diff --git a/training/fundstücke/kleinePartnerspiele.md b/training/fundstücke/kleinePartnerspiele.md new file mode 100644 index 0000000..8dc04ed --- /dev/null +++ b/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 ;-) diff --git a/training/fundstücke/kuzushiLehrmethoden/judoInfo/kuzushi1/images/kuzushi1.png b/training/fundstücke/kuzushiLehrmethoden/judoInfo/kuzushi1/images/kuzushi1.png new file mode 100644 index 0000000..6a99802 Binary files /dev/null and b/training/fundstücke/kuzushiLehrmethoden/judoInfo/kuzushi1/images/kuzushi1.png differ diff --git a/training/fundstücke/kuzushiLehrmethoden/judoInfo/kuzushi1/images/kuzushi2.png b/training/fundstücke/kuzushiLehrmethoden/judoInfo/kuzushi1/images/kuzushi2.png new file mode 100644 index 0000000..60c27c7 Binary files /dev/null and b/training/fundstücke/kuzushiLehrmethoden/judoInfo/kuzushi1/images/kuzushi2.png differ diff --git a/training/fundstücke/kuzushiLehrmethoden/judoInfo/kuzushi1/images/kuzushi3.png b/training/fundstücke/kuzushiLehrmethoden/judoInfo/kuzushi1/images/kuzushi3.png new file mode 100644 index 0000000..b673574 Binary files /dev/null and b/training/fundstücke/kuzushiLehrmethoden/judoInfo/kuzushi1/images/kuzushi3.png differ diff --git a/training/fundstücke/kuzushiLehrmethoden/judoInfo/kuzushi1/images/kuzushi4.png b/training/fundstücke/kuzushiLehrmethoden/judoInfo/kuzushi1/images/kuzushi4.png new file mode 100644 index 0000000..6fd4765 Binary files /dev/null and b/training/fundstücke/kuzushiLehrmethoden/judoInfo/kuzushi1/images/kuzushi4.png differ diff --git a/training/fundstücke/kuzushiLehrmethoden/judoInfo/kuzushi1/images/kuzushi5.jpg b/training/fundstücke/kuzushiLehrmethoden/judoInfo/kuzushi1/images/kuzushi5.jpg new file mode 100644 index 0000000..f61d0cd Binary files /dev/null and b/training/fundstücke/kuzushiLehrmethoden/judoInfo/kuzushi1/images/kuzushi5.jpg differ diff --git a/training/fundstücke/kuzushiLehrmethoden/judoInfo/kuzushi1/judoinfo-TheRoleOfUnbalancingInJudo-Kuzushi.md b/training/fundstücke/kuzushiLehrmethoden/judoInfo/kuzushi1/judoinfo-TheRoleOfUnbalancingInJudo-Kuzushi.md new file mode 100644 index 0000000..61dbce6 --- /dev/null +++ b/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*"