. The World Karate Federation (WKF) is the recognized International Sport Federation by the International Olympic Committee (IOC) for karate. WKF represents the major uniform rules among all styles. Karate activities in individual countries are organized through national karate federations, recognized by each official national sports governing body and a National Olympic Committee. Each continent has one federation for continental karate activities. There are many organizations on national and international karate organization, regarding competitive activities and styles activities. Only WKF, however, is recognized by the International Olympic Committee, and only one in each country is linked with that official structure. For that, official recognition of the country sports governing body is required. Each country organizes their own karate championships following WKF rules.
[edit] Common Issues Within Karate
It has been suggested that this article or section be merged into McDojo. (Discuss)
Due to the popularity of martial arts, both in mass media and real life, a large number of disreputable, fraudulent, or misguided teachers and schools have arisen over the last 40 years or so. Commonly referred to as a "McDojo" or a "Black Belt Mill", these schools are frequently headed by martial artists of either dubious skill & training, business ethics, or both. Common means of discerning these types of schools include:
* High rank at a young age
* Very large number of black belt certifications from different styles
* "Grandmaster" status of the head instructor
* Select organizations within the school
* Emphasis on testing and fees
* Rapid promotion of students without discernable improvements in skill
* "New" and "revolutionary" methods
* "Secret" teachings from unverifiable sources
It is not uncommon for traditional schools to maintain that a sensei or instructor of their own school must be at least a third or fourth degree black belt at a minimum.
Another common issue is "chi masters" and others that make claims of superhuman or unverifiable abilities such as "no touch knockdowns", resisting physical force in defiance to the laws of physics, or "world record" speed. These are not to be confused with martial artists that train in feats of strength and focus for such things as breaking competitions.
Internal political fighting within schools and styles is quite frequent and the cause of a large number of splinter organizations and schools. When a recognized master or founder of a school dies, it is common for the senior instructors and students to split off and form their own competing school under a different name without making any substantial changes to the training material, kata, or teaching philosophy. A prime example of this was when Ed Parker died and his IKKA Kenpo Karate organization quickly became several major and uncountable minor schools that have yet to reunify.
Self-promotion of rank is an issue without any real solution. While this often happens with long-standing brown belts that did not have the means or opportunity to test for Shodan, it is more likely to be an issue when the owner of a school creates an accrediting organization for his own style and issues himself a diploma for whatever rank he or she sees fit. Larger accrediting organizations exist to provide independent assessment of skill and are typically regional or national in nature. It is not unusual for someone to not only acquire rank though their school or dojo, but to also test through one of these organizations as well to provide additional evidence of their ability and put to rest any rumors or concern as to the legitimacy of their rank. However, due to the large number of schools and instructors, it is not realistic to challenge someone's claimed rank because they lack independent verification - in essence, you pretty much have to take rank claims at face value unless there is substantial reason not to.
[edit] See also
* Japanese martial arts
* Karate stances
* Karate kata
[edit] References
1. ^ Kanbun Uechi history
2. ^ "Cultural Genocide" and the Japanese Occupation of Korea. Retrieved on 2007-02-19.
3. ^ Nozaki, Yoshiko; Hiromitsu Inokuchi, Tae-young Kim. Legal Categories, Demographic Change and Japan’s Korean Residents in the Long Twentieth Century. Retrieved on 2007-02-19.
Aikido (合気道, aikidō?), translated as "the way of harmonious spirit", is a modern Japanese martial art (gendai budō) which was developed by Morihei Ueshiba as a synthesis of his martial studies, philosophy, and religious beliefs. Ueshiba's goal was to create and disseminate a martial art through which a practitioner could achieve the ability to defend himself without injuring his attacker.
Aikido emphasizes blending with an attack and redirecting the attacker's energy, as opposed to meeting force with force, and consists primarily of body throws and joint-locking techniques. In addition to physical fitness and techniques, mental training, controlled relaxation, and development of "spirit" (ki) are emphasized throughout aikido training.
Spirit of aikido
The word aikido is formed of three Japanese characters,
* 合 - ai - joining
* 気 - ki - spirit
* 道 - dō - way
Aiki is a martial arts principle or tactic. It typically describes an idea of oneness or blending in the midst of combat. This principle finds expressions in such lethal concepts as the "mutual strike/kill" (相撃ち, ai-uchi?), but in aikido it generally describes the more elevated notion of blending rather than clashing. Emphasis is upon joining with the rhythm and intent of the opponent in order to find the optimal position and timing with which to apply the technique.[1]
The techniques of aikido can, when applied judiciously, divert or immobilize rather than damage or kill. As a result, some consider aikido to be a practical symbol of meeting aggression (physical, verbal, etc.) with an effective but merciful response, and finding harmony in conflict. Ueshiba declared, "To control aggression without inflicting injury is the Art of Peace."[2]
[edit] History
Disarming an attacker using a "sword taking" (tachi-dori) technique.
Disarming an attacker using a "sword taking" (tachi-dori) technique.
Aikido, as envisioned by its founder, is not only the synthesis of the founder's martial training, but also the expression of his personal philosophy of universal peace and reconciliation. Today, aikido continues its evolution from the koryū (old-style martial arts), to a wide variety of expressions by martial artists throughout the world.[3]
Aikido was created by Morihei Ueshiba (植芝 盛平 Ueshiba Morihei, 14 December 1883–26 April 1969), also known by aikido practitioners as Ōsensei ("Great Teacher"). Ueshiba developed aikido primarily during the late 1920s through the 1930s through the synthesis of the older martial arts that he had studied.[4] The core martial art from which aikido derives is Daitō-ryū aiki-jūjutsu, which Ueshiba studied directly with Takeda Sokaku (武田 惣角 Takeda Sōkaku, 1859–1943), the revivor of that art. Additionally, Ueshiba is known to have studied Tenjin Shin'yō-ryū with Tozawa Tokusaburō (戸沢 徳三郎, 1848–1912) in Tokyo in 1901, Gotōha Yagyu Shingan-ryū under Nakai Masakatsu (中井 正勝, fl. 1891–1908) in Sakai from 1903 to 1908, and judo with Kiyoichi Takagi (高木 喜代子 Takagi Kiyoichi, 1894–1972) in Tanabe in 1911.[5]
The art of Daitō-ryū is the primary technical influence upon aikido. Along with empty-handed throwing and joint-locking techniques, Ueshiba incorporated training movements with weapons, such as those for the spear (yari), short staff (jō), and perhaps also the bayonet (jūken). Most notably, however, aikido derives much of its technical theory from the art of swordsmanship (kenjutsu).[1]
Ueshiba moved to Hokkaidō in 1912, and he began studying under Takeda Sokaku in 1915. His official association with Daitō-ryū continued until 1937.[4] However, during the latter part of that period, Ueshiba had already begun to distance himself from Takeda and the Daitō-ryū. At that time, Ueshiba was referring to his martial art as "Aiki Budō". It is unclear when exactly Ueshiba began using the name "aikido", but it officially became the name of the art in 1942, when the Greater Japan Martial Virtue Society (Dai Nippon Butoku Kai) was engaged in a government sponsored reorganization and centralization of Japanese martial arts.[3]
After Ueshiba left Hokkaidō in 1919, he met and was profoundly influenced by Onisaburo Deguchi (出口 王仁三郎 Deguchi Ōnisaburo, 1871–1948), the spiritual leader of the Ōmoto-kyō religion (a neo-Shinto movement) in Ayabe.[6] Significantly, one of the primary features of Ōmoto-kyō is its emphasis on the attainment of utopia during one's life. This is the primary influence upon Ueshiba's martial philosophy of love and compassion, especially for those who seek to harm others. Aikido demonstrates this philosophy in its emphasis upon mastering martial arts so that one may receive an attack and harmlessly redirect it. In an ideal resolution, not only is the receiver unharmed, but so is the attacker.[7]
In addition to the effect on his spiritual growth, the connection with Deguchi was to have a major effect in introducing Ueshiba to various elite political and military circles as a martial artist. As a result of this exposure he was able to attract not only financial backing but also gifted students in their own right. Several of these students went on to found their own styles of aikido (see infra, Styles).[8]
Aikido was first brought to the West in 1951 by Minoru Mochizuki (望月 稔 Mōchizuki Minoru, 1907–2003) with a visit to France where he introduced aikido techniques to judo students.[9] He was followed by Tadashi Abe (阿部 正 Abe Tadashi, 1926–1984) in 1952 who came as the official Aikikai Hombu representative, remaining in France for seven years. Kenji Tomiki (富木 謙治 Tomiki Kenji, 1900–1979) toured with a delegation of various martial arts through fifteen continental states of the United States in 1953.[8] Subsequently in that year, Koichi Tohei (藤平 光一 Tōhei Kōichi, born 1920) was sent by Aikikai Hombu to Hawaii, for a full year, where he set up several dojo. This was backed up by several further visits and is thus considered the formal introduction of aikido to the United States. The United Kingdom followed in 1955; Italy in 1964; Germany and Australia in 1965. Today there are aikido dojo available to train throughout the world.
[edit] Physical training
In aikido, as in virtually all Japanese martial arts, there are both physical and mental aspects of training, which are often interdependent and interrelated. The physical training in aikido is diverse, covering both general physical fitness and conditioning, as well as specific techniques.[10] Because a substantial portion of any aikido curriculum consists of throws, the first thing most students learn is how to safely fall or roll.[11] The specific techniques for attack include both strikes and grabs; the techniques for defense consist of throws and pins. After basic techniques are learned, students study freestyle defense against multiple opponents, and in certain styles, techniques with weapons.
[edit] General fitness and training
Technique performed against two attackers.
Technique performed against two attackers.
Physical training goals pursued in conjunction with aikido include controlled relaxation, flexibility, and endurance, with less emphasis on weightlifting-style strength. In aikido technique, pushing or extending movements are much more common than pulling or contracting movements found in other arts, and this distinction can be applied to general fitness goals for the aikido practicioner.
Certain anaerobic fitness activities, such as weight-lifting, emphasize contractionary power, in which specific muscles or muscle groups are isolated and worked to improve tone, mass, and power. Aikido-related training instead emphasizes the use of coordinated whole-body movement and balance, more similar to yoga or pilates. For example, many dojo begin each class with warm-up exercises (準備体操, junbi taisō?), which may include stretching and breakfalls.[12]
Aikido training is based primarily on pre-arranged forms (kata), practiced by two persons together rather than freestyle practice (randori). The basic pattern is for the receiver of the technique (uke) to initiate an attack against the executor of the throw or pin (nage, also referred to as tori or shite depending on aikido style), who neutralises this attack with an aikido technique.
Both halves of the technique, that of uke and that of nage, are considered essential to aikido training. Both are studying aikido principles of blending and adaptation, applied from different sides of the technique. Nage learns to blend with and control attacking energy, while uke learns to become calm and flexible in the disadvantageous, off-balance positions in which nage places them. This "receiving" of the technique is called ukemi.[13] Uke continuously seeks to regain balance and cover vulnerabilities (e.g. an exposed side), while nage uses position and timing to keep uke off-balance and vulnerable. In more advanced training, uke will sometimes apply reversal techniques (kaeshi-waza) to regain their balance and pin or throw nage.
Ukemi (受身, Ukemi?), literally meaning "receiving-body", is the term used in aikido for protective techniques, such as parries or safe falls. One of the first skills taught to students beginning aikido is how to land when thrown so as to avoid injury.[13] Familiarity with different types of breakfalls allows sincere execution of techniques that could otherwise be prohibitively dangerous. In applying a technique, it is the responsibility of nage to prevent injury to uke by employing a speed and force of application that is commensurate with their partner's proficiency in ukemi.[13] Injuries (especially those to the joints), when they do occur in aikido, are often the result of nage misjudging the ability of uke to receive the throw or pin.[14][15]
[edit] Techniques
Students learn the various attacks from which an aikido technique can be practiced. Although attacks are not studied as thoroughly as in striking-based arts, honest attacks (a strong strike or an immobilizing grab) are needed to study correct and effective application of technique.[1]
Many of the strikes (打ち, uchi?) of aikido are often said to resemble blows from a sword or other grasped object, which may suggest origins in techniques intended for armed combat.[1] Other techniques which appear to explicitly be punches (tsuki), are also practiced as thrusts with a knife or sword. Kicks are generally reserved for upper-level variations; reasons cited include that falls from kicks are especially dangerous, and that kicks (high kicks in particular) were uncommon during the types of combat prevalent in feudal Japan. Some basic strikes include:
* Shōmen'uchi (front-face-strike) a vertical knife-hand strike to the head.
* Yokomen'uchi (side-face-strike) a diagonal knife-hand strike to the side of the head or neck.
* Mune-tsuki (or chūdan-tsuki) (chest-thrust) a punch to the torso. Specific targets include the chest, abdomen, and solar plexus.
* Ganmen-tsuki (or jōdan-tsuki) (face-thrust) a punch to the face.
Beginners in particular often practice techniques from grabs, both because they are safer and because it is easier to feel the energy and lines of force of a hold than a strike. Some grabs are historically derived from being held while trying to draw a weapon; a technique could then be used to free oneself and immobilize or strike the grabbing person. The following are examples of some basic grabs:
* Katate-dori (single-hand-grab) one hand grabs one wrist.
* Morote-dori (both-hands-grab) both hands grab one wrist.
* Ryōte-dori (both-hands-grab) both hands grab both wrists. (sometimes called ryōkatate-dori)
* Kata-dori (shoulder-grab) a shoulder grab. (both-shoulders-grab is ryōkata-dori)
* Mune-dori (chest-grab) grabbing the (clothing of the) chest.
Diagram of ikkyō, or "first technique". Yonkyō has a similar mechanism of action, although the upper hand grips the forearm rather than the elbow.
Diagram of ikkyō, or "first technique". Yonkyō has a similar mechanism of action, although the upper hand grips the forearm rather than the elbow.
The following are a sample of the basic or widely practiced throws and pins. The precise terminology for some may vary between organisations and styles, so what follows are the terms used by the Aikikai Foundation. Note that despite the names of the first five techniques listed, they are not universally taught in numeric order.[16]
* Ikkyō (first technique) a control using one hand on the elbow and one on near the wrist which leverages uke to the ground. This grip also applies pressure into the ulnar nerve on the medial side of the arm.
* Nikyō (second technique) an adductive wristlock that torques the arm and applies painful nerve pressure.
* Sankyō (third technique) a pronating technique that directs upward-spiraling tension throughout the arm, elbow and shoulder.
* Yonkyō (fourth technique) a shoulder control similar to ikkyō, but with both hands gripping the forearm. The knuckles (from the palm side) are applied to the recipient's radial nerve against the periosteum of the forearm bone.
* Gokyō (fifth technique) a variant of ikkyō in which the hand gripping the wrist is inverted. Common in tantō and other weapon take-aways.
* Shihōnage (four-direction throw) The hand is folded back past the shoulder, locking the shoulder joint.
* Kotegaeshi (wrist return) a supinating wristlock-throw that stretches the extensor digitorum.
* Kokyūnage (breath throw) a term for various types of flowing "timing throws".
* Iriminage (entering-body throw) throws in which nage moves through the space occupied by uke. The classic form superficially resembles a "clothesline" technique.
* Tenchinage (heaven-and-earth throw) From uke grabbing both wrists of nage. Moving forward, nage sweeps one hand low ("earth") and the other high ("heaven"), which unbalances uke so that he or she easily topples over.
* Koshinage (hip throw) aikido's version of the hip throw. Nage drops his or her hips lower than those of uke, then flips uke over the resultant fulcrum.
* Jūjinage (shaped-like-'ten' throw) a throw that locks the arms against each other. (The kanji for "10" is a cross-shape.)
* Kaitennage (rotation throw) nage sweeps the arm back until it locks the shoulder joint, then uses forward pressure to throw.
Weapons training in aikido traditionally includes the short staff (jō), wooden katana (bokken), and knife (tantō). Today, some schools also incorporate firearms-disarming techniques. Bokken and jō skills in particular are generally practised under the names aiki-ken, and aiki-jō, respectively. Both weapon-taking and weapon-retention are sometimes taught, to integrate armed and unarmed aspects. Some schools of aikido do not train with weapons at all while others, such as the Iwama style of Morihiro Saito (斉藤 守弘 Saitō Morihiro, 1928–2002), usually spend substantial time with bokken, jō, and tantō. The founder developed much of empty handed aikido from traditional sword and staff movements, so practice of these movements gives both insight into the origin of techniques and movements, and vital practice of these basic building blocks.[17]
[edit] Implementations
Diagram showing omote and ura applications of ikkyō.
Diagram showing omote and ura applications of ikkyō.
Aikido makes use of body movement (tai sabaki) to blend with uke. For example, an "entering" (入身, irimi?) technique consists of movements inward towards uke, while a "turning" (転換, tenkan?) technique uses a pivoting motion.[18] Additionally, an "inside" (内, uchi?) technique takes place in front of uke, whereas an "outside" (外, soto?) technique takes place to his side; a "front" (表, omote?) technique is applied with motion to the front of uke, and a "rear" (裏, ura?) version is applied with motion towards the rear of uke, usually by incorporating a turning or pivoting motion. Finally, most techniques can be performed while in a seated posture (seiza). Seated techniques are called suwari-waza.[19]
Thus, from fewer than twenty basic techniques, there are thousands of possible implementations. For instance, ikkyō can be applied to an opponent moving forward with a strike (perhaps with an ura type of movement to redirect the incoming force), or to an opponent who has already struck and is now moving back to reestablish distance (perhaps an omote-waza version). Specific aikido kata are typically referred to with the formula "attack-technique(-modifier)". For instance, katate-dori ikkyō refers to any ikkyō technique executed when uke is holding one wrist. This could be further specified as katate-dori ikkyō omote, referring to any forward-moving ikkyō technique from that grab.
Atemi are strikes (or feints) employed during an aikido technique. Some view atemi as attacks against "vital points" meant to cause damage in and of themselves. For instance, Gōzō Shioda (塩田 剛三 Shioda Gōzō, 1915–1994) described using atemi in a brawl to quickly down a gang's leader.[20] Others consider atemi, especially to the face, to be methods of distraction meant to enable other techniques. A strike, whether or not it is blocked, can startle the target and break his or her concentration. The target may also become unbalanced in attempting to avoid the blow, for example by jerking the head back, which may allow for an easier throw.[19]
Many sayings about atemi are attributed to Morihei Ueshiba, who considered them an essential element of technique.[21]
One feature of aikido is training to defend oneself against multiple attackers. Freestyle (randori, or jiyūwaza) practice with multiple attackers is a key part of most curriculae and is required for the higher level ranks. Randori exercises a person's ability to intuitively perform techniques in an unstructured environment. Strategic choice of techniques, based upon how they reposition the student relative to other attackers, is important in randori training. For instance, an ura technique might be used to neutralise the current attacker while turning to face attackers approaching from behind.
In Shodokan Aikido, randori differs in that it is not performed with multiple persons with defined roles of defender and attacker, but between two people, where both participants attack, defend and resist at will. In this respect it resembles judo randori.[22]
[edit] Mental training
Aikido training is mental as well as physical, emphasizing the ability to relax the mind and body even under the stress of dangerous situations.[23] This is necessary in order to enable the practitioner to perform the bold enter-and-blend movements that underlie aikido techniques, wherein an attack is met with confidence and directness.[24] Morihei Ueshiba once remarked that one "must be willing to receive 99% of an opponent's attack and stare death in the face" in order to execute techniques without hesistation.[2] As a martial art concerned not only with fighting proficiency but also with the betterment of daily life, this mental aspect is of key importance to aikido practitioners.[25]
[edit] Ki
This was the logogram for ki until 1946, when it was changed to 気.
This was the logogram for ki until 1946, when it was changed to 気.
The study of ki is a critical component of aikido, and its study defies categorization as either "physical" or "mental" training, as it encompasses both. The original kanji for ki was 氣 (shown left), and is a symbolic representation of a lid covering a pot full of rice; the "nourishing vapors" contained within are ki.[26]
The character "ki" is used in everyday Japanese terms, such as "health" (元気, genki?), or "shyness" (内気, uchiki?). Ki is most often understood as unified physical and mental intention. Gōzō Shioda's Yoshinkan Aikido, considered one of the 'hard styles', largely follows Ueshiba's teachings from before World War II, surmises that the secret to ki lay in timing and the application of the whole body's strength to a single point.[20] In later years, Ueshiba's application of ki in Aikido took on a softer, more gentle feel, and many of his later students teach about ki from this perspective. Koichi Tohei's Ki Society centers almost exclusively around the study of the empirical (albeit subjective) experience of ki. Students are even ranked separately in aikido techniques and ki development.
[edit] Uniforms and ranking
The vast majority of aikido styles use the system of earning coloured belts (段位, dan'i?) common to modern Japanese martial arts. Students generally progress by promotion through a series of "grades" (kyū), followed by a series of "degrees" (dan), pursuant to formal testing procedures. The majority of aikido organisations use only white and black belts to distinguish between skill levels, but some use a progression of coloured belts for kyū levels. It is important to note that the actual requirements for each rank, the number of levels of rank, and the exact testing procedures vary widely between styles. As such, a particular rank in one organization is not necessarily comparable or interchangeable with the rank of another.[1]
The uniform worn for practicing aikido (aikidōgi) is similar to the training uniform (keikogi) used in most other modern martial arts; simple trousers and a wraparound jacket, usually white. Both thick ("judo-style"), and thin ("karate-style") cotton tops are used. Most aikido systems also add a pair of wide pleated trousers called a hakama, which is a traditional Japanese garment. In aikido, the hakama is usually black or indigo, and the rules governing who is allowed to wear one vary widely. In many styles it is reserved for practitioners with black belt ranks, while others allow all practitioners or female practitioners to wear a hakama regardless of rank.[1]
[edit] Styles of aikido
See also: List of aikido styles
Aikido is practiced in many different and unique styles. A number of these styles were formed by Morihei Ueshiba's major students. The proliferation of independent styles began after the Second World War and accelerated with the death of the founder in 1969. Today, the major styles of aikido are each run by a separate governing organization, have their own headquarters (honbu dōjō) in Japan, and have an international breadth.[8]
Major styles of Aikido
Aikikai
Yoshinkan
Yoseikan Aikido
Shodokan Aikido
Ki Society
Iwama
The largest organization is the Aikikai Foundation, whose style of aikido is referred to as Aikikai. This style has remained centred on the family of Morihei Ueshiba, and is currently headed by the founder's grandson, Moriteru Ueshiba (植芝 守央 Ueshiba Moriteru, born 1951).
The earliest independent syles to emerge were Yoshinkan Aikido, founded by Gōzō Shioda in 1955,[27] Yoseikan Aikido, begun by Minoru Mochizuki in 1931,[9] and Shodokan Aikido, founded by Kenji Tomiki in 1967. The emergence of these styles pre-dated Ueshiba's death and did not cause any major upheavals when they were formalized. The most controversial was Shodokan Aikido which introduced rule based competition in training. This was unique in aikido at the time and some felt contrary to the spirit of aikido.
One event that did cause controversy was the departure of the Aikikai Honbu Dojo's chief instructor Koichi Tohei, in 1974. Tohei left as a result of a disagreement between him and the son of the founder, Kisshomaru Ueshiba (植芝 吉祥丸 Ueshiba Kisshōmaru, 1921–1999), who at that time headed the Aikikai Foundation. The disagreement was over the proper role of ki development in regular aikido training. After Tohei left, he formed his own style, called Shin Shin Toitsu Aikido, and the organization which governs it, the Ki Society.[28]
A final major style evolved from Ueshiba's retirement in Iwama, Japan, and the teaching methodology of long term student Morihiro Saito. It is unofficially referred to as the "Iwama style". Although Iwama style practitioners remained part of the Aikikai until Saito's death in 2002, followers of Saito subsequently split into two groups; one remaining with the Aikikai and the other forming the independent organization Shinshin Aikishuren Kai (神信合気修練会, Shinshin Aikishuren Kai?) in 2004 around Saito's son Hitohiro Saito (斎藤 仁弘 Saitō Hitohiro, born 1957).
Two further well known martial arts use the name aikido but do not have this direct connection. They are Korindo Aikido founded by Minoru Hirai (平井 稔 Hirai Minoru, 1903–1998) and Nihon Goshin Aikido (日本護身合気道, Nihon Goshin Aikidō?) founded by Shodo Morita (Morita Shodo, fl. c.1930s–1962). These schools, with some historical justification, suggest that the name aikido is not the exclusive domain of arts derived from the teachings of Morihei Ueshiba.
[edit] Aikidōka
See also: List of aikidōka
In Japanese, the suffix ka (家, ka?) may be added to the name of an activity to describe a practitioner, especially a serious or professional one. Aikido practitioners may thus be called aikidōka, analogous to karateka or judōka. In part because the ka suffix may suggest a certain (high) level of dedication, English-speakers sometimes use more generic terms like "aikidoist" or "aikido student" as well.
[edit] References
1. ^ a b c d e f Westbrook, Adele; Ratti, Oscar (1970). Aikido and the Dynamic Sphere. Tokyo, Japan: Charles E. Tuttle Company, 16-96. ISBN 978-0804800044.
2. ^ a b Ueshiba, Morihei; trans. by Stevens, John (1992). The Art of Peace. Boston, Massachusetts: Shambhala Publications, Inc.. ISBN 978-0877738510.
3. ^ a b Pranin, Stanley. (2006). "Aikido". Encyclopedia of Aikido.
4. ^ a b Stevens, John (1984). Aikido: The Way of Harmony. Boston, Massachusetts: Shambhala, 3-17. ISBN 978-0394714264.
5. ^ Pranin, Stanley. (2006). "Ueshiba, Morihei". Encyclopedia of Aikido.
6. ^ Pranin, Stanley. "Morihei Ueshiba and Onisaburo Deguchi". Encyclopedia of Aikido.
7. ^ Omoto-kyo teachings
8. ^ a b c Shishida, Fumiaki. "Aikido".
9. ^ a b Pranin, Stanley. (2006). "Mochizuki, Minoru". Encyclopedia of Aikido.
10. ^ Homma, Gaku (1990). Aikido for Life. Berkeley, California: North Atlantic Books, 20. ISBN 978-1556430787.
11. ^ Homma, Gaku (1990). Aikido for Life. Berkeley, California: North Atlantic Books, 43-45. ISBN 978-1556430787.
12. ^ Pranin, Stanley. (2006). "Jumbi Taiso". Encyclopedia of Aikido.
13. ^ a b c Homma, Gaku (1990). Aikido for Life. Berkeley, California: North Atlantic Books, 20-30. ISBN 978-1556430787.
14. ^ Aikido and injuries: special report by Fumiaki Shishida Aiki News 1989;80 (April); partial English translation of article in Nihon Budo Gakkai Gakujutsushi (Scientific Journal of Japanese Martial Arts Studies) 1988;21(1)
15. ^ Pranin, Stanley. (1983). "Aikido and Injuries". Encyclopedia of Aikido.
16. ^ Shifflett, C.M. (1999). Aikido Exercises for Teaching and Training. Berkeley, California: North Atlantic Books. ISBN 978-1556433146.
17. ^ Ratti, Oscar; Westbrook, Adele (1973). Secrets of the Samurai: The Martial Arts of Feudal Japan. Edison, New Jersey: Castle Books, 23, 356-359. ISBN 978-0785810735.
18. ^ Amdur, Ellis. "Irimi". Aikido Journal.
19. ^ a b Shioda, Gōzō (1968). Dynamic Aikido. Kodansha International, 52-55. ISBN 978-0870113017.
20. ^ a b Shioda, Gōzō; trans. by Payet, Jacques, and Johnston, Christopher (2000). Aikido Shugyo: Harmony in Confrontation. Shindokan Books. ISBN 978-0968779125.
21. ^ Scott, Nathan (2000). Teachings of Ueshiba Morihei Sensei. Retrieved on 2007-02-01.
22. ^ Shishido, Fumiaki; Nariyama, Tetsuro (2002). Aikido: Tradition and the Competitive Edge. Shodokan Publishing USA. ISBN 978-0964708327.
23. ^ Hyams, Joe (1979). Zen in the Martial Arts. New York: Bantam Books, 53-57. ISBN 767-8300450.
24. ^ Homma, Gaku (1990). Aikido for Life. Berkeley, California: North Atlantic Books, 1-9. ISBN 978-1556430787.
25. ^ Heckler, Richard (1985). Aikido and the New Warrior. Berkeley, California: North Atlantic Books, 51-57. ISBN 978-0938190516.
26. ^ YeYoung, Bing F.. The Conceptual Scheme of Chinese Philosophical Thinking - Qi. Literati Tradition. Retrieved on 2007-02-12.
27. ^ Pranin, Stanley. (2006). "Yoshinkan Aikido". Encyclopedia of Aikido.
28. ^ Pranin, Stanley. (2006). "Tohei, Koichi". Encyclopedia of Aikido.
[edit] External links
* AikiWeb Aikido Information — a comprehensive site on aikido, with essays, forums, gallery, reviews, columns, wiki and other information.
* AikidoFAQ — an informational aikido website, including articles, tips, and multimedia.
* Aikido Journal Website — an extensive source of aikido historical information.
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