Merge branch 'lexikon' of /media/sdb1/gitRepositories/judo into lexikon

training/fundstücke/kleinePartnerspiele.md

@@ -0,0 +1,147 @@
+# Kleine Partnerspiele/ Übungen
+
+Auszüge aus einem 
+[Beitrag auf dasjudoforum.de][dasJudoForumKleinePartnerspiele].
+
+[dasJudoForumKleinePartnerspiele]: https://www.dasjudoforum.de/forum/viewtopic.php?t=57 "Kleine Partnerspiele - Ein Beitrag auf dasjudoforum.de"
+
+
+## Beitrag  von juergen » 02.12.2003, 22:48
+
+Es gibt derer so viele, aber eigentlich kann man als ÜL nicht genug 
+kennen:
+
+- Partnerhubschrauber: Der eine Partner ist in der Bank, der Andere 
+liegt als "Rotor" darüber und dreht sich um 180 Grad ohne den Boden zu 
+berühren.
+- Liegestützuhr: Im Liegestütz auf einer Linie, die Füße sind die Nabe. 
+Wer kann den Partner als Uhrzeiger fangen? Variante: Auf Klatschen des ÜL wechselt die Richtung.
+- Partnerhindernishüpfen: Der Partner sitzt mit weit gespreizten 
+Beinen, die Arme weit nach hinten gestreckt. Darüber ohne den Partner 
+zu treten mit geschlossenen Beinen 10 Runden im Kreis hüpfen.
+- Partnersitups mit Klatschen: Frontal zueinander und je ein Bein über 
+und unter dem Bein des Partners. Beim Hochkommen in die Hände des 
+Partners klatschen.
+- Partnerkniebeugen: Rücken an Rücken gemeinsam Kniebeugen, den Rücken 
+dabei gerade lassen und bitte nur dosiert gegen den Partner drücken. 
+Geht auch als "Aufstand" zu dritt; viert;... Die Light- Variante für 
+Anfänger: Gesichter zueinander an den Händen gefaßt.
+- Partnerliegestütz: Der Eine macht Liegestütz (bei Kindern auf den 
+Knien), der Andere hat die Beine auf dem Rücken des Ersteren und pumpt 
+synchron mit.
+- Bockspringen: Kopf unten halten! Variante: Drüberspringen und durch 
+die Beine zurückkrabbeln.
+- Über die Bank springen (Beine geschlossen) und darunter 
+zurückkrabbeln. Variante: Eng über die Bank durch weites durchgreifen 
+Fallen und zurückkrabbeln.
+- Den Partner Huckepack nehmen und über die Matte laufen. 
+Geht auch ausgehoben, z.B. mit Seoi-nage
+- Schubkarre: Handelsüblich oder mit Plattfuß: Jeder zweite Schritt 
+auf den Unterarmen. Für Ältere: Auf den Fingerspitzen, aber hierbei 
+Vorsicht! Der Partner muß verantwortungsvoll führen und darf nicht 
+schieben!
+- Abschleppdienste:
+	1. In Rückenlage mit Armen und Beinen über die Matte krabbeln, 
+	der Partner hängt als totes Gewicht bäuchlings am Gürtel.
+	2. Im Schmetterlingsstil nur mit den Armen ziehend, der Partner 
+	hängt an den Beinen.
+	3. Der Partner steht, Tori liegt bäuchlings mit gestrecketn Armen 
+	dahinter und hat die Fußgelenke des Partners gegriffen. Tori zieht 
+	sich nur mit den Armen heran (Unterschenkel hoch); der Partner 
+	macht einen Schritt vor, Tori zieht sich ran...
+
+
+## Beitrag  von Fritz » 04.12.2003, 01:36
+
+- nochmal Liegestütz: Ein Partner liegt auf dem Rücken, Arm seitlich, 
+Unterarme senkrecht aufgestellt, der andere Partner nähert sich von der 
+Kopfseite und stellt sich in den Liegestütz auf die Unterarme des unten 
+liegenden, der unten streckt die Arme aus, der obere knickt sie ein, 
+und dann wieder zurück... nach 10 mal Rollentausch
+- Klimmzüge am Gürtel: Einer steht in der Grätsche, der andere
+liegt zwischen seine Beinen, greift mit beiden Händen in den Gürtel,
+Gesäß hoch und dann Klimmzüge (aus dem Schrägliegehang sozusagen; 
+mindestens 15 ;-) die ersten gehen nämlich sehr leicht :wink:). Für den 
+stehenden ist es gleich mal ne Gleichgewichtsübung.
+- Am Partner klettern:
+	- Den Partner in Huckpackhaltung, aber von vorn hochnehmen. Dieser
+	muß dann einmal um den stehenden Partner herumklettern, ohne den 
+	Boden zu berühren. Dabei kann man zwei Richtungen üben lassen: 
+	Drehachse senkrecht zur Matte (rel. einfach) und Drehachse 
+	waagerecht, also über Kopf und dann zwischen den Beinen durch.
+	- Mehrere Partner (ca 10) bilden eine Kreis, Arme einhaken oder in 
+	die Gürtel greifen (wie bei Ringendem Kreis). Stabil stehen. Einer 
+	muß auf dem Kreis, als auf Armen und Schultern eine Runde klettern 
+	ohne den Boden zu berühren.
+
+
+## Beitrag  von Fritz » 07.12.2003, 23:58
+
+- Gürtel abbinden, einer liegt auf dem Rücken und hält das eine Ende 
+des Gürtels, der andere steht am Kopfende und hält das andere Ende so, 
+daß der Gürtel lang ist...
+	1. der stehende zieht den liegenden mittels des Gürtels ran, 
+	geht dann wieder soweit zurück bis der Gürtel lang ist und zieht... 
+	2. der liegende muß sich ziehen
+
+
+## Beitrag  von Der Müller » 03.11.2004, 15:16
+
+- Und noch einmal Liegestütz: Beide Partner stehen sich im Liegestütz 
+gegenüber (nah beieinander). Beide versuchen jetzt sich die Hände 
+wegzuziehen, wer fällt hat verloren. Kennt ihr sicherlich. Um das Ganze 
+zu erschweren, rollen jetzt beide auf Kommando in die eine Richtung, 
+stützen sich wieder hoch und versuchen wieder die Hände des anderen zu 
+erwischen, wer schneller rollt hat bessere Karten, dadurch haben auch 
+die Kleineren und Schwächeren eine Chance. Mal wieder in die gleiche 
+Richtung oder aber in die andere rollen lassen. Merkt keiner von denen, 
+dass sie da auch was für den Pudding in den Armen was machen.
+- Ich nenne diese Übung "Zöpfchen flechten": Drei Judoka liegen mit 
+zwei Körperbreiten Abstand nebeneinander. Jetzt fängt der Äußere 
+(rechts oder links) an. Er springt über den mittleren und rollt sich 
+dann Richtung des anderen Äußeren, damit der nicht plattgewalzt wird 
+springt er wiederum über ihn drüber und rollt weiter, usw. usw. Halt 
+wie Zöpfchen flechten.
+
+
+## Beitrag  von Linowitsch » 29.08.2005, 13:12
+
+
+- der eine Partner sitzt mit gekrätschten Beinen der andere steht 
+zwischen den Beinen. Wenn der Sitzende die Beine schließt muss der 
+Stehende in springen und leicht breitbeinig landen. Dann macht der 
+unten die beine wieder auseinander und der andere muss dazwischen 
+springen usw.
+- die Partner stehen hintereinander, in Bewegungsrichtung schauend, der 
+hintere schiebt den Vorderen der eine ziemlich starke Schräglage 
+einnimmt, zur anderen Seite So wird einmal das vertrauen gefestigt bzw. 
+auch die Körperfestigkeit, weil wenn der Vordere zusammenklappt fällt 
+er auf den Hintern, so wird er das nicht so oft machen.
+- Partner stehen sich gegenüber. Einer greift den anderer in beide 
+Revers und zieht ihn zur anderen Seite (Kuzushi-Übung) wenn der Partner 
+sich ein Stück zurücklehnt erschwert er seinem Partner die Übung und 
+zwingt ihn zu einem größeren Kraftaufwand
+
+
+## Beitrag  von Fettzi » 07.10.2005, 19:12
+
+- Ein Partner liegt am Boden auf dem Rücken und der andere an den 
+Füßen des unten Liegenden. Auf Kommando versucht der stehende eine 
+Festhalte zu machen und der untenliegende darf sich nur durch drehen am 
+Boden verteidigen.
+- Dann noch was, beide Partner sind im Liegestütz gegenüber, dann gibts 
+zwei Möglichkeiten:
+	- entweder versuchen die Arme wegzuziehen, daß der eine auf dem 
+	Bauch landet
+	- oder bei den Kleinen versuchen, die Hand des Partners anzutippen.
+
+
+## Beitrag  von Fritz » 26.10.2005, 11:31
+
+- 2er-Hasche: Alle bilden Paare, jeder jagt seinen Partner, wenn er 
+ihn hat, dann wechseln die Rollen. Soweit ist es ja noch einfach und 
+langweilig 8) Der flüchtende Partner darf aber bestimmte, vorher 
+festgelegte Übungen auf seiner Flucht machen. Und immer wenn er so eine 
+Übung macht, muß der Jäger sie nachmachen. Z.B. habe ich es unlängst 
+mit Hockstrecksprüngen und dann mit Judorollen gespielt... es schlaucht 
+ganz schön ;-)

training/fundstücke/kuzushiLehrmethoden/judoInfo/kuzushi1/judoinfo-TheRoleOfUnbalancingInJudo-Kuzushi.md

@@ -0,0 +1,670 @@
+# The Role of Unbalancing in Judo – Kuzushi
+
+Quelle
+: [Judo Info](https://judoinfo.com/ "Judo Info")
+
+Original Author
+: [Wilfried Visser](mailto:wvisser@xs4all.nl)
+
+## Preface
+
+During my years of Judo-activity, I became increasingly conscious of 
+the important of unbalancing ("*Kuzushi*" in Japanese). After I managed 
+to understand the original principles of Judo in relation to *Kuzushi*, 
+many throwing techniques rapidly became a lot more successful in both 
+randori and shiai. It enabled me to analyze many randori-situations and 
+thus improve my throwing techniques. 
+
+In more recent years, I have become active in teaching Judo and have 
+discovered that often a strong emphasis on *Kuzushi* can help solve a 
+student's problems with learning throwing techniques. Simultaneously, I 
+developed a vision on this aspect and found methods that proved quite 
+successful for learning or teaching certain throws. This vision is not 
+at all new. It is merely a specific approach to the basic principles of 
+Judo, forcing the student to concentrate on the essential aspects for 
+learning a throw. I think many Judo instructors will recognize this 
+vision. However, I thought it useful to explain this vision in the 
+paper I had to write to conclude the Dutch "Judo instructor B" course 
+in 1994. After many requests for an English version, I started to 
+translate the paper in 1996, resulting in these pages. 
+
+I assume the reader is familiar with customary Judo terminology and 
+with teaching Judo. In the last section, some terms are explained in a 
+glossary. Some explanations require some sense of spatial imagination 
+regarding throwing techniques.
+
+Note that although the Judoka in general is referred to as "he" or 
+"him", both male and female Judoka's are addressed with these words. 
+
+
+## Introduction
+
+Judo is a sport that is performed all over the world. An important 
+aspect with Judo is that executing a typical Judo technique is 
+difficult to learn. Many years of practice are usually required before 
+a Judoka is able to successfully apply a few different throws in 
+competition. Since students enjoy practicing Judo more when discovering 
+the ability to execute certain techniques successfully, speeding up the 
+learning process as much as possible is important. 
+ 
+Especially with throwing techniques, the aspect of *Kuzushi* is of 
+major importance. Besides *Kuzushi*, also the elements timing, speed 
+and direction are essential for a successful throw. Therefore, many 
+students experience Tachi-waza as more difficult than Ne-waza. In 
+Ne-waza, one can temporarily forget about timing and speed during 
+practice, thereby facilitating the understanding of the principles of 
+a technique.
+
+About a century ago, the founder of Judo Jigoro Kano already pointed 
+out the importance of *Kuzushi*. Without *Kuzushi*, many throwing 
+techniques are impossible and with insufficient *Kuzushi*, performing 
+a throw, if at all possible, will cost much unnecessary effort. 
+
+In the Judo world, the importance of *Kuzushi* is certainly 
+acknowledged. Teaching throwing techniques usually involves showing how 
+to unbalance *Uke* before performing the throw. However, while being a 
+student in different Judo classes and observing and teaching Judo 
+classes at several clubs, I discovered that problems with throwing 
+techniques very were often caused by neglect of the unbalancing of 
+*Uke*.
+
+
+## Problems with unbalancing
+
+In the average Judo class, several students often struggle with a 
+throwing technique because of insufficient unbalancing of *Uke*. Even 
+Dan-grade holders sometimes exhibit the inability to perform certain 
+throws without *Uke*'s "jumping" help. Still, these Judoka's must have 
+been told for years (or at least once) about the importance of 
+*Kuzushi*. 
+
+From this observation, it can be concluded than many Judo students 
+could be able to perform many throws much better if they could better 
+understand and apply the principles of *Kuzushi*. 
+ 
+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. 
+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 
+however, to whom the *Kuzushi* principles can only be addressed to a 
+limited extent, the problem is not relevant yet. 
+
+
+## Causes of insufficient unbalancing
+
+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.png "*Uke*'s posture after forward unbalancing; right and wrong."
+[kuzushiUkeIponSeoiNage]: ./images/Kuzushi2.png "*Uke*'s posture after correct unbalancing with Ippon-seoi-nage"
+[kuzushiTowardUke]:       ./images/Kuzushi3.png "Stepping towards *Uke* (right-left)"
+[kuzushiAwayFromUke]:     ./images/Kuzushi4.png "Stepping away from *Uke* (left-right)"
+[kuzushiSeoiNage]:        ./images/Kuzushi5.jpg "Seoi-Nage after powerful *Kuzushi*"