Figure 3 - uploaded by Carl De Crée
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A Hontainomaki 本體之巻 (Scroll of Proper Body Position) scroll issued by Kanō Jigorō-shihan in his function as holder of menkyo kaiden 免許皆伝 (Holder of the License of Full Transmission) of Kitōryū Takenakaha 起倒流竹中派 branch to Hoshina Shirō 保科四郎 (former name of Saigō Shirō) in the 6 th month of the 18 th year of Meiji 明治 (June 1885) (From the library of Lance Gatling, Tōkyō, reproduced by kind permission, all rights reserved-February 2009).
Source publication
Hirano Tokio (1922-1993) was a talented jūdō champion who developed his own pedagogical approach towards teaching and practicing kuzushi (unbalancing) and tsukuri (preparation), two critical skills for successfully applying jūdō throws. In his approach, Hirano emphasizes the use of rotational unbalancing preceded by strategic movements that mimic w...
Contexts in source publication
Context 1
... characteristic and unusual in Hirano's didactic and practical approach of tsukuri/kuzushi is his heavy reliance on postulated water waves. With the exception of the fourth technique of Kōdōkan jūdō's Itsutsunokata 五の形 there is virtually no precedent for this in jūdō. Itsutsunokata 五の形 (Figure 13) is, however, one of Kōdōkan's two most advanced kata, and generally very poorly understood due to its reliance on metaphysical, naturalistic, and Taoist principles. While this kata is a rinokata 理の形 (Theoretical Forms), meaning that it is one of mainly theoretical importance, Hirano's system as subsequently conceived in his Handōnokata 反動の形 -also known under the names Nanatsunokata 七の形, Naminokata 波の形 or Hirano nokata 平野の形 27 (Kanō, 2011) - is far more applied and practically ...
Context 2
... created Kōdōkan jūdō in 1882 although it would take many further decades to consolidate his jūdō into a refined system of physical and mental education and self-defense (Kanō, 1932;Kōdōkan, 1986;Maruyama, 1939;Oimatsu, 1976). Kanō did not create his jūdō from scratch. Rather, he largely compiled material from other existing Japanese martial arts schools molding it into something that was more than just a practical art for self-defense. The two main schools where he obtained his ideas were Kitōryū 起倒流 and Tenjin Shinyōryū 天神真楊流 both schools of traditional Japanese jūjutsu 柔術 (the art of giving way), and created in the early 17 th and 19 th century, respectively (De Crée, 2014;De Crée & Jones, 2009;Kanō, 2006;Kanō, 1932;Kōdōkan, 1986;Maruyama, 1939;Oimatsu, 1976). These two schools were very different, with Tenjin Shinyōryū being Kanō's main inspiration for atemi 当見 (strikes aimed at the body's vital points) and katamewaza 固技 (controlling techniques), whereas Kitōryū delivered most of Kanō's inspiration for throws and for his concept of Jū yoku gō o sei suru 柔能く剛を精する (Non-resistance overcomes force), although the latter can be traced even further towards the roots of historic sumō 相撲 wrestling (De Crée, 2014;Kanō, 2006). More specifically, Kanō also obtained his concept of kuzushi or "breaking balance" from Kitō ryū jūjutsu, where it is dealt with in the traditional makimono 巻物 (scroll) Hontainomaki 本體之巻 (Scroll of Proper Body Position) and Chinomaki 地之巻 (Scroll of the Earth) ( Figure ...
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Aim. This study investigates the effects of Slackline on postural control and jumping performance in judoists. Methods. Fifteen judoists were randomly distributed into an experimental group (EG: N.=8, 16.0 +/- 1.73 years) and a control group (CG: N.=7, 15.43 +/- 2.23 years). While both groups followed the same judo training program during the 4 wee...
Citations
and Study Aim: The purpose of the present paper is to provide a comprehensive review of katame-waza ura-no-kata [“Forms of Reversing Throwing Techniques”], a non-officially accepted kata of Kōdōkan jūdō made famous by the late Mifune Kyūzō, of which the date of creation has not been previously established, nor under what circumstances it was created or what its sources of inspiration were.
Material and Methods: To achieve this, we offer a careful critical analysis of the available literature and rare source material on this kata.
Results: Katame-waza ura-no-kata was finalized by Itō Kazuo (1898-1974) in June 1970 mainly based on techniques Itō had learned from his teacher Mifune Kyūzō. Mifune, in turn, drew his inspiration of the nige-waza [escaping techniques] and kaeshi-waza [countering] included in the kata likely from intellectual ideas of Takahashi Kazuyoshi and newaza [ground fighting] techniques perfected primarily by Oda Jōin, Mifune himself and to a lesser extent possibly by Toku Sanbō, Kawakami Chū, and others. Katame-waza ura-no-kata adheres to the same structure as katame-no-kata hence is divided in three series of five techniques each followed up by a counter-control technique. Katame-waza ura-no-kata is a randori-no-kata form. The objective of the kata is not to copy a supposed gold standard performance that then needs to be evaluated and scored by a jury, but to develop the ability of performing jūdō at the supra-mechanical level of myōwaza [unexplainable sophisticated technique], irrespective of differences in minute technical details.
Conclusions: Katame-waza ura-no-kata is an exercise devised by the late jūdō master Itō Kazuo, which similarly to how katame-no-kata complements nage-no-kata, serves as a complement to nage-waza ura-no-kata. It is a valuable training exercise of which the practice is intended to contribute to developing the highest levels of jūdō technical ability. Sadly, the kata remains largely unfamiliar to most jūdōka due to a lack of qualified instructors and its current status as a non-officially accepted Kōdōkan kata.
