<Pag. 03>


Ō Gohō Ate.
1. Ō Hidari mae naname ate.
2. Ō Migi ate.
3. Ō Ushiro ate.
4. Ō Mae ate.
5. Ō Ue ate.

LARGE STRIKES IN FIVE DIRECTIONS
1. Large left frontal diagonal strike.
2. Large right strike.
3. Large rear strike.
4. Large frontal strike.
5. Large upward strike.

PANCADAS GRANDES EM CINCO DIRECÇÕES
1. Pancada grande diagonal frontal à esquerda.
2. Pancada grande à direita.
3. Pancada grande para trás.
4. Pancada grande frontal (para frente).
5. Pancada grande para cima.

<Pag. 02>


GOHŌ ATE.
1. Hidari mae naname ate.
2. Migi ate.
3. Ushiro ate.
4. Mae ate.
5. Ue ate.

STRIKES IN FIVE DIRECTIONS
1. Left frontal diagonal strike.
2. Right strike.
3. Rear strike.
4. Frontal strike.
5. Upward strike.

Remark: There are three words in SEIRYOKU ZEN'YŌ KOKUMIN TAIIKU NO KATA that constantly change their meaning according to different sources. For this reason these words will be translated as follows:

当て ATE - "Strike", 打ち UCHI - "Hit" and 突き TSUKI - "Punch".

PANCADAS EM CINCO DIRECÇÕES
1. Pancada diagonal frontal à esquerda.
2. Pancada à direita.
3. Pancada para trás.
4. Pancada frontal (para frente).
5. Pancada para cima.

Observação: Há três palavras no SEIRYOKU ZEN'YŌ KOKUMIN TAIIKU NO KATA que constantemente mudam de significado de acordo com fontes diversas. Por esta razão estas palavras serão traduzidas da seguinte maneira:

当て ATE - "Pancada", 打ち UCHI - "Ataque" e 突き TSUKI - "Soco".


<Pag. 02-A> SHIZEN-HONTAI.



<Pag. 02-B> TATEKEN-HIKITE.


<Pag. 02-C> HIDARI MAE NANAME ATE.


<Pag. 02-D> SEIKEN.

<Pag. 01>


TANDOKU RENSHŪ.

Individual Exercices.

Exercícios Individuais.

Now that we understand the basic principle behind ATEMI techniques, it's time to get some action.
From this point on we are going to start to analyse every part of SEIRYOKU ZEN'YŌ KOKUMIN TAIIKU NO KATA (TANDOKU RENSHŪ "Individual Exercices"), step by step, checking some "DO"s and some "DON'T"s.

Agora que nós entendemos os princípios básicos por trás das técnicas de ATEMI, é hora de alguma acção.
A partir deste ponto vamos começar a analisar todas as partes do SEIRYOKU ZEN'YŌ KOKUMIN TAIIKU NO KATA (TANDOKU RENSHŪ "Exercícios Individuais"), passo a passo, verificando alguns "Sim"s e alguns "Não"s.


<COVER>


KŌDŌKAN JŪDŌ.
SEIRYOKU ZEN'YŌ KOKUMIN TAIIKU NO KATA.

Kōdōkan Jūdō.
"Maximum-Efficiency National Physical Education" KATA.

Kōdōkan Jūdō.
KATA de "Educação Física Nacional de Máxima Eficiência".

No matter if you are a white belt or high DAN black belt, the fact is all you do when practicing Jūdō is restricted to KUZUSHI (unbalancing) TSUKURI (preparation) and KAKE (execution)! In RANDORI, SHIAI and even you are practicing UCHI-KOMI, all you are doing is resumed to those three phases of projection.
This is the reason why you first learn SHINTAI (how to walk on TATAMI) then you learn TAI-SABAKI (evasive movements) and finally you practice, practice and practice using combinations of SHINTAI to position the opponent exactly where (s)he is unbalanced and then you attack. That's it... nothing else!
However, lack of knowledge on KUZUSHI principles leads Jūdōka to use more than necessary strenght to project an opponent. On doing so, this Jūdōka fails the first basic principle of Jūdō: Seiryoku Zen'yô ("The very best use of energy").
Is KUZUSHI that important?
If all Jūdō techniques, I said ALL techniques, have three phases (KUZUSHI, TSUKURI and KAKE) and one of them is KUZUSHI it is quite obvious that KUZUSHI really matters! And "why" dos it matters? If you want to use the basic principle of Jūdō - "The very best use of energy" - when practicing RANDORI, competing in SHIAI or defending yourself on the streets you must to understand KUZUSHI pretty well.
The reason why I am enforcing the importance of KUZUSHI is: in self-defense context - unlike KENPŌ where the main goal is to knockout the oponent using strikes - the main goal of Jūdō's ATEMI-WAZA (striking techniques) is to provide an effective KUZUSHI to allow us to perform the two major combative features of Jūdō: full projection or full opponent's subnission (sportive Jūdōka know it as Ippon, Waza-ari... In self defense we know it as neutralizing the opponent).
All Jūdō techniques always present the very same phases seem above... KUZUSHI, TSUKURI and KAKE.
In self-defense Jūdō, KUZUSHI is got by ATEM-WAZA and TSUKURI/KAKE will vary between NAGE-WAZA (projection techniques) or KATAME-WAZA (control techniques).
Once we understand the importance of KUZUSHI and we are able to "see" the purpose of ATEMI-WAZA, the following question is:
Should I practice hand conditioning, toughening my hands to become a "lethal weapon"?
The answer is very big NO!
Again, the purpose of Jūdō's ATEMI-WAZA is not to use striking techniques as major tool to defeat the opponent. ATEMI-WAZA is the way we use to umbalance the opponent. For this reason, hands conditioning is not necessary. specially because there's significant danger of causing permanent damage to the hands if the conditioning is not properly done. The excessive callusings can also interfere with the proper motion of the hands. When you are young everything seems "cool", but age comes to everyone...
Moreover, other problems related to muscles, tendons, nerves, blood vessels and bones must be perfectly understood before advancing to hand conditioning.
For us, Jūdōka, there's no need to worry about conditionings.
----------------------------------
What we must retain from this post:
1. "KUZUSHI, TSUKURI and KAKE" - Is is what sportive and self-defense Jūdō is all about - from white belt to black belt!
2. ATEMI-WAZA means KUZUSHI. NAGE-WAZA and KATAME-WAZA mean TSUKURI and KAKE.
3. We don't need hand or feet conditioning.

- - -

Não importa se você é um faixa branca ou um faixa preta com DAN elevado, o fato é que tudo o que você faz quando praticando Jūdō está restrito a KUZUSHI (desequilíbrio) TSUKURI (preparação) KAKE (execução). Em RANDORI, SHIAI e mesmo praticando UCHI-KOMI tudo que estás fazendo está resumido àquelas três fases da projeção.
É esta a razão porque você primeiro aprende SHINTAI (deslocamento sobre o TATAMI) então aprende TAI-SABAKI (esquivas) e finalmente pratica, pratica e pratica usando combinações de SHINTAI para posicionar o oponente exatamente onde o oponente está desiquilibrado, então você ataca. E é isso... nada mais.
Contudo, a falta de conhecimento sobre os princípios do KUZUSHI leve os Jūdōka a usarem mais força do que o necessário para projetar os oponentes. Fazendo isso, estes Jūudōka falham no primeiro princípio básico do Jūdō: Seiryoku Zen'yō ("O ótimo uso da energia").
O KUZUSHI é importante?
Se todas as técnicas - eu disse TODAS as técnicas - têm três fases (KUZUSHI, TSUKURI e KAKE) e uma delas é o KUZUSHI, é bastante óbvio que o KUZUSHI realmente importa. E "por que" é importante? Se você quiser usar o princípio básico do Jūdō - "O ótimo uso da energia" - quando praticando RANDORI, competindo em SHIAI ou defendendo-se nas ruas você deve entender muito bem o KUZUSHI.
A razão pela qual eu estou a enfatizar a importância do KUZUSHI é: no contexto de defesa pessoal - diferente do KENPŌ onde o objectivo principal é derrubar o oponente apenas com os ataques de mãos e pés - o principal objetivo do ATEMI-WAZA (técnicas de ataque) do Jūdō é providenciar um KUZUSHI eficiente para permitir-nos executar as duas mairoes características de combate do Jūdō: uma projeção completa ou a completa submissão do oponente (no meio do Jūdō desportivo isto é conhecido como Ippon, Waza-ari... na defesa pessoal conhece-se por "neutralizar o oponente").
Todas as técnicas de Jūdō sempre apresentam as mesmas fases vistas anteriormente KUZUSHI, TSUKURI e KAKE.
No Jūdō de defesa pessoal, o KUZUSHI é conseguido através do ATEMI-WAZA e as demais fases TSUKURI / KAKE através do NAGE-WAZA ("técnicas de projeção") ou KATAME-WAZA ("técnicas de controle" - imobilizações, estrangulamentos e luxações).
Uma vez entendida a importância do KUZUSHI e sermos capazes de "ver" o propósito do ATEMI-WAZA, a questão a seguir é:
Devo praticar o condicionamento das mãos, fortalecendo-as para se tornarem uma "arma letal"?
A resposta é um NÃO muito grande!
Novamente, o propósito do ATEMI-WAZA do Jūdō não é usar técnicas de ataque como ferramenta principal para derrotar o oponente. O ATEMI-WAZA é o jeito que usamos para "desequilibrar" o oponente. Por esta razão, o condicionamento das mãos não é necessário, especialmente porque há um perigo significativo de causar danos permanentes às mãos se o condicionamento não for feito de forma correta. A calosidade excessiva das mãos também pode interferir com o movimento das mesmas. Quando se é jovem tudo parece "divertido" (mesmo as coisas mais perigosas), mas a idade chega para todos...
Além disso, outros problemas relacionados com os músculos, tendões, nervos, vasos sanguineos e ossos devem ser perfeitamente entendidos antes de começar com o condicionamento das mãos.
Para nós, Jūdōka, não há necessidade de preocuparmo-nos com este tipo de condicionamento.
----------------------------------
O que devemos reter desta entrada no Blog:
1. "KUZUSHI, TSUKURI e KAKE" - É disso que trata Jūdō desportivo e de defesa pessoal.- desde o faixa branca até ao faixa preta!
2. ATEMI-WAZA significa KUZUSHI. NAGE-WAZA e KATAME-WAZA significam TSUKURI e KAKE.
3. Não precisamos de condicionamento das mãos ou dos pés.
.

It is time to learn "HOW" Jūdō's striking techniques work.
To do so, we are going to start in the begining of striking techniques and let's advance step by step.

*** Historic introduction about Jūdō's striking techniques. ***

Being very pragmatic, I like to say that since Cave's era, men know how to use tools. It made us "homo sapiens" (or "smart fellows"). But with the same tools that made us "the smart ones", we went to war, creating more and more tools to kill (or be killed by) other "smart guys".
And that's been the history of human kind since then.
Fortunatelly some "more smart ones" created "laws" and wars were placed (more or less) apart...
In this context, in war or man to man combat, japanese martial arts became one of the most effective methods to kill other "smart fellows". Japanese warriors refined and perfected their techniques along years and years of "constant practice".

武術 BUJUTSU ("Martial Arts") appeared!

Created to kill other people, BUJUTSU ("Martial arts") and "JUTSU" schools' main goal was to win on battlefield, to kill the enemy or to cause a very heavy damage to the opponent. Countless JUTSU developed their techniques, defined their systems leaving their knowledge to future generations by their representatives or written documents.
Thus, Japanese history gave to the world a new warrior class: the SAMURAI.
The SAMURAI had its own non-written code of conduct (BUSHIDŌ - "The Way of the Warrior") and all they did was to live or die for their lords - fighting their way through as necessary.
Let's say - in a very brief positioning: this class was responsible for "almost" (I said ALMOST) all we know about japanese martial arts practiced today.
Naturally, nobody or no country can be at war all the time; people, cultures and ideas evolve. And it happened in Japan as well. Civil wars, Sengoku-jidai were over and there was no reason to keep a martial government in Japan.
Restored the power of Japanese Emperor in Meiji era, SAMURAI class was disbanded! (This is very important in japanese Martial Arts cntext.)

古流武術 KORYŪ BUJUTSU ("Old Clans' Martial Arts") are over!

現代武道 GENDAI BUDŌ ("Modern Martial Ways") era begins!

What is BUDŌ?
BUDŌ literally means "Martial Way", but it is also a very smart way to say "We are not at war, but we preserve our identity as warriors". ("To preserve our identity as warriors" means lots of things, but I will not talk about them here because it is not the purpose of this post.)
These DŌ schools replaced old JUTSU schools giving more importance to japanese social environment. The old names were adapted to represent the evolution of Japanese Martial Arts.
Thus:

柔道 Jūdō (replaced old Jūjutsu schools), 剣道 Kendō (replaced old Kenjutsu schools), 合気道 Aikidō (replaced old Aikijutsu schools), 弓道 Kyūdō (replaced old Kyūjutsu schools), 居合道 Iaidō (replaced old Iaijutsu schools), 古武道 Kobudō (replaced old Kobujutsu schools) and so on.
[Karate, not being japanese Martial Art, simply added the suffix "DŌ" to follow the same evolution, becoming 空手道 Karatedō.]

*** End of Historic introduction about Jūdō's striking techniques. ***

Now, it is quite easy to see the change from old JUTSU schools to present day DŌ schools. Unfortunatelly, some people still have huge difficulties to see and accept this historic fact, the evolution of Japanese Martial Arts...

A very simple question (that - for some unclear reason - people do not ask):
"If Jūdō replaced old Jū-jutsu and Jū-jutsu were created to kill people... Have Jūdō any of those old killing techniques?"
I think that the expression SHIME-WAZA ("strangle techniques") don't mean "kissy kissy" and ATEMI-WAZA ("striking techniques") don't mean "to hug".

Kanō Jigorō Sensei - following the natural socialization of martial arts imposed by japanese historic evolution (and evolution of japanese Martial Arts by themselves) - selected the most efficient techniques to create his art.
But how could Kanō Jigorō Sensei to take "efficient techniques" from an art created to kill (Jū-jutsu)?
Creating very specific rules and precepts.
Naturally Jūdō has these dangerous parts too, but Jūdō does not make them the most important point to be practice.
Are they taught today? No, they are not taught in normal basis, simply because we do not need them.
Why? Don't you remember? Wars are over! (We evolved from SAMURAI era to our modern days.)
Then, few years after its creation, Jūdō became Olympic Sport! More one good reason to avoid dangerous techniques!
But can we find striking techniques in Jūdō teachings? Of course we can!

So, let's make an easy approach on these techniques, starting by asking ourselves a very clarifying question:
What do we understand by "Striking Techniques"?
That's easy! To strike means to PUNCH, to HIT, to BLOW, to KICK!

But there's no point to talk about striking techniques when we do not know HOW to punch or HOW to kick.
That's what we are going to see here in ATEMI-WAZA from this point on!




É hora de aprender "COMO" as técnicas de ataque do Jūdō funcionam.
Para tal, vamos começar no início das técnicas de ataque e avançar passo a passo.

*** Introdução histórica sobre as técnicas de ataque do Jūdō. ***

Sendo muito pragmático, eu gosto de dizer que, desde o tempo das cavernas, os homens sabem como usar ferramentas. Isto fez de nós "homo sapiens" (ou "tipinhos safos"). Mas com as mesmas ferramentas que fez de nós "os espertos", fomos para a guerra, criando mais e mais ferramentas para matar (ou ser morto por) outros "tipinhos mais ou menos safos".
E esta tem sido a história da raça humana desde então.
Felizmente alguns "tipinhos mais espertos" criaram as "Leis" e as guerras foram (mais ou menos) colocadas à parte...
Neste contexto, na guerra ou no combate de homem contra homem, as Artes Marciais Japonesas tornaram-se um dos mais eficientes métodos de matar outro "amiguinho esperto". Os guerreiros japonesas refinaram e aperfeiçoaram as suas técnicas no decorrer de anos e anos de "prática constante".

武術 BUJUTSU ("Artes Marciais") apareceram!

Criadas para martar outras pessoas, o objectivo principal das BUJUTSU ("Artes Marciais") e escolas JUTSU era vencer no campo de batalha, matar o inimigo ou causar o mair dano possível ao oponente. Inúmeros JUTSU desenvolveram as suas técnicas, definiram os seus sistema, deixando os seus conhecimentos para a geração futura através de representantes ou de documentos escritos.
Assim, a história japonesa deu ao mundo uma nova classe guerreira: os SAMURAI.
Os SAMURAI tinham o seu próprio código de conduta "não escrito", chamado BUSHIDŌ ("A Via do Guerreiro") e tudo que faziam era viver ou morrer pelos seus senhores - combatendo na medida das necessidades.
Digamos - num breve posicionamento: essa classe foi responsável por "quase" (eu disse QUASE) tudo que sabemos sobre Artes Marciais japonesas praticadas hoje em dia.
Naturalmente, ninguém, nenhum país pode manter-se em guerra constantemente; as pessoas, as culturas e idéias evoluem. E isso aconteceu também ao Japão. As guerras civis, o Sengoku-jidai acabaram e não havia mais razão para manter um governo militar no Japão.
Restaurado o poder do Imperador japonês na era MEIJI, a classe SAMURAI foi desmantelada! (Isto é muito importante no contexto das Artes Marciais japonesas.)

古流武術 KORYŪ BUJUTSU ("Artes Marciais dos Clãs Antigos") acabaram!

現代武道 GENDAI BUDŌ ("Vias Marciais Modernas") começaram!

O que é BUDŌ?
BUDŌ literalmente significa "Vias Marciais", mas é também uma forma muito esperta de dizer: "Não estamos em guerra, mas preservamos a nossa identidade guerreira". "Preservar a identidade guerreira" tem muitos significados, mas não vou falar sobre isso porque não é o propósito desta entrada no Blog.
Estas escolas DŌ substituiram as velhas escolas JUTSU, dando maior relevância ao ambiente social japonês. Os nomes antigos foram adaptados para representar a evolução das Artes Marciais japonesas.
Assim:

柔道 Jūdō (substituiu o velho Jūjutsu), 剣道 Kendō (substituiu o velho Kenjutsu), 合気道 Aikidō (substituiu o velho Aikijutsu), 弓道 Kyūdō (substituiu o velho Kyūjutsu), 居合道 Iaidō (substituiu o velho Iaijutsu), 古武道 Kobudō (substituiu o velho Kobujutsu) e assim por diante.
[Karate, não sendo uma Arte Marcial japonesa, simplesmente adicionou o sufixo "DŌ" para seguir a mesma evolução, tornando-se 空手道 Karatedō.]

*** Fim da introdução histórica sobre as técnicas de ataque do Jūdō. ***

Agora fica muito fácil ver a alteração dos velhos JUTSU para os modernos DŌ.
Infelizmente, algumas pessoas ainda têm muita dificuldade em ver e aceitar os factos históricos, a evolução das Artes Marciais japonesas...

Uma questão simples que - por uma razão ainda incerta - as pessoas não fazem:

"Se o Jūdō substituiu o velho Jū-jutsu e o Jū-jutsu foi criado para matar pessoas... o Jūdō tem alguma destas velhas técnicas letais?"
Eu acho que a expressão SHIME-WAZA ("técnicas de estrangulamento") não significa "beijinhos, beijinhos" e ATEMI-WAZA ("técnicas de ataques") não significa "abracinhos".

Kanō Jigorō Sensei - seguindo a socialização natural das artes marciais imposta pela evolução historica japonesa (e evolução das mesma artes marciais) seleccionou as técnicas mais eficientes para criar a sua arte.
Mas como poderia Kanō Jigorō Sensei apenas seleccionar as técnicas mais eficientes de uma arte criada para "matar" outro ser humano (Jū-jutsu)?
Criando regras e preceitos muito específicos.
Naturalmente, o Jūdō tem estas partes perigosas também, mas o Jūdō não faz destas mesmas técnicas o ponto mais importante da sua prática.
E estas técnicas perigosa são ensinadas hoje? Não. Elas não são ensinadas em bases normais, simplesmente porque não precisamos delas. Por quê? Não lembras? As guerras acabaram! (Evoluimos desde os SAMURAI até aos dias de hoje.)
Assim, passados uns anos após a sua criação, o Jūdō tornou-se desporto Olímpico! Mais uma boa razão para evitar as técnicas perigosas!
Mas podemos encontrar estas técnicas de ataque nos ensinamentos do Jūdō? É claro que podemos!

Então, façamos uma aproximação mais fácil a respeito destas mesmas técnicas começando por perguntarmo-nos a questão esclarecedora:
O que nós entendemos por "Técnicas de Ataque"?
Isso é fácil! Atacar significa SOCAR, BATER, ESMURRAR, CHUTAR!

Mas de nada serve falar de técnicas de ataques se não sabemos COMO dar socos ou chutar.
É isso que iremos ver aqui em ATEMI-WAZA a partir deste ponto!

.

自他融和共栄 or 自他共栄
Jita yūwa kyōei. (Jita kyōei)

"Mutual prosperity and harmony for oneself and others." Where:

自他 - Jita - "Oneself and others".

融和 - Yūwa - "Harmony, reconciliation".

共栄 - Kyōei - "Mutual prosperity".

精力最善活用 or 精力善用
Seiryoku saizen katsuyō. (Seiryoku Zen'yō)

"The very best application of energy." Where:

精力 - Seiryoku - "Energy, vigour, vitality".

最善 - Saizen - "The very best".

活用 - Katsuyō - "Practical use, application".

---------------------------------------------------------------------

自他融和共栄 ou 自他共栄
Jita yūwa kyōei. (Jita kyōei)

"Prosperidade e harmonia para si e para os outros." Onde:

自他 - Jita - "uma pessoa e outras, todos".

融和 - Yūwa - "harmonia, reconciliação".

共栄 - Kyōei -"Prosperidade mútua".

精力最善活用 ou 精力善用
Seiryoku saizen katsuyō. (Seiryoku Zen'yō)

"Óptima aplicação da energia." Onde:

精力 - Seiryoku - "Energia, vigor, vitalidade".

最善 - Saizen - "O melhor, óptimo".

活用 - Katsuyō - "Uso prático, aplicação".
.

To talk about ATEMI-WAZA and do not mention the MITSU-NO-SEN is useless!
First, before going deep on striking techniques (ATEMI-WAZA), all Jūdōka must understand the "Spirit of Jūdō": the goal of all Jūdō's striking techniques is pure self-defense, For this reason, Jūdō stances are natural and attacks aim vital points. there's no offensive KATA in Jūdō.
Second, all Jūdōka must be able to recognize and be aware about the seriousness of any situation and act accordingly.
In self-defense situation, Jūdōka will play TORI role, it means the (s)he will suffer an attack and will respond to this attack... and it is what MITSU-NO-SEN is all about.
MITSU-NO-SEN literally means "the three SEN" or "the three (forms of) antecipation", but we will understand this expression better after a brief explanation about each case :
The first case is GO-NO SEN - "After antecipation".
From this point on, let's change "antecipation" to "opponent started his attack": "After the opponent started his atack".
In this case, the opponent starts his attack and Jūdōka counter-attacks.
The second case is TAI-NO-SEN - "Wait the moment that the opponent starts his attack".
In this case, in the very same time that opponent starts his attack, the Jūdō will launch his/her defense, avoiding that opponent attack increases power.
And finally, the third case is SEN-NO-SEN - "Preemptive attack".
It implies that a Jūdōka will attack before the opponent be able to start his attack. Naturally, this case simply does not apply in the "Spirit of Jūdō".
REMEMBER: The natural sequence of Jūdō's self-defense is "defense-strike-luxation/projection-conclusion".


Falar sobre ATEMI-WAZA e não mencionar o MITSU-NO-SEN é inútil!
Em primeiro lugar, antes de ir mais fundo nas técnicas de ataque (ATEMI-WAZA), todo Jūdō deve entender o "espírito do Jūdō": o objectivo de todas as técnicas de ataque do Jūdō é pura defesa-pessoal. Por esta razão as bases do Jūdō são naturais e os ataques visam pontos vitais. Não há KATA ofensivo em Jūdō.
Em segundo lugar, todol Jūdōka deve ser capaz de reconhecer e estar alerta a respeito da seriedade de qualquer situação e agir de acordo.
Em situações de defesa-pessoal, o Jūdōka desempenhará o papel de TORI, isto significa que, ele ou ela, irá sofrer um ataque e irá responder a este ataque... e é disso que o MITSU-NO-SEN trata.
MITSU-NO-SEN literalmente significa "os três SEN" ou "as três (formas de) antecipação", mas iremos entender melhor esta expressão depois de uma breve explicação de cada caso:
O primeiro caso é GO-NO SEN - "Depois da antecipação".
A partir deste ponto, vamos mudar "antecipação" para "o oponente inicia o seu ataque".
Neste casoe, o oponente inicia o seu atake e o Jūdōka contra-ataca.
O segundo caso é TAI-NO-SEN - "Esperar o momento que o oponente inicie o seu ataque".
Neste caso, no preciso momento que o oponente iniciar o seu ataque, o Jūdōka irá iniciar a sua defesa, evitando que o ataque do oponente ganhe potência.
E, finalmente, o terceiro caso é SEN-NO-SEN - "Ataque preemptivo".
Isto implica o Jūdōka atacar antes que o oponente seja capaz de iniciar o seu ataque. Naturalmente, este caso simplismente não se aplica ao "Espírito do Jūdō".
LEMBRE-SE: A sequencia natural da defesa-pessoal do Jūdō é "defesa-ataque-luxação/projecção-conclusão".
.

ATEMI-WAZA ("Striking Techniques")

ASHI ("Leg / Foot")
01 - USHIRO-GERI - "Rear Kick".
02 - YOKO-GERI - "Lateral Kick".
03 - NANAME-GERI - "Diagonal Kick".
04 - MAE-GERI - "Frontal Kick".
05 - TAKA-GERI - "High Kick".
06 - MAE-ATE - "Frontal Strike".
*** Jūdō kicks are low kicks, generally aiming GEDAN area - exception: TAKA-GERI that aims CHÛDAN area.
See "levels" in the picture above.

UDE/TE ("Arm / Hand")
07 - USHIRO-ATE - "Rear hit".
08 - KIRI-OROSHI - Literally it means "Downward cut".
09 - NANAME-UCHI - "Diagonal (crossing) strike".
10 - NANAME-ATE - "Diagonal (crossing) hit".
11 - YOKO-ATE - "Lateral hit".
12 - KAMI-ATE - "Upward hit".
13 - TSUKI-AGE - "Upward punch".
14 - SHIMO-TSUKI - "Downward punch"
15 - USHIRO-TSUKI - "Rear blow".
16 - USHIRO-SUMI-TSUKI - "Rear corner blow".
17 - TSUKKAKE - Literally it means "Hold the punch", meaning "Control the incoming punch".
18 - YOKO-UCHI - "Side strike".
19 - USHIRO-UCHI - "Rear strike".
20 - UCHI-OROSHI - "Downward strike"
21 - TSUKI-DASHI - Literally it means "Started punch", however it has been translated as "Hand Thrust"
22 - RYŌGAN-TSUKI - Literally it means "Punch to both eyes", but it has been translated as "Strike to both eyes".

ATEMI-WAZA ("Técnicas de Ataque")

ASHI ("Perna(s) / Pé(s)")
01 - USHIRO-GERI - "Chute para trás".
02 - YOKO-GERI - "Chute Lateral".
03 - NANAME-GERI - "Chute Diagonal".
04 - MAE-GERI - "Chute Frontal".
05 - TAKA-GERI - "Chute Alto".
06 - MAE-ATE - "Ataque Frontal".
*** Os chutes em Jūdō são chutes baixos, geralmente visando a área GEDAN - excepção: o chute TAKA-GERI visa a área CHÛDAN.
Ver "níveis" na figura acima.

UDE/TE ("Braço(s) / Mão(s)")
07 - USHIRO-ATE - "Ataque para trás".
08 - KIRI-OROSHI - "Corte descendente".
09 - NANAME-UCHI - "Pancada diagonal".
10 - NANAME-ATE - "Ataque diagonal".
11 - YOKO-ATE - "Ataque lateral".
12 - KAMI-ATE - "Ataque ascendente".
13 - TSUKI-AGE - "Soco ascendente".
14 - SHIMO-TSUKI - "Soco descendente".
15 - USHIRO-TSUKI - "Soco para trás".
16 - USHIRO-SUMI-TSUKI - "Soco no canto para trás"
17 - TSUKKAKE - Literalmente significa "Pendurar-se no o soco" no sentido de "agarrar o soco".
18 - YOKO-UCHI - "Pancada lateral".
19 - USHIRO-UCHI - "Pancada para trás".
20 - UCHI-OROSHI - "Pancada descendente"
21 - TSUKI-DASHI - Literalmente significa "Soco adiantado".
22 - RYŌGAN-TSUKI - "Soco em ambos os olhos".
.

KAKATO. ("Calcanhar(es)")
01 - USHIRO-GERI - "Rear kick".
02 - YOKO-GERI - "lateral kick".
01 - USHIRO-GERI - "Chute para trás".
02 - YOKO-GERI - "Chute lateral"..


SEKITŌ. ("Bola do pé")
03 - NANAME-GERI - "Diagonal (crossing) kick".
04 - MAE-GERI - "Frontal kick".
05 - TAKA-GERI - "High kick".
03 - NANAME-GERI - "Chute diagonal".
04 - MAE-GERI - "Chute frontal".
05 - TAKA-GERI - "Chute alto".
.

HIZA. ("Joelho(s)")
06 - MAE-ATE - "Frontal hitl".
06 - MAE-ATE - "Ataque frontal".
.

JŪDŌ NO KYŪSHO-ZU.
Jūdō's Vital Points Chart.

01. TENDŌ - Bregma.
02. UTO or MIKEN - Nasion.
03. KASUMI or KOMEKAMI - Temple(s).
04. DOKKO - Mastoid Process.
05. JINCHŪ - Philtrum.
06. SUIGETSU or MIZUOCHI - Solar Plexus.
07. GETSUEI - Hypochondrium.
08. KINTEKI or TSURIGANE - Testicles.
09. SHITSU - Knee(s).
10. MYŌJŌ - Hypogastrium.
11. DENKŌ - Hypochondrium.
12. KACHIKAKE - Chin.

Like Striking areas on the entry below, "Vital points" will increase as well.
They will be explained as soon as they are applied.

JŪDŌ NO KYŪSHO-ZU.
Tabela de Pontos Vitais do Jūdō.

01. TENDŌ - Fontanela Anterior.
02. UTO or MIKEN - Entre as sobrancelhas.
03. KASUMI or KOMEKAMI - Têmpora(s).
04. DOKKO - Cavidade Mastoideana.
05. JINCHŪ - Base do Nariz.
06. SUIGETSU or MIZUOCHI - Plexo Solar.
07. GETSUEI - Hipocôndrio esquerdo.
08. KINTEKI or TSURIGANE - Testículos.
09. SHITSU - Joelho(s).
10. MYŌJŌ - Hipogastro.
11. DENKŌ - Hipocôndrio direito.
12. KACHIKAKE - Queixo.

Como as Áreas de Ataques na entrada abaixo, os "Pontos Vitais" também irão aumentar.
Eles serão explicados à medida que forem empregados.
.

JŪDŌ NO KŌGEKI-KASHO
Jūdō's striking areas.

1 - YUBI-SAKI or NUKITE - Finger tips.
2 - SEIKEN - Direct punch.
3 - TETSUI-UCHI - Downward blow.
4 - SHUTŌ - Knife hand.
5 - HIJI - Elbow(s).
6 - RYŌGAN-TSUKI - Strike to both eyes.
7 - HIZA - Knee(s).
8 - SEKITŌ or KOSHI - Ball of the foot.
9 - KAKATO - Heel.

Make no mistake!
Comparing to other Martial Arts, at first sight it seems that Jūdō lacks number of striking areas.
However, the areas shown above are the very "basic" areas.
As your knowledge on Jūdō rises, you will notice that new areas will appear, increasing Jūdō's technical range.
For example:
KIME-NO-KATA features SOKUTŌ (Knife foot), URA-ZUKI (Reverse punch).
GOSHIN-JUTSU-NO-KATA features URAKEN (Back of the hand punch) and AGE-ZUKI (Uppercut).
SEIRYOKY ZEN'YŌ KOKUMIN TAI-IKU-NO-KATA features TATE-KEN (Vertical fist punch) and so on...

JŪDŌ NO KŌGEKI-KASHO
Áreas de ataque do Jūdō.

1 - YUBI-SAKI ou NUKITE - Pontas dos dedos.
2 - SEIKEN - Punho directo.
3 - TETSUI-UCHI - Pancadas descendente (martelo).
4 - SHUTŌ - Faca da mão
5 - HIJI - Cotovelos(s)
6 - RYŌGAN-TSUKI - Ataque a ambos os olhos.
7 - HIZA - Joelho(s).
8 - SEKITŌ or KOSHI - Bola do pé.
9 - KAKATO - Calcanhar.

Não se engane!
À primeira vista pode parecer que ao Jūdō faltam mais áreas de ataque em comparação com outras Artes Marciais.
Contudo as áreas apresentadas acima são as áreas "básicas".
A medida que o seu conhecimento de Jūdō aumenta, notar-se-á que novas áreas irão surgir, aumentando o alcance técnico do Jūdō.
Por exemplo:
KIME-NO-KATA apresenta o SOKUTŌ (A faca do pé) e URA-ZUKI (Soco Reverso).
GOSHIN-JUTSU-NO-KATA apresenta o URAKEN (Soco com as costas da mão) e AGE-ZUKI ("Uppercut").
SEIRYOKY ZEN'YŌ KOKUMIN TAI-IKU-NO-KATA apresenta o TATE-KEN (Soco Vertical) e assim por diante...
.

TWO STARTING QUESTIONS

1 - WHAT IS “KATA BUNKAI”?
Let’s see the ideograms and understand their meanings:

形 KATA – Literally it means “form, pattern, formal procedure(s)”
分 BUN – means “part, piece”
解 KAI – means “to understand”

Thus, KATA BUNKAI means “to understand the parts that compose the forms”

2 – WHERE DO WE GO FROM HERE? AND WHY?
We are going to make an approach on SEIRYOKU ZEN’YŌ KOKUMIN TAI-IKU NO KATA (精力善用国民体育), the basic Kōdōkan Kata. Why? Because Master Kanō said so!

All known Martial Arts follow the same instruction path: the student starts practicing bsic movements and then gradually evolves to advanced techniques. Jūdō is no exception. Referring to personal defence, this kata is the very basic step to understand striking techniques.
In fact, SEIRYOKU ZEN’YŌ KOKUMIN TAI-IKU NO KATA is a very basic form that prepares all Jūdōka to self-defense techniques and, for this reason, it must be practiced prior advancing to GOSHIN-JUTSU NO KATA or KIME NO KATA.
Because of its valuable introduction to Jūdō's punches and kicks, I will spend some time presenting and discussing its techniques.
Jūdō Kata Bunkai is going to be presented in this order:
- KŌGEKI-KASHO (Striking points),
- KYŪSHO-HYŌ (Vital Points Chart),
- ATEMI-WAZA (Striking techniques) and
- TANDOKU-RENSHŪ ("individual exercices") of SEIRYOKU ZEN’YŌ KOKUMIN TAI-IKU NO KATA.

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DUAS QUESTÕES INICIAIS:

1 - O QUE É “KATA BUNKAI”?
Vamos ver os ideogramas e entender os seus significados:

形 KATA – Literalmente significa “forma, padrão, procedimento formal”
分 BUN – significa “parte, pedaço”
解 KAI – significa “entender”.

Assim, KATA BUNKAI significa “entender as partes que compõem os procedimentos formais”.

2 – ONDE VAMOS A PARTIR DAQUI? E POR QUÊ?
Faremos uma aproximação ao Kata básico do Kōdōkan chamado SEIRYOKU ZEN’YŌ KOKUMIN TAI-IKU NO KATA (精力善用国民体育). Por quê? Porque o Mestre Kanō disse para assim o fazer!

Todas as Artes Marcias conhecidas seguem a mesma via de instrução: o aluno começa praticando moviemtnos básicos e então, gradualmente evolui para técnicas avançadas. O Jūdō não é excepção. Referindo-se à defesa pessoal, este kata é o passo mais básico para entender as técnicas de ataque.
De facto, o SEIRYOKU ZEN’YŌ KOKUMIN TAI-IKU NO KATA é um procedimento formal muito básico que prepara todos os Jūdōka para as técnicas de defesa pessoal e, por esta razão, deve ser praticado antes de avançarmos para o GOSHIN-JUTSU NO KATA ou KIME NO KATA.
Por causa da sua valiosa introdução aos socos e chutes do Jūdō, vou levar algum tempo apresentando e discutindo as suas técnicas.
O "Jūdō Kata Bunkai" será apresentado na seguinte ordem:
- KŌGEKI-KASHO (Pontos de ataque),
- KYŪSHO-HYŌ (Quadro de Pontos Vitais),
- ATEMI-WAZA (Técnicas de ataque) e
- TANDOKU-RENSHŪ ("Exercícios individuais") do SEIRYOKU ZEN’YŌ KOKUMIN TAI-IKU NO KATA.
.

SO... WHAT IS JŪDŌ?
JŪDŌ is a "body of disciplines" that was created from an ancient Japanese Martial Art called Jū-jutsu.
At this point someone would say: "A body of Disciplines?!"
The answer is: YES!
Let's check the following picture...

ENTÃO... O QUE É O JŪDŌ?
JŪDŌ? é um "corpo de disciplinas" que foi criado a partir de uma antiga Arte Marcial Japonesa chamada Jū-jutsu.
Neste ponto alguém diria: "Um corpo de Disciplinas?!"
A resposta é: SIM!
Vamos ver a figura a seguir...



The "standard" human body has its basic structure: One head, two arms, one trunk, and two legs.
We look at it and say: "Ok... that's an human body."
Like human body, Jūdō has its own structure too: "The Jūdō's body"!

O corpo humano "padrão" tem uma estrutura básica: Uma cabeça, dois braços, um tronco e duas pernas.
Nós olhamos e dizemos: "Ok... isso é um corpo humano."
Como o corpo humano, o Jūdō também tem a sua própria estrutura: "O corpo do Jūdō"!



The basic structure that composes the "standard" Jūdō is:
- Kihon-dōsa ("Basic Movements"),
- Nage-waza ("Throwing techniques"),
- Katame-waza ("Control techniques"),
- Atemi-waza ("Strike techniques"),
- Kata ("Formal Procedures") and
- Kappō ("Reanimation techniques").

(I don't want to offend anyone, but I need to make an analogy to show what is happening with Jūdō today... Let's see the next picture.)

A estrutura que compõe o Jūdō "padrão" é:
- Kihon-dōsa ("Movimentos Básicos"),
- Nage-waza ("Técnicas de Projecção"),
- Katame-waza ("Técnicas de Controlo"),
- Atemi-waza ("Técnicas de ataques a pontos vitais"),
- Kata ("Procedimentos Formais") e
- Kappō ("Técnicas de Reanimação").

(Não quero ofender ninguém, mas preciso fazer uma analogia para mostrar o que está a acontecer com o Jūdō nos dias de hoje. Vejamos a figura seguinte.)



However, like human body again, sometimes part of a body may be hurt or ommited for some reason. Does it mean that the disabled human structure or Jūdō structure is totally useless? No. Not really!
However, this structure will not be able to perform its full capabilities.

Well... considering that some parts of Jūdō training are fully covered everywhere, I propose myself to talk about those parts that we do not see very often: Jūdō's ATEMI-WAZA.

Contudo, como o corpo humano mais uma vez, algumas vezes partes de um corpo podem estar feridas ou omitidas por alguma razão. Isto significa que a estrutura humana afetada ou a estrutura do Jūdō é completamente inútil? Não. Nem por isso!
Contudo, a estrutura não será capaz de executar as suas capacidades totais.

Bem... considerando-se que algumas partes do treino do Jūdō já estão explicadas por toda parte, proponho-me a falar sobre aquelas partes que não vemos tão frequentemente: O ATEMI-WAZA do Jūdō.
.

UNDERSTANDING JŪDŌ KATA.

Being quite pragmatic when referring to Japanese Martial Arts in general, I decided to present you a "forgotten" part of Jūdō training, explaining - as simple as possible - why Jūdō is the best Japanese Martial Art.


Before going any deeper, let's see what Jūdō is all about.

As we know, Jūdō replaced Jū-jutsu in Japan. And we also know that ancient Jū-jutsu was an art used to kill enemies on battlefield.

However, it is not hard to understand why some people think of Jūdō as being "grabbing this /grabbing that game": because they are used to see sportive Jūdō where punching and kicking techniques are forbidden... but these techniques do exist in present day Jūdō!

But, in order to replace a killing art as Jū-jutsu, Jūdō naturally should carry a potential knowledge on real combat techniques. And Jūdō does!

On the other hand, I am not going to explain why this part of Jūdō is not taught in a great number of schools. All I am going to do is to present the techniques that are not practiced on daily basis, showing to the Jūdōka that have any interest on Jūdō how deep this art can go.

ENTENDENDO OS KATA DE JŪDŌ.

Sendo um tanto pragmático em se tratando de Artes Marciais japonesas em geral, decidi mostrar uma parte "esquecida" do treino de Jūdō, explicando - de forma tão simples quanto possível - porque o Jūdō é a melhor Arte Marcial Japonesa.


Antes de irmos mais fundo, vamos ver sobre o que se trata o Jūdō.

Como sabemos, o Jūdō substituiu o Jū-jutsu no Japão. E nós também sabemos que o antigo Jū-jutsu era uma arte usada para matar os inimigos no campo de batalha.

Contudo, não é difícil entender porque algumas pessoas pensam no Jūdō como sendo um "jogo de agarra isso /agarra aquilo": porque estas mesmas pessoas estão acostumadas a verem o Jūdō desportivo onde as técnicas de socos e chutes são proibidas. Mas estas técnicas existem no Jūdō contemporâneo!

Mas para substituir uma arte de matar como o Jū-jutsu, o Jūdō naturalmente deveria manter um conhecimento potencial de técnicas de combate real. E o Jūdō as tem!

Por outro lado, não vou explicar porque esta parte do Jūdō não é ensinada em um grande número de escolas.
Tudo que irei fazer é apresentar as técnicas que não são praticadas de forma diária, mostrando aos Jūdōka mais interessado o quão profundo esta arte pode ir.

Countless western authors of works on Jūdō generally fail on explain the correct meaning of Jūdō's symbol.
Despite being a very happy analogies:
a. The cherry blosson is NOT the symbol of Jūdō. Cherry blosson is used - very often - by old Jūjutsu schools and it is a flower with five petals.
b. The symbol do NOT represent the Happō no Kuzushi ("Unbalance in eight directions").
The symbol of Jūdō is composed by two parts:
a. A red sun.
b. An octogonal white figure.
The sun is written inside this octogonal figure. This "figure" MUST, I said MUST, have eight sides... I am telling so because I have seen lots of Jūdō symbols where the "figure" had different number of sides.
This "figure" is the representation of YATA NO KAGAMI, or "The Mirror YATA" or "The octogonal Mirror".
According to the history of Japan, The Gods offered three sacred gifts to the first japanese emperor to proof his "Divine descendence":
1. YATA NO KAGAMI - "The Mirror YATA".
2. KUSANAGI NO TSURUGI - "The sword KUSANAGI".
3. YASAKANI NO MAGATAMA - "The Jewel YASAKANI".
But YATA NO KAGAMI is not a normal mirror. Unlike normal mirrors that reflect our external image, YATA NO KAGAMI reflects our soul.
For thir reason, there always be mirrors inside Shintō temples. it is said the original YATA NO KAGAME still remains untouched inside the inner sanctuary (NAIKU) of ISE Shintō Temple in Japan far away from courious eyes.
Applying Shintō concept on the symbol of Jūdō, the white color of YATA NO KAGAMI means the Jūdōka's search on purifying his/her soul or the purity of Jūdōka's soul and the red sun in the middle means Jūdō's virtues around what Jūdōka's atitudes should be placed.

YATA NO KAGAMI - O Símbolo do Jūdō:
In?s autores ocidentais de obras sobre Jūdō geralmente falham em explicar o significado do S���olo do Jūdō.
Apesar de serem duas analogias muito felizes:
a. A flor de cerejeira Não é o Símbolo do Jūdō. A flor de cerejeira é usada - frequentemente - por escolas antigas de Jūjutsu e esta flor tem cinco pétalas.
b. O Símbolo do Jūdō Não representa Happō no Kuzushi ("as oito direcções de desequilíbrio").
O Símbolo do Jūdō é composto por duas partes:
a. Um Sol Vermelho.
b. Uma figura banca octogonal.
O Sol esta inscrito na figura octogonal. Esta "figura" DEVE, eu disse (obrigatoriamente) DEVE, ter oito lados... Estou a dizer isso porqie eu tenho visto muitos Símbolo do Jūdō onde a "figura" apresenta diferente número de lados.
Esta "figura" representa o YATA NO KAGAMI, ou "O Espelho YATA" ou "O Espelho Octogonal".
De acordo com a história do Japão, os Deuses ofereceram três presentes sagrados ao primeiro imperador japonês como prova da sua "Descendência Divina":
1. YATA NO KAGAMI - "O Espelho YATA".
2. KUSANAGI NO TSURUGI - "A Espada KUSANAGI".
3. YASAKANI NO MAGATAMA - "A J󩡠YASAKANI".
Mas o YATA NO KAGAMI não é um espelho normal. Diferente dos espelhos normais que reflectem a nossa imagem esterior, o YATA NO KAGAMI reflecte a nossa imagem interior, o nosso espírito.
Por essa razão há sempre espelhos no interior de templos Shintō. Diz-se que o YATA NO KAGAMI original ainda permanece intocável no santuário interior (NAIKU) dentro de um Templo Shintō em ISE no Japão, longe dos olhos de curiosos.
Aplicando-se o conceito Shintō no Símbolo do Jūdō, a parte branca do YATA NO KAGAMI significa a busca do Jūdōka em purificar o seu espírito ou a própria alma do Jūdōka e o sol vermelho no seu interior significa as virtudes do Jūdō ao redor das quais as atitudes do Jūdōka devem centrar-se.
.

The Japanese Jūdō belts are as follows:
Os cintos de Jūdō japoneses sãoos seguintes:



* Upper line are men's belts, lower line are ladies belts.
* Na linha superior estão os cintos masculinos, a linha inferior estão os cintos femininos.

帯 OBI / BELTS / CINTOS

　４級以下・・・白帯（男女共用）
Yonkyū ika...Shiro-obi (Danjo kyōyō)
Till 4th Kyū use WHITE belt (men & women)
Até 4º Kyū homens e mulheres usam cintos BRANCOS

　１級から３級・・・・・・・茶帯
Ikkyū kara san-kyū ... Cha(iro)obi
From 3rd to 1st Kyū use BROWN belt
Do 3º ao 1º Kyū usam cinto CASTANHOS

　初段から５段・・・・・・・黒帯
Shodan kara godan ... Kuro-obi
From Shodan to 5th DAN use BLACK belt
De Shodan a 5º DAN usam cinto PRETO.

　６段から８段・紅白のだんだら帯
Rokudan kara hachidan - Kōhaku no dandara obi
From 6th to 8th DAN RED/WHITE belt.
Do 6º ao 8º DAN usam cinto VERMELHO/BRANCO.

　９段・１０段・・・・・・・赤帯
Kudan - Jūdan... Aka-obi
9th and 10th DAN use RED belt.
9º e 10º DAN usam cintos vermelhos.

　（６段以上黒帯をしめても良い）
(Rokudan ijō kuro-obi o shimete mo ii)
(6th, 7th and 8th DAN may use BLACK belts.)
(6º, 7º e 8º DAN podem usar cintos PRETOS.)

　少年部１級から３級・・・・紫帯
Shōnenbu ikkyū kara san-kyū ... Murasaki-obi
Children's class - 3rd to 1st Kyū use PURPLE belt.
Crianças: do 3º ao 1º Kyū usam cinto roxo (púrpura).

　女子・・・・中央に白線がある帯
Joshi ... Chūō ni hakusen ga aru obi
Ladies: there is a white stripe along ladies' belts.
Senhoras/raparigas: há uma listra branca que percorre toda a extensão do cinto.

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Old Kōdōkan Rank patches - from 1st to 6th Dan.
Generally used on black-belts, they were seen on Uwagi as well.

Distintivos de Graduação antigos do Kōdōkan - do 1º ao 6º Dan.
Geralmente usados nos cintos-pretos, também eram vistos no Uwagi.

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When I started Jūdō, all Kyū belts had the following patch (and belts had their proper colors):
A small rectangle with white background with Yata-no-kagami symbol and Kōdōkan written in kanji - nothing else.
Quando eu comecei no Jūdō, todos os cintos de Kyū tinham o seguinte distintivo (e os cintos as suas cores apropriadas: um pequeno retângulo com o fundo em branco, o yata-no-kagami e a palavra Kōdōkan escrita em Kanji - nada mais.



But for me it was a mere mark on the belt and I never paid too much attention about its meaning.
Later, local manufacturer's marks replaced the Kōdōkan patch... once again we saw those new patches as marks without any special meaning.
Mas para mim era uma mera marca no cinto e eu nunca prestei muita atenção sobre o seu significado.
Mais tarde, distribuidores locais substituiram o distintivo do Kōdōkan pelas suas próprias marcas... novamente nós consideramos aqueles novos distintivos apenas como marcas sem qualquer significado especial.

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Other foreign Jūdō belts (DAN grades use the Japanese DAN system):
Cintos de Jūdō de outros países (as graduações DAN seguem o sistema japonês:



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JŪDŌ GIJUTSU BUNRUI
DIVISION OF JŪDŌ TECHNIQUES

1. 練体法 RENTAI-HŌ - "Physical Education"
2. 尚武法 SHŌBU-HŌ - "Martial Art"
3. 修身法 SHŪSHIN-HŌ - "Moral training"

尚武法 SHŌBU-HŌ - MARTIAL ART TRAINING:

基本動作 KIHON-DŌSA - Basic Movement(s)
投げ技 NAGE-WAZA - Projection or Throwing Technique(s)
固め技 KATAME-WAZA - Control Technique(s)
形 or 型 KATA - Standard Procedures
当身技 ATEMI-WAZA - Vital Points Striking Techniques
活法 KAPPŌ - Resuscitation or Reanimation Techniques
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

基本動作 KIHON-DŌSA - Basic Movement(s)

柔道着 Jūdōgi - suit for judo practice - It is divided in three parts:
上衣; 上着; 表着 Uwagi - coat; tunic; jacket; outer garment; Upper part of J?
帯 Obi - kimono sash; Belt
下履き Shitabaki - pants
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準備運動 Junbi-undō - warming (limbering) up; warming-up exercises
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整理体操 Seiri-taisō - Exercices done after J?lass - "back to normal" exercices.
整理 Seiri - sorting; arrangement; adjustment; regulation;
体操 Taisō gymnastics; physical exercises; calisthenics;
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礼法 Reihō - etiquette; courtesy; manners
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姿勢 Shisei - attitude; posture;

1. 投技の姿勢 NAGE-WAZA NO SHISEI - "Postures for throwing techniques"

1.a - 自然体 Shizentai - "Natural posture"
1.a.1 - 自然本体 SHIZEN-HONTAI - "Natural posture"
1.a.2 - 右自然体 MIGI-SHIZEN-TAI - "Natural posture at right"
1.a.3 - 左自然体 HIDARI-SHIZEN-TAI - "Natural posture at left"

1.b - 自護体 JIGOTAI "Defensive posture"
1.b.1 - 自護本体 JIGO-HONTAI - "Defensive posture"
1.b.2 - 右自護体 MIGI-JIGO-TAI - "Defensive posture at right"
1.b.3 - 左自護体 HIDARI-JIGO-TAI - "Defensive posture at left"

2. 固技の姿勢 KATAME-WAZA NO SHISEI - "Postures for grappling techniques"

2.a - 踞姿(の構え) KYOSHI (NO KAMAE) - "Squat posture"
Used in the beginning of KATAME-NO-KATA, when standing on one knee..

2.b - 仰向けの姿勢 AOMUKE NO SHISEI - "Face up position"
Formal position used by the UKE, laying down, face up, when expecting a grappling technique to be shown.
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自然 Shizen - nature; spontaneous, natural;
自護 Jigo - self-defence; defensive;
体 tai - the body;
自然体 Shizentai - "Natural posture"
自護体 Jigotai - "Defensive posture"
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組み方 Kumikata - way of constructing a technique; the way you grab the opponent.
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進退 Shintai - movement; course of action; advance or retreat;
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体捌き Taisabaki - to evade, to avoid
体 tai - the body;
捌き sabaki - to handle;
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崩しKuzushi - to unbalance, do crush, to crumble
作りTsukuri - construction; make-up;
掛けKake - to hang, to suspend
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受身; 受け身 Ukemi - passive;
In Jūdō context, UKEMI is used with its literal meaning: Uke 受 "To receive"; and Mi 身 "with the body" = downfalls training.

後受身 Ushiro-ukemi - Training back downfalls.
後 Ushiro 後 back; behind; rear;
受身 Ukemi - Training downfalls.

横受身 Yoko-ukemi - Training side downfalls.
横 Yoko - beside; side; width;
受身 Ukemi - Training downfalls.

前受身 Mae-ukemi - Training front downfalls.
前 Mae - in front; fore part;
受身 Ukemi - Training downfalls.

前回り受身 Mae-mawari-ukemi - Training front rolling downfalls.
前 Mae - in front; fore part;
回り Mawari - circumference; circulation
受身 Ukemi - Training downfalls.

前方受身 Zenpō-ukemi - Training front rolling downfalls.
前 Zen, Mae - in front; fore part;
方 Hō - side; direction; way;
受身 Ukemi - Training downfalls.
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五教 GOKYŌ - "The 5 Teachings"

第一教 DAI IKKYŌ - "The first teaching":

DE-ASHI-BARAI / HIZA-GURUMA / SASAE-TSURI-KOMI-ASHI / UKI-GOSHI
01. 出足払 DE-ASHI-BARAI - "forward foot sweep"
02. 膝車 HIZA-GURUMA - "Knee wheel"
03. 支釣り込み足 SASAE-TSURI-KOMI-ASHI -"Supporting foot lift-pull"
04. 浮き腰 UKI-GOSHI - "Floating hip"

Ō-SOTO-GARI / Ō-GOSHI / Ō-UCHI-GARI / SEOI-NAGE
05. 大外刈り Ō-SOTO-GARI - "Large outer reap"
06. 大腰 Ō-GOSHI - "Large Hip"
07. 大内刈り Ō-UCHI-GARI - "Large inner reap"
08. 背負い投げ SEOI-NAGE - "shoulder throw"

第二教 DAI NI KYŌ - "The second teaching":

KO-SOTO-GARI / KO-UCHI-GARI / KOSHI-GURUMA / TSURI-KOMI-GOSHI
09. 小外刈り KO-SOTO-GARI - "Small outer reap"
10. 小内刈り KO-UCHI-GARI - "Small outer reap"
11. 腰車 KOSHI-GURUMA - "Hip wheel"
12. 釣り込み腰 TSURI-KOMI-GOSHI - "Lift-pull hip"

OKURI-ASHI-BARAI / TAI-OTOSHI / HARAI-GOSHI / UCHI-MATA
13. 送り足払い OKURI-ASHI-BARAI - "foot sweep"
14. 体落し TAI-OTOSHI - "Body drop"
15. 払い腰 HARAI-GOSHI - "Hip sweep"
16. 内股 UCHI-MATA - "Inner-thigh reaping"

第三教 DAI SAN KYŌ - "The third teaching":

KO-SOTO-GAKE / TSURI-GOSHI
17. 小外掛 KO-SOTO-GAKE - "Small outer hook"
18. 釣り腰 TSURI-GOSHI - "Lifting hip"
(in the picture: 大釣り腰 Ō-TSURI-GOSHI and 小釣り腰 KO-TSURI-GOSHI)

YOKO-OTOSHI / ASHI-GURUMA / HANE-GOSHI
19. 横落 YOKO-OTOSHI - "Side drop"
20. 脚車 ASHI-GURUMA - "Leg wheel"
21. 跳ね腰 HANE-GOSHI - "Hip spring"

HARAI-TSURI-KOMI-ASHI / TOMOE-NAGE / KARA-GURUMA
22. 払い釣り込み足 HARAI-TSURI-KOMI-ASHI - "Lift-pull foot sweep"
23. 巴投げ TOMOE-NAGE - "Circular throw"
24. 肩車 KATA-GURUMA - "Shoulder wheel"

第四教 DAI YON KYŌ - "The fourth teaching":

SUMI-GAESHI / TANI-OTOSHI / HANE-MAKI-KOMI

25. 隅返 SUMI-GAESHI - "Corner throw"
26. 谷落 TANI-OTOSHI - "Valley drop"
27. 跳巻き込み HANE-MAKI-KOMI - "Springing wraparound"

SUKUI-NAGE / UTSURI-GOSHI / O-GURUMA

28. 掬投 SUKUI-NAGE - "Scooping throw"
29. 移腰 UTSURI-GOSHI - "Hip shift"
30. 大車 Ō-GURUMA - "Large wheel"

SOTO-MAKI-KOMI / UKI-WAZA

31. 外巻込 SOTO-MAKI-KOMI - "Outer wraparound"
32. 浮落 UKI-OTOSHI - "Floating drop"

第五教 DAI GO KYŌ - "The fifth teaching":

33. 大外車 Ō-SOTO-GURUMA - "Large outer wheel"
34. 浮技 UKI-WAZA - "Floating throw"
35. 横分 YOKO-WAKARE - "Side separation"
36. 横車 YOKO-GURUMA - "Side wheel"
37. 後腰 USHIRO-GOSHI - "Back hip"
38. 裏投 URA-NAGE - "Back throw"
39. 隅落 SUMI-OTOSHI - "Corner drop"
40. 横掛 YOKO-GAKE - "Side body drop"
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固技 KATAME-WAZA - "Grappling techniques" are divided in three parts:

I. 抑込技 OSAE-KOMI-WAZA - "Hold-down techniques"
II. 絞技 SHIME-WAZA - "Strangulation or choke lock techniques"
III. 関節技 KANSETSU-WAZA - "Joint lock techniques"

***** I. 抑込技 OSAE-KOMI-WAZA - "Hold-down techniques" *****
01. 本袈裟固 HON-KESA-GATAME - "Scarf Hold" [Omitted waza name (Apr.01,1997)]
02. 崩袈裟固 KUZURE-KESA-GATAME - "Variation of scarf hold"
03. 肩固 KATA-GATAME - "Shoulder hold"
04. 上四方固 KAMI-SHIHŌ-GATAME - "Top four-corner hold"
05. 崩上四方固 KUZURE-KAMI-SHIHŌ-GATAME - "Variation top four-corner hold"
06. 横四方固 YOKO-SHIHŌ-GATAME - "Side locking four-corner hold"
07. 縦四方固 TATE-SHIHŌ-GATAME - "Straight locking four-corner hold"

***** II. 絞技 SHIME-WAZA - "Strangulation or choke lock techniques" *****

01. 並十字絞 NAMI-JۊI-JIME - "Normal cross lock"
02. 逆十字絞 GYAKU-JۊI-JIME - "Reverse cross lock"
03. 片十字絞 KATA-JۊI-JIME - "Single cross lock"
04. 裸絞 HADAKA-JIME - "Naked lock"
05. 送襟絞 OKURI-ERI-JIME - "Sliding collar lock"
06. 片羽絞 KATA-HA-JIME - "Single wing lock"
07. 片手絞 KATA-TE-JIME - "One hand choke"
08. 両手絞 RYŌ-TE-JIME - "Two hand choke"
09. 袖車絞SODE-GURUMA-JIME - "Sleeve wheel choke"
10. 突込絞TSUKKOMI-JIME - "Thurst choke"
11. 三角絞SANKAKU-JIME - "Triangular choke"
----- There is still another strangulation technique, but it is PROHIBITED:
12. 胴絞DŌ-JIME - "Trunk lock"

***** III. 関節技 KANSETSU-WAZA - "Joint lock techniques" *****
01. 腕緘 UDE-GARAMI - "Arm-lock"
02. 腕挫十字固 UDE-HISHIGI-J&$362;JI-GATAME - "Crossed Luxation"
03. 腕挫腕固 UDE-HISHIGI-UDE-GATAME - "Luxation using the arm"
04. 腕挫膝固 UDE-HISHIGI-HIZA-GATAME - "Luxation using knee"
05. 腕挫腋固 UDE-HISHIGI-WAKI-GATAME - "Luxation using armpit"
06. 腕挫腹固 UDE-HISHIGI-HARA-GATAME - "Luxation using stomach"
07. 腕挫脚固 UDE-HISHIGI-ASHI-GATAME - "Luxation using leg"
08. 腕挫手固 UDE-HISHIGI-TE-GATAME - "Luxation using hand"
09. 腕挫三角固 UDE-HISHIGI-SANKAKU-GATAME - "Triangular Luxation"
----- There is still another joint lock technique, but it is PROHIBITED:
10. 足緘 ASHI-GARAMI - "Foot-lock"
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新名称の技 SHINMEISHŌ NO WAZA - "Newly-named techniques" are divided in four parts:

I. 手技 TE-WAZA - "Hand techniques"
II. 腰技 KOSHI-WAZA - "Hip techniques"
III. 足技 ASHI-WAZA - "Foot and leg techniques"
IV. 横捨身技 YOKO-SUTEMI-WAZA - "Side sacrifice techniques"

***** I. 手技 TE-WAZA - "Hand techniques" *****
01. 双手刈 MOROTE-GARI - "Two hand reap"
02. 朽木倒 KUCHIKI-TAOSHI - "Rotten tree drop"
03. 踵返 KIBISU-GAESHI - "Heel trip"
04. 内股すかし UCHI-MATA-SUKASHI - "Inner thigh reaping throw slip"

***** II. 腰技 KOSHI-WAZA - "Hip techniques" *****
05. 抱上 DAKI-AGE - "High lift"

***** III. 足技 ASHI-WAZA - "Foot and leg techniques" *****
06. 燕返 TSUBAME-GAESHI - "Swallow counter"
07. 大外返 Ō-SOTO-GAESHI - "Large outer reaping throw counter"
08. 大内返 Ō-UCHI-GAESHI - "Large inner reaping throw counter"
09. 小内返 KO-UCHI-GAESHI - "Small inner reaping throw counter"
10. 跳腰返 HANE-GOSHI-GAESHI - "Hip spring counter"
11. 払腰返 HARAI-GOSHI-GAESHI - "Hip sweep counter"
12. 内股返 UCHI-MATA-GAESHI - "Inner thigh reaping throw counter"

***** IV. 横捨身技 YOKO-SUTEMI-WAZA - "Side sacrifice techniques" *****
13. 蟹挟 KANI-BASAMI - "Crab scissors"
14. 河津掛 KAWAZU-GAKE - "One leg entanglement"
15. 大外巻込 Ō-SOTO-MAKI-KOMI - "Large outside wraparound throw"
16. 内股巻込 UCHI-MATA-MAKI-KOMI - "Inner thigh wraparound throw"
17. 払巻込 HARAI-MAKI-KOMI - "Hip sweep wraparound throw"
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省かれた技 HABUKARETA-WAZA - "Preserved techniques" (from ancient GOKYŌ) are divided in four parts:

I. 手技 TE-WAZA - "Hand techniques"
II. 足技 ASHI-WAZA - "Foot and leg techniques"
III. 真捨身技 MA-SUTEMI-WAZA - "Supine sacrifice techniques"
IV. 横捨身技 YOKO-SUTEMI-WAZA - "Side sacrifice techniques"

***** I. 手技 TE-WAZA - "Hand techniques" *****
01. 帯落 OBI-OTOSHI - "Belt drop"
02. 背負落 SEOI-OTOSHI - "Shoulder drop"
03. 山嵐 YAMA-ARASHI - "Tempest on the mountain"

***** II. 足技 ASHI-WAZA - "Foot and leg technique" *****
04. 大外落 Ō-SOTO-OTOSHI - "Large outer drop"

***** III. 真捨身技 MA-SUTEMI-WAZA - "Supine (direct) sacrifice techniques" *****
05. 引込返 HIKKOMI-GAESHI - "Pull-around counter"
06. 俵返 TAWARA-GAESHI - "Sack (or bag) counter"

***** IV. 横捨身技 YOKO-SUTEMI-WAZA - "Side sacrifice techniques" *****
07. 抱分 DAKI-WAKARE - "Enbrace separation"
08. 内巻込 UCHI-MAKI-KOMI - "Inner wraparound"
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形 KATA - "Prearranged forms"

01. 投の形 NAGE-NO-KATA - "Trowing forms"
02. 固の形 KATAME-NO-KATA - "Grappling forms"
03. 極の形 KIME-NO-KATA - "Extreme forms"
Also known as 真剣勝負の形 SHIKEN-SHOBU-NO-KATA - "Combat forms"
04. 講道館護身術 KŌDŌKAN-GOSHIN-JUTSU - "Kōdōkan's Art of Self-Defense"
05. 柔の形 JŪ-NO-KATA - "Gentle forms"
06. 五の形 ITSUTSU-NO-KATA - "Five forms"
07. 古式の形 KO-SHIKI-NO-KATA - "Old system's forms"
Also known as 起倒流柔術の形 KITŌ-RYŪ JŪJUTSU NO KATA - "Kitō Ryū Jūjutsu School's forms"
08. 精力善用国民体育 SEIRYOKU-ZEN'YŌ KOKUMIN-TAIIKU - "Maximum-Efficiency National Physical Education"
** According to Kanō Sensei: "

QUOTE

...I have long recommend this Kata, particularly to beginners, to woman and to children under fifteen. Like mastering falls, this Kata is a fundamental part of Jūdō training, which no beginning Jūdōka can afford to overlook."

The following Kata can be found in some publications as well.
09. 女子柔道護身法 JOSHI-JŪDŌ-GOSHIN-HŌ - "Jūdō directives of self-defense for girls"
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当て身技 ATEMI-WAZA - "Vital points striking techniques" is divided in two parts:

I. 手技 TE-WAZA - "Hand and arm techniques"
II. 足技 ASHI-WAZA - "Foot and leg techniques"

***** I. 手技 TE-WAZA - "Hand and arm techniques" *****

01. 肘当 HIJI-ATE - "Elbow attacks"
01.01 - 後当 USHIRO-ATE - "Rear attack"

02. 手刀当 TE-GATANA-ATE - "Outside edge of hand attacks"
02.01 - 切り下ろし KIRI-OROSHI - "Slash downward"
02.02 - 斜打 NANAME-UCHI - "Oblique strike"

03. 拳当 KOBUSHI-ATE - "Fist attacks"
03.01 - 斜当 NANAME-ATE - "Oblique attack"
03.02 - 横当 YOKO-ATE - "Side attack"
03.03 - 上当 KAMI-ATE - "Upper attack"
03.04 - 突上 TSUKI-AGE - "Upward punch"
03.05 - 下突 SHIMO-TSUKI - "Lower punch"
03.06 - 後突 USHIRO-TSUKI - "Rear punch"
03.07 - 後隅突 USHIRO-SUMI-TSUKI - "Rear corner punch"
03.08 - 突っ掛け TSUKKAKE - "Slip-on"
03.09 - 横打 YOKO-UCHI - "Side strike"
03.10 - 後打 USHIRO-UCHI - "Rear strike"
03.11 - 打下ろし UCHI-OROSHI - "Downward strike"

04. 指先当 YUBI-SAKI-ATE - "Fingertip attacks"
04.01 - 突出 TSUKI-DASHI - "Advancing punch"
04.02 - 両眼突 RYŌGAN-TSUKI - "Both eyes punch"

***** II. 足技 ASHI-WAZA - "Foot and leg techniques" *****

05. 踵当 KAKATO-ATE - "Heel attacks"
05.01 - 後蹴 USHIRO-GERI - "Rear kick"
05.02 - 横蹴 YOKO-GERI - "Lateral kick"

06. 蹠頭当 SEKITŌ-ATE - "Ball of foot attacks"
06.01 - 斜蹴 NANAME-GERI - "Oblique kick"
06.02 - 前蹴 MAE-GERI - "Frontal kick"
06.03 - 高蹴 TAKA-GERI - "High kick"

07. 膝当 HIZA-ATE - "Knee attacks"
07.01 - 前当 MAE-ATE - "Frontal attack"

NOTE: These techniques came from Tenjin Shin'Yō Jūjutsu School.
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活法 KAPPŌ - "Resuscitation Techniques"

Numerous methods of KAPPŌ have been devised, including:

01. 誘活 SASOI-KATSU - "Inductive method"
02. 襟活 ERI-KATSU - "Lapel method"
03. 層活 SŌ-KATSU - "Composite method"
A variation of this method is called 腎臓活 JINZŌ-KATSU - "Kidney resuscitation"
04. 睾丸活 KŌGAN-KATSU - "Testicle method"
Also known as 陰嚢活 INNŌ-KATSU - "Scrotum method"
05. 丹田活 TANDEN-KATSU - "Abdomem method"
06. 鼻血止め HANA-JI-TOME - "Nosebleed stop"
07. 背活 SE-KATSU - "Back method"
08. 本活 HON-KATSU - "Chest method"
09. 首活 KUBI-KATSU - "Neck (hanging) method"
10. 足活 ASHI-KATSU - "Foot method"
11. 脳活 NŌKATSU - "Head method"
12. 頭脳活 ZU-NŌ-KATSU - "Brain method (5 methods)"
13. 水活 SUI-KATSU - "Water method"
Also known as 水死活 SUISHI-KATSU "Death by drowning method"

DAI NIPPON BUDŌSHI
Chronology of japanese Martial Arts
Cronologia das Artes Marciais Japonesas

NOTES:
1. 99 / 99 -End and beginning years of Japanese eras.
2. (皇紀 Kōki calendar - "Imperial Era")
3. Western Calendar
4. *** 時代 Jidai - "Japanese Era" ***
5. *** WORLD WAR ***
----------------------------------------------------------------------------------------------
(____) -10000 *** JŌMON era begins***
(___0) _-660 FOUNDING OF JAPANESE DYNASTY.
FEB 11 - Jinmu, grandson of the sun-goddess Amaterasu, declares the inauguration of Imperial rule in Japan.
(Kōki 60) _-600
(Kōki 160) _-500
(Kōki 180) _-520 Bodhidharma 菩提達磨 (Púdi Támo in Chinese and Bodai-Daruma in Japanese) comes to China to spread Buddhism. However this date is highly questionable, once, depending on font read, the year may be: 520, 526 or even 480 (according to last researches).

"Bodhidharma - woodblock print by Taiso Yoshitoshi

(Kōki 260) _-400
Yayoi 1 (Kōki 360) _-300 *** JŌMON era ends / YAYOI era begins***
Yayoi 101 (Kōki 460) _-200
Yayoi 201 (Kōki 560) _-100
Yayoi 378 (Kōki 637) __-23 The Emperor Suinin watches a sumo match between a hero named Sukune-no-Nomi and a bully named Taima-no-Kehaya. Sukune won the match after kicking Taima in hip, then proceeding to kick him to death. It is said it is the beginning of ATEMI-WAZA.
Yayoi 301 (Kōki 660) ___0 - Century I ---------------------------------------------------------
Yayoi 401 (Kōki 760) _100 - Century II
Yayoi 501 (Kōki 860) _200 - Century III
Yayoi 601 / Yamato 1 (Kōki 960) _300 - Century IV *** YAYOI era ends / YAMATO era begins ***
Yamato 101 (Kōki 1060) _400 - CenturyV
Yamato 201 (Kōki 1160) _500 - CenturyVI
Yamato 251 / Asuka 1 (Kōki 1210) _550 *** YAMATO era ends / ASUKA era begins ***
- Appearance of term SHINOBI as "an expert in the field of information gathering", done by great Buddhist figure Shōtoku Taishi.
SHINOBI　志能便　（Old ideograms）　忍び　（New ideograms）.
Asuka 51 (Kōki 1260) _600 - Century VII
Asuka 151 (Kōki 1360) _700 - Century VIII
Asuka 161 / Nara 1 (Kōki 1370) _710 *** ASUKA era ends / NARA era begins ***
Nara 2 (Kōki 1372) _712 KOJIKI is written.
Nara 10 (Kōki 1380) _720 NIHON SHOKI and NIHONGI ("Chronicles of Japan") are written - These reports belong to RIKKOSHI ("Six Histories of the Nation").
Nara 74 / Heian 1 (Kōki 1454) _794 *** NARA era ends / HEIAN era begins ***
Heian 7 (Kōki 1460) _800 - Century IX
Heian 107 (Kōki 1560) _900 - Century X
Heian 207 (Kōki 1660) 1000 - Century XI
Heian 256 (Kōki 1709) 1049 Chinese warlord I Kung of Su Chang province met in battle the warlord of Sung province. I kung was defeated and escaped to IGA region in Japan where he taught Ninjutsu to "Fujiwara no Chikado" and "Hōgenbō Tesshin".
Heian 307 (Kōki 1760) 1100 - Century XII
Heian 392 / Kamakura 1 (Kōki 1845) 1185 *** HEIAN era ends / KAMAKURA era begins ***
Kamakura 8 (Kōki 1852) 1192 Minamoto No Yoritomo becomes Shōgun and establishes "warrior standards".
Kamakura 16 (Kōki 1860) 1200 - Century XIII
Kamakura 116 (Kōki 1960) 1300 - Century XIV
- First half of Century XIV, first Ryūha/Ryūgi appeared in Japan.
Kamakura 149 / Ashikaga 1 (Kōki 1993) 1333 *** KAMAKURA era ends / ASHIKAGA era begins ***
(Kōki 1993) 1333 *** KENMU (ISHIN) era begins ***
(Kōki 1996) 1336 *** KENMU (ISHIN) era ends ***
(Kōki 2032) 1372 First document that mentions Chinese Kenpō (TODE) in Okinawa.
(Kōki 2052) 1392 During King Satto reign is stablished a zone of Kume (Okinawa) where is created a community of Chinese craftsmen and monks that introducted Martial Arts (TODE) in the territory.
(Kōki 2060) 1400 - Century XV
(Kōki 2089) 1429 SHO dynasty begins (king SHO HASHI) and beginning of unification of the three reigns of Okinawa.
(Kōki 2103) 1443 Heki Danjo Matasugu founder of Heki Ryū Kyūdō was born.
(Kōki 2127) 1467 ***SENGOKU period begins ***
(Kōki 2137) 1477 SHO dynasty is overthrown. Prohibition of use of weapons. Development of native Martial Art in Okinawa.
(Kōki 2147) 1487 Magari no Jin Rebellion against ASHIKAGA family begins.
(Kōki 2149) 1489 Magari no Jin Rebellion ends.
(Kōki 2160) 1500 - Century XVI
(Kōki 2162) 1502 Heki Danjo Matasugu (founder of Heki Ryū Kyūdō) dies.
(Kōki 2203) 1543 Introduction of firearms in Japan by a shipwrecked Portuguese (led by Mendez Pinto) who landed on Tanegashima 種子島, an island off Kyushu that's part of present-day Kagoshima Prefecture.
Azuchi-Momoyama 1 (Kōki 2218) 1558 *** AZUCHI-MOMOYAMA era begins ***
Ashikaga 136(Kōki 2228) 1568 *** ASHIKAGA era ends ***
(Kōki 2228) 1568 Oda Nobunaga attacks IGA province with a massive army.
(Kōki 2233) 1573 Oda Nobunaga defeats Sōgun Yoshiaki.
(Kōki 2234) 1574 Oda Nobunaga defeats Sasaki (and his Ninja clans support) at Ishibe castle and controlled Iga and Kōga areas.
(Kōki 2235) 1575 The combined armies of Oda Nobunaga and Ieyasu Tokugawa used firearms against the heavy cavalry of the Takeda clan, killing 15,000 of them.
(Kōki 2238) 1578 Tenshō Rebellion begins.
(Kōki 2241) 1581 Tenshō Rebellion end.
___ / Momoyama 1 (Kōki 2243) 1583 *** MOMOYAMA era begins ***
Momoyama 6 (Kōki 2248) 1588 Emperor Hideyoshi ordered a "sword hunt" in which all classes except the samurai were disarmed.
Momoyama 18 (Kōki 2260) 1600 - Century XVII *** AZUCHI-MOMOYAMA era ends ***
OCT 21 - Battle of SEKIGAHARA where Tokugawa Ieyasu consolidated his path to Shogunate over Ishida Mitsunari + Toyotomi Hideyoshi + Toyotomi Hideyori.
Momoyama 21 (Kōki 2262) 1602 *** MOMOYAMA era ends ***
Edo 1 (Kōki 2263) 1603 *** EDO era begins ***
Edo 7 (Kōki 2269) 1609 Japanese SATSUMA clan invades Okinawa furthering the ban on the use of weapons. King of Ryūkyū paid tribute to lord Satsuma.
Edo 13 (Kōki 2275) 1615 ***SENGOKU period ends ***
Edo 22 (Kōki 2284) 1624 Lord of Satsuma annexed the Amami Islands.
Edo 51 (Kōki 2313) 1653 NINPIDEN ("Secret Teachings of Ninjutsu") was written by Hattori Hanzō (4 volumes);
Edo 74 (Kōki 2336) 1676 BANSENSHŪKAI (Ninjutsu book) is written by Fujibayashi Yasutake (26 volumes).
Edo 79 (Kōki 2341) 1681 SHŌNINKI ("Correct Ninjutsu Memories") is written vy Fujibayashi Masatake (3 volumes).
Edo 81 (Kōki 2343) 1683 A Chinese emissary called Wanshu (Wang Ji) - Chinese Kenpō expert - teaches TODE in TOMARI village.
Edo 98 (Kōki 2360) 1700 - Century XVIII
Edo 153 (Kōki 2415) 1755 SAKUGAWA SHUNGO went to China to learn Martial Arts.
Edo 154 (Kōki 2416) 1756 Chinese emissary and aggregate in a delegation of Chinese Army of the Ming Dynasty, Shao Lin Quan-Fa expert KUSHANKU (Kwang Shang Fu) arrives Okinawa. One of the "36 Chinese Families" settled in the Kanemura village, near of NAHA city, until 1762,
Edo 198 (Kōki 2460) 1800 - Century XIX
Edo 241 (Kōki 2503) 1843 published BUJUTSU RYŪ SOROKU: There were 150 important RYŪ: 66 KENJUTSU/IAIJUTSU - 31 SŌJUTSU - 20 JŪJUTSU - 19 TEPPŌJUTSU - 14 KYŪJUTSU.
- Before 1868 was recognized about 3000 Ryu.
Edo 251 (Kōki 2513) 1853-MAR-10 Higaonna Kanryō was born in NAHA (Okinawa).
Edo 258 (Kōki 2520) 1860-OCT-28 Kanō Jigorō is born in Mikage, Hyogo Prefecture.
Edo 264 (Kōki 2526) 1866 Last official delegation sent by Chinese Emperor (Qing Empire) arrives Okinawa.
Edo 266 / Meiji 1 (Kōki 2528) 1868 *** EDO era ends / MEIJI (ISHIN) era begins ***
----- All martial arts until this date on are called KORYŪ ("Old schools").
----- All martial arts from this date on are called GENDAI BUDŌ("Actual Budō").
- End of SAMURAI domination.
- Higaonna Kanryō begins TODE under Aragaki Seisho (1840/1920) teachings in Kume village.
- November - Funakoshi Gichin was born in Shuri.
Meiji 4 (Kōki 2531) 1871 edict claimed the disbandment of the SAMURAI's detachments and abolition the privileges of SAMURAI state.
Meiji 7 (Kōki 2534) 1874 Higaonna Kanryō went to China to learn Martial Arts under Ryu Ryu Ko teachings.
Meiji 9 (Kōki 2536) 1876 Meiji government stablishes the "Haitorei" (the Sword Abolishment Act). Law prohibiting the people of Japan, even former members of the warrior class, from bearing arms in public unless they were members of the military or policemen on duty.
Meiji 10 (Kōki 2537) 1877 Kanō Jigorō entered Tenjin Shin'Yō Ryū Jūjutsu under Fukuda Hachinosuke teachings.
Meiji 12 (Kōki 2539) 1879 Kanō Jigorō studies Tenjin Shin'Yō Ryū Jūjutsu under Iso Masamoto teachings.
- Weary of Okinawan objections to its military forces, the Japanese government dissolved the royal government of Okinawa and formally annexed the island kingdom. It means that Japan replaced the Ryūkyū han (the fiefs of feudal clans) with Okinawa Prefecture.
Meiji 13 (Kōki 2540) 1880 Funakoshi Gichin begins TODE under Azato Yasutsune teachings.
Meiji 15 (Kōki 2542) 1882 Kanō Jigorō created Jūdō.

Meiji 16 (Kōki 2543) 1883-DEC-14 Ueshiba Morihei was born.
Meiji 19 (Kōki 2546) 1886-JUN-11 Match to decide the art to be taught in the Tōkyō Metropolitan Police Academy. At Yayoi temple, Kōdōkan Jūdō vs. Totsuka Ha Yōshin Ryū Jūjutsu. 15 fights: Kōdōkan Jūdō lost 2, tied up 1, won 12. In this contest "The Four Celestial Lords" represented Kōdōkan Jūdō: Tomita Tsunejirō, Yokoyama Sakujirō, Yamashita Yoshikazu and Shiro Saigō.
Meiji 21 (Kōki 2548) 1888-APR-25 Miyagi Chōjun was born.
Meiji 22 (Kōki 2549) 1889 Mabuni Kenwa was born.
Meiji 23 (Kōki 2550) 1890 Higaonna Kanryō introduces Naha-te and a breathing kata called Sanchin.
Meiji 24 (Kōki 2551) 1891 The Japanese Ministry ofEducation acknowledge Jūdō, along with Kendō, as regular physical education courses for boys.
Meiji 25 (Kōki 2552) 1892
- Takashima Shidachi lectured the Japan Society in London on the history and development of Jūdō.
- JUN 01: Ōtsuka Hironori was born.
Meiji 27 (Kōki 2554) 1894 Rules of the Kōdōkan formulated and Kan-geiko ("Winter training") introduced.
Meiji 28 (Kōki 2555) 1895
- Jūdō Gokyō no Waza was formulated.
- Foundation of DAI NIPPON BUTOKUKAI to preserve styles and traditions by Japanese Government. The BUTOKUDEN (its HQ) is seated in Tōkyō.
Meiji 29 (Kōki 2556) 1896 Jūdō Shochū-geiko (Summer training") introduced.
Meiji 30 (Kōki 2557) 1897 Ōtsuka Hironori begins Shindō Yoshin Ryū Jūjutsu under Nakayama Shinzaburō.
Meiji 32 (Kōki 2559) 1899 Miyagi Chōjun begins Martial Art under Aragaki Ryuko teachings.
Meiji 33 (Kōki 2560) 1900 - Century XX
- Kōdōkan Yūdansha-kai was established.
Meiji 36 (Kōki 2563) 1903 Yasutsune Anko Itosu begins teaching karate in the Okinawan public schools.
Meiji 38 (Kōki 2565) 1905 NAHATE is taught in public schools of Okinawa.
Meiji 39 (Kōki 2566) 1906-JUL-24 The most representative Jūjutsu schools united Kōdōkan to create "Jūdō no Kata".
Meiji 41 (Kōki 2568) 1908 The Diet unanimously approved a bill requiring all middle schools to provide instruction in GEKIKEN swordsmanship and JŪJUTSU.
Meiji 42 (Kōki 2569) 1909
- Kanō Jigorō chosen as Japan's representative to the IOC.
- JAN 21: Yamaguchi Gōgen was born.
Meiji 43 (Kōki 2570) 1910 Kanbun Uechi returns from China, teaching a style of TODE known as "Pangai-Noon".
Meiji 44 (Kōki 2571) 1911 Jūdō was adopted as a part of Japan's educational system.
Meiji 45 / Taishō 1 (2572) 1912 *** MEIJI (ISHIN) era ends / TAISHŌ era begins ***
- Rules of Kōdōkan revised.
Taishō 2 (Kōki 2573) 1913 Funakoshi Gichin creates a Okinawa-Te Demonstration Team (with Motobu Choki, Mabuni Kenwa among others).
Taishō 3 (Kōki 2574) 1914-JUN-28 *** WORLD WAR I begins ***
Taishō 4 (Kōki 2575) 1915-OCT Higaonna Kanryō dies.
Taishō 7 (Kōki 2578) 1918-NOV-11 *** WORLD WAR I ends ***
Taishō 9 (Kōki 2580) 1920 Miyagi Chōjun creates the kata TENSHŌ and JUNBI UNDŌ (warming up exercices).
Taishō 10 (Kōki 2581) 1921
- The Jūdō Medical Research Society was born.
- MAR06: Miyagi Chōjun, Funakoshi Gichin - demonstration of Okinawan Martial Art to the prince Hiroito (future emperor of Japan).
Taishō 11 (Kōki 2582) 1922
- Kōdōkan Cultural Jūdō Society was established.
- First official visit of Kanō Jigorō to Okinawa and inspire TODE practicioners to promote their Art.
- APR 01 - first public presentation of TODE in Tōkyō.
- MAY 17 - Kanō Jigorō invites Funakoshi Gichin to present TODE at Kōd!kan (Funakoshi creates the first Karategi, based on Jūdōgi).
- June - Funakoshi publishes the first article on TODE outside Okinawa.
- November Publisher Bukyosha edit Funakoshi's first book: 琉球拳法唐手 Ryū Kyū Kenpō Karate, Kosugi Hoan creates de drawing of the tiger that becomes logo of Funakoshi's martial Art.
Taishō 12 (Kōki 2583) 1923-JUL-27 Ōyama Masutatsu (Yong I-Choi) was born in South Korea.
Taishō 13 (Kōki 2584) 1924 Funakoshi Gichin adopts KYŪ/DAN to his Art based on Kōdōkan grading system.
Taishō 14 (Kōki 2585) 1925 Morihei Ueshiba founds Aikidō.
- MAR - Funakoshi Gichin publishes his second book 錬胆護身・唐手術 Rentan Goshin - Karate-Jutsu.
Taishō 15 / Shōwa 1 (Kōki 2586) 1926 *** TAISHŌ era ends / SHŌWA era begins ***
(2586/87) 1926/27 Kanō Jigorō visits Okinawa and ask Miyagi Chōjun to promote NAHATE and Mabuni Kenwa to promote SHURITE.
Shōwa 5 (Kōki 2590) 1930 Demonstration of Okinawan Martial Art by Shinzato Jinan to the emperor Hiroito where was questioned the name of the art. No name was given to the art due that art needed no name so far.
Shōwa 6 (Kōki 2591) 1931 Miyagi Chōjun calls his Art "Gōjūryū" based on the martial Art classic "Bubishi".
Shōwa 8 (Kōki 2593) 1933 Miyagi Chōjun register "Gōjū-Ryū" in the Butokukai.

Shōwa 10 (Kōki 2595) 1935 Okinawan masters decides tochange the ideogram TO in TODE to KARA and call their Art as KARATE instead TODE.
- MAY - Funakoshi Gichin publishes his third book 空手道教範 Karate-Dō Kyōhan.
Shōwa 11 (Kōki 2596) 1936 Miyagi Chōjun went to China to research martial Arts in SEIBUKAN (Jing Mo Goon).
Shōwa 12 7(Kōki 2597) 1937 Miyagi Chōjun authorized Yamaguchi Gōgen to promote Gōjū-Ryū in Japan.
Shōwa 13 (Kōki 2598) 1938
- Mabuni Kenwa calls his art "Sitō-Ryū".
- MAR 01 - First Dōjō of karate in Japan: "Shōtōkan".
- MAR 25 - Mabuni Kenwa publishes 攻防拳法・空手道入門 Kōbō Kenpō - Karate-Dō Nyūmon
- MAY 04 - Kanō Jigorō (founder of Jūdō) dies.
Shōwa 14 (Kōki 2599) 1939-SEP-01 *** WORLD WAR II begins ***
- Funakoshi Gichin registers "Shōtōkan" in the Butokukai.

- Mabuni Kenwa registers "Sitō-Ryū" in the Butokukai.

- Ōtsuka Hironori registers "Wadō-Ryū" in the Butokukai.

Shōwa 15 (Kōki 2600) 1940
-Miyagi Chōjun creates the kata GEKISAI DAI ICHI and GEKISAI DAI NI to make Karate popular among the public schools.
-Funakoshi Gichi prohibits Jiyū Kumite (free fighting) in his schools because it goes against Budō spirit.
Shōwa 17 (Kōki 2602) 1942 Ueshiba Morihei calls his art "Aikidō".
Shōwa 20 (Kōki 2605) 1945-SEP-02 *** WORLD WAR II ends ***
Shōwa 22 (Kōki 2607) 1947 Kanei Uechi renames "Pangai-Noon" to "Uechi-Ryu" in honor of his father,
Shōwa 24 (Kōki 2609) 1949
- Zen Nippon Kyūdō Renmei ("All Japan Kyūdō Federation") was founded.
- MAY 01 Created NIHON KARATE KYŌKAI (Japan Karate Association - JKA).
Shōwa 25 (Kōki 2610) 1950 Yamaguchi Gōgen creates ZEN NIPPON GŌJŪKAI KARATEDŌ (All Japan Gōjūkai Karatedō).
Shōwa 26 (Kōki 2611) 1951 Yamaguchi Gōgen awarded Karate 10th Dan by Miyagi Chōjun.
Shōwa 27 (Kōki 2612) 1952-MAY-23 Mabuni Kenwa (founder of Sitō-Ryū Karate) dies.
Shōwa 28 (Kōki 2613) 1953
- The KYŪDŌ KYŌHON (manual) was published, establishing the bow shooting procedures that are in common use today.
- OCT 08: Miyagi Chōjun (founder of Gōjū-Ryū Karate) dies.
Shōwa 29 (Kōki 2614) 1954 Tatsuo Shimabuku founds Isshin-Ryū Karate.
Shōwa 32 (Kōki 2617) 1957-APR-26 Funakoshi Gichin (founder of Shōtōkan Karate) dies.
Shōwa 44 (Kōki 2629) 1969-APR-26 Ueshiba Morihei (founder of Aikidō) dies.
Shōwa 57 (Kōki 2642) 1982-JAN-29 Ōtsuka Hironori (founder of Wadō-Ryū Karate) dies.
Shōwa 64 / Heisei 1 (2649) 1989 *** SHŌWA era ends / HEISEI era begins ***
Heisei 1 (Kōki 2649) 1989-MAY-20 Yamaguchi Gōgen (founder of Gōjūkai Karate) dies.
Heisei 6 (Kōki 2654) 1994-APR-26 Ōyama Masutatsu (founder of Kyokushinkai Karate) dies.
Heisei 12 (Kōki 2660) 2000 - Century XXI

Uki-goshi, Ō-goshi And Koshi-guruma

Using japanese terms to express the names of techniques of Jūdō sometimes may be an obstacle for western students. One of those obstacles that I have seen among beginners (myself included) was the confusion that terms Uki-goshi, Ō-goshi and Koshi-guruma may really mean.

In the Gokyō, Uki-goshi and Ō-goshi are in the 1st kyō and Koshi-guruma is in the 2nd kyō. Thus, the problem starts in the 1st kyō.

Let's see a practical example to show this problem: long ago when I was Jūdō white-belt, the instructor asked me to perform "Something-goshi" or "Koshi-something" (I do not remember which one it was) and, moment of truth: BLANK! (That time, those techniques seemed something like the very same for me.)

Due my lack of knowledge, I went back home ashamed to the bones, feeling myself a "10th Dan Noob"! After thinking about the problem that I faced in the class, I found a solution to surpass this problem... All of us know the names of these techniques, that is, Uki-goshi "Foating hip", Ō-goshi "Large hip", Koshi-guruma"hip wheel (rotation over)"... No problem with them. However, the question becomes more sensitive when we have to memorize each name and "show" those techniques in front of everybody in the class. So the ultimate question that comes out in the white-belt's mind: "Am I doing the correct technique?!" Naturally, to get nervous leads to more mistakes and what could be a very easy task becomes a very complicated one!

To avoid my mistakes about these techniques I thought this way: "If I have an Ō-goshi, why don't I have a Ko-goshi, like Ō-soto-gari and Ko-soto-gari? Why should I think of Uki-goshi "as it is"? From that day on I started thinking about Uki-goshi as "Ko-goshi" in opposition to Ō-goshi.

Performing "Ko-goshi" (Uki-goshi) we have to apply "little hips"; performing Ō-goshi, "big hips" and Koshi-guruma... well, Koshi-guruma is "other technique that is not big or little". So all I got were: "little", "big" and "other". No more mistakes were done!

Of course, "Ko-goshi" does not exist, but is a very easy way to memorize how Uki-goshi is done and it is a very easy way to remember how to avoid mistakes with Uki-goshi, Ō-goshi and Koshi-guruma's proper meanings.

Uki-goshi, Ō-goshi e Koshi-guruma

Usar termos japoneses para expressar os nomes das técnicas do Jūdō às vezes podem ser um obstáculo para os estudantes ocidentais. Um destes obstáculos que eu tenho visto entre os iniciantes (eu próprio incluído) é a confusão sobre o que podem realmente significar os termos Uki-goshi, Ō-goshi e Koshi-guruma.

No Gokyō, Uki-goshi e Ō-goshi estão no 1º kyō e Koshi-guruma está no 2º kyō. Assim, o problema começa no 1º kyō.

Vejamos um exemplo prático para mostrar o problema: há muito tempo atrás quando eu era um cinto-branco (faixa-branca) de Jūdō, o instrutor pediu-me para executar "Qualquer-coisa-goshi" ou "Koshi-qualquer-coisa" (eu não lembro qual era) e, no momento da verdade: "deu um branco!" (Naquela altura, aquelas técnicas pareciam ser tudo a mesmíssima coisa para mim.)

Devido ao meu pouco conhecimento, fui para casa completamente envergonhado, sentindo-me um "10º Dan de ignorância"! Depois de pensar no problema que encarei na aula, descobri uma solução para ultrapassar o problema... Todos nós sabemos os nomes destas técnicas, ou seja, Uki-goshi "Anca flutuante", Ō-goshi "Grande anca (no sentido de amplitude)", Koshi-guruma"Rotação sobre a anca"... Não há problema até aqui. Contudo, a questão fica mais sensível quando temos que memorizar cada nome e "demonstrar" estas técnicas na frente de todo mundo na aula. Então a questão derradeira aparece na mente do cinto-branco (faixa-branca): "Estou a fazer a técnica correcta?!" Naturalmente, ficar nervoso leva a mais erros e o que poderia ser uma tarefa muito simples torna-se muito complicada.

Para evitar os meus erros sobre estas técnicas eu pensei da seguinte maneira: "Se eu tenho um Ō-goshi, por que eu não tenho um "Ko-goshi", como Ō-soto-gari e Ko-soto-gari? Por que eu devo pensar em Uki-goshi "exactamente como ele significa"? Desse dia em diante eu comecei a pensar no Uki-goshi como "Ko-goshi" em oposição ao Ō-goshi.

Executando "Ko-goshi" (Uki-goshi) tem-se de aplicar uma "pequena anca (sentido de amplitude do movimento)"; executando Ō-goshi, aplica-se uma "grande anca (com sentido de amplitude do movimento)" e Koshi-guruma... Bem, Koshi-guruma é "outra técnica que não é nem grande nem pequena". Assim, tudo com que ficamos são: "pequena", "grande" e "outra". E acabaram-se os enganos!

É claro, "Ko-goshi" não existe, mas é um jeito muito fácil de memorizar como é feito o Uki-goshi e é também uma forma muito fácil de lembrar como evitar enganos com o que significam Uki-goshi, Ō-goshi e Koshi-guruma.

First of all: What does Hojō-undō really mean?

Hojō - Supplementary
Undō - Exercice(s).

Thus, Hojō-undō means "Supplementary Exercices", nothing else.

Let's move on...

For some reason it is not very easy to find literal meaning and information on Hojō-undō, for this reason I decided to create this entry, posting the most known devices used in Karate as "Supplementary Exercices" - some equipment are presented below:

01. NIGIRI-GAME - "Gripping Jar"
02. MAKI-WARA - "Coiled Straw(s)"
03. CHI-ISHI (CHIKARA-ISHI) - "Stone hammer" ("Strenght Stone")
04. SUNA-BAKO - "Sand-Box"
05. TETSU-GETA - "Iron Footwear"
06. MAKIAGE-KIGU - "Coil up equipment"
07. TETSU-AREI - "Iron Weight"
08. KONGŌKEN - "Metal Strenght Circle"
09. ISHI-SASHI (ISHI-SATCHI) - "Stone shackle(s)"
10. TAN - "Lift(ing)"
11. TŌ - "Canes"

I am not going to explain each of them because your instructor is the correct person to teach you the way those equipment are used.