Judo Ron 54- Renraku Waza- combined techniques

Zuihitsu – Random Notes on Judo by Ronald Desormeaux

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Judo-Ron 54 - Renraku Waza- Combined Techniques

Objective:

The object of this presentation is to summarize the common principles associated with a

number of the combination techniques performed by high level judoka and which I have

referred to during the instruction periods given to the advanced class at the University

of Toronto, Hart House Dojo.

Intro: Technical maturity makes a difference

When watching judo competitions, we are frequently overwhelmed by what we see.

There is often a yearning to try to attempt a technique that we have seen somewhere or

executed so beautifully by someone else yet, the majority of students do not fully

understand nor master all the fundamentals associated with the various techniques.

As demonstrated during the classes, each student has to make an effort to grasp the

meanings and relationships associated with each movement. Before we try something

new, we need to take a step back and try to comprehend what is required to make a

technique so efficient and so successful.

We have covered many times that a beautiful technique is composed of three elements

that are: the Kuzushi-Tsukuri and Kake. These elements are the fundamental guides

towards the technical expertise we all seek. When these elements are mastered, the

student can enter into the realm of performing a vibrant judo with enthusiasm and free

expression.

Single versus multiple application

After a few months and as part of the normal judoka’s development there is a readiness

to embark upon the competitive route. When the student is ready to answer the call of

competitive venues, and entertain serious Shiai preparation, teachers will normally

facilitate the route by ensuring that the students make due emphasis to implant the

fundamentals correctly and that they concentrate on the development of a limited

number of single techniques to best suit their personalities. Unless a student is able to

apply diligently the principles applied to a few techniques and is able to demonstrate

the true spirit of each technique, his further advancement will be restricted. Premature

exposure to too many variety too soon may confuse the proceedings and diminish the

chances to further exploit more advanced techniques.


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The early concentration on developing solo techniques will be a first step to gain

confidence and develop certain basic moving skills. With the initial performance, the

student will make limited progress which will enable him to enter into some form of

competition with junior and intermediate levels opponents at either the club or the

regional competition levels. With his limited span of technical abilities, he or she will

somewhat remain handicapped when and if they are required to face more experienced

judoka normally found at the provincial and national levels. These more experienced

players can easily counter the solo techniques as they are more accustomed to them.

This kind of critical situation was explained by the words former World Judo champions

Isao Inokuma and Nobuyuki Sato sensei as follow: “In an actual contest you will not

always be able to defeat the opponent with a single technique. If your technique is

unsuccessful and you have nothing else to try, the opponent may be able to counter and

defeat you with a technique of his own.”

The need for a variety of approaches

I am of the opinion that in order to improve their chances of success in competition, the

judoka should align and complement both their understanding and practice of the

Gokyo techniques with the study of a balancing set of combination techniques.

He or she must try to identify more opportunities to use a variety of ways to: set up,

follow-up and counter a solo and preferred technique. Sensei Inokuma and Sato

recommended that one should prepare techniques that can be used in combination

with each other in order to create various attack possibilities.

Such a practice has been initiated and tested very successful during the past two

decades at world judo competitions level

Experienced trainers and coaches have confirmed that the development of the special

favorite technique or Tokui Waza can be easily modeled by an exposition to additional

variety of movements which make greater use of the action-reaction phenomenon.

Such complementary ensembles, when frequently practiced as part of a personal attack

compendium both during partnering exercises (Yakusoku) or when performed during

Randori exercises, have substantially improved the overall performance of judoka.


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Personal approach and style

One has to be reminded that it is not sufficient to merely study a variety of individual

techniques; much more is needed if maximum results are to be obtained in Shiai. It is

essential to study the complementarities and nuances of each group of techniques.

This study process is what we call: Renraku waza or Renzoku waza. It is the study of a

combination of contact techniques applied in consecutive series and used in rapid

succession, moving from one technique to the next in a smooth and unbroken

sequence.

You cannot divorce Renraku waza with the action of taking the initiative. You cannot

rely upon the fatal mistake of the opponent, you need to do a positive action, to take

the initiative and perform a frank and sincere attack or Omote.

In every combat situation, you have to evaluate and understand the risk levels involved

and commit to build your offensive tactics to seek the Ippon with the use of your Tokui

waza and profit from the unforeseen opportunity given to you by your opponent’s

errors or non combative faults.

Most successful single attack have been found to originate from the good use of the

Kuzushi-Tsukuri principles combined with surprise, deception, originality, speed,

accuracy and determination. This kind of solo techniques responded well in early judo

competitions where spontaneous alignment was performed to take profit from the best

opportunities of the moment.

In the current competitive milieu, we see more a style of judo emphasizing the strategic

preparation and the greater use of the action-reaction from both participants. It has

been found that about 30% of single and powerful technique still delivers the desired

Ippon. The chances to have repeated success in competition is therefore diminished

with each ulterior performance as a technical portrait-robot will soon give away your

intentions even when you try to improve it again and again.

The more advanced players will tend to add to their personal skills with a portfolio of at

least ten or more selected techniques and will vary the application tactics and strategies

with which they can attack from both the left and right sides. Advanced judoka are

normally able to shift forms, approaches, Kumi-Kata (grip), Tai Sabaki (body-

displacement) and perform various repetitive attacks with the same technique known as

Saki no Saki. The elite judoka are also known to maximize the use of the feint or surprise

to entice a reaction from the opponent and follow up with a swift combination of

sequential techniques to maximize their chances of success in any given direction.


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Instructions from earlier masters.

One the foremost European judo pioneers who had a profound influence upon my judo

development style was Sensei M Kawaishi. He mentioned that the Judo technical

spectrum is limitless when one takes into account that a simple judo movement is never

isolated: it originates from a series of mental and physical actions, it is linked with its

origins, it is adapted to the individual; it is applied and coincides with a special time

frame and leads to another series of positive or negative actions that continue the

process cycle.

“Nous sommes une tête, avons un cœur et nos efforts sont réfléchis par tout

notre corps. Nous devons agir et penser de telle sorte que la synthèse se fasse

harmonieusement et efficacement. » M. Kawaishi

We must understand that to reach such a comprehension of the judo sphere, one must

be disposed to dissect the judo fundamentals applicable to each technique and

reconstruct them into an ensemble of techniques which will take advantage of all the

combat situations and opportunities in order secure a victory. There are thousands of

combinations and variations possible. We will only approach a very small sample of

them in order to guide us into our discussion with the hope that with your additional

contact with other teachers and exponents you will continue to develop your repertoire.

As it is intended primarily as an aide-memoire, no attempt has been made to describe in

depth the basic techniques involved. The explanations have been kept to the minimum

and are primarily concerned with establishing the linkages between the various

techniques.

It is not sufficient to know and understand the linkages; one must be prepared to work

diligently in applying the connections. You can expect many trials and errors and the

progress made may be difficult to assess, yet you must take the time to perform

periodic assessment and review. You do not want to carry on making the same mistakes

forever and lose interest in your judo training.

Tokui Waza as the corner stone

The study of combination techniques takes its base upon the Tokui Waza or the favorite

technique or “special”. This is your technique of choice which will be hidden until the

last moment and then used at the selected timeframe which will penetrate the most

difficult defense posture adopted by the opponent and score your victory.


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The authors Ishikawa and Draeger who made substantial researches into judo training

methods during the 1950-60 periods have argued that the connection-variation

(Renraku waza) techniques were essential to all championship aspiration. They involved

making successive attacks by different methods of connection to that each technique

was either used as a preparation or a complement to the main waza. They noted that

the use of such a strategy by competitors made maximum use of the Kuzushi, the off-

balance of the opponent and maximized the action-reaction phenomenon to augment

their chance of success.

Their recommendations made to junior members as well as to seasoned athletes were

that one should be very familiar with the basic principles of each technique; that for

both of their use in Tachi waza or Katame waza form, one should pursue the

development of increased speed; and exploit the greater use of deceptive movements

to lure the opponent into our field of maneuvers.

Those who started to practice Randori exercises more often may have discovered that it

is sometimes necessary to pursue a given attack using the same technique and

continuously maintain the initiative by repeating it from different angles until it

succeeds.

It is to be understood that the repetition of the same technique may alert the opponent

to your favorite waza and he or she may start developing counter measures via evasive

techniques or Kaeshi waza (counter). It is then a good opportunity to start developing

feints or fake movements to enticed the opponent in the desired direction for you to

take advantage of the reactions to regain the initiative.

Since it is initiated by the attacker or Tori, Renraku Waza applied in Nage waza can be

practiced and rehearsed during Uchi Komi form of exercise until the collective

movements become harmonious. Another type of combination reside into the

application of a follow up action to bring the opponent down by Sutemi waza or other

Hikkomi waza form to continue to maintain the initiative with additional fluid ground

techniques. Once on the ground, you can pursue the Renraku techniques by maintaining

a flexible attack, switching or passing from hold downs, strangle or arm locks techniques

to best meet the opponents’ reaction.


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Recommended timing to pursue an attack.

Here are some of the attack principles: Make use of Uke’s momentary weakness as he

fails to attack and as he moves out. Attack before he can return to a stable position. Go

for it at the beginning of the opponents attack when he is concentrated and already

embarked. Utilize the momentum of an evasive move. Counter the attack directly.

Follow up on the ground if you fail to score ippon immediately. Never assume that your

technique will produce the clear ippon you expected. Follow up to ground if the attack is

imperfect. Invite the attack to the ground when you are in control. Stay on top; you

have better chance of success.

Neil Ohlenkamp a senior Sensei in the US judo Federation once noted that the problem

with competition training is that when you are trying to apply a favorite waza, your

opponent is also on the move improving his defense or preparing his counters. This

critical situation can be minimized if you learn additional ways to force or coax your

opponent into a position of vulnerability and immediately take advantage of the

opportunity you have created.

Any serious attempt to make a single throw using the principles and the spirit of that

throw, should be sufficient to have the opponent lose balance and become vulnerable

for a subsequent and quick attack. In the fleeting moments while he recovers balance,

there is an opportunity to strike with a combination movement.

We must not confuse the Renraku waza training with to the URA waza, or the reversed

or counter techniques also referred to as Kaeshi waza. The latter are not initiated by

Tori but by the opponent. They nevertheless can be used to one’s advantage by

reversing or redirecting their impetus.

If we listen to the remarks made by Sensei K Mifune in his Canon of Judo about URA

waza, we discover that this kind of reactive technique is not necessarily the reversed

action of the primary technique used against you; it is more the capability to nullify the

opponent’s technique by foreseeing his intentions or baffling his design before he can

accomplish his action or by positioning yourself ahead of where he intends to go and

able to prevent what he is trying to perform.


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Examples from past Shiai

When we observe past performances by players at the world stage, we note that the

contestants construct their attack strategies around their Tokui Waza, amongst the

more popular, we find: O Uchi Gari, Ko Uchi Gari, Uchi Mata, Seoi Nage, Morote Seoi

Nage, Tomoe Nage, Kata Guruma, Harai Goshi, Tai Otoshi, Sasae Tsuri Goshi and various

forms of Hikkomi or liaison techniques.

There is no single definite profile that emerged from the past ten years encounters.

Several researchers have nevertheless been able to extricate the main points of

performances from past matches and relay that information to coaches for the

preparation of their own players. To minimize the use of counter measures against

them, it is known that most high level competitors will try to keep some tactical

elements in reserve so as to use more ingenuity and surprise which will destabilize their

potential opponents at every performance.

There are some characteristics that we can easily detect:

1. Most judoka favors two or three different Kumi kata positions.

2. Most judoka have two Tokui waza that can be performed left and right sided.

3. All can perform their techniques in different positions and using different base of

support (one or two legs, jumping or rotating approaches.

4. Combination techniques are used in the same direction, in opposite direction or in

circular displacement.

5. Feints are common to entice and surprise the opponent.

6. A variety of unorthodox Hikkomi waza or liaison techniques are used to pass from

standing attacks to mat work.

7. Most judoka have a specialty on the ground the choking, the hold-down or the arm

bars that they can use with versatility.

8. All seem to understand that there must be a definite commitment associated with a

certain risk taking. Maintaining the initiative in Tachi waza and adopting superior

positions in Ne Waza (kneeling, on all 4, side approach) have a 35% greater rate of

success.


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9. Most attack preparation will occur within the first 10 seconds of the match to fix the

opponent into a favorable position and this activity will be followed with the mounting

of a continued attack which will take another 15 seconds to prepare.

10. Flexibility, creative thinking and speed of reaction contribute to ensuring that the

passage from standing technique to ground work is harmoniously performed.

Over the years, we have come to summarize the Shiai atmosphere as a combat

opportunity where two players are engulfed in their preparation to secure the

prominent fighting grounds with the use of strong initial Kumi-Kata or grips. When the

early advantage is secured, there are dominating tactics and strategies imposed on the

opponent in order to quickly place the Tokui Waza and thus secure the IPPON before

the latter has time to respond to the threat.

Developing your training program

With the above information, you may wish to develop your personal training program to

achieve better results. When confused or undecided as to what to do, take the time to

list half a dozen throws that you prefer and which you want to perform in competition.

Make an analysis as to their processes of execution:

Stance, preparatory position, weight distribution, movements of the legs, hips,

arms head etc... (Kuzushi-Tsukuri and Tai sabaki- body movements), required

distances, balance on one or two feet, distances or closeness with the opponent,

balance requirement when performing from the right and left approaches.

List all your options. Take notes of all the important details regarding each and every

move, list everything you perform from the original Kumi kata, then observe how you

can change or adapt other various grips and your degree of easiness. Make proper

selection of choices of entry and approaching steps, your preferred distances, you ability

to do rotational movements, your easiness to follow-up with ground techniques

etc...After some trials with different partners, adjust your selection and develop your

speed. Take note of the opponent’s reactions and adjust your style constantly.


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Groupings

We normally group the combination types of attack into four or five dimensions:

1. The direct attack following a first attempt, (occurrence in 80% of time).

2. The dummy attack, where you feint an entrance to obtain a reaction and

proceed from there (about 10%).

3. The repeated attack where you pursue the same attack but from different

angles either in the same direction or in opposite direction (about 5%).

4. The attack composed of a mixed group to either prepare or control the

reaction of the opponent (about 5%).

Although there are many possibilities in theory, in practice, we normally witness most

attack done with two or three different techniques done in rapid succession. We can

estimate that the right handed judoka with not substantially differ their attacks from

the left handed one in that about 68% of the techniques will be done equally either

when facing the opponent or when the judoka has his back to the challenger. (E.g. O

Uchi Gari, O Soto Gari or Uchi Mata, Seoi Nage and Sutemi Waza). The nuances will most

likely appear when they favor the right sided attack (10%) or the left approaches (15%)

to suit their style.

Whatever combination you decide upon, the important is to maintain the initiative and

anticipate the opponent’s reaction. By keeping the initiative, you weaken the

opponent’s desire to take the offensive. You have to be alert and choose your timing:

find the dead moments, the reactive tendencies, the hesitations demonstrated by the

opponent. You may notice that the beginning and end periods of a technique or

displacement become crucial instants and opportunities to launch your offensive at that

appropriate moment. Whatever is taking place during the struggle period, you need to

see it, analyze it quickly, determine the best approach and transform it to your

advantage.

Stability and power

Some of the biggest difficulties you will encounter with exercising combinations

techniques are the continual retention of your equilibrium and ensuring proper Shintai

or displacement of your legs in order to maximize their power as alternate driving forces

during your switching in the power bases, the displacements or the rotations.


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Some examples of combination techniques:

During your preparation to initiate combination techniques, you may consider the

following ensembles:

O Soto-Gari followed with: O Soto Guruma, Ko Soto Gake, Ippon Seoi Nage, Hiza

Guruma, Soto Makikomi, Tai Otoshi, Koshi Guruma, Uchi Mata, and Tani Otoshi.

Seoi Nage: Ippon Seoi, Kata-Guruma, Sumi-Gaeshi, Hane Goshi, Ude Gatame, Ko Soto

Gari, O Uchi Gari, Okuri Eri Jime and Waki Otoshi.

Harai Goshi: O Soto Gari, O Uchi Gari, Uchi Mata, Harai Makikomi, Koshi Guruma, Seoi

Otoshi and Tai Otoshi.

Hiza Guruma: O Uchi Gari, De Ashi Barai, Harai Goshi, Tai Otoshi, Uchi Mata, Ippon Seoi

Nage, Tsuri Komi Goshi, O Soto Gari, and Ko Soto Gake

O Uchi Gari: Morote Seoi Nage, Ko Uchi Gari, Tai Otoshi, O Soto Gari, Uchi Mata, and

Sasae Tsuri Komi Ashi.

Ippon Seoi Nage: Yoko Shiho Gatame.

O Uchi Gari: Kesa Gatame.

Tomoe Nage: Ude Hishigi Juji Gatame.

Uchi Mata: Tani Otoshi, Yoko Shiho Gatame, Kesa Gatame: Ude Hishigi Waki Gatame,

Yoko Shiho Gatame, and Okuri Eri Jime.

Another suggested and partial integrated attack system may look as follow:

Principal technique Preparation Continuity Counter

Ashi Guruma De Ashi Harai O Soto Gari Te Guruma

O Soto Gari Tai Otoshi Ippon Seoi Nage

De Ashi Harai O Uchi Gari Tai Otoshi Harai Goshi

Yoko Gake

Harai Goshi O Soto Gari Ashi Guruma Utsuri Goshi

O Uchi Gari


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Hiza Guruma De Ashi Harai Harai Goshi Ko Uchi Gari

Ko Soto Gake

Koshi Guruma Harai Goshi Soto Makikomi Tani Otoshi

Ashi Guruma

O Soto Gari Harai Goshi O Soto Otoshi Harai Goshi

Kubi Nage

Seoi Nage O Soto Gari Uchi Makikomi Tani Otoshi

Ko Uchi Gari

Uchi Matta Ko Uchi Gari Tai Otoshi Te Guruma

Harai Goshi

Osaekomi Hikkomi gaeshi Kesa-kata gatame

Conclusion

It is by a combination of physical and mental power, determination, good instructions

and coaching, experimental exercises, frequent refinement and daily practices that you

will acquire the necessary skills to embark successfully into higher levels Shiai.

Have a good training session.

Ronald Desormeaux

Judo Instructor, University of Toronto

May 2012


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REFERENCES - BIOGRAPHY

M. Kawaishi, Enchaînements et Contreprises du Judo Debout, Publie Judo, France, 1959

T. Ishikawa, D. F. Draeger, Judo Training Methods, Charles Tuttle Co, Tokyo, Japan, 1962

K. Mifune, Canon of Judo, Seibundo-Shinkosha, Tokyo, Japan 1963

G.Baudot, G. Pelletier, C. Urvoy, Judo Supérieur, (Tomes 1-5), La maison du Judoka,

France, 1971

I. Inokuma, N. Sato, Best Judo, Kodansha International, Tokyo, 1986

N. T. Inogai, R. Habersetzer, Judo Pratique, Amphora, Paris France, 2002

N.Ohlenkamp, Judo Unleashed, McGraw Hill, Toronto, Canada, 2006

Judo Ron 54- Renraku Waza- combined techniques

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