Für das Training nützliche Sachen:
- Spielvorschläge zu zweit new file: "training/fundst\303\274cke/kleinePartnerspiele.md" - Ausarbeitung zur Gleichgewichtsbrechung new file: "training/fundst\303\274cke/kuzushiLehrmethoden/judoInfo/kuzushi1/judoinfo-TheRoleOfUnbalancingInJudo-Kuzushi.md"
This commit is contained in:
marko
147
training/fundstücke/kleinePartnerspiele.md
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147
training/fundstücke/kleinePartnerspiele.md
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# Kleine Partnerspiele/ Übungen
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Auszüge aus einem
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[Beitrag auf dasjudoforum.de][dasJudoForumKleinePartnerspiele].
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[dasJudoForumKleinePartnerspiele]: https://www.dasjudoforum.de/forum/viewtopic.php?t=57 "Kleine Partnerspiele - Ein Beitrag auf dasjudoforum.de"
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|
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## Beitrag von juergen » 02.12.2003, 22:48
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Es gibt derer so viele, aber eigentlich kann man als ÜL nicht genug
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kennen:
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|
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- Partnerhubschrauber: Der eine Partner ist in der Bank, der Andere
|
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liegt als "Rotor" darüber und dreht sich um 180 Grad ohne den Boden zu
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berühren.
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- Liegestützuhr: Im Liegestütz auf einer Linie, die Füße sind die Nabe.
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Wer kann den Partner als Uhrzeiger fangen? Variante: Auf Klatschen des ÜL wechselt die Richtung.
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- Partnerhindernishüpfen: Der Partner sitzt mit weit gespreizten
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Beinen, die Arme weit nach hinten gestreckt. Darüber ohne den Partner
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zu treten mit geschlossenen Beinen 10 Runden im Kreis hüpfen.
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- Partnersitups mit Klatschen: Frontal zueinander und je ein Bein über
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und unter dem Bein des Partners. Beim Hochkommen in die Hände des
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Partners klatschen.
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- Partnerkniebeugen: Rücken an Rücken gemeinsam Kniebeugen, den Rücken
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dabei gerade lassen und bitte nur dosiert gegen den Partner drücken.
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Geht auch als "Aufstand" zu dritt; viert;... Die Light- Variante für
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Anfänger: Gesichter zueinander an den Händen gefaßt.
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- Partnerliegestütz: Der Eine macht Liegestütz (bei Kindern auf den
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Knien), der Andere hat die Beine auf dem Rücken des Ersteren und pumpt
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synchron mit.
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- Bockspringen: Kopf unten halten! Variante: Drüberspringen und durch
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die Beine zurückkrabbeln.
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- Über die Bank springen (Beine geschlossen) und darunter
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zurückkrabbeln. Variante: Eng über die Bank durch weites durchgreifen
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Fallen und zurückkrabbeln.
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- Den Partner Huckepack nehmen und über die Matte laufen.
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Geht auch ausgehoben, z.B. mit Seoi-nage
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- Schubkarre: Handelsüblich oder mit Plattfuß: Jeder zweite Schritt
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auf den Unterarmen. Für Ältere: Auf den Fingerspitzen, aber hierbei
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Vorsicht! Der Partner muß verantwortungsvoll führen und darf nicht
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schieben!
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- Abschleppdienste:
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1. In Rückenlage mit Armen und Beinen über die Matte krabbeln,
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der Partner hängt als totes Gewicht bäuchlings am Gürtel.
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2. Im Schmetterlingsstil nur mit den Armen ziehend, der Partner
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hängt an den Beinen.
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3. Der Partner steht, Tori liegt bäuchlings mit gestrecketn Armen
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dahinter und hat die Fußgelenke des Partners gegriffen. Tori zieht
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sich nur mit den Armen heran (Unterschenkel hoch); der Partner
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macht einen Schritt vor, Tori zieht sich ran...
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## Beitrag von Fritz » 04.12.2003, 01:36
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- nochmal Liegestütz: Ein Partner liegt auf dem Rücken, Arm seitlich,
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Unterarme senkrecht aufgestellt, der andere Partner nähert sich von der
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Kopfseite und stellt sich in den Liegestütz auf die Unterarme des unten
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liegenden, der unten streckt die Arme aus, der obere knickt sie ein,
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und dann wieder zurück... nach 10 mal Rollentausch
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- Klimmzüge am Gürtel: Einer steht in der Grätsche, der andere
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liegt zwischen seine Beinen, greift mit beiden Händen in den Gürtel,
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Gesäß hoch und dann Klimmzüge (aus dem Schrägliegehang sozusagen;
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mindestens 15 ;-) die ersten gehen nämlich sehr leicht :wink:). Für den
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stehenden ist es gleich mal ne Gleichgewichtsübung.
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- Am Partner klettern:
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- Den Partner in Huckpackhaltung, aber von vorn hochnehmen. Dieser
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muß dann einmal um den stehenden Partner herumklettern, ohne den
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Boden zu berühren. Dabei kann man zwei Richtungen üben lassen:
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Drehachse senkrecht zur Matte (rel. einfach) und Drehachse
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waagerecht, also über Kopf und dann zwischen den Beinen durch.
|
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- Mehrere Partner (ca 10) bilden eine Kreis, Arme einhaken oder in
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die Gürtel greifen (wie bei Ringendem Kreis). Stabil stehen. Einer
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muß auf dem Kreis, als auf Armen und Schultern eine Runde klettern
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ohne den Boden zu berühren.
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|
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## Beitrag von Fritz » 07.12.2003, 23:58
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- Gürtel abbinden, einer liegt auf dem Rücken und hält das eine Ende
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des Gürtels, der andere steht am Kopfende und hält das andere Ende so,
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daß der Gürtel lang ist...
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1. der stehende zieht den liegenden mittels des Gürtels ran,
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geht dann wieder soweit zurück bis der Gürtel lang ist und zieht...
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2. der liegende muß sich ziehen
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## Beitrag von Der Müller » 03.11.2004, 15:16
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- Und noch einmal Liegestütz: Beide Partner stehen sich im Liegestütz
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gegenüber (nah beieinander). Beide versuchen jetzt sich die Hände
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wegzuziehen, wer fällt hat verloren. Kennt ihr sicherlich. Um das Ganze
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zu erschweren, rollen jetzt beide auf Kommando in die eine Richtung,
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stützen sich wieder hoch und versuchen wieder die Hände des anderen zu
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erwischen, wer schneller rollt hat bessere Karten, dadurch haben auch
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die Kleineren und Schwächeren eine Chance. Mal wieder in die gleiche
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Richtung oder aber in die andere rollen lassen. Merkt keiner von denen,
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dass sie da auch was für den Pudding in den Armen was machen.
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- Ich nenne diese Übung "Zöpfchen flechten": Drei Judoka liegen mit
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zwei Körperbreiten Abstand nebeneinander. Jetzt fängt der Äußere
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(rechts oder links) an. Er springt über den mittleren und rollt sich
|
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dann Richtung des anderen Äußeren, damit der nicht plattgewalzt wird
|
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springt er wiederum über ihn drüber und rollt weiter, usw. usw. Halt
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wie Zöpfchen flechten.
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|
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|
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## Beitrag von Linowitsch » 29.08.2005, 13:12
|
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|
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- der eine Partner sitzt mit gekrätschten Beinen der andere steht
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zwischen den Beinen. Wenn der Sitzende die Beine schließt muss der
|
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Stehende in springen und leicht breitbeinig landen. Dann macht der
|
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unten die beine wieder auseinander und der andere muss dazwischen
|
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springen usw.
|
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- die Partner stehen hintereinander, in Bewegungsrichtung schauend, der
|
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hintere schiebt den Vorderen der eine ziemlich starke Schräglage
|
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einnimmt, zur anderen Seite So wird einmal das vertrauen gefestigt bzw.
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auch die Körperfestigkeit, weil wenn der Vordere zusammenklappt fällt
|
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er auf den Hintern, so wird er das nicht so oft machen.
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- Partner stehen sich gegenüber. Einer greift den anderer in beide
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Revers und zieht ihn zur anderen Seite (Kuzushi-Übung) wenn der Partner
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sich ein Stück zurücklehnt erschwert er seinem Partner die Übung und
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zwingt ihn zu einem größeren Kraftaufwand
|
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## Beitrag von Fettzi » 07.10.2005, 19:12
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- Ein Partner liegt am Boden auf dem Rücken und der andere an den
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Füßen des unten Liegenden. Auf Kommando versucht der stehende eine
|
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Festhalte zu machen und der untenliegende darf sich nur durch drehen am
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Boden verteidigen.
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- Dann noch was, beide Partner sind im Liegestütz gegenüber, dann gibts
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zwei Möglichkeiten:
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- entweder versuchen die Arme wegzuziehen, daß der eine auf dem
|
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Bauch landet
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- oder bei den Kleinen versuchen, die Hand des Partners anzutippen.
|
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|
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## Beitrag von Fritz » 26.10.2005, 11:31
|
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|
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- 2er-Hasche: Alle bilden Paare, jeder jagt seinen Partner, wenn er
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ihn hat, dann wechseln die Rollen. Soweit ist es ja noch einfach und
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langweilig 8) Der flüchtende Partner darf aber bestimmte, vorher
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festgelegte Übungen auf seiner Flucht machen. Und immer wenn er so eine
|
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Übung macht, muß der Jäger sie nachmachen. Z.B. habe ich es unlängst
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mit Hockstrecksprüngen und dann mit Judorollen gespielt... es schlaucht
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ganz schön ;-)
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@@ -0,0 +1,669 @@
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# The Role of Unbalancing in Judo – Kuzushi
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Quelle
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: [Judo Info](https://judoinfo.com/ "Judo Info")
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Autor
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: [Wilfried Visser](https://judoinfo.com/mailto:wvisser@xs4all.nl%22)
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## Preface
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During my years of Judo-activity, I became increasingly conscious of
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the important of unbalancing ("*Kuzushi*" in Japanese). After I managed
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to understand the original principles of Judo in relation to *Kuzushi*,
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many throwing techniques rapidly became a lot more successful in both
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randori and shiai. It enabled me to analyze many randori-situations and
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thus improve my throwing techniques.
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In more recent years, I have become active in teaching Judo and have
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discovered that often a strong emphasis on *Kuzushi* can help solve a
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student's problems with learning throwing techniques. Simultaneously, I
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developed a vision on this aspect and found methods that proved quite
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successful for learning or teaching certain throws. This vision is not
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at all new. It is merely a specific approach to the basic principles of
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Judo, forcing the student to concentrate on the essential aspects for
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learning a throw. I think many Judo instructors will recognize this
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vision. However, I thought it useful to explain this vision in the
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paper I had to write to conclude the Dutch "Judo instructor B" course
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in 1994. After many requests for an English version, I started to
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translate the paper in 1996, resulting in these pages.
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I assume the reader is familiar with customary Judo terminology and
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with teaching Judo. In the last section, some terms are explained in a
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glossary. Some explanations require some sense of spatial imagination
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regarding throwing techniques.
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Note that although the Judoka in general is referred to as "he" or
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"him", both male and female Judoka's are addressed with these words.
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## Introduction
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Judo is a sport that is performed all over the world. An important
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aspect with Judo is that executing a typical Judo technique is
|
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difficult to learn. Many years of practice are usually required before
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a Judoka is able to successfully apply a few different throws in
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competition. Since students enjoy practicing Judo more when discovering
|
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the ability to execute certain techniques successfully, speeding up the
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learning process as much as possible is important.
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Especially with throwing techniques, the aspect of *Kuzushi* is of
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major importance. Besides *Kuzushi*, also the elements timing, speed
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and direction are essential for a successful throw. Therefore, many
|
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students experience Tachi-waza as more difficult than Ne-waza. In
|
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Ne-waza, one can temporarily forget about timing and speed during
|
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practice, thereby facilitating the understanding of the principles of
|
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a technique.
|
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|
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About a century ago, the founder of Judo Jigoro Kano already pointed
|
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out the importance of *Kuzushi*. Without *Kuzushi*, many throwing
|
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techniques are impossible and with insufficient *Kuzushi*, performing
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a throw, if at all possible, will cost much unnecessary effort.
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|
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In the Judo world, the importance of *Kuzushi* is certainly
|
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acknowledged. Teaching throwing techniques usually involves showing how
|
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to unbalance *Uke* before performing the throw. However, while being a
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student in different Judo classes and observing and teaching Judo
|
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classes at several clubs, I discovered that problems with throwing
|
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techniques very were often caused by neglect of the unbalancing of
|
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*Uke*.
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|
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|
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## Problems with unbalancing
|
||||
|
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In the average Judo class, several students often struggle with a
|
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throwing technique because of insufficient unbalancing of *Uke*. Even
|
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Dan-grade holders sometimes exhibit the inability to perform certain
|
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throws without *Uke*'s "jumping" help. Still, these Judoka's must have
|
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been told for years (or at least once) about the importance of
|
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*Kuzushi*.
|
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|
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From this observation, it can be concluded than many Judo students
|
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could be able to perform many throws much better if they could better
|
||||
understand and apply the principles of *Kuzushi*.
|
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|
||||
Two questions emerge:
|
||||
|
||||
1. Why is it that so many Judoka still neglect unbalancing so severely?
|
||||
(Causes)
|
||||
2. How can this problem be solved? (Solutions).
|
||||
|
||||
Of course, for solving problems first the causes need to be identified.
|
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In the following sections, an attempt is made to answer these two
|
||||
questions.
|
||||
|
||||
Note that the problem typically lies with Judoka, neither being
|
||||
beginners nor Dan-grade holders. The usual profile of a Judoka with
|
||||
these problems is a 2nd or 3rd Kyu-grade holder. The problems occur
|
||||
with judoka of all ages. For children younger than about eight years
|
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however, to whom the *Kuzushi* principles can only be addressed to a
|
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limited extent, the problem is not relevant yet.
|
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|
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|
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## Causes of insufficient unbalancing
|
||||
|
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Evidently, for poor *Kuzushi* many causes can be identified. However,
|
||||
in this paper, the major broad outlines are analyzed and a
|
||||
classification is made of various categories of causes. Causes may lie
|
||||
with the instructor, the instruction method, with *Uke* or with the
|
||||
Judo student himself. Also, the problem may be caused by years of
|
||||
erroneously rehearsing a throwing (and thus unbalancing) technique or
|
||||
the problem may arise during a particular lesson with learning to
|
||||
perform or improve a particular throw.
|
||||
|
||||
|
||||
### Causes with *Tori*
|
||||
|
||||
Naturally, this cause is the most frequent one. The problem lies with
|
||||
*Tori* trying to perform the throw. In spite of a correct instruction
|
||||
by the instructor and correct (re)action of *Uke*, *Tori* does not
|
||||
succeed in correctly throwing because of insufficient *Kuzushi*. In
|
||||
this case, solving the problem requires most effort. The Judoka may
|
||||
continue trying himself with now and then a hint from an instructor,
|
||||
but usually only dedicated individual instruction really helps.
|
||||
|
||||
Often, the Judoka is not really aware of the problem himself. He does
|
||||
not understand the exact nature and cause of the problem and does not
|
||||
see the relation with *Kuzushi*. Therefore, much depends on the
|
||||
ability of the instructor to make the student aware of the critical
|
||||
importance of *Kuzushi*. With better understanding of the problem, the
|
||||
Judoka will be more able to improve it.
|
||||
|
||||
|
||||
### Causes with *Uke*
|
||||
|
||||
The role of *Uke* is very important. An *Uke*, not willing to fall or
|
||||
not willing to move in the right direction can easily make a throw
|
||||
impossible. Solutions to this problem lie in more attention to *Uke*'s
|
||||
action necessary for the throw and specific instruction to *Uke*.
|
||||
|
||||
|
||||
### Causes with the instructor
|
||||
|
||||
Naturally, an incompetent instructor leads to poor class results. In
|
||||
the long term, this may frustrate Judo students for they are generally
|
||||
not able yet to identify and correct the errors they make (i.e.
|
||||
erroneous or no *Kuzushi*). Many techniques will not succeed in spite
|
||||
of frequent practicing.
|
||||
|
||||
|
||||
### Causes with the instruction method
|
||||
|
||||
The problem may also have its origin in the generally accepted Judo
|
||||
instruction methodology. For instance, it might be possible that this
|
||||
methodology lacks sufficient emphasis on unbalancing in the
|
||||
instructions for learning and improving throwing techniques.
|
||||
|
||||
## Solutions
|
||||
|
||||
|
||||
### Fault analysis
|
||||
|
||||
It can be stated that when practicing a throwing technique, the direct
|
||||
cause of problems with performing the throw lies in faults of either
|
||||
*Tori* or *Uke* or both. In order to identify and solve the problem,
|
||||
the execution of the throw must be analyzed. The identification of
|
||||
particular faults requires *fault analysis*. In ref.1 (Part 1,
|
||||
section 2.1.2) fault analysis is discussed thoroughly. Fault analysis
|
||||
can best be applied with individual instruction. A Judo instructor,
|
||||
well skilled in fault analysis can easily improve the execution of many
|
||||
throwing techniques. Of course, the instructor then needs to be
|
||||
skillfully familiar with the technique. Often, the execution of the
|
||||
throw must be repeatedly observed and sometimes the instructor needs to
|
||||
act as *Uke* in order to literally "feel" what is going on. If *Uke*
|
||||
acts wrongly, the instructor can discover this by performing the throw
|
||||
with *Uke*.
|
||||
|
||||
Advanced students may learn (with some help from the instructor) to
|
||||
analyze faults themselves and thereby obtain the ability to rapidly
|
||||
develop there own technique.
|
||||
|
||||
Noting that also the identification of insufficient *Kuzushi* requires
|
||||
fault analysis is important.
|
||||
|
||||
|
||||
### Individual instruction
|
||||
|
||||
If the problem is clearly caused by the student himself, individual
|
||||
instruction is the way to go. This often leads to a surprisingly rapid
|
||||
improvement. After involving the student in an analysis of the faults,
|
||||
an example can be presented showing how to unbalance *Uke* correctly.
|
||||
At the same time, how and why *Kuzushi* must be applied can be
|
||||
explained. This also makes it easier for the Judoka not to forget to
|
||||
pay attention to *Kuzushi*.
|
||||
|
||||
Usually it is very beneficial to exaggerate *Kuzushi* during
|
||||
demonstration and to advise the students to maintain doing so during
|
||||
*Uchi-komi* practice of the throw. This creates an automatic powerful
|
||||
and effective *Kuzushi* for competition and *randori*.
|
||||
|
||||
### Instruction to *Uke*
|
||||
|
||||
When instructing a throwing technique to a whole class, a first step is
|
||||
to pay attention to the action of *Uke*. This may be done using a
|
||||
typical situation from competition as an example. From the presumed
|
||||
action of *Uke*, creating a condition favorable for the particular
|
||||
throw, a logical conclusion can be presented leading to the decision to
|
||||
use the throw. For many throws, *Uke*'s action or posture must meet
|
||||
several conditions, before the throw can be successful. For example,
|
||||
*Uke* can be instructed to move in a particular manner. When *Uke*'s
|
||||
action is neglected by the instructor, a lot of frustration can be
|
||||
experienced among the students since they often do not understand when
|
||||
failure of a throw is caused by *Uke* and when caused by themselves.
|
||||
|
||||
![*Uke*'s posture after forward unbalancing; right and wrong.][kuzushiUkePosture]
|
||||
|
||||
By frequently involving *Uke* in the explanation of a throwing
|
||||
technique, students will soon learn the importance of *Uke*'s action.
|
||||
They will learn to think about when a throw may be successful and when
|
||||
it will likely not be, both for the case where they throw and the case
|
||||
where they are threatened to be thrown. During practice of the throw,
|
||||
*Uke* must allow *Tori* to unbalance him without much effort. This
|
||||
"giving in" to unbalancing can easily be demonstrated by the
|
||||
instructor. It may also be useful to demonstrate how *Uke* should *not*
|
||||
react when *Tori* tries the throw. When *Tori*, during practice of
|
||||
Ippon-seoi-nage for example, tries to unbalance *Uke* forwards, *Uke*
|
||||
should not bend his knees and lower his body (crouch), but he should
|
||||
let himself be pulled forwards while maintaining an upright posture.
|
||||
This is depicted in figure 1.
|
||||
|
||||
|
||||
### The instructor
|
||||
|
||||
The instructor may in many different ways fail to teach throwing
|
||||
techniques effectively. This paper however only intends to help solve
|
||||
the above-mentioned problems. In case of fundamental shortcomings with
|
||||
the instructor, only the customary instructor courses, such as those
|
||||
organized by Judo Associations, can help. This aspect is therefore
|
||||
considered beyond the scope of this paper.
|
||||
|
||||
|
||||
### Adaptions to the instruction methodology
|
||||
|
||||
Customary instruction methods as presented by the instructor courses of
|
||||
the Judo Associations like the Dutch Judo Association (JBN) cannot
|
||||
easily be changed. Only after proved benefits, wide acceptation and
|
||||
thorough scrutiny and (international) negotiation, new methods should
|
||||
be included in the instructors course programs.
|
||||
|
||||
The approach presented in this paper is not aimed at adaption of
|
||||
existing instruction methodology. Only a shift of focus with certain
|
||||
instructions is proposed. Judo instructors have a lot of freedom in
|
||||
deciding what methods to apply and for some, the ideas presented here
|
||||
may prove useful.
|
||||
|
||||
In the subsequent sections some general directives and examples of how
|
||||
to apply a strong focus on *Kuzushi* are presented using a number of
|
||||
specific throws.
|
||||
|
||||
|
||||
## Instructing Kuzushi
|
||||
|
||||
In this section several aspects related to *Kuzushi* are addressed. For
|
||||
each aspect, an instruction approach emphasizing *Kuzushi* is
|
||||
explained. Ippon-seoi-nage, a throw that requires strong forward
|
||||
*Kuzushi* will serve as example. Of course, besides unbalancing the
|
||||
student will often have to be pointed to other aspects as well
|
||||
(bending knees/lowering body, lifting using legs, contact of upper
|
||||
bodies etc.). These aspects however, are beyond the scope of this
|
||||
report and it is assumed the student does not make errors except with
|
||||
*Kuzushi*.
|
||||
|
||||
![*Uke*'s posture after correct unbalancing with Ippon-seoi-nage][kuzushiUkeIponSeoiNage]
|
||||
|
||||
|
||||
### Timing
|
||||
|
||||
One of the most frequent errors with *Kuzushi* is related to the moment
|
||||
when the student begins with it. The throw often seems to fail due to
|
||||
the lack of *Kuzushi*. After deeper scrutiny however, it often appears
|
||||
that the student very well knows that he must unbalance *Uke*, but he
|
||||
only starts with it after having entered for the throw. After *Tori*
|
||||
has entered for the throw, in many cases (Ippon-seoi-nage is a very
|
||||
good example) he cannot apply a powerful *Kuzushi* anymore, simply
|
||||
because he is in a very unfavorable position and posture for it.
|
||||
Therefore, he needs to start unbalancing *Uke* before entry towards the
|
||||
throwing position, resulting in a situation like in figure 2, where
|
||||
*Uke* more or less lies on *Tori*'s back. This means that the student
|
||||
learning to improve the throw should be instructed to start unbalancing
|
||||
before everything else (when still facing *Uke* in the neutral Judo
|
||||
posture). *Uke* should easily allow this (see the next section) and
|
||||
then *Tori* can continue to execute the throw. During practice this
|
||||
rule should be exaggerated for many throwing techniques to make sure
|
||||
that later during *Shiai* or *Randori* the Judoka does not try the
|
||||
throw without a reasonable chance of success (or with the chance of
|
||||
being counter-thrown). In practice, it often turns out that Judoka
|
||||
having this *Kuzushi* problem, after patient instruction experience
|
||||
this solution as a revelation, discovering that at last they have
|
||||
become able to execute a particular throw without an extreme lot of
|
||||
effort, even during *Randori* or *Shiai*.
|
||||
|
||||
|
||||
### Instructions for *Uke*
|
||||
|
||||
When practicing a new throwing technique, the student will often want
|
||||
to execute the throw in slow motion. He will want to slowly unbalance
|
||||
*Uke* and keep *Uke* in his unbalanced posture. Due to the slow motion,
|
||||
*Uke* will have to put effort in trying not to fall or change posture.
|
||||
*Uke* should as much as possible maintain the posture that would have
|
||||
been resulted from a quickly executed throw (like in figure 2). Only
|
||||
then *Tori* can take his time to practice the throw with the
|
||||
appropriate *Kuzushi*. However, this is not an easy task for *Uke*. It
|
||||
is therefore also the duty of the instructor to teach the students how
|
||||
to optimally act as *Uke*. In any case, he can show how *Uke* should
|
||||
allow being unbalanced and keep pointing at the importance of being a
|
||||
good "*Uke for practice*". A problem may well emerge here though if
|
||||
*Uke* has a fear of falling.
|
||||
|
||||
Taking Ippon-Seoi-Nage as an example again, *Uke* must yield when being
|
||||
pulled forwards and keep an upright posture (not crouch or turn away).
|
||||
The latter is a natural defensive reaction that *Uke* must suppress
|
||||
during practice.
|
||||
|
||||
A much used indication with this throw is that *Uke* should be pulled
|
||||
forwards to the point where he comes to stand on his toes. This aspect
|
||||
will be addressed again in section 6 with the examples.
|
||||
|
||||
|
||||
### Maintaining *Kuzushi*
|
||||
|
||||
Another problem that occurs with slow motion execution of a throw is
|
||||
maintaining *Uke*'s unbalanced posture. After first having unbalanced
|
||||
*Uke*, *Tori* will start entering for the throw. With many throws he
|
||||
must step and pivot or turn towards *Uke*. During these actions it is
|
||||
difficult to maintain the force necessary for the *Kuzushi* of *Uke*,
|
||||
especially when the student is still in the process of learning the
|
||||
throwing technique. When learning a technique, *Tori* must pay
|
||||
attention to many different things (like how to step when entering)
|
||||
anyhow and also the slow motion execution may well make things
|
||||
difficult. The result from this all is often that *Tori,* during
|
||||
entering for the throw, loosens his unbalancing grip on *Uke*, thereby
|
||||
undoing the effect of all the previous *Kuzushi*. Naturally, the
|
||||
problem may disappear with a more rapid execution of the throw, right
|
||||
after or nearly simultaneously with the *Kuzushi*. Persistently
|
||||
identifying (fault analysis) and pointing at the importance of this
|
||||
problem is very important. The instructor can easily demonstrate the
|
||||
capital difference between maintaining and not maintaining *Kuzushi*.
|
||||
|
||||
|
||||
### Using *Tori's* momentum and gravity
|
||||
|
||||
Unbalancing *Uke* requires a force being applied on him. *Uke's* body
|
||||
is moved in a direction until his posture is unbalanced enough to
|
||||
enable easy execution of a particular throw. *Tori* may both push off
|
||||
with his legs and use his arms to generate the force. However, this way
|
||||
a lot of effort is required.
|
||||
|
||||
*Tori* can also generate force using the momentum of his own body. He
|
||||
then first needs to bring his body in motion in the direction of the
|
||||
desired *Kuzushi*. This builds up a momentum equal to the *moving mass
|
||||
times the velocity* of his body. Due to the inertia of *Tori*'s body,
|
||||
the momentum will only change when a force is applied on it. At the
|
||||
instance when the motion is hindered, for instance because of collision
|
||||
with *Uke* or because of *Tori*'s limited arm length, part of *Tori*'s
|
||||
momentum is transferred to *Uke*'s body, resulting in its motion and
|
||||
*Kuzushi*. This sudden transfer of momentum requires a large force
|
||||
during a short period. In the science of dynamics this is called an
|
||||
*impulse*. When unbalancing using this principle, little effort is
|
||||
needed. It is therefore very suitable for a light weight *Tori* against
|
||||
a heavy *Uke*. For example, it may well be applied with *Kuzushi* in a
|
||||
forward direction with ippon-seoi-nage.
|
||||
|
||||
The force of gravity, acting on the human body can also vary well be
|
||||
used in favor of *Tori*. With tomoe-nage for example, gravity helps
|
||||
*Tori* to unbalance *Uke* in a forward-downward direction.
|
||||
|
||||
In ref.2 and ref.3 the principles of mechanics and dynamics as applied
|
||||
on Judo are thoroughly explained. Depending on the type of students, it
|
||||
is very well possible to include these principles in the instruction of
|
||||
*Kuzushi* during a judo class. Without referring to complex theories of
|
||||
(bio-)mechanics and dynamics, the mechanical principles behind
|
||||
effective *Kuzushi* can be explained. This may very well help to
|
||||
improve Judo skills and understanding of many students.
|
||||
|
||||
|
||||
### Using *Uke*'s imbalance and motion
|
||||
|
||||
Due to the very dynamic nature of Judo "in action", *Uke*'s body is
|
||||
often already in motion or in an unbalanced posture. It is evident that
|
||||
from the basic Judo principle of "*Ju*" (giving way) as one of the
|
||||
means to make maximum efficient use of one's physical energy
|
||||
("*Seiryoku zenyo*"), this opportunity must be used, whenever possible.
|
||||
*Tori* only needs to apply little force or impulse in the direction of
|
||||
*Uke*'s motion or imbalance. During entering for the throw, the motion
|
||||
of *Uke*'s body must at least be maintained as much as possible.
|
||||
*Tori* gets help here from the law of inertia again (see section 5.4).
|
||||
|
||||
During practice, *Uke* may be instructed to move in a certain direction
|
||||
or assume an imbalanced posture. The instructor can explain this
|
||||
presumption to the students and propose further specific actions by
|
||||
*Uke*.
|
||||
|
||||
No need to say that with these exercises throws are "executed in
|
||||
motion".
|
||||
|
||||
|
||||
### Method of entry
|
||||
|
||||
The footwork when entering for a throw often affects the degree of
|
||||
*Kuzushi*. During the last decade, I noticed that besides the (for
|
||||
right-hand forward throws) customary "stepping towards *Uke*" (pivoting
|
||||
around the left foot, stepping right-left, figure 3), also the method
|
||||
of stepping away from *Uke* (figure 4) is being addressed again. This
|
||||
was especially observed with throws like Ippon-Seoi-Nage and
|
||||
Tsuri-Komi-Goshi.
|
||||
|
||||
![Stepping towards *Uke* ("right-left")][kuzushiTowardUke]
|
||||
|
||||
![Stepping away from *Uke* ("left-right")][kuzushiAwayFromUke]
|
||||
|
||||
During an international Judo summer school in Lindow/Mark, Germany 1994
|
||||
(ref.4), the Japanese instructor Nakanishi demonstrated how he applied
|
||||
his favorite and very successful throw Ippon-Seoi-Nage in competition.
|
||||
He always stepped away from *Uke* when entering, with large steps,
|
||||
pulling *Uke* with him in a forward direction. He often even stepped
|
||||
towards *Uke* first in order to be able to unbalance *Uke* by stepping
|
||||
away from him again. Noteworthy here is that Nakanishi's lessons for
|
||||
the major part consisted of instructions for *Kuzushi*.
|
||||
|
||||
Of course, stepping away from *Uke* in order to unbalance is nothing
|
||||
new, since it is clearly demonstrated in the *Nage-No-Kata* with
|
||||
*Tsuri-Komi-Goshi* and *Harai-Goshi*. However, it appears that many
|
||||
students, when applying this method of entry right from the beginning
|
||||
when learning a throw, better manage to unbalance *Uke* (in common
|
||||
practice however, most students learn to step towards *Uke* when
|
||||
entering for throws like seoi-nage). In a way, it is no surprise that
|
||||
it is easier to step away from *Uke* when unbalancing him, since *Tori*
|
||||
then already moves in the throwing direction during entry,
|
||||
automatically pulling *Uke* towards the right direction and thereby
|
||||
effectively unbalancing him.
|
||||
|
||||
It is by no means wrong to learn a throw stepping towards *Uke*. Both
|
||||
ways can be very effective. However, it was interesting to notice that
|
||||
many students, once having learned a throw like seoi-nage the former
|
||||
way (stepping towards *Uke*), have many problems learning to unbalance
|
||||
*Uke* while stepping away from him. They have to restrain the habit of
|
||||
stepping "right-left" and change it into "left foot first and then
|
||||
right".
|
||||
|
||||
|
||||
### Uchi-komi
|
||||
|
||||
*Uchi-komi* is an important training method rehearsing the actions
|
||||
necessary for a throwing technique. Unfortunately, *Kuzushi* is often
|
||||
neglected during uchi-komi. This is due to the tendency of *Uchi-komi*
|
||||
to degrade to merely an exercise with the objective to enter as many
|
||||
times as possible in a certain period. This may be an effective
|
||||
training method to improve physical condition but if the technique of
|
||||
the throw is neglected, wrong actions are rehearsed which at a later
|
||||
stage are very difficult to unlearn again. The instructor should
|
||||
definitely prevent this. During *Uchi-komi*, *Kuzushi* must remain a
|
||||
full part of the total complex of actions that are repeatedly executed.
|
||||
If this element is ignored, the Judoka is actually exercising the habit
|
||||
to try throwing techniques during *Shiai* or *Randori* without
|
||||
*Kuzushi*.
|
||||
|
||||
|
||||
## Examples
|
||||
|
||||
In this section, the approach presented in the previous sections is
|
||||
demonstrated with a number of examples. The ideas that I bring up here,
|
||||
have emerged during classes in the beginning of my time as instructor,
|
||||
when I discovered that many students experienced significant problems
|
||||
when trying to learn certain throws. First I tried to solve the problem
|
||||
using individual instruction and emphasizing *Kuzushi*. This worked,
|
||||
but only per individual student. Later, I derived training methods,
|
||||
emphasizing the importance of *Kuzushi* at an early stage, in order to
|
||||
be able to apply the approach to the entire class.
|
||||
|
||||
A number of throws have been selected to which the approach is
|
||||
applicable. These may form the basis for application to other (both
|
||||
forwards and backward) throws. Although interesting for further study,
|
||||
these other throws are not discussed here.
|
||||
|
||||
|
||||
### O-goshi
|
||||
|
||||
This throw is often one of the first forward throws a beginning Judoka
|
||||
will learn. The focus then is usually on bending the knees and lifting
|
||||
*Uke* using the legs. Although very important, the *Kuzushi* aspect is
|
||||
less critical here since *Tori*'s hand on *Uke*'s back already
|
||||
automatically pulls *Uke* forwards in most cases. Nevertheless,
|
||||
*Kuzushi* should get attention right from the beginning anyway, because
|
||||
of its importance for many other throws. *O-goshi* offers a good
|
||||
opportunity to demonstrate how *Uke* should be pulled forwards before
|
||||
entry, in order to execute the throw with minimal effort. In general,
|
||||
the best way to enter for this throw is to step towards *Uke*
|
||||
(right-left) making it easy to put *Tori*'s hand on *Uke*'s back.
|
||||
|
||||
|
||||
### Ippon-Seoi-Nage
|
||||
|
||||
The example throw from section 5, ippon-seoi-nage, is perfect for a
|
||||
demonstration of forward *Kuzushi*, both to beginners and advanced
|
||||
Judoka. The same holds for morote-seoi-nage (figure 5), a similar
|
||||
shoulder throw. Also, the effect of stepping away from *Uke* can be
|
||||
demonstrated perfectly with these throws.
|
||||
|
||||
![Seoi-Nage after powerful *Kuzushi*][kuzushiSeoiNage]
|
||||
|
||||
Important for a powerful *Kuzushi* is using ones right hand to pull
|
||||
*Uke* forwards, before it is thrust underneath *Uke*'s armpit (assuming
|
||||
a right-hand throw). This arm often remains unused for *Kuzushi* but
|
||||
the habit to use it could very well be trained with Uchi-Komi.
|
||||
|
||||
When entering with stepping towards *Uke* (right-left), *Tori* must
|
||||
avoid getting too close to *Uke*. *Tori* must always feel an
|
||||
inclination forwards rather than backwards, otherwise he can too easily
|
||||
be pulled backwards or counter-thrown by *Uke*. A student must remember
|
||||
always to pull *Uke* towards himself instead of pulling himself towards
|
||||
*Uke*.
|
||||
|
||||
|
||||
### Tsuri-komi-goshi
|
||||
|
||||
This throw requires about the same *Kuzushi* as ippon-seoi-nage.
|
||||
However, the entering will be more difficult for beginners since *Tori*
|
||||
has to bend his knees and lower his body severely without releasing the
|
||||
*Kuzushi*. As for entering, both stepping towards *Uke* and away from
|
||||
*Uke* (like in nage-no-kata) is possible.
|
||||
|
||||
|
||||
### Tai-otoshi
|
||||
|
||||
Usually this throw is taught only to at least a little advanced
|
||||
students. More than with other throws, a number of conditions with
|
||||
respect to *Kuzushi*, position, posture and motion of *Uke*, have to be
|
||||
met. For a right-hand *Tai-otoshi*, *Uke* should be forced entirely to
|
||||
stand on his right leg in order to prevent his escape by simply
|
||||
stepping over *Tori*'s blocking leg (with his right leg, standing on
|
||||
his left). Without a thorough *Kuzushi* the execution of the throw is
|
||||
nearly impossible. After having entered for the throw, *Tori* is hardly
|
||||
able to pull *Uke* forwards anymore. Therefore, the *Kuzushi* must have
|
||||
been completed at a very early stage (i.e. before entering). When
|
||||
learning *Tai-otoshi*, it may be recommended to first pull *Uke*
|
||||
forwards and to his right in order to have him stand on his right leg.
|
||||
This form of *Kuzushi* can easily be demonstrated slowly. Subsequently,
|
||||
*Tori* must maintain this *Kuzushi* during entry for the throw. If this
|
||||
works, *Tori* can execute the throw without much effort by pushing with
|
||||
his right arm and still pulling with his left. Once the student feels
|
||||
how effortless *Tai-otoshi* can be executed this way, he has
|
||||
comprehended much of the essence of the throw.
|
||||
|
||||
Of course, during practice *Uke* must allow being pulled onto his right
|
||||
leg. This is easiest if *Uke* stands with his right leg forward.
|
||||
|
||||
|
||||
### O-soto-gari
|
||||
|
||||
The subject addressed in this paper is mainly related to forward
|
||||
throwing techniques. However, a number of principles are also
|
||||
applicable to other types of throws. A good example is *O-soto-gari*, a
|
||||
technique to throw *Uke* backward. With this throw also, *Tori* must
|
||||
unbalance *Uke* at an early stage, otherwise he will get into a
|
||||
backward posture himself and be prone to counter-throws. The difference
|
||||
is that the *Kuzushi* with *O-soto-gari* happens *during* entry. *Tori*
|
||||
steps (with one big step) with his left foot outside *Uke's* right foot
|
||||
and while doing this he pushes *Uke* backwards-sidewards onto his right
|
||||
leg.
|
||||
|
||||
For the rest, the same principles as for forward throws can be applied:
|
||||
also with *O-soto-gari* an already backwards unbalanced posture or
|
||||
motion of *Uke* can very efficiently be exploited. Furthermore, also
|
||||
here *Kuzushi* needs to be maintained during entry and *Tori*'s
|
||||
momentum can very well be used.
|
||||
|
||||
|
||||
## Conclusions
|
||||
|
||||
After observation of the learning processes of throwing techniques
|
||||
during Judo classes I attended myself, giving personal instructions and
|
||||
teaching various classes I came to the conclusion that the emphasis on
|
||||
*Kuzushi* is very important. It recurrently appears that students
|
||||
neglect *Kuzushi* if it is not addressed frequently during classes. I
|
||||
still see this happen regularly in some classes and I noticed it
|
||||
frustrates a significant number of students.
|
||||
|
||||
It is therefore essential that the instructor emphasizes *Kuzushi*
|
||||
during presentation of a throwing technique.
|
||||
|
||||
I believe that with ***personal instruction,*** an instructor quickly
|
||||
and efficiently can explain the principle of *Kuzushi* to a student.
|
||||
This will rapidly develop a student's skills with specific throws. A
|
||||
major factor in this is that personal instruction enables a thorough
|
||||
***fault analysis***.
|
||||
|
||||
Emphasizing the importance of starting ***Kuzushi before entry for the
|
||||
throw*** is very effective when teaching most throwing techniques,
|
||||
especially with beginning students. An additional advantage of this
|
||||
approach is that the student will acknowledge the importance of
|
||||
*Kuzushi* right from the start.
|
||||
|
||||
***Uke's role*** is very important. In order to allow *Tori* to
|
||||
practice *Kuzushi*, he may not resist it. *Uke* must avoid pushing or
|
||||
pulling in opposite directions, crouching or turning away. Therefore,
|
||||
the instructor must also give instructions to *Uke*.
|
||||
|
||||
***Maintaining Kuzushi***, using the ***momentum*** of one's ***own
|
||||
body weight*** and the ***unbalance and motion of Uke***, are aspects
|
||||
to which students must be pointed in order to learn to use *Kuzushi*
|
||||
effectively.
|
||||
|
||||
*Kuzushi* is affected by the ***method of entry*** for a throw.
|
||||
***Stepping towards or away from Uke*** makes a lot of difference for a
|
||||
number of forward throws. It is recommended to point out the importance
|
||||
of this. When learning a throw, the easiest way should be applied.
|
||||
|
||||
***During Uchi-komi, Kuzushi must remain a full part of the total
|
||||
action*** being rehearsed. If this is neglected, the Judoka trains the
|
||||
habit to try to execute throws without *Kuzushi* during *Randori* and
|
||||
*Shiai*.
|
||||
|
||||
In general, it can be concluded than the aspect of ***Kuzushi is
|
||||
essential in the process of learning judo***. A clear explanation of
|
||||
*Kuzushi* as a crucial requirement for the success of a throw leads to
|
||||
quick results with judo students. A continuing emphasis on *Kuzushi*,
|
||||
both with instruction and with correction (fault analysis) enhances the
|
||||
ability of students to improve their skills and consequently enhances
|
||||
self-confidence and satisfaction with learning Judo. As a result, many
|
||||
Judoka's will, at a much earlier stage, be able to contemplate on
|
||||
*Kuzushi* themselves and correct and improve themselves.
|
||||
|
||||
In a more extensive study, it would be of interest to analyze *all*
|
||||
basic throwing techniques in detail according to the approach presented
|
||||
here.
|
||||
|
||||
|
||||
## References
|
||||
|
||||
|
||||
1. Cursusmap Opleiding Judoleraar A, cursusjaar 1992-1993, Judo Bond
|
||||
Nederland, Nieuwegein (in dutch)
|
||||
2. "Judo in Beweging", Douwe Boersma, 1993, Elmar B.V., Rijswijk;
|
||||
ISBN 90 389 01240/CIP (in dutch)
|
||||
3. "The Secrets of Judo", Jiichi Watanabe and Lindy Avakian, 1960,
|
||||
Tuttle Company, Tokyo; ISBN 0-8048-0516-4
|
||||
4. Video tape of the instructions given at the "Internationale
|
||||
Judo-Sommerschule 1994" of the German Judo Association in Lindow/Mark,
|
||||
July 31-August 6, 1994
|
||||
|
||||
|
||||
## Glossary
|
||||
|
||||
jap.|meaning
|
||||
---:|------:
|
||||
*Ju*|Giving way
|
||||
*Kuzush*i|The unbalancing of the opponent
|
||||
*Randori*|Free practice
|
||||
*Shiai*|Contest
|
||||
*Seiryoku zenyo*|The maximum efficient use of physical and mental energy
|
||||
*Tori*|The player who performs the throw
|
||||
*Uchi-komi*|Repetitive exercise of entering for a throw
|
||||
*Uke*|The player who gets thrown
|
||||
|
||||
|
||||
|
||||
[kuzushiUkePosture]: ./images/Kuzushi1.jpg "*Uke*'s posture after forward unbalancing; right and wrong."
|
||||
[kuzushiUkeIponSeoiNage]: ./images/Kuzushi2.jpg "*Uke*'s posture after correct unbalancing with Ippon-seoi-nage"
|
||||
[kuzushiTowardUke]: ./images/Kuzushi3.jpg "Stepping towards *Uke* (right-left)"
|
||||
[kuzushiAwayFromUke]: ./images/Kuzushi4.jpg "Stepping away from *Uke* (left-right)"
|
||||
[kuzushiSeoiNage]: ./images/Kuzushi5.jpg "Seoi-Nage after powerful *Kuzushi*"
|
||||
Reference in New Issue
Block a user