Lesson 1 To 25

Lesson One

First we shall learn two methods of falling, and then a simple throw that will enable you to practice the commoner fall. The various ways of falling are known as Breakfalls. ("Ukemi" in Japanese.) These must be mastered before any throwing is attempted.

1. The Backwards Breakfall

Begin by lying on your back, feet together. Look at your belt, so that the back of your head is lifted slightly off the mat. Cross your arms over your chest. Now, with both arms, slap the mat at the sides of your body, swinging the arms loosely like a whiplash, not stiffly. The palms of the hands should face the mat on striking, so that the elbow joint is turned to the side, but the blow should be made with as much of the arm as possible, not just with the palms only. The position to strike is at an angle of 45 degrees to the body. If you are closer you will run the risk of falling on your arm when thrown; if farther away, you will risk injury to the shoulder. First, practice getting this slap hard, vigorous, and at the right angle, remembering to keep looking at your belt. When the arm has struck the mat, it should be allowed to bounce off with its own force.

When you can do this, sit up, cross the arms over the chest, and roll backwards on to the shoulders, striking the mat as before, just as the shoulders touch the ground. When doing this, remember to keep looking at your belt so that your head does not hit the ground. Let your feet come up as though you were going to roll over backwards. Keep your knees apart, so that they do not hit your nose, and your feet together.

After you have mastered this second stage, take up a crouching position. Now, from here sit as close to the heels as possible, and instantly roll back, making the slap as before.

When you can do it from a low crouching position, try it from a little bit higher, and work up gradually until you have the confidence to fall backwards from a standing position. Do not expect to attain this confidence the first night. It will come with practice.

The important points to watch are: that you keep your head off the ground by always looking at your belt; that you make the slap hard, and at the right angle; and that you time the slap so that it comes just as your shoulders hit the ground, if anything slightly before.

FIG. 1. Backwards Breakfall

2. Right Side Breakfall

Begin by lying on the back as before. Look at your belt. Now this time, make the slap with the right hand only. Sit up, roll back and do it, as in the case of the backwards break-fall.

Now stand up, raise the left leg straight out in front of you, bend the right knee so as to lower yourself nearer the ground, fall on to your back, and let your feet come up, making the slap with the right arm just as the shoulders hit the ground. The left leg can be crossed slightly over the right, when you land, but do not attempt to throw yourself on to your side; fall backwards.

The important points to watch again are: that you keep looking at your belt so that your head does not hit the mat; that you make the slap vigorously, at the right angle, and at the right time; that on no account do you put your hand behind you.

Another, more advanced, method of practicing this fall is as follows: Get your partner to stand with feet about eighteen inches apart, upright, and well on balance. Stand with your left side to him. With your left hand, grasp his belt in front of his body, your fingers passing under it, your thumb over the top. Get him to hold your jacket at your left shoulder. Now, partly supported by his hold and partly by your own grip on his belt, you can jump off by swinging your left leg forwards and upwards, and land on your back, making the slap as before. This method of practicing should be tried only when you have gained confidence with the earlier method.

FIG. 2. Right Side Breakfall

3. Left Side Breakfall

This is exactly the same as the right side breakfall, but the slap is made with the left hand. Reverse all the directions above, and practice it. You will find that this particular break-fall is the one most commonly used in Judo, as most students are right-handed throwers.

4. Stance

The normal and safest stance in Judo is upright, with the feet about eighteen inches apart and the body balanced mid-21 way between. Do not lean forwards, or crouch. Relax the knees slightly. Relax the arms.

5. Holds

The normal holds on the opponent are taken as follows: With the right hand grasp his left lapel just below the base of his neck. With your left hand grasp his right sleeve just below the elbow from underneath, with your palm turned upwards. He takes the same holds on you. These holds will be varied for some throws, or they may be varied according to individual preference when you are experienced, but they are described here as the normal starting point.

6. The Floating Loin Throw (Uki Goshi)

This is one of the Hip Throws, so called because the hip is used as the pivotal point in making such throws, and the opponent is turned over it. The throws will all be described as attacks on the opponent's right side, so that he will land with the left-handed breakfall. Every throw can be made on both sides, however, and as you become more experienced you should practice them on both sides.

Stand face to face, in the upright relaxed position described in "Stance". Take the normal holds on sleeve and lapel. Get the opponent to take the same holds on you.

Now, with your left hand lift and pull his right arm in a forward direction parallel to the ground. At the same time take your left foot back and around in a small circle, so that you make a left-about turn, and end up with your back close against your opponent's chest. As you turn, let go his lapel with your right arm, and slide it around his waist, at the level of his belt. Bend your knees, so that when you are in position your belt is below his. Your heels should now be on a line drawn through his toes, your toes pointing in the same direction as his, and your hands holding him tight against your body. Your right hip projects slightly beyond his right hip.

Now, if you straighten your legs, you should lift him clear of the ground, and if your position is correct, you should be able to balance him on your right hip.

To complete the throw, turn your head to the left, and let your body follow. The opponent is turned completely over your hip, and lands across your feet in front of you. Release your hold round his waist so that he can fall, but retain the hold on his right sleeve with your left hand. Pull up slightly with this hand as he lands, so as to help break his fall.

This retaining of the hold on the sleeve applies to all throws. It not only helps his landing but is useful if you intend to proceed into groundwork, as you will learn later on.

3. Floating Loin Throw

The man who is thrown (called "Uke", in Japanese) lets go with his left hand, so as to do the breakfall slap with it, but retains his hold with his right hand.

Points to watch are: Get close contact between your body and his; bend your knees as you move in; make sure your heels are inside his toes.

It is a most important point in connection with all throws that, although the actions must of necessity be described separately, they must all be performed simultaneously and continuously. Do not hesitate. Once you start to move in, keep the action going smoothly and continuously until the opponent has landed. It need not be quick in the beginning, but it must flow smoothly.

To avoid confusion, I will not deal with any other points in connection with the throw at this stage. The object of studying it in this lesson is solely so that you may have practice in falling from a throw. Once you have mastered the throw, throw each other alternately, so that one is practicing the fall and the other the throw. Try it on both sides, by reversing the directions, so that you practice also the side breakfall with the other hand.

The Floating Loin Throw is a particularly good one for practicing the breakfall, as it is possible, with the arm round the waist, to control the opponent's fall and to put him down gently until he gets used to slapping at the right moment. But once he has learnt to slap, of course, do not then continue to support him in this way. Let him land normally.

Lesson Two

Do 40 repetitions of the three Breakfalls you have learnt.

Do 50 repetitions of the Floating Loin Throw you have learnt,

25 on each side.

Go on to learn the following new movements:

1. Breaking The Opponent's Balance (Tsukuri)

It has been said that if the opponent is upright with his feet eighteen inches apart, and keeps his centre of gravity inside a small circle drawn round his feet, that he is on balance, and difficult to throw. In the Floating Loin Throw, which we learnt in the last lesson, his balance was disturbed in a forward direction.

It is usually considered that balance may be broken in eight directions, directly forwards or backwards, to either side, or diagonally in either direction. These are, of course, only general directions; there are many more in between. Let us look at the nature of balance. Stand with your feet on a line about eighteen inches apart. Your weakness is directly forwards or directly backwards, in that position. The opponent wishing to break your balance forwards must contrive to lift you on to your toes, and bring your centre of gravity in advance of your toes. He can do this by taking the normal holds, bending his knees slightly, resting his elbows on his stomach, thrusting his stomach forwards, and straightening his knees to lift you with the action of his whole body. To break your balance directly backwards, let him push with his left hand holding your sleeve in the direction of your right heel, and with his right hand holding your lapel push up and over your left shoulder and down your back by bending his wrist, so that you are pinned on your heels. From this position of your feet on a line, you have two other directions of weakness, directly to either side. To break your balance in either of those directions your opponent must get your centre of gravity, which acts at about your stomach level, outside the edge of your foot in the direction he is taking you. You will immediately see that this is a lot easier to do if your feet are close together, which is why you try never to bring them up together in Judo.

Now let us consider the diagonal breaking of your balance. With the normal holds, let the opponent step back diagonally to his right rear with his right foot, and with his left hand holding your sleeve let him pull your right arm diagonally forwards. You will find that you want to take a step forwards with your right foot, and if you don't you will be off balance in that direction. The same movement can be done on your left side.

By moving towards you and stepping outside your right foot, the opponent can break your balance to your right rear, pushing down with his left hand, and over your shoulder with his right as when taking you directly backwards, but this time doing so diagonally.

Now consider the position when you are standing with your right foot advanced a foot or so. Your direction of greatest weakness now is in a direction at right angles to a line drawn through your feet, i.e. diagonally forwards to your left front, or diagonally back to your right rear. You can also be brought off balance on a line drawn through your feet in either direction, providing your centre of gravity can be brought outside the leading foot in the desired direction.

Experiment with each other, and you will soon find the directions of weakness. Remember it is along a line bisecting the line drawn through the feet at right angles, or alternatively along the line joining your feet, providing in the latter case that your feet are close together.

FIG. 4. The Salutation

2.  Courtesies

Before and after practice, it is the custom in all Judo clubs for opponents to bow to each other. There are two methods, and it varies from country to country which method is used for which purpose. The underlying idea is the same at all times, however, that it is a sign of respect and friendship.

The bow from the standing position is made with the feet together, hands at sides, and bowing from the waist. The opponents stand about six feet apart when making the salutation; they face each other, and bow together, though in some countries it is the custom for the higher grade to bow first as a sign of humility.

The bow from the kneeling position is made from the same distance apart. Kneel down at the same time as the opponent, with the insteps resting as near the ground as possible, and the toes turned inwards. When making the bow, the head should be taken lower than the shoulders, and the hands turned slightly inwards and placed on the ground under the shoulders.

This salutation should always be made before and after practice, and in thinking of its meaning, the student should try to put himself in the right frame of mind for practice.

1. The Major Outer Reaping Throw (O Soto Gari)

FIG. 5. The Major Outer Reaping

This is one of the foot throws, so called because the foot or leg is the pivotal point over which the opponent's body is turned.

Stand face to face with the opponent, and take the normal holds. Now, step in with your left foot, so that it is on a line drawn through his two feet. At the same time, push his right sleeve down in the direction of his right heel, and take your right hand up over his left shoulder and down his back, still retaining the hold on his lapel. Relax your right arm as you do this, so that the forearm rests against his chest, and the wrist curls over his shoulder. The left foot, which you took in, is placed just outside his right foot, and with it you take your whole body forwards so that you can look over his right shoulder to the ground. The effect of these combined movements is to pin the opponent on his right heel. Now, bring your right leg through the gap between your left and the opponent's right leg, and swinging it from the hip, sweep away his right leg, on which he is supported. The action is a sweeping one, not a kick, and the point of contact between your legs is as high up on the thigh as possible.

Points to watch are: Although the actions are described separately, they must be simultaneous, i.e. you do not pin him and then sweep his leg away, but the sweep takes effect just as the pinning action is reaching its maximum effect; the action of your right hand is most important. Neglect to use this hand as described is one of the commonest causes of failure in this throw.

The opponent will land with the left-handed breakfall, as in all throws unless otherwise stated. Reverse the directions and try it on the other side, giving a right-handed breakfall.

Practice as many as you possibly can on each other. A good method is to let the opponent do ten on you, and then to do ten in return. Aim at accuracy rather than speed. Speed will come later.

Lesson Three

Do 40 repetitions of the three Breakfalls.

Do 50 repetitions each of the Floating Loin Throw, and the

Major Outer Reaping, half on each side.

Go on to learn the following new movements:

1. The Drawing Ankle Throw (Tsurikomi Ashi)

This is another foot throw.

Take the normal stance and holds. Step back with your right foot diagonally to your right rear, about eighteen inches, and turn your right toes so that they point inwards across the opponent's body. At the same time, take your whole body back, so that it is perpendicular over your right foot, and pull on the opponent's right sleeve level with the ground. You will find that this movement leads him to step forwards with his right foot, so as to retain his balance. At the instant that he attempts to do so, extend your left leg, and place the sole of your left foot against his ankle so as to block his advance. Continue the turning of your body to the left, begun when you stepped back and turned your foot, and you will find that he trips over your outstretched foot and falls to the ground.

FIG. 6. The Drawing Ankle Throw

Points to watch are: that it is the sole of the foot which must make contact, not the bony edge; the point of contact is the shin bone just above the ankles; the left leg must be straight (if it is bent, you are too near the opponent); you do not kick— the outstretched leg is just something for him to trip over; the right hand must assist by pulling him towards you, not pushing him away.

Do as many as you have time for, and on both sides.

2. The Method Of Regaining The Feet

At this early stage it would be best for you to learn to get up properly after you have been thrown. Assuming you have landed with a left side breakfall, take your right foot over your left, turn over, and get up facing your opponent, with your left arm bent and held up to ward off attack. If your opponent moves around, turn rapidly. On no account get up with your back towards him, or unprepared for attack, as he can attack you as soon as you are on your feet again.

FIG. 7. Method of Regaining Feet

The man who throws ("Tori" in Japanese) must stand back to allow his opponent to get up, if the referee awards a point for the throw, in Judo. It is best that he stands well clear, as otherwise the opponent on the ground may throw him, when getting up, with a hand throw on knee and ankle, described later in this book.

Lesson Four

Do 40 repetitions of the three Breakfalls.

Do 50 repetitions of each of the throws you know (25 on each side). They are the Floating Loin Throw, the Major Outer Reaping, and the Drawing Ankle Throw. Go on to learn the following new movements:

1. The Right Shoulder Roll

This is another breakfall.

Stand with your right foot about three feet in front of your left. Bend the right knee, and place the right hand on the ground about six inches in front of the right toes, with the fingers at right angles to the toes. Rest the left hand lightly on the ground. Now, look straight behind you, through your legs, tuck your head into your chest, push off with your left leg, and roll forwards over your right shoulder on to your back. It is important to roll straight forwards, as in an ordinary head-over-heels roll, and not to roll sideways over the shoulder. As you land on your back, make the slap with your left arm, so that you finish up in the position of the left side breakfall.

You will find that when you are actually thrown by a throw requiring the use of this breakfall, all you have to do is to tuck your head in and do a left side breakfall. The thrower gives the impetus that you are now having to give yourself in practice.

FIG. 8. Right Shoulder Roll

2. Left Shoulder Roll

Reverse the directions above, roll over your left shoulder, and slap with your right hand.

3. The Major Hip Throw (O Goshi)

In the Floating Loin Hip Throw, which we learnt in Lesson One, the opponent's balance was broken by the pull of your hands level with the ground, and the lifting action of straightening your legs.

In the Major Hip Throw, the technique is slightly different.

FIG. 9. The Major Hip Throw

Get the opponent to take the normal holds and stance. Stand sideways to him, with your right side making close contact with his chest and stomach. Your feet point directly to his right, that is across his body, and are normally spaced. Slightly bend your knees, so that your belt is below his, and take your right hip slightly forwards. Now, your left hand takes the normal hold on his right sleeve, and pulls it parallel to the ground; your right arm passes round his waist, and presses into the small of his back so as to keep his body tight against yours; you maintain close contact and sway your weight from midway between your feet over on to your left foot. The action is simply that of transferring your weight from one leg to another. You will find that if you have maintained the close body contact, this simple movement will have brought the opponent on to his toes, and by turning your body and head to your left he will fall over your right hip to the ground, as before.

Points to watch are: With your left hand, pull level with the ground, not down; keep close body contact throughout. If you lose contact when you sway your weight over, the throw will fail.

4. General Points To Be Observed In Connection With All

Hip Throws

We shall be learning many Hip Throws, and there are certain principles common to all of them, which you should memorize, as they will mean the difference between success and failure. They are:

(i) Close contact between the bodies must always be maintained. If there is a space between your body and his when you move in, abandon the throw, as it is useless.

(ii) When we speak of turning the body by taking the left foot back and around, it is the whole body that must turn, pivoting on the ball of the right foot, which does not move, and every part of the body must turn at the same time. Head, shoulders, hips and feet must move together. Don't turn your hips and leave your shoulders behind. The right side should be upright and still, not move towards the opponent as the left turns away. Practice the move on your own.

(iii) Although the basic methods are described, it is permissible to vary them in contest or practice.

(iv) The left hand must always pull parallel to the ground initially. If it pulls downwards, as is the tendency with beginners, the effect is to fix the opponent more firmly on his feet, not to unbalance him.

(v) The best opportunity for a Hip Throw would occur if the opponent had his right foot back, and was in the act of bringing it forwards to pass his left. The pull with your left hand would continue the forwards movement, and the attack would be made at the precise moment when his advancing right leg is passing his left leg. That is the moment of greatest weakness. This requires very skilful timing and a fast attack, but practice slowly at first, until you get the movements accurate. Then speed up.

(vi) The secret of successful Hip Throws can be summed up in the sentence: "Come in low; pull hard with both hands, and come in fast."

(vii) Hip Throws are generally best attempted by shorter men on taller men. Big men faced with short opponents would be better advised to try Leg Throws.

(viii) A good way of thinking about the action of Hip Throws so as to get the right action was once told me by a famous teacher. He advised students to imagine they were practicing in a globe or sphere. They were to put themselves at the centre of this sphere, and move their opponent around the outside.

(ix) Do not be misled by the word "throw" into thinking that it is a movement of the hands or wrists, as in throwing away a piece of paper. The whole body must move in any throw, and a Hip Throw in particular is effected by the continuous turning movement of the body, not by a local action of hands or arms.

(x) Once you start to turn, keep going. Most Hip Throws fail when the thrower pauses after moving in. The opponent uses this fleeting moment to counter.

(xi) Aim at smooth and continuous movement. Anything sudden or jerky warns the opponent of your intention.

Lesson Five

Do 30 repetitions of the five Breakfalls you know.

Do 20 each of the Floating Loin, the Major Outer Reaping, the

Drawing Ankle, and the Major Hip Throws.

Go on to learn the following new movements:

1. How To Move Around

Aim to stay upright, and to move as little as possible from the position described under "Stance" (Lesson One). If you do move, slide your feet along the mat. Don't pick them up and walk "heel and toe" as normally. Move the right foot, and then bring the left up to within a foot or so of it, but don't cross the legs, as you do when you walk about. When you have slid the left foot up to within a foot or so of the right, move the right again, and again bring the left foot nearly up to it. If going in the other direction, start with the left, and move the right up to within a foot or so of that, of course. Try to move in diagonal directions, rather than directly forwards or backwards. Avoid crossing the legs, or bringing the feet too close together. We have considered the danger of bringing the feet close together in the section on "Breaking the Opponent's Balance" (Lesson Two). Crossing the legs gives an ideal opening for the throw we are going to learn in this lesson.

In contest don't move at all, unless you are either going in to attack, or are moving away from an opponent's attack. It is pointless to rush aimlessly about the mat, as some beginners do, since every move is potentially dangerous. If at all possible, aim to stay in the centre of the mat and make the opponent move round you. This gives you the advantage.

When we come to study practicing throws on the move, the application of the last paragraph would prevent any useful practice at all, but bear it in mind for contest, even though you are not going to practice like that generally.

2. The Advancing Ankle Throw (De Asm Harai)

This is another Foot Throw.

FIG. 10. The Advancing Ankle Throw

Take the normal positions and holds. Get the opponent to take a step forwards with his right foot. Now you must throw as he is doing so, at the precise moment when he is transferring his weight from his left to his right foot. You raise your left foot from the ground, and turn it so that the sole is facing inwards. With this soft sole, you sweep the advancing right foot of the opponent directly across his body and up. Catch it just under the ankle bone. This tends to unbalance the opponent directly to his right side, and you must reinforce this effect by pulling directly downwards on his right sleeve with your left hand, and at the same time lifting with your right hand. If your actions are coordinated, and your sweep is at the exact moment when the weight is being transferred, the opponent will leave the ground completely, and straighten out in the air about the level of your waist.

Points to watch are: Pull directly down with your left hand, but as he is falling change this to an upwards pull to assist his Breakfall. Sweep with the soft sole of the foot, not the hard, bony edge, for your sake and the opponent's. Aim at getting the timing exactly right. Try this first, getting him simply to transfer his weight back and fore from one foot to another, with the right foot in advance, of course, until you can do your sweep just as the transfer of weight is being completed.

Thousands of repetitions will be necessary. Do not be discouraged if only one in a hundred works to begin with.

Lesson Six

Do 30 repetitions of each Breakfall learnt (5 Breakfalls). Do 20 repetitions of each Throw learnt (5 Throws). Go on to learn the following new movements:

1. The Forwards Breakfall

To learn this, first kneel down, body upright. Now bend forward and slap the ground with the forearms, the elbows coming just under the shoulders, the forearms so placed that the hands are pointing inwards at an angle of 45 degrees, and the finger-tips are about six inches apart. This slap has the effect of keeping the nose off the ground. The palms and the whole forearm strike the mat.

Now, whilst making this slap, spread the legs backwards and outwards, and come up on to the toes, so that the body is supported on the toes and forearms and is parallel to the ground. This keeps the knees and stomach off the ground.

When you can do both the slap and the spreading of the legs, and can co-ordinate them, try falling forwards on to your face from a standing position, and make this Breakfall.

FIG 11. The Forwards Breakfall 37

This particular fall is not used very much, as in Judo practice the object is to throw the opponent on to his back. Falls on his face will not score you a point. The main object of the Breakfall is for use if you are too close to the ground to do one of the Rolling Breakfalls when you are thrown with a throw needing them.

2. The Thunderfall

Stand with the feet normally placed, bend knees, place both hands on the ground, fingers turned inwards, and do an ordinary head-over-heels roll. Now, as you land bring the legs over and down very quickly, so as to strike the ground with the soles of the feet, knees bent, and base of spine off the ground. At the same time as you do this, slap the ground on each side of the body, with the arms as in the Backwards Breakfall (Lesson One).

FIG. 12. The Thunderfall

When you are more advanced, you may be able to do a forward somersault from a standing position and land with this fall, instead of doing it from a forward roll.

3. The Knee Wheel (Hiza Guruma)

The initial action of this throw is exactly the same as in the Drawing Ankle Throw described in Lesson Three. It is another Foot Throw. But this time, as he steps forwards with his right foot to regain his balance, place the sole of your outstretched left foot against the outside of his right knee, and use your hands to turn him sideways over this obstacle, by pulling down with your left hand and lifting with your right. Co-ordinate your hand movements, and move them circular fashion as if you were steering a ship.

Points to watch are: Place the sole of the foot on the outside of his knee. It is dangerous to place it on the knee cap to block his advance. The attack must be made when the opponent wants to step forward with his right foot. You must point your right toes inwards so that you can turn your body.

Another opportunity for this throw would occur if the opponent had his right leg to his rear, and wanted to bring it forward. In this case you would not have to step back.

Stop with a straight leg always. If your left leg is bent you are too close to the opponent.

FIG. 13. The Knee Wheel

Lesson Seven

Do 30 repetitions of each Breakfall (7 Breakfalls). Do 20 repetitions of each Throw (6 Throws). Go on to learn the following new movements:

1. The Shoulder Throw (Ippon Seoi Nage)

As its name implies, the pivotal point in this case is your shoulder. Take the normal holds.

FIG. 14. The Shoulder Throw

Change your left-hand hold to an underneath grip on the inside of the opponent's right sleeve, fingers inside, palm uppermost. Lift his right arm forwards and upwards, and at the same time take your left foot back and around in a small circle as for the Hip Throw (Lesson One), until your back is to your opponent. Let go with your right-hand hold, and take your right shoulder under his right arm, which you have lifted. Put your shoulder under his armpit. Place your right hand on the top of his right shoulder, and loosely grip the jacket. Bend the knees as you come in. Now straighten the knees, lift with both hands, and turn to your left, and the opponent will be thrown over your shoulder to the ground.

Points to watch are: The right shoulder must be deeply inserted; do not throw the opponent directly over your head. The throwing action is more that of having a sack of coal on the shoulders, and shrugging it off.

2. Purposes Of Groundwork

Throws are usually learnt before groundwork, as it is rightly said that you must be able to get the opponent on to the ground before you can begin an attack there. In Judo contests groundwork is not done if a throw is successful and has been awarded a point. This is because experts believe that if an assailant were thrown hard enough on to the ground (not a mat) and did not have experience of falling, he would not be able to continue the fight anyway.

In Judo contests, points may be scored on the ground in two ways: (i) The opponent may submit. If he wishes to do this, he taps the mat or your body with either his foot or his hand, and you must immediately let him go. Alternatively he may say he gives in. (ii) You may hold the opponent in a recognized "holding" for thirty seconds. The referee will declare a holding recognized by saying "Holding", or "Immobilization", and the count will then start. In the study of groundwork movements, students are generally taught holdings before armlocks or strangleholds, because unless you can control your opponent's movements the last two means of attack are virtually impossible. In this lesson we shall be learning two holdings.

3. The Scarf Hold (Kesa Gatame)

Get the opponent to lie on his back. Sit at his right side, with your right knee bent and well up under his right shoulder. Extend your left leg at right-angles to his body. Now trap his right arm under your left armpit and hold it there by gripping his jacket under his right shoulder with your left hand. Keep your right arm free on the left side of his body, resting the hand lightly on the ground, but having it ready to move round if need be, to resist his attempts to throw you off.

Now, there are two variations to the hold at this point.

(i) If he is lighter than you, or about the same weight, put your right hip bone in his solar plexus, and rest all your weight on him. Try to take as much of your weight off your legs and hands as possible, and to concentrate it all on your opponent. Relax and sag on him, and slide your hip bone slightly to his right to increase the effect.

(ii) If he is stronger than you, and bigger, there is a likelihood that he will roll to his left and take you across his body if you perform the hold as above. To avoid this danger, don't put your weight on his body at all. Instead, put your forehead on the ground just above his right shoulder, and concentrate on holding that shoulder down only, by the tight hold on his jacket with your left hand, the trapping of his right arm under your left armpit, and your weight on his shoulder.

If the opponent moves round in an effort to escape, move with him so as to retain the same relative position. Be prepared for him to change directions in his struggles.

FIG. 15. The Scarf Hold

4.  Methods Of Escape From Above Hold

Escape is difficult from any hold once the hold is secured, and in some cases it is impossible. But there are four methods you might try:

(i) Seize his belt with both hands and lift, at the same time putting your feet on the ground and trying to buck him over your head. You won't succeed in that, but all that you need is to get your right knee between the opponent and you. You can then use this as a lever to push yourself away from your opponent. (Note, particularly, to push yourself away from your opponent, not him away from you.)

(ii) Take your left arm round the back of his neck, and try to grasp his right lapel so as to pull it and strangle him.

(iii) Put your left arm over his right shoulder and under his chin, and try to force his head back. If you can get it back far enough, bring your left leg over his head and use this to force him back.

(iv) If his jacket is loose at the back of his neck, try to put your left heel in it, and pull him back to the ground.

Note: You are not allowed to push his face with your hands, only under his chin. You cannot pull hair, punch, press nerves, kick, or gouge eyes, etc., nor squeeze the body or head with either your arms or legs.

5. The Shoulder Hold (Kata Gatame)

Start from the scarf-hold position described above. The opponent gets his right arm free, and uses it to push under your chin—a very common move. Don't resist his push. Allow your head to go back until his arm is straight. Then, with your left hand push his elbow, so that his arm is taken across his throat. Put your right arm under his neck and clench the fist. Now, with your left hand seize your right clenched fist and pull up hard. Put your forehead on the ground above his right shoulder, in the position described in the second variation of the Scarf Hold. Hold tight, and if he moves around, move with him so as to retain the same relative positions.

FIG. 16. The Shoulder Hold

6. Methods Of Escape From Above Hold

This is much more difficult to escape from than the Scarf Hold. Your best hope is to take your legs and body as far to your left as possible, clench your right fist, and with your left hand try to push your right elbow into the side of his head. At the same time try to sit up. This does not always work, but it is about your only hope.

FIG. 17. The Major Inner Reaping

Lesson Eight

Do 30 repetitions of each Breakfall (7 Breakfalls). Do 20 repetitions of each Throw you know (7 Throws). Practice each Holding once, and the Escapes (2 Holdings). Go on to learn the following new movements:

1. The Major Inner Reaping (O Uchi Gari)

The opportunity for this Throw will occur if the opponent has his feet fairly widely spaced, and is pulling you towards him. Step in with your left foot midway between his, so that it forms a triangle with his feet. The hand action is the same as for the Major Outer Reaping (see Lesson Two), except that instead of trying to pin his weight on his right heel, you try to pin it directly backwards on to both his heels. With your right leg, hook the inside of his left knee, and at the same time as your hands push his shoulders back and down, your right leg pulls his left knee forwards and up, so that he leaves the ground completely and falls on his back.

The two-handed Backwards Breakfall is needed. (See Lesson One.)

Points to watch are: All the actions must be simultaneous. Another opportunity for the Throw will occur as an opponent steps forwards. In this case, do not step in with your left foot, as described above, but hook the advancing foot at the knee from the inside just as the weight is about to come on to it, and make the same hand movements as before.

2. The Upper Four Quarters (Kami Shiho Gatame)

This is another holding on the ground.

Get the opponent to lie flat on his back. You are behind him, and you lie on your face. Pass your hands under his shoulders, and seize his belt at each side of his body. Pull the belt firmly down to the ground. Now put your stomach on his face, and your chin in his stomach, spread your legs apart, and try to relax all your weight on him, not on your own toes or knees. If he tries to raise either side, press down on that side with your hand, and spread the opposite leg still wider. It is essential for the success of this hold that you keep your body and his in the same straight line, so if he moves around, move with him. (In practice, the man underneath should turn his face to one side, or your stomach pressing on it will suffocate him, but in reality that is part of the effect aimed at.)

FIG. 18. The Upper Four Quarters

3. Methods Of Escape From The Above Hold

(i)As he comes into the hold, rest your right arm across your stomach so that it will be under his throat. When he takes up his position, put your left arm across the back of his neck.

FIG. 19. The Side Four Quarters

With each hand, grasp your opposite sleeve, and bring the arms together so as to crush his neck between the bones of your forearm. (Let him go the instant he submits.)

(ii) Try to turn him over, when you will find that you have exactly the same hold on him.

4. The Side Four Quarters (Yoko Shiho Gatame)

Get the opponent to lie on his back. You lie on your face at his right side, at right angles to him. Pass your left hand under his neck, and hold his left shoulder to the ground by seizing his jacket. Pass your right hand between his legs from above, and seize his belt. With both hands pull in the direction of your own knees. Spread your legs, and try to put all your weight on his chest. Relax on him. If he tries to roll you over his body, put your forehead on the ground. If he moves around, move with him, so as to retain your relative positions. It sometimes helps to put your right knee against his right hip-bone, and to pull him against that with both hands, so that he has no chance to roll over.

5.   Methods Of Escape From The Above Hold

With your left forearm push the side of his neck so that his head goes down in the direction of your feet. Then bring your left leg under his head, and using the bend of your left knee force his head still farther down, and so break the hold.

Lesson Nine

Do 25 repetitions of each Breakfall (7 Breakfalls).

Do 20 repetitions of each Throw (8 Throws).
Practise each holding and escapes from it once (4 Holds).

Then go on to learn the following new movements :

1. The Sweeping Hip Throw (Harai Goshi)

FIG. 20. The Sweeping Hip Throw

This is started in the same way as either the Floating Loin Throw (Lesson One) or the Major Hip Throw (Lesson Four).

It was found that when students were attacked by these two Throws, they could sometimes save themselves by stepping round with their right leg and putting it on the ground. The Sweeping Hip Throw was invented to counter that movement.
Let your opponent attempt to save himself from one of the two former Throws by this method. As he is in the act of doing so, take all your weight on your left leg, raise your right leg off the ground, and use it to sweep his legs from under him. It should be noted that you do not just kick his ankles with your right heel; you swing the whole leg loosely from the right hip joint, and try to make the contact between your thigh and his.

Points to watch are: You must be able to balance both your bodies on your left leg to perform this throw. You must sweep the instant that he attempts to foil your original throw, otherwise his right leg will be too far round.

2. The Resisting Hip Throw (Sasae Tsurikomi Goshi)

As its name suggests, this throw is applied when the opponent stiffens up and tries to hold you off with straight arms so that you cannot come in for a Hip Throw.

For practice, stand facing the opponent, and take the normal holds. Get him to stiffen his arms. Turn your body to the left by taking your left hip back and around, allowing the left foot to follow in a small circle. Pull with your left hand parallel to the ground. At the same time, release your hold on his left lapel with your right hand, and take an underneath grip on the outside of his left sleeve, near the elbow joint, with your fingers uppermost. Bend your knees as much as possible, at the same time lifting with your right arm, and try to come in so low that your back is in contact with his knees. With both hands you are lifting forwards and upwards initially; with your back you push his knees backwards, so that he loses balance forwards, and can easily be thrown over your right hip to the ground, by straightening your legs and turning to your left.

FIG. 21. The Resisting Hip Throw

Points to watch are: Don't attempt to move your right shoulder in against his stiffened arm. Take the power out of that arm by lifting it at the elbow, so altering the direction of his force. Come in as low as possible. This is a rather violent fall. Practice carefully.

Lesson Ten

Do 20 repetitions of each Breakfall (7 Breakfalls). Do 20 repetitions of each Throw (10 Throws). Do each Holding and the Escapes once (4 Holdings). Go on to learn the following new material.

1. Random

"Randori" is the name given to free practice on the move. Read the section in the Introduction on "Methods of Practice", Method 2. Remember that Randori is not contest, but a way of trying your Throws on the move. Do not throw yourself for your opponent. There would be no value in that. At the same time, do not go all out to stop him throwing you.

Bow to your opponent before and after practice, with the Kneeling Salutation described in Lesson Two.

If there are only two of you, practise as long as you can, with short breaks. If you have more than one partner, change partners every ten minutes. Aim at at least thirty minutes' practice, in three ten-minute periods, and more if time permits.

Lesson Eleven

Do 15 repetitions of each Breakfall (7 Breakfalls). Do 15 repetitions of each Throw (10 Throws). Do each Holding with its Escapes once (4 Holds). Do 30 minutes' Randori, changing partners if possible. Go on to learn the following new movements:

1. The Normal Cross (Nami Juji Jime)

This is a stranglehold, though "stranglehold" is rather a misnomer for a Judo neck lock since the aim is to cut off the blood supply to the brain rather than the air from the lungs in most Judo holds of this nature. Care must be taken in the application of all these holds, and the opponent be released the instant he submits. Should he lose consciousness through not submitting quickly enough, release him at once or he may never come round.

FIG. 22. The Normal Cross

In the normal cross, the opponent is lying down, and you are astride him. Cross your hands normally, i.e. so that the palms are downwards. Now insert your thumbs inside his lapels, and slide your hands up so that they are almost touching on the collar at the back of his neck. Take a tight grip. Keep your elbows together, and pull with both hands in the direction of your own stomach, arching your body up and back as you do so. The bony sides of your forearms will dig into the sides of his neck and cut off the blood supply to his brain. These bones should come as near the base of his neck as possible, and care should be taken that the bones are in contact with his neck, not the fleshy part of your forearms at the front and back.

2.  The Reverse Cross (Giaku Juji Jime)

This is exactly the same as the Normal Cross, except that the hands are crossed palms upwards, and this time it is the fingers which go inside the jacket, not the thumbs.

FIG. 23. The Reverse Cross

Lesson Twelve

Do 10 of each Breakfall (7 Breakfalls).

Do 10 of each Throw (10 Throws).
Practice each Holding and Escape once (4 Holds).

Practice each Stranglehold once (2 Strangleholds).

Do 30 minutes' Randori, changing partners if possible, and bearing in mind that you can do groundwork in Randori, if you desire, as well as throwing. Go on to learn the following new movements:
 
1. The Straight Armlock (Jun Gatame)

There are two basic kinds of arm lock. One, known as the "straight arm lock", aims to break the arm at the elbow joint; the other, known as the "bent arm lock", aims to twist the shoulder joint out of socket. Take great care in practicing either. You may obtain the position as quickly as you like, but  pressure  must be  applied   slowly,  and  the   opponent released the instant he submits. (As explained before, submission is made by tapping the mat or the opponent with hand or foot, or by saying you give in.) These two basic arm locks are obtained in a variety of ways, and it is largely the different approaches to them that give them their different names.

FIG. 24. The Straight Armlock

In the one we are learning now, get the opponent to lie flat on his back. Place your right toes under his right side, well up under his armpit, and sit down near your right heel. At the same time, put your left leg across his throat, and place the foot on the ground so that he cannot sit up. Take his right arm between your legs and, holding it at the wrist, pull it straight. Keep your knees as close together as you can. Now you will observe that his little finger is on the same side of his arm as his elbow. If it is to your right, take his arm across your right thigh, so that your thigh is under the elbow joint, and gently press the arm back against the joint until he gives in. If the little finger is to your left, take the arm across your left thigh. If he turns his arm so that the little finger is underneath, then hold his wrist tightly to your chest, put your head on the ground, and raise your stomach by arching your back. Either of these methods will quickly bring submission.

2.   The Bent Armlock (Ude Garami)

Lie on your face across your opponent's body. He is on his back. Take his left arm out straight in line with his shoulder. Bend his forearm back towards his head. Now rest your left hand on his wrist from above, and put your right arm under his and on to your own left wrist. With both hands turn his forearm backwards, so as to twist the shoulder joint. It is essential to keep your weight on his body, as otherwise he will sit up and release pressure.

FIG. 25. The Bent Armlock

3. The broken upper four quarters (kuzure kami Shiho gatame)

This hold resembles the Upper Four Quarters, as in Lesson Eight, but whereas one hand grasps his belt as before, the other passes over his shoulder, under the armpit to the back of his neck, and grasps the collar there, behind his head. With the elbow trap his arm against your side. Relax on him.

FIG. 26. The Broken Upper Four Quarters

4. Methods Of Escape From The Above Hold

The methods of escape are the same as for the Upper Four Quarters, in Lesson Eight.

5. The Rear Scarf Hold (Giaku Kesa Gatame)

Start in the same position as the Broken Upper Four Quarters hold, above, with your left hand holding his belt, and your right his collar. Now, from there, take your left leg under your right, forwards under his right armpit, and having reached that position, sit up and lie back with your left side pressing on his face. Keep his right arm trapped with your right elbow at your side.

FIG. 27. The Rear Scarf Hold

6. Methods Of Escape From The Above Hold

This is very difficult to escape from as his weight is on your head, and the initial move would seem to be to try to get your head out. You might effect this by turning to your right or even possibly by a backwards roll, if his hold is not very secure. It is best to avoid getting caught in this hold, however.

Lesson Thirteen

Do 10 of each Breakfall (7 Breakfalls).

Do 10 of each Throw (10 Throws).

Practice each Hold and Escape once (6 Holds).
Practice each Stranglehold once (2 Strangleholds). Practice each Arm lock once (2 Arm locks). Do 30 minutes' Randori. Go on to learn the following new movements:

1. The Broken Scarf Hold (Kuzure Kesa Gatame)

Take up the position described in the first form of the Scarf Hold (Lesson Seven), that is with your weight on the opponent's body. As well as trapping his right arm, trap his left arm also under your right armpit, and secure it tightly against your side with your elbow. You now have both his arms trapped, and must take up such a position that he can neither buck you over his head nor sit up. Take your right foot farther through under his right armpit than in the ordinary Scarf Hold. Relax on him.

FIG. 28. The Broken Scarf Hold

2. Method Of Escape From Above Hold

Try, by alternately attempting to sit up and to throw him over your head, so to shift his weight that you can do one or the other.

3. Neck Lock From Rear (Okuri Eri Jime)

This can be applied when you are behind the opponent on the ground. For practice, get him to sit down and kneel behind him. Pass your right arm over his right shoulder, and seize his left lapel, thumb inside, well up behind his left ear. Pass your left hand under his left armpit and seize his right lapel, thumb inside. Pull down with your left hand, and pull your right elbow back towards your own body.

4. The Single Wing Neck Lock (Kata Ha Jime)

Take up exactly the same position as in the last Stranglehold (above), but instead of seizing his right lapel with your left hand, pass your left hand under his left armpit and up behind his head, so as to press his head forwards.

FIG. 29. Neck lock from Rear FIG. 30. The Single Wing Necklock

5. The Arm Crush (Ude Gatame)

You are kneeling on both knees at the opponent's right side when he is on his back. He reaches up his left arm and grasps your right lapel so firmly that he cannot let go quickly. Clasp your hands by interlacing the fingers, and place them behind his left elbow. Turn the elbow so that it faces away from your body, and press it towards your chest. At the same time, press down with your shoulder on his hand. This is a variant of the Straight Arn lock.

FIG. 31. The Arm Crush

Lesson Fourteen

Do 10 of each Breakfall (7 Breakfalls).

Do 10 of each Throw (10 Throws).

Practice each Hold and Escape once (7 Holds).

Practice each Stranglehold once (4 Strangleholds).

Practice each Arm lock once (3 Arm locks).

Do 30 minutes' Randori.

Go on to learn the following new movements:

1. The Knee Arm Lock (Hiza Gatame)

You are lying on your back, and the opponent comes between your legs and reaches out one or both hands to try to strangle you. Concentrate on one hand only. Seize the wrist with both hands, and hold it tightly to you. If you have got his left arm, push with your left foot against his right groin, so that his right side collapses. At the same time, turn your body to your left, and bring your right knee up and put it behind his left elbow. Now press down with your knee on the elbow joint, and lift with the arms, and you have a Straight Arm lock.

FIG. 32. The Knee Armlock

2. The Leg Arm Lock (Asm Gatame)

Proceed exactly as in the Knee Arm lock above, but this time instead of just placing your right knee behind his left elbow, take your foot over the top of his arm, and put it under his chin. Straighten your leg, and pull on his arm. Again you have a Straight Arm lock.

FIG. 33. The Leg Arm lock

Lesson Fifteen

Do 10 of each Breakfall (7 Breakfalls).

Do 10 of each Throw (10 Throws).

Practice each Hold and Escape once (7 Holds).

Practice each Stranglehold once (4 Strangleholds).

Practice each Arm lock once (5 Arm locks).

Do 30 minutes' Randori.

Go on to learn the following new movements:

1. The Minor Inner Reaping (Ko Uchi Gari)

Stand with your right side facing your opponent, but not in contact, your toes pointing across his body to his right. Pull gently on his right arm level with the ground, so that he is led to take a step forwards with his right foot. As he is about to put his weight on it, raise your right leg, and with the sole of your foot sweep his right ankle from behind forwards and upwards in the direction in which it is moving. At the same time, continue his forward motion with your left hand, and push across his body with your right hand.

FIG. 34. The Minor Inner Reaping

Points to watch are: Keep your own body upright, and turn on the ball of your foot to your left. Don't kick; a very gentle sweep is sufficient, as the effect is like stepping on a banana skin. He takes a bigger step than he intended. Usually a backwards Breakfall is needed. Aim at co-ordination of your movements, and at accurate timing.

2. The Approach To Groundwork

The best defensive posture on the ground is to curl up into a ball, so that the opponent cannot get at you. Keep the elbow and knee together on each side of your body, so that with the combined power of both you can ward him off.

The way to get into an opponent who is doing this is as follows: Take the leg nearest to you, by grasping the trousers at the knee, and push it across his body to the ground the other side. This traps his other leg, and you can move in and put your weight on him, so as to limit his moving around, whilst you try either a Holding or an Arm lock or Strangle.

FIG. 35. Getting Past the Opponent's Legs.

Lesson Sixteen

Do 10 of each Breakfall (7 Breakfalls).

Do 10 of each Throw (11 Throws).

Do each Holding and Escape once (7 Holdings).

Do each Stranglehold once (4 Strangleholds).

Do each Arm lock once (5 Arm locks).

Do 30 minutes' Randori.

Go on to learn the following movements:

1. The Leg Wheel (Ashi Guruma)

Take your left foot back around in a small circle, and place it outside the opponent's left foot on a line running through his feet, with your toes pointing in the same direction as his.

At the same time, pull his right arm forwards and upwards with your left, and his body forwards and upwards with your right. Stretch out your right leg, across the front of his body, so that it is above the knee of his left leg, and below the knee of his right leg. Your toes do not rest on the ground. Break his balance directly forwards, by leaning forwards slightly yourself, and as soon as he comes on to his toes, turn to your left and throw him over your outstretched leg, by the lifting action of your hands.

FIG. 36. The Leg Wheel

Points to watch are: Do not sweep with your outstretched leg. It is simply an obstacle for him to fall over. You must be back in line with him when you attempt the throw. If your left foot is in advance of a line drawn through his feet, the throw will fail.

2. The Naked Strangle (Ushiro Jime)

This is so called because it could be applied if the opponent had no jacket on. For practice get him to sit up on the ground, and kneel behind him. Place the bony edge of your right forearm against his Adam's apple, clench your right fist, and with your left hand seize your right fist and pull it back towards your body. At the same time press the opponent's head forward with your right shoulder.

FIG. 37. The Naked Strangle

Lesson Seventeen

Do 10 of each Breakfall (7 Breakfalls).

Do 10 of each Throw (12 Throws).

Do each Hold and Escape once (7 Holds).

Do each Stranglehold once (5 Strangleholds).

Do each Arm lock once (5 Arm locks).

Do 30 minutes' Randori.

Go on to learn the following new movement:

1. The Stomach Throw (Tomoe Nage)

This is a Sacrifice Throw, so called because the thrower sacrifices his own standing position in order to throw.

Take the normal holds and stance. Lift with both hands, so that the opponent is on his toes. Slide your left foot between his legs, and sit down as close to your left heel as possible. At the same time raise your right leg, and place the sole of your foot in his stomach, two inches below his navel. Roll back on to your shoulders, and as your shoulders touch the ground, straighten your right leg, and turn your wrists upwards. The effect is to throw the opponent over your head on to his back behind you. He will land with either the shoulder rolls (Lesson Four) or the Thunderfall (Lesson Six), but as long as he tucks his head into his chest, he will be safe enough.

FIG. 38. The Stomach Throw

Points to watch are: Lift with the hands; don't pull down. Get your foot in the correct place, and don't straighten leg until your shoulders touch the ground.

Lesson Eighteen

Do 10 of each Breakfall (7 Breakfalls).

Do 10 of each Throw (13 Throws).

Do each Hold and Escape once (7 Holds).

Do each Stranglehold once (5 Strangleholds).

Do each Arm lock once (5 Arm locks).

Do 30 minutes' Randori.

Go on to learn the following new movement:

1.  The Body Drop (Tai Otoshi)

This is one of the Hand Throws, and leads to a Side Break-fall. Take the left foot back and around in a small circle, and pull on the opponent's right arm level with the ground, as for the Hip Throws (Lesson One and Lesson Four). But this time do not take the foot so far round. Stop when it is about a foot in front of his feet. Point your toes to the diagonal left in this new position. Stretch out your right leg, and place the toes on the ground, so that they are just outside his right ankle, and your leg forms an obstacle to prevent him stepping forwards with his right foot. Keep turning to your left, and he will fall over your outstretched leg.

FIG. 39. The Body Drop

Points to watch are: Contact between your legs should be made at the ankle. If it is higher, you can be easily countered.

PLATE I    The Knee Wheel

PLATE 2    The Sweeping Ankle Throw

There is no body contact as in the Hip Throws. The left-hand pull should keep his right arm away from your body.

Lesson Nineteen

Do 10 of each Breakfall (7 Breakfalls).

Do 10 of each Throw (14 Throws).

Do each Hold and Escape once (7 Holds).

Do each Stranglehold once (5 Strangleholds).

Do each Arm lock once (5 Arm locks).

Do 30 minutes' Randori.

Go on to learn the following new movement:

1. The Half Cross (Kata Jun Jime)

You are astride the opponent on the ground. With your right hand seize his right lapel, fingers inside fairly low down. With your left hand, seize his left lapel, thumb inside, well up against his throat. Raise your left elbow, so that your bony forearm presses against his throat. Pull down with your right arm, so that his jacket tightens against his neck at the back.

FIG. 40. The Half Cross

Lesson Twenty

Do 8 of each Breakfall (7 Breakfalls).

Do 10 of each Throw (14 Throws).

Do each Hold and Escape once (7 Holds).

Do each Stranglehold once (6 Strangleholds). Do each Arm lock once (5 Arm locks). Do 30 minutes' Randori. Go on to study the following new material:

1. Pet Throws

It is customary for Judo students ("judokas") to specialize in one or two throws for which they have particular aptitude. Even experts do this, and these are known as their pet throws. From your practice of Randori, you will perhaps have found that one or more throws seem to work more often than others. Choose one of these as your best movement, and make it your pet throw. You will practice this thousands of times to get it really good, and later on when this is much improved you will pick a second, and later a third Pet Throw, until you have a number of good movements. For the moment choose one only. It is best for short men to pick one of the Hip Throws, or the Shoulder Throw, and for tall men to pick a Foot or Leg Throw, as these are most suitable to their respective sizes.

Some common Pet Throws of masters are the Sweeping Hip (Lesson Nine), the Major Outer Reaping (Lesson Two), and the Body Drop (Lesson Eighteen), but choose whichever you personally like.

In practicing this Pet Throw, start first with the aim of getting one part of the movement right; then of getting another part right; then of coordinating those two parts; then getting the next bit right. It doesn't matter if it is six months before you are actually throwing the opponent in this form of practice. Get accuracy, and then speed. Moving into position to throw without actually throwing is called Batsukari, and is a technique of practice that brings rapid results.

Let us look at the method described above in relation to one particular throw, the Advancing Ankle Throw (Lesson Five). First, get the opponent to stand with one foot in advance of the other, and simply to rock his weight back and forth from one to the other foot. Now try to time your sweep just as the weight is coming on to the foot in advance. Do it hundreds of times. It is best if you have say fifty attempts at your movement, and then let him have fifty attempts at his movement. Perhaps in a few weeks you will find that your timing has improved and you are able to sweep the foot at the right split second, once in ten. Now try to get the left-hand pull directly downwards. When you can do this, and combine these two movements (i.e. after a few more weeks), then try to get the lift with the right hand. Try to co-ordinate the lift with the right hand and pull down with the left. Then co-ordinate both again with the sweep. Practice these movements as many times as you possibly can.

Lesson Twenty-one

Do 8 of each Breakfall (7 Breakfalls).

Do 8 of each Throw (14 Throws).

Do each Hold and Escape once (7 Holds).

Do each Stranglehold once (6 Strangleholds).

Do each Arm lock once (5 Arm locks).

Do 30 minutes' Randori.

Go on to learn the following new movement:

1. The Sweeping Ankle Throw (Okuri Asm Harai)

The opportunity for this occurs if the opponent brings his feet together, when moving around. For practice, take the normal holds and get the opponent to take three quick steps to the side, moving first his left foot and then bringing the right up to it each time. Walk in step with him, beginning with your right, and bringing your left up to it. Now you will find that as he brings his right foot up to his left he will tend to rise on his toes slightly. Reinforce this upwards movement by turning your wrists upwards, and lifting him, thrusting your stomach slightly forwards, and resting your elbows on it to reinforce the effect. On the third step not only lift with your hands as just described, but turn your left foot and place the sole against his right ankle. Sweep his right foot into his left, in the direction he is moving. He should leave the ground completely.

Points to watch are: Co-ordinate your lift and sweep. Use your body as well as your hands to help your lift. Although in practice it is useful to throw on the third step, in reality do the throw first time, of course.

Finish the lesson with practice of your Pet Throw, as many hundreds of times as you can.

FIG. 41. The Sweeping Ankle Throw

Lesson Twenty-two

Do 5 of each Breakfall (7 Breakfalls).

Do 8 of each Throw (15 Throws).

Do each Hold and Escape once (7 Holds).

Do each Stranglehold once (6 Strangleholds).

Do each Arm lock once (5 Arm locks).

Do 30 minutes' Randori.

Go on to learn the following new movement:

1. The Spring Hip Throw (Hane Goshi)

Take up the position sideways to the opponent as described in the beginning of the Major Hip Throw (Lesson Four).

Keep close contact between your body and his, and sway your weight on to your left leg. Raise your right leg, bend the knee, and place it across both his legs, either above or below the knee, according to your respective heights. Imagine your body is a letter "T", hinged at the top. Now, your left leg forms the upright of the "T", and your right leg with your body forms the cross-piece, hinged on your left hip. At present it is down almost parallel with the upright. You must take it up to the "T" position, and beyond, floating the opponent up on it, so that he takes off, and is thrown.

FIG. 42. The Spring Hip Throw

Points to watch are: The bent right leg with the body must form a table on which the opponent rests, and must be in a straight line. You must take your head down to within a foot or so of the ground, whilst maintaining this straight line. As in all Hip Throws, you must maintain close contact with the opponent's body throughout the movement.

Finish the lesson with practice of your Pet Throw, as many hundred times as you can.

Lesson Twenty-three

Do 5 of each Breakfall (7 Breakfalls).

Do 5 of each Throw (16 Throws).

Do each Hold and Escape once (7 Holds).

Do each Stranglehold once (6 Strangleholds).

Do each Arm lock once (5 Arm locks).

Do 30 minutes' Randori.

Do not learn any new movement in this Lesson, but concentrate on getting the maximum possible repetitions of your Pet Throw, or of the part of it that you are practicing, in the time that remains in this Lesson.

Lesson Twenty-four

Do 5 of each Breakfall (7 Breakfalls).

Do 5 of each Throw (16 Throws).

Do each Hold and Escape once (7 Holds).

Do each Stranglehold once (6 Strangleholds).

Do each Arm lock once (5 Arm locks).

Do 30 minutes' Randori.

Go on to learn the following new movement:

1. The Inner Thigh Throw (Uchi Mat A)

Take up a position similar to that of the Body Drop, described in Lesson Eighteen, but instead of stretching out your right leg to his right ankle, insert your right leg between his legs, so as to lift his left ankle up in the air, from the inside, and throw by pulling round and down with the left hand, and pushing up and forwards with your right hand. Performed in this way, the Inner Thigh Throw is one of the foot throws. Some teachers treat it as amongst the hip throws, however. In this case you are closer to the opponent, having body contact as for a Hip Throw, and the right leg that you insert sweeps the inside of his left thigh, to take him up. Throw by turning as before.

Points to watch are: Do not kick directly upwards with the right leg you take in. Be careful to retain your hold on his right sleeve as you throw, so as to turn him into a Breakfall.

FIG. 43. The Inner Thigh Throw Finish off the Lesson with practice at your Pet Throw.

Lesson Twenty-five

Do 5 of each Breakfall (7 Breakfalls).

Do 5 of each Throw (17 Throws).

Do each Hold and Escape once (7 Holds).

Do each Stranglehold once (6 Strangleholds).

Do each Arm lock once (5 Arm locks).

Do 30 minutes' Randori.

Go on to learn the following new movements:

1. Arm Lock From The Scarf Hold (Kesa Garami).

You are in the Scarf Hold position (see Lesson Seven). The opponent gets his right arm free, and straightens it. Instantly put your right knee under his elbow, and your left foot on his wrist. Lift with your right knee, and press down with your left foot, gently.

FIG. 44. Armlock from the Scarf Hold

2. Left Arm Lock From The Scarf Hold (Hidari Kesa Garami).

You are in the Scarf Holding position as above. The opponent reaches up his left arm straight with a view to pushing under your chin. Abandon the holding. Seize his left wrist with both hands, and roll him on to his right side, at the same time turning your back to his left side, and taking your right shoulder over his left arm. Trap his left elbow under your armpit. Lean back slightly, pulling his arm up, so that the elbow joint is bent back against your right armpit.

FIG. 45. Left Arm lock from the Scarf Hold 72

3. Arm Lock From The Broken Upper Four Quarters (Kuzure Kami Shiho Garami).

You are in the Broken Upper Four Quarters position (Lesson Twelve). Sit up, release your left-hand hold on his belt. Slide your right knee bent under his right arm and shoulder, bring your left leg across his throat, and sit at his right side facing him. Now with your left hand hold his shoulder down, and with your right forearm force his right elbow up.

FIG. 46. Arm lock from the Broken Upper Four Quarters Finish the Lesson with practice of your Pet Throw.

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