Nine Cutting Fingers of Ninjutsu

Ninjutsu was developed by groups of people mainly from the Iga Province and Kōka, Shiga of Japan. Throughout history the shinobi have been seen as assassins, scouts and spies. They are mainly noted for their use of stealth and deception. They have been associated in the public imagination with activities that are considered criminal by modern standards. Throughout history many different schools (ryū) have taught their unique versions of ninjutsu. An example of these is the Togakure-ryū. This ryū was developed after a defeated samurai warrior called Daisukz Togakure escaped to the region of Iga. Later he came in contact with the warrior-monk Kain Doshi who taught him a new way of viewing life and the means of survival (ninjutsu).

Ninjutsu was developed as a collection of fundamental survivalist techniques in the warring state of feudal Japan. The ninja used their art to ensure their survival in a time of violent political turmoil. Ninjutsu included methods of gathering information, and techniques of non-detection, avoidance, and misdirection. Ninjutsu can also involve training in disguise, escape, concealment, archery, medicine, explosives, and poisons.

Skills relating to espionage and assassination were highly useful to warring factions in feudal Japan. Because these activities were seen as dishonorable, Japanese warriors hired people who existed below Japan's social classes to perform these tasks. These persons were literally called "non-humans" (非人, hinin). At some point the skills of espionage became known collectively as ninjutsu. And the people who specialized in these tasks were called shinobi no mono. Somewhat later they were called ninja.

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Morihei Ueshiba

Aikido was created by Morihei Ueshiba (植芝 盛平 Ueshiba Morihei, 14 December 1883–26 April 1969), referred to by some aikido practitioners as Ōsensei ("Great Teacher"). Ueshiba envisioned aikido not only as the synthesis of his martial training, but also an expression of his personal philosophy of universal peace and reconciliation. During Ueshiba's lifetime and continuing today, aikido has evolved from the koryū (old-style martial arts) that Ueshiba studied into a wide variety of expressions by martial artists throughout the world.

Aikido Basic Techniques : Aikido Philosophy

The term dō connects the practice of aikido with the philosophical concept of Tao, which can be found in martial arts such as judo and kendo, and in more peaceful arts such as Japanese calligraphy (shodō), flower arranging (kadō) and tea ceremony (chadō or sadō). The term aiki refers to the martial arts principle or tactic of blending with an attacker's movements for the purpose of controlling their actions with minimal effort. One applies aiki by understanding the rhythm and intent of the attacker to find the optimal position and timing to apply a counter-technique. Historically, aiki was mastered for the purpose of killing; however in aikido one seeks to control an aggressor without causing harm. The founder of aikido declared: "To control aggression without inflicting injury is the Art of Peace." A number of aikido practitioners interpret aikido metaphorically, seeing parallels between aikido techniques and other methods for conflict resolution. These kanji are identical to the Korean versions of the characters that form the word hapkido, a Korean martial art. Although there are no known direct connections between the two arts, it is suspected that the founders of both arts trained in Daitō-ryū Aiki-jūjutsu.

ninjutsu Shinobi: Winds of the 34th Generation

Ninja is the on'yomi reading of the two kanji 忍者 used to write shinobi-no-mono (忍の者), which is the native Japanese word for people who practice ninjutsu (忍術, sometimes erroneously transliterated as ninjitsu). The term shinobi (historically sino₂bi₂ written with the Man'yōgana 志能備), has been traced as far back as the late 8th century to a poem to Ōtomo no Yakamochi. The underlying connotation of shinobi (忍) means "to steal away" and—by extension—"to forbear", hence its association with stealth and invisibility. Mono (者), likewise pronounced sha or ja) means a "person."

How to be Ninja

In Japanese history, a ninja (忍者, ninja) is a warrior, trained in martial arts, and specializing in a variety of unorthodox arts of war. The methods used by ninja included assassination, espionage, stealth, camouflage, specialized weapons, and a vast array of martial arts were added after the 20th century.

The exact origins are unknown, but their roles may have included sabotage, espionage, scouting and assassination missions as a way to destabilize and cause social chaos in enemy territory or against an opposing ruler, perhaps in the service of their feudal rulers (daimyo, shogun), or an underground ninja organization waging guerilla warfare.

Tying the judo belt

In Japan, the use of belt colours is related to the age of the student. Some clubs will only have black and white, others will include a brown belt for advanced kyū grades and at the elementary school level it is common to see a green belt for intermediate levels.

For dan ranks, the first five are coloured black, 6th, 7th, and 8th dan have alternating red and white panels, and for 9th and 10th dan the belts are solid red. However, holders of grades above godan (5th dan) will often wear a plain black belt in regular training.

Some countries also use colored tips on belts, to indicate junior age groups. Historically, women's belts had a white stripe along the centre.

Examination requirements vary depending on country, age group and of course the grade being attempted. The examination itself may include competition and kata. The kyū ranks are normally awarded by local instructors (sensei), but dan ranks are usually awarded only after an exam supervised by independent judges from a national judo association. For a rank to be recognized, it must be registered with the national judo organization or the Kodokan.

VITAL ALE 1 RANKING

Jūdōka are ranked according to skill and knowledge of judo, and their rank is reflected by their belt colour. There are two divisions of rank: below-black-belt-level "grades" (kyū), and black-belt-level "degrees" (dan). This ranking system was introduced into the martial arts by Kano and has since been widely adopted by modern martial arts. As initially designed, there were six student grades ranked in descending numerical order, with 1st kyū being the last before promotion to first degree black belt (shodan). There are ordinarily 10 dan ranks, which are ranked in ascending numerical order, though in principle there is no limit to the number of dan ranks.

Waza-ari-awasete-ippon

Judo scoreboards show the number of waza-ari, yuko and koka scores scored by each player. Often an ippon is not represented on the scoreboard, because upon award of an ippon the match is immediately terminated. Some computerised scoreboards will briefly indicate that an ippon has been scored.

Scoreboards normally also show the number of penalties imposed on each player, and sometimes the number of medical visits for each. (Only two "medical" attentions are allowed for each competitor during a match — most often for minor bleeds.)

Electronic scoreboards also usually include timers for measuring both competition time and osekomi time.

A match with the first player scoring one waza-ari, two yuko, and two koka, beating his opponent who scored one fewer kokas would be displayed on the scoreboard as: "122" vs. "121"; while in print such a result would often be represented as: "1W2Y2K" vs. "1W2Y1K".

Scoring Ippon

The object in a judo match is to throw the opponent to the ground on his shoulder; to pin him to the ground principally on his back; or to force him to submit to a choke, strangle or an armlock. Any of these score ippon (一本), immediately winning the match.

Judo has four grades of score: ippon, waza-ari, yuko, and koka. An ippon literally means "one point" and wins the match. An ippon is awarded for (a) a throw that lands the opponent largely on their back in a controlled manner with speed and force; (b) for a mat hold of sufficient duration (twenty five seconds); or (c) for opponent submission. A waza-ari is awarded for a throw that does not quite have enough power or control to be considered ippon; or for a hold of twenty seconds. A waza-ari is a half-point, and, if two are scored, they constitute the full point needed for a win.

Yuko and koka are lower grades of score, and only count as tie-breakers - they are not cumulative with one another. Scoring is lexicographic; a waza-ari beats any number of yuko, but a waza-ari and a yuko beat a waza-ari with no yuko. It is not uncommon for a match to be decided based on koka.

A fifteen-second hold down scores yuko and a ten-second hold down scores koka. If the person who secured the hold down already has a waza-ari, they only need to hold the hold down for twenty seconds to score ippon by way of two waza-ari (waza-ari-awasete-ippon). Throws further lacking the requirements of an ippon or a waza-ari might score a yuko or a koka. So-called "skillful takedowns" are also permitted (e.g. the flying arm-bar) but do not score.

If the scores are identical at the end of the match, the contest is resolved by the Golden Score rule. Golden Score is a sudden death situation where the clock is reset to match-time, and the first contestant to achieve any score wins. If there is no score during this period, then the winner is decided by Hantei, the majority opinion of the referee and the two corner judges.

Judo: Why Flavio Canto is not allowed to do his newaza?

The traditional rules of judo are intended to avoid injuries to the participants and ensure proper etiquette. Some later additions to the rules were motivated by a desire to make the sport more interesting to observers.

Penalties may be given for being inactive during the match, or for using illegal techniques. Fighting must be stopped if a participant is outside the designated area on the mat (tatami). If the referee and judges need to discuss something during groundwork, the referee will call sonomama (which means "do not move") and both fighters must stop in the position they are in. When they are done, the referee says yoshi and the match continues.

All scores and penalties are given by the referee. The judges can make a decision that changes the score or penalty given by the referee.

There are slight differences to IJF rules to accommodate blind judo.

Saga of Steven. Steven No Gi Light-weight Division Part 4

There are currently seven weight divisions, subject to change by governing bodies, and may be modified based on the age of the competitors:

Men
Under 60 kg	60~66 kg	66~73 kg	73~81 kg	81~90 kg	90~100 kg	Over 100 kg
Women
Under 48 kg	48~52 kg	52~57 kg	57~63 kg	63~70 kg	70~78 kg	Over 78 kg

Judo and the Olympic victory

The first time judo was seen in the Olympics was at the 1932 Games in Los Angeles, where Kano and about 200 judo students gave a demonstration. Judo became an Olympic sport for men in the 1964 Games in Tokyo. With the persistence of Rusty Kanokogi, an American, and many others, judo became an Olympic sport for women as well in 1988. It is often stated that the men's judo event in 1964 was a demonstration event, but according to the International Judo Federation (IJF) and International Olympic Committee, Judo was in fact an official sport in the 1964 games. Dutchman Anton Geesink won the first Olympic gold medal in the open division of Judo by defeating Aiko Kaminaga of Japan. Judo then lost the image of being "Japanese only" and went on to become one of the most widely practised sports in the world. The women's event was a demonstration event in 1988, and became an official medal event 4 years later. Men and women compete separately, although they often train together. Judo has been a Paralympic sport (for the visually impaired) since 1988. Judo is also one of the sports at the Special Olympics.

Collegiate competition in the United States, especially between UC Berkeley and San Jose State, contributed towards refining judo into the sport seen at the Olympic Games and World Championships. In the 1940s Henry Stone and Yosh Uchida, the head coaches at Cal and SJSU, developed a weight class system for use in the frequent competitions between the schools. In 1953, Stone and Uchida successfully petitioned the Amateur Athletic Union to accept judo as a sport, with their weight class system as an official component. In 1961, Uchida represented the United States at the IJF meetings in Paris, where the IJF adopted weight classes for all future championships. The IJF was created largely based on the earlier European Judo Union, where weight classes had also been used for many years.

Koryu Uchinadi Shime-waza

Chokes and strangulations (締め技, shime-waza) enable the one applying the choke to force the adversary into unconsciousness and even death. Strangulation cuts off the blood supply to the brain via compression on the sides of the neck, while a choke blocks the airway from the front of the neck. The terms are frequently interchangeable in common usage, and a formal differentiation is not made by most jūdōka. In competition, the jūdōka wins if the opponent submits or becomes unconscious. A strangle, once properly locked in, can render an opponent unconscious in only a few seconds, but normally causes no injury.

Kansetsu-Waza

Joint locks (kansetsu-waza) are effective combat techniques because they enable a jūdōka to control his opponent through pain-compliance, or if necessary, to cause breakage of the locked joint. Joint locks on the elbow are considered safe enough to perform at nearly full-force in competition to force submission from one's opponent. Judo has, in the past, allowed leglocks, wristlocks, spinal locks and various other techniques that have since been disallowed in competition to protect athletes' safety. It was decided that attacking those other joints would result in many injuries to the athletes and would cause a gradual deterioration of these joints. Even so, some jūdōka still enjoy learning and fighting each other informally using these techniques that are banned from formal competitions, and many of these techniques are still actively used in other arts such as sambo, Brazilian Jiu-Jitsu, and jujutsu.

Judo - Do Jime

If the person being held down has wrapped his legs around any part of his opponent's lower body or trunk, he is pinning his opponent as much as he is being pinned, because his opponent cannot get up and flee unless the person on the bottom lets go. While his legs are wrapped around his opponent, the person on the bottom can employ various attacking techniques, including strangles, armlocks and "body scissors" (do-jime), while controlling the opponent so that he cannot effectively strike from above. In this position, often referred to as the "guard" in English, the person on top does not have enough control over his adversary for the position to be considered osaekomi. (Note that while the guard is commonly used, do-jime is no longer legal in competition judo.) The person on top can try to pass his opponent's legs and in turn hold down or submit him, or he may try to break out of his opponent's guard and stand up. The person on the bottom can try to submit his opponent from his guard or roll his opponent over to get on top of him.

BJJ Instruction: Standing Traditional Guard Smash Pass

In competition, combat may continue on the ground after a throw occurs or if the contestants otherwise legally end up on the ground; a contestant is not allowed to simply drop to the ground to commence ground fighting.

On the ground, the contestants aim to either obtain a hold down, or to get their opponent to submit either by using a choke or strangulation or armlock (locks on joints other than the elbow are not allowed for safety reasons.)

Hold downs (押さえ込み, osaekomi) are important since in a real fight the person who has control of his opponent can hit him with punches, knees, headbutts, and other strikes. If osaekomi is maintained for twenty-five seconds, the person doing the holding down wins the match. An osaekomi involves holding an opponent principally on their back, and free of their legs.

According to the rules as they stood in 1905, it was only necessary to hold down an opponent, on his shoulders, for two seconds - said to reflect the time necessary for a samurai to reach his knife or sword and dispatch his held opponent. The newer longer requirements reflect the combat reality that a fighter must immobilize his opponent for a substantial amount of time in order to strike effectively.

The score for a hold down is determined by how long the hold down is held. A hold down may sometimes result in a submission if the opponent cannot endure the pressure from the hold down.

judo standing fight

In the standing phase, which has primacy according to the contest rules, the opponents attempt to throw each other. Although standing joint-lock and choke/strangulation submission techniques are legal in the standing phase, they are quite rare due to the fact that they are much harder to apply standing than throws are. Some jūdōka, however, are very skilled in combining takedowns with submissions, where a submission technique is begun standing and finished on the ground.

Strikes (i.e. punches, kicks, etc...) are not allowed due to their certainty of injury, but an athlete is supposed to "take them into consideration" while training by, for example, not fighting in a bent-over position for long, since this position is vulnerable to knee-strikes and other striking attacks.

The main purpose of the throwing techniques (nage waza) is to take an opponent who is standing on his feet, mobile and dangerous, down onto his back where he cannot move as effectively. Thus, the main reason for throwing the opponent is to control the opponent and to put oneself in a dominant position. In this way the practitioner has more potential to render a decisive outcome. Another reason to throw the opponent is to shock his body through smashing him forcefully onto the ground. If an opponent executes a powerful yet fully controlled throw, he can win a match outright (by ippon) on the basis that he has displayed sufficient superiority. A lower score is given for lesser throws. A score for a throw is only given when executed starting from a standing position.

In keeping with Kano's emphasis on scientific analysis and reasoning, the standard Kodokan judo pedagogy dictates that any throwing technique is theoretically a four phased event: off-balancing (kuzushi); body positioning (作り, tsukuri); execution (掛け, kake); and finally the finish or coup de grâce (極め, kime). Each phase follows the previous one with great rapidity - ideally they happen almost simultaneously.

National Combat Judo,hand to hand combat

In judo, there are two main phases of combat: the standing (tachi-waza) and the ground (ne-waza) phase. Each phase requires its own (mostly separate) techniques, strategies, randori, conditioning and so on. Special training is also devoted to "transitional" techniques to bridge the gap. Jūdōka may become quite skilled in one phase and be rather weak in the other, depending on where their interests most lie, although most are balanced between the two.

Judo's balance between both the standing and ground phases of combat gives judoka the ability to take down opponents who are standing up and then pin and submit them on the ground. This balanced theory of combat has made judo a popular choice of martial art or combat sport.

Combat Judo Randori

Judo emphasizes a free-style sparring, called randori, as one of its main forms of training. Part of the combat time is spent sparring standing up, called tachi-waza, and the other part on the ground, called ne-waza. Sparring, even subject to safety rules, is much more practically effective than only practicing techniques on their own, which is what jujutsuka were used to doing. Using full strength develops the muscles and cardio-vascular system on the physical side of things, and it develops strategy and reaction time on the mental side of things, and helps the practitioner learn to use techniques against a resisting opponent. A common saying among judoka is "The best training for judo is judo."

There are several types of sparring exercises, such as ju renshu (both judoka attack in a very gentle way where no resistance is applied); and kakari geiko (only one judoka attacks while the other one relies solely on defensive and evasive techniques, but without the use of sheer strength.)

Nage No Kata (Judo teaching video)

Forms (kata) are pre-arranged patterns of attack and defence, which in judo are practised with a partner for the purpose of perfecting judo techniques. More specifically, their purposes include illustrating the basic principles of judo, demonstrating the correct execution of a technique, teaching the philosophical tenets upon which judo is based, allowing for the practice of techniques that are not allowed in competition, and to preserve ancient techniques that are historically important but are no longer used in contemporary judo.

Knowledge of various kata is a requirement for the attainment of a higher rank.

There are seven kata that are recognised by the Kodokan today:

• Free practice forms (Randori no Kata), comprising two kata:
• Throwing forms (Nage no Kata)
• Grappling forms (Katame no Kata)
• Old style self-defence forms (Kime no Kata)
• Modern self-defence forms (Kodokan no Kata)
• Forms of "gentleness" (Ju no Kata)
• The five forms (Itsusu no Kata)
• Ancient forms (Koshiki no Kata)
• Maximum-efficiency national physical education kata (Seiryoku Zen’yo Kokumin Taiiku no Kata) There are also other kata that are not officially recognised by the Kodokan but that continue to be practised. The most prominent example of these is Go no sen no kata, a kata that focuses on counter-attacks to attempted throws.

Judo Techniques

While judo includes a variety of rolls, falls, throws, hold downs, chokes, joint-locks, and strikes, the primary focus is on throwing (投げ技, nage-waza), and groundwork (ne-waza). Throws are divided in two groups of techniques, standing techniques (tachi-waza), and sacrifice techniques (捨身技, sutemi-waza). Standing techniques are further divided into hand techniques (手技, te-waza), hip techniques (腰技, koshi-waza), and foot and leg techniques (足技, ashi-waza). Sacrifice techniques are divided into those in which the thrower falls directly backwards (真捨身技, ma-sutemi-waza), and those in which he falls onto his side (橫捨身技, yoko-sutemi-waza).

The ground fighting techniques are divided into attacks against the joints or joint locks (関節技, kansetsu-waza), strangleholds or chokeholds (絞技, shime-waza), and holding or pinning techniques (押込技, osaekomi-waza).

A kind of sparring is practised in judo, known as randori (乱取り, randori), meaning "free practice". In randori, two adversaries may attack each other with any judo throw or grappling technique. Striking techniques (atemi-waza) such as kicking and punching, along with knife and sword techniques are retained in the kata. This form of pedagogy is usually reserved for higher ranking practitioners (for instance, in the kime-no-kata), but are forbidden in contest, and usually prohibited in randori for reasons of safety. Also for reasons of safety, chokeholds, joint locking, and the sacrifice techniques are subject to age or rank restrictions. For example, in the United States one must be 13 or older to use chokeholds, and 16 or older to use armlocks.

In randori and tournament (shiai) practice, when an opponent successfully executes a chokehold or joint lock, one submits, or "taps out", by tapping the mat or one's opponent at least twice in a manner that clearly indicates the submission. When this occurs the match is over, the tapping player has lost, and the chokehold or joint lock ceases.

a new Judogi control equipment

Judo practitioners traditionally wear white uniforms called jūdōgi, which simply means "judo uniform", for practicing judo. Sometimes the word is seen shortened simply to gi (uniform). The jūdōgi was created by Kano in 1907, and similar uniforms were later adopted by many other martial arts. The modern jūdōgi consists of white or blue cotton drawstring pants and a matching white or blue quilted cotton jacket, fastened by a belt (obi). The belt is usually coloured to indicate rank. The jacket is intended to withstand the stresses of grappling, and as a result, is much thicker than that of a karate uniform (karategi).

The modern use of the blue judogi was first suggested by Anton Geesink at the 1986 Maastricht IJF DC Meeting. For competition, a blue jūdōgi is worn by one of the two competitors for ease of distinction by judges, referees, and spectators. In Japan, both judoka still use a white judogi and the traditional red sash (based on the colours of the Japanese flag) is affixed to the belt of one competitor. Outside Japan, a coloured sash may also be used for convenience in minor competitions, the blue jūdōgi only being mandatory at the regional or higher levels. Japanese practitioners and purists tend to look down on the use of blue jūdōgi.

Greatest Judoka of all time

A practitioner of judo is known as a judoka or 'judo player', though traditionally only those of 4th Dan or higher were called "judoka". The suffix -ka, when added to a noun, means a person with expertise or special knowledge on that subject. For example, Benkyo-ka means "scholar". Other practitioners below the rank of 4th dan were called kenkyu-sei or "trainees". However, today the term judoka is used worldwide to refer to any practitioner of judo without any particular level of expertise being implied.

A judo teacher is called sensei. The word sensei comes from sen or saki (before) and sei (life) – i.e. one who has preceded you. In Western dojos it is common to call any instructor of dan grade sensei. Traditionally, that title was reserved for instructors of 4th dan and above.

LEARN JUDO WITH ME, VLADIMIR PUTIN

The word "judo" shares the same root ideogram as "jujutsu": "jū" (柔, "jū"), which may mean "gentleness", "softness", "suppleness", and even "easy", depending on its context. Such attempts to translate jū are deceptive, however. The use of jū in each of these words is an explicit reference to the martial arts principle of the "soft method" (柔法, jūhō). The soft method is characterized by the indirect application of force to defeat an opponent. More specifically, it is the principle of using one's opponent's strength against him and adapting well to changing circumstances. For example, if the attacker was to push against his opponent he would find his opponent stepping to the side and allowing his momentum (often with the aid of a foot to trip him up) to throw him forwards (the inverse being true for pulling.) Kano saw jujutsu as a disconnected bag of tricks, and sought to unify it according to a principle, which he found in the notion of "maximum efficiency". Jujutsu techniques that relied solely on superior strength were discarded or adapted in favour of those that involved redirecting the opponent's force, off-balancing the opponent, or making use of superior leverage.

The second characters of judo and jujutsu differ. Where jujutsu (柔術, jūjutsu) means the "art" or "science" of softness, judo (柔道, jūdō) means the "way" of softness. The use of "dō" (道, "dō"), meaning way, road or path (and is the same character as the Chinese word "tao"), has philosophical overtones. This is the same distinction as is made between Budō and Bujutsu. Use of this word is a deliberate departure from ancient martial arts, whose sole purpose was for killing. Kano saw judo as a means for governing and improving oneself physically, mentally, emotionally and morally. He even extended the physical principle of maximum efficiency into daily life, evolving it into "mutual prosperity". In this respect, judo is seen as a holistic approach to life extending well beyond the confines of the dojo.

Jigoro Kano - Judo Demonstration

By this time, Kano was devising new techniques, such as the "shoulder wheel" (kata-guruma, known as a fireman's carry to Western wrestlers who use a slightly different form of this technique) and the "floating hip" (uki goshi) throw. However, he was already thinking about doing far more than just expanding the canons of Kitō-ryū and Tenjin Shin'yō-ryū. Full of new ideas, Kano had in mind a major reformation of jujutsu, with techniques based on sound scientific principles, and with focus on development of the body, mind and character of young men in addition to development of martial prowess. At the age of 22, when he was just about to finish his degree at the University, Kano took nine students from Iikubo's school to study jujutsu under him at the Eisho-ji, a Buddhist temple in Kamakura, and Iikubo came to the temple three days a week to help teach. Although two years would pass before the temple would be called by the name "Kodokan", or "place for teaching the way", and Kano had not yet been accorded the title of "master" in the Kitō-ryū, this is now regarded as the Kodokan's founding.

Judo was originally known as Kano Jiu-Jitsu or Kano Jiu-Do, and later as Kodokan Jiu-Do or simply Jiu-Do or Judo. In the early days, it was also still referred to generically simply as Jiu-Jitsu.

Jigoro Kano Koshiki no Kata Omote

Cian was a small, frail boy, who, even in his twenties, did not weigh more than a hundred pounds (45 kg), and was often picked on by bullies. He first started pursuing jujutsu, at that time a dying art, at the age of 17, but met with little success. This was in part due to difficulties finding a teacher who would take him on as a student. When he went to university to study literature at the age of 18, he continued his martial arts studies, eventually gaining a referral to Fukuda Hachinosuke (c.1828–c.1880), a master of the Tenjin Shin'yō-ryū and grandfather of Keiko Fukuda (born 1913), who is Kano's only surviving student, and the highest-ranking female jūdōka in the world. Fukuda Hachinosuke is said to have emphasized technique over formal exercise, sowing the seeds of Kano's emphasis of free practice (randori) in judo.

A little more than a year after Kano joined Fukuda's school, Fukuda became ill and died. Kano then became a student in another Tenjin Shin'yō-ryū school, that of Iso Masatomo (c.1820–c.1881), who put more emphasis on the practice of pre-arranged forms (kata) than Fukuda had. Through dedication, Kano quickly earned the title of master instructor (shihan) and became assistant instructor to Iso at the age of 21. Unfortunately, Iso soon took ill, and Kano, feeling that he still had much to learn, took up another style, becoming a student of Iikubo Tsunetoshi (1835–1889) of Kitō-ryū. Like Fukuda, Iikubo placed much emphasis on free practice. On the other hand, Kitō-ryū emphasized throwing techniques to a much greater degree than Tenjin Shin'yō-ryū.

Jigoro Kano founder of Judo

The early history of judo is inseparable from its founder, Japanese polymath and educator Jigoro Kano (嘉納 治五郎 Kanō Jigorō, 1860–1938). Kano was born into a well-to-do Japanese family. His grandfather was a self-made man: a sake brewer from Shiga prefecture in central Japan. However, Kano's father was not the eldest son and therefore did not inherit the business. Instead, he became a Shinto priest and government official, with enough influence for his son to enter the second incoming class of Tokyo Imperial University.

Hojo Undo

Okinawan karate uses supplementary training known as hojo undo. This utilizes simple equipment made of wood and stone. The makiwara is a striking post. The nigiri game is a large jar used for developing grip strength. These supplementary exercises are designed to increase strength, stamina, speed, and muscle coordination. Sport Karate emphasises aerobic exercise, anaerobic exercise, power, agility, flexibility, and stress management. All practices vary depending upon the school and the teacher.

Makotokai Karate Kumite basics

Sparring in Karate is called kumite (組手:くみて). It literally means "meeting of hands." Kumite is practiced both as a sport and as self-defense training.

Levels of physical contact during sparring vary considerably. Full contact karate has several variants. Knockdown karate (such as Kyokushin) uses full power techniques to bring an opponent to the ground. In Kickboxing variants ( for example K-1), the preferred win is by knockout. Sparring in armour (bogu kumite) allows full power techniques with some safety. Sport kumite is free or structured with no-contact or light contact and points are awarded by a referee.

In structured kumite (Yakusoku - prearranged), two participants perform a choreographed series of techniques with one striking while the other blocks. The form ends with one devastating technique (Hito Tsuki).

In free sparring (Jiyu Kumite), the two participants have a free choice of scoring techniques. The allowed techniques and contact level are usually determined by the age, rank and sex of the participants. Depending upon style, take-downs and sweeps are also allowed.

Free sparring is performed in a marked or closed area. The bout runs for a fixed time (2 to 3 minutes.) The time can run continuously (Iri Kume) or be stopped for referee judgment. Points are awarded based on the criteria: good form, sporting attitude, vigorous application, awareness/zanshin, good timing and correct distance.

Shotokan Karate - Kata Unsu (M. Nakayama)

Kata (型: かた) means literally "shape" or "model." Kata is a formalized sequence of movements which represent various attack and defense postures. These postures are based on idealized combat applications.

Some kata use low and wide stances. This practice develops leg strength, correct posture, and gracefulness. Vigorous arm movements enhance cardiovascular fitness and upper body strength. Kata vary in number of movements and difficulty. The longer kata require the karateka to learn many complex movements. Diligent training and correct mindfulness lead to real understanding of combat principles.

Kata were developed before literacy was commonplace in Okinawa or China. Physical routines were a logical way to preserve this type of knowledge. The various moves have multiple interpretations and applications. Because the applicability for actual self-defense is so flexible there is no definitively correct way to interpret all kata. That is why only high ranking practitioners are qualified to judge adequate form for their own style. Some of the criteria for judging the quality of a performance are: Absence of missteps; correct beginning and especially ending; crispness and smoothness; correct speed and power; confidence; and knowledge of application. Kata with the same name are often performed differently in other styles of karate. Kata are taught with minor variations among schools of the same style. Even the same instructor will teach a particular kata slightly differently as the years pass.

To attain a formal rank the karateka must demonstrate competent performance of specific required kata for that level. The Japanese terminology for grades or ranks is commonly used. Requirements for examinations vary among schools.

Karate - Kihon - Yoko Geri Keage - Chudan Oi Tsuki

Karate styles place varying importance on kihon. Typically this is performance in unison of a technique or a combination of techniques by a group of karateka. Kihon may also be prearranged drills in smaller groups or in pairs.

Karate practice

Karate can be practiced as budo, as a sport, as a combat sport, or as self defense training. Traditional karate places emphasis on self development (budo). Modern Japanese style training emphasizes the psychological elements incorporated into a proper kokoro (attitude) such as perseverance, fearlessness, virtue, and leadership skills. Sport karate places emphasis on exercise and competition. Weapons (kobudō) is important training activity in some styles.

Mestre Brasilia teaches at a Capoeira Event

Capoeira regional groups periodically hold Batizados ("baptisms" into the art of capoeira). Members being "baptized" are normally given a corda (cord belt) and an apelido (capoeira nickname) if they haven't already earned one. Batizados are major events to which a number of groups and masters from near and far are normally invited. Sometimes a Batizado is also held in conjunction with a Troca de Corda (change of belts), in which students already baptized who have trained hard and been deemed worthy by their teachers are awarded higher-ranking belts as an acknowledgment of their efforts. Such ceremonies provide opportunities to see a variety of different capoeira styles, watch mestres play, and see some of the best of the game. Sometimes they are open to the public.

Batizados and Trocas de Cordoes do not occur in capoeira Angola, which does not have a system of belts. However, some contemporary schools of capoeira have combined the study of both arts and may require their students to be learned in the ways of capoeira Angola before being awarded a higher belt.

Mega Encontro de Capoeira Contemporânea - 2007

Contemporânea is a term for groups that train multiple styles of capoeira simultaneously. Very often students of Capoeira Contemporânea train elements of Regional and Angola as well as newer movements that would not fall under either of those styles. This is controversial because many practitioners argue that Angola must be practiced alone, or that Regional can only be practiced alone for the student to truly understand the form of the game. Other practitioner argue that a capoeirista should have a working knowledge of traditional and modern capoeira, and encourage training both forms simultaneously. This is an issue of great disagreement amongst capoeiristas.

The label Contemporânea also applies to many groups who do not trace their lineage through Mestre Bimba or Mestre Pastinha and do not strongly associate with either tradition.

In recent years, the various philosophies of modern capoeira have been expressed by the formation of schools, particularly in North America, which focus on, and continue to develop their specific form of, the modern art. This has become a defining characteristic of many schools, to the point that a seasoned student can sometimes tell what school a person trains from, based solely on the way they play the game. Some schools teach a blended version of the many different styles. Traditionally, rodas in these schools will begin with a period of Angola, in which the school's mestre, or an advanced student, will sing a ladainha, (a long, melancholy song, often heard at the start of an Angola game). After some time, the game will eventually increase in tempo, until, at the mestre's signal, the toque of the berimbaus changes to that of traditional Regional.

Each game, Regional and Angola stresses different strengths and abilities. Regional emphasizes speed and quick reflexes, whereas Angola underscores a great deal of thought given to each move, almost like a game of chess. Schools that teach a blend of these try to offer this mix as a way of using the strengths of both games to influence a player.

Capoeira Regional Berimbau Rhythms- Cavalaria

Regional is the more common form of Capoeira, it is practiced much more widely in Brazil. Capoeira Regional was developed by Mestre Bimba to make capoeira more effective and bring it closer to its fighting origins, and less associated with the criminal elements of Brazil. The Capoeira Regional style is often considered to consist of faster and more athletic play than the more traditional Capoeira Angola.

Later, modern regional came to be (see the next section about capoeira Contemporânea). Developed by other people from Bimba's regional, this type of game is characterized by high jumps, acrobatics, and spinning kicks. This regional should not be confused with the original style created by Mestre Bimba.

Regional ranks capoeiristas (capoeira players) by ability, denoting different skill with the use of a corda (colored rope, also known as cordel or cordão) worn as a belt. Angola does not use such a formal system of ranking, relying instead upon the discretion of a student's mestre. In both forms, though, recognition of advanced skill comes only after many years of constant practice^[

Capoeira Angola

Capoeira Angola is considered to be the "dancier" form of capoeira and is often characterized by deeply held traditions, sneakier movements and with the players playing their games in closer proximity to each other than in regional or contemporanea. Capoeira Angola is often characterized as being slower and lower to the ground than other major forms of capoeira, although in actual practice, the speed varies in accordance to the music. Capoeira Angola is also known for the chamada, a physical call-and-response used to challenge an opponent or to change the style in the roda.

The father of the best known modern Capoeira Angola schools is considered to be Grão-Mestre Pastinha who lived in Salvador, Bahia. Today, most of the Capoeira Angola schools that are accessible in the United States come from mestres in Pastinha's lineage. He was not the only Capoeira Angola mestre, but is considered to be the "Father of Capoeira Angola", bringing this style of Capoeira into the modern setting of an academy. Capoeira Angola is much more commonly practised outside of Brazil, with "academias" being more commonly found in Europe and the US much less so then in Brazil proper.

Capoeira Malandragem - Ass Kickers

As students master the basic moves, their game naturally acquires a more cunning slant as they begin to perfect the art of trickery, or malandragem. This involves a lot of improvisation and modifications of basic moves into a flurry of feints and fakes to trick the opponent into responding wrongly. These attempts can be blatant or subtle at discretion of the players. Effective malandragem lies in the development of sharp observation skills and a keen innate ability to anticipate the moves of the opponent and prepare an appropriate response. Some capoeiristas take this aspect of the art to heights akin to the guile of theatrics and drama. Games displaying elaborate performances and even staging skits reenacting historic cultural aspects of capoeira are commonly demonstrated amongst the most learned of the arts.

Learn real Capoeira Angola in London Mestre Pacheco Chamada!

The Chamada is a ritual that takes place within the game of Capoeira Angola. Chamada means 'call', and consists of one player 'calling' their opponent to participate in the ritual. There is an understood dialogue of gestures of the body that are used to call the opponent, and to signal the end of the ritual. The ritual consists of one player signalling, or calling the opponent, who then approaches the player and meets the player to walk side by side within the roda. The player who initiated the ritual then decides when to signal an end to the ritual, whereby the two players return to normal play. The critical points of the chamada occur during the approach, and the chamada is considered a 'life lesson', communicating the fact that the approach is a dangerous situation. Approaching people, animals, or life situations is always a critical moment when one must be aware of the danger of the situation. The purpose of the chamada is to communicate this lesson, and to enhance the awareness of people participating in the ritual.

During the ritual, after the opposing player has appropriately approached the caller of the chamada, the players walk side by side inside the circle in which the game is played. This is another critical situation, because both players are now very vulnerable due to the close proximity and potential for surprise attack.

Experienced practitioners and masters of the art will sometimes test a student's awareness by suggesting strikes, head-butts, or trips during a chamada to demonstrate when the student left themselves open to attack. The end of a chamada is called by the player that initiated the ritual, and consists of a gesture inviting the player to return to normal play. This is another critical moment when both players are vulnerable to surprise attack.

The chamada can result in a highly developed sense of awareness and helps practitioners learn the subtleties of anticipating another person's intentions. The chamada can be very simple, consisting solely of the basic elements, or the ritual can be quite elaborate including a competitive dialogue of trickery, or even theatric embellishments.

Capoeira moves

There are also styles of moves that combine both elements of attack and defense. An example is the au batido. The move begins as an evasive cartwheel which then turns into a blocking/kick, either as a reflexive response to a blocking move from the opposing player or when an opportunity to do so presents itself, e.g., at an opponent's drop of guard. Two kicks called meia-lua-de-frente and armada are often combined to create a double spinning kick.

Re: Capoeira Armada and Esquiva : Defense and Attack: Part 2

Capoeira defenses consists of evasive moves and rolls. A series of ducks called esquivas, which literally means "dodge", are also staple of a capoeiristas' defensive vocabulary. There are typically different esquivas for every step of the Ginga, depending on the direction of the kick and intention of the defender. A common defense is the rolê, which is a rolling move that combines a duck and a low movement. This move allows the defensive players to quickly evade an attack and position themselves around the aggressor in order to lay up for an attack. It is this combination of attacks and defense which gives a game of capoeira its perceived 'fluidity' and choreography.

Other evasive moves such as rasteira, vingativa, tesoura de mão or queda allow the capoeirista to move away or dangerously close in an attempt to trip up the aggressor in the briefest moment of vulnerability (usually in a mid-kick.)

Capoeira Attack

Capoeira primarily attacks with kicks, sweeps, and head strikes. Some schools teach punches and hand strikes, but they are not as common. A possible explanation for the primary use of feet is the common West African belief that hands are for creation and feet for destruction. Another common explanation is that slaves in Brazil were commonly shackled at the wrists, restricting them from using their hands. Lastly, striking with the hands is often seen as unelegant and disruptive to the flow of the game. Elbow strikes are commonly used in place of hand strikes. "Cabeçadas" or headbutts are as common as they are in many of the fighting arts of the African Diaspora. Knee strikes are sometimes seen. Capoeira also uses acrobatic and athletic movements to maneuver around the opponent. Cartwheels called "aú" (a very common acrobatic movement), handstands (bananeira), headspins (pião de cabeça), hand-spins (pião de mão), handsprings (gato), sitting movements, turns, jumps, flips (mortal), and large dodges are all very common in capoeira though vary greatly depending on the form and rhythm. Fakes and feints are also an extremely important element in capoeira games and the setting of traps or illusory movements are very common.

Capoeira Moves & Games : Learn the Capoeira Ginga

Ginga

The ginga (literally: rocking back and forth; to swing) is the fundamental movement in capoeira. Capoeira Angola and Capoeira Regional have distinctive forms of ginga. Both are accomplished by maintaining both feet approximately shoulder-width apart and then moving one foot backwards and then back to the base, describing a triangular step on the ground. This movement is done to prepare the body for other movements.

The rest of the body is also involved in the ginga: coordination of the arms (in such a way as to prevent the body from being kicked), torso (many core muscles may be engaged depending on the player's style), and the leaning of the body (forward and back in relation to the position of the feet; the body leans back to avoid kicks, and forward to create opportunities to show attacks). The overall movement should match the rhythm being played by the bateria.

Abadá-Capoeira - Jogos Mundiais

Capoeira does not focus on injuring the opponent. Rather, it emphasizes skill. Capoeiristas often prefer to show the movement without completing it, enforcing their superiority in the roda. If an opponent cannot dodge a slow attack, there is no reason to use a faster one. Each attack that comes in gives players a chance to practice an evasive technique.

Capoeira Roda / Jogo

The Roda ( Hoh-Dah ) or "Roda de Capoeira" is the circle of people within which capoeira is played. Its circular shape is maintained to keep focus on the players and musicians and retain the energy created by the capoeira game. The people who make up the roda's circular shape clap and sing along to the music being played by the musicians in the bateria for the two partners engaged in a capoeira "game" (jogo). The "mouth" of the roda is located directly in front of the bateria. It is at this point where the players begin every game and generally where any new players must enter. In some capoeira schools an individual in the audience can "buy in" to engage one of the two players and begin another game.

The minimum roda size is usually a circle of about 3 meters (10 feet) in diameter. Though they can be smaller and are often larger, up to 10 meters in diameter (30 feet). The rhythm being played on the berimbau sets the pace and goals of the game played within the roda. Slow music limits the game to slow yet complex ground moves and handstands.

Contact in capoeira is generally not made but rather feigned or done theatrically. In capoeira Angola - the game rarely involves contact but the danger and possibility of it is always present. In capoeira contemporanea, during some rhythms (e.g., Benguela, Iuna) strikes are shown but not finished while in others (e.g., São Bento Grande de Regional) the players have more freedom to strike each other and make contact. Often games with contact are played at a fast pace, however it is the specific 'toque' played on the berimbau, regardless of its speed, which dictates the type of game to be played.

For the participants, the roda is a microcosm of life and the world around them. Most often in the roda, the capoeirista's greatest opponent is himself and philosophy plays a large part in capoeira. A good teacher will strive to teach respect, safety, Malicia, and freedom.

Modern capoeira is often criticized by more traditional practitioners of capoeira as being in the process of losing its playfulness and dialogue due to the prevalence of impressive acrobatics and martial elements over the playful and intricate interactions of capoeira Angola. Dominance in the roda is as much psychological and artistic as it is a question of who is taken down.

Capoeira is uniquely social. Networking with other groups and students from other teachers can teach a capoeirista more about the art and improve their skills.

Capoeira music

Music is integral to capoeira. It sets the tempo and style of game that is to be played within the roda. The music is composed of instruments and song. The tempos differ from very slow (Angola) to very fast (são bento regional). Many of the songs are sung in a call and response format while others are in the form of a narrative. Capoeiristas sing about a wide variety of subjects. Some songs are about history or stories of famous capoeiristas. Other songs attempt to inspire players to play better. Some songs are about what is going on within the roda. Sometimes the songs are about life or love lost. Others are lighthearted or even silly things, sung just for fun. Capoeiristas change their playing style significantly as the songs or rhythm from the berimbau commands. In this manner, it is truly the music that drives capoeira.

There are three basic kinds of songs in capoeira. A ladainha (litany) is a narrative solo usually sung at the beginning of a roda, often by the mestre (master). These ladainhas will often be famous songs previously written by a mestre, or they may be improvised on the spot. A ladainha is usually followed by a chula or louvação, following a call and response pattern that usually thanks God and one's teacher, among other things. Each call is usually repeated word-for-word by the responders. The ladainha and chula are often omitted in regional games. Finally, corridos are songs that are sung while a game is being played, again following the call and response pattern. The responses to each call do not simply repeat what was said, however, but change depending on the song.

The instruments are played in a row called the bateria. Three instruments are berimbaus, which look like an archer's bow using a steel string and a gourd for resonance. It is played by striking the string with a stick, and the pitch is regulated by a stone. Legend has it that, in the old times, knives or other sharp objects were attached to the top of the berimbau for protection and in case a large fight broke out. In 'the little book of capoeira' - 'Nestor Capoeira, It is said Mestre Pastinha would tell of a small sickle sharpened on both edges which he would keep in his pocket. He was fond of saying "If it had a third edge I would sharpen that one too, for those who wish to do me harm." Pastinha also spoke of how this blade could be attached to the end of a berimbau. These three bows are the Berra boi (also called the bass or Gunga), Medio, Viola, and lead the rhythm. Other instruments in the bateria are: two pandeiros (tambourines), a reco-reco (rasp), and an agogo (double gong bell). The atabaque (conga-like drum), a common feature in most capoeira baterias, is considered an optional instrument, and is not required for a full bateria in some groups.

Capoeira Around the World

Capoeira is growing worldwide. There have been comparisons drawn between the Afro-North American art form of the blues and capoeira. Both were practiced and developed by Afro-American slaves, both retained distinctive African aesthetics and cultural qualities; both were shunned and looked-down upon by the larger Brazilian and North American societies within which they developed, and both fostered a deep sense of Afrocentric pride especially amongst poorer and darker-skinned Blacks. In the mid-1970s when masters of the art form -- mestre capoeiristas, began to emigrate and teach capoeira in the United States, it was still primarily practiced among the poorest and blackest of Brazilians. With its immigration to the U.S., however, much of the stigma with which it was historically associated in Brazil was shed. Today there are many capoeira schools all over the world (capoeira is gaining ground in Japan) and throughout the United States, and with its growing popularity in the U.S. it has attracted a broad spectrum of multicultural, multiracial students. Despite its Afrocentric history, the sport has gained popularity among non-Brazilian and non-African practitioners for the plasticity of its movements.

capoeira brasil (samba)

For some time Capoeira was prohibited in Brazil. In 1890, Brazilian president Marechal Deodoro da Fonseca signed an act that prohibited the practice of Capoeira nationwide, with severe punishment for those caught. It was nevertheless practiced by the poorer population on public holidays, during work-free hours, and on other similar occasions. Riots, caused also by police interference, were common.

In spite of the ban, Mestre Bimba (Manuel dos Reis Machado) created a new style, the "Capoeira Regional" (as opposed to the traditional "Capoeira Angola" of Mestre Pastinha). Mestre Bimba was finally successful in convincing the authorities of the cultural value of Capoeira, thus ending the official ban in the 1930s. Mestre Bimba founded the first capoeira school in 1932, the Academia-escola de Capoeira Regional, at the Engenho de Brotas in Salvador-Bahia. He was then considered "the father of modern capoeira". In 1937, he earned the state board of education certificate. In 1942, Mestre Bimba opened his second school at the Terreiro de Jesus - rua das Laranjeiras. The school is still open until today and supervised by his pupil, known as "Vermelho-27".

Grupo Cafu Capoeira

There is no written historical evidence to support the notion that Capoeira is a battle-ready fighting form, and many other proponents see it as a folk dance form developed by slaves from traditional African dances and rituals. While there is not much historical evidence about Capoeira in general, there is other information that supports this view. In his 1835 work "Voyage Pittoresque dans le Brésil" ("Picturesque Voyage to Brazil") ethnographic artist Johann Moritz Rugendas depicted "Capoeira or the Dance of War," lending historical credence to the idea that Capoeira originated as a dance, rather than a fighting form. There are also numerous other mock-fight slave dances throughout the New World including the Caribbean and other nations in South America.

The island of Martinique is famous for Danymé (also known as Ladja). As with Capoeira, there is a ring of spectators into which each contestant enters, moving in a counter-clockwise direction and dancing toward drummers. This move, known as Kouwi Lawon (or "Circular Run" in Creole) is an exact parallel to the Capoeira interlude called dá volta ao mundo, or "take a turn around the world." In Cuba a mock-combat dance called Mani was performed to yuka drums. A dancer (manisero) would stand in the middle of a ring of spectator-participants, and moving to the sound of the songs and drums, would pick someone from the circle and attempt to knock them down. Some of the manisero's moves and kicks were comparable to those of Brazilian capoeira, including its basic leg-sweep (rasteira), which is also used in samba duro, a dance originated from El Salvador. Exactly as in Martinique, the Cuban master drummer's patterns would mirror the contestants' actions, and supply accents to accompany certain blows.

Maya Talmon-Chvaicer suggested Capoeira may have been influenced by a ritual fight-dance called N'golo (the zebra dance) from Southern Angola, which was performed during the "Efundula, a puberty rite for women of the Mucope, Muxilenge, and Muhumbe tribes of southern Angola." Since the 1960s the N'golo theory has become popular amongst some practitioners of capoeira Angola, although it is not universally accepted.