KODOKAN GOSHIN JUTSU

Kodokan Goshin Jutsu was created in January, 1956. \A/hen the textbook for GoshinJutsu was created, the positioning of Tori and Uke and the handling of weapons was notclear. At this time, in order to unify this kata, we have published a new textbook, rewrittento make key points more clear and also adding new pictures to make it easier tounderstand.

July, 1987

Kodokan Goshin Jutsu Research Committee

From Kodokan Judo * Jigoru Kano

The Kodokan Goshin Jutsu is the newest kata, having been created in 1956. ltcomplements Kime no Kata and is composed of a number of self defense techniquesmaking use of throws, armlocks, strikes and kicks. These actual combat forms includedefenses against all forms of armed or unarmed attacks.

INDEX

Created January 8, 1956Explanation July 15, 1987Revised December 1, 1992Printed April 1999

- PICTURES HAVE BEEN TAKEN FROM SHOMEN EXCEPT WHERE DESIGNATED.

l. Bowing, Handling of Weapons, Key Points on Performance of Kata 1

1. Bowing 1

(1) Beginning 1

(2) Ending I

2. How to handle the weapons by Uke at beginning and ending 2

3. Key points when changing from unarmed attack to armed attack for Uke 3

4. How to handle the weapon between the techniques 4

5. Key Points on Performance of Kata 4

ll. Against Unarmed Attack

1. When Held

(1) Ryote-dori (Two Hand Hold)

(2) Hidari Eri-dori (Left Lapel Hold)

(3) MigiEri-dori (Right Lapel Hold)

(4) Kataude-dorl (Single Hand Hold)

(5) Ushiro Eri-dori (Collar Hold from Behind)

(6) Ushiro-jime (Choke from Behind)

(7) Kakae-dori (Seize and Hold from Behind)

7

I

11

13

15

17

2. At a Distance

(1) Naname Uchi (Slanting Strike)

(2) Ago Tsuki (Uppercut)

(3) Gammen Tsuki (Thrust Punch to Face)

(4) Mae-geri (Front Kick)

(5) Yoko-geri (Side Kick)

Against Armed Attack

1. Against Knife Attack

(1) Tsukkake (Thrust)

(2) Choku-zuki (Straight Thrust)

(3) Naname-zuki (Slanting Stab)

2. Against Stick Attack

(1) Furiage (Upswing against Stick)

(2) Furioroshi (Downswing against Stick)

(3) Morote-zuki (Two-Hand Thrust against Stick)

3. Against PistolAttack

(1) Shomen-zuke (Pistol at the Abdomen)

(2) Koshi-gamae (Pistol held at the side)

(3) Haimen-zuke (Pistol against the back)

19

21

23

25

27

ill

29

31

33

35

37

39

41

43

45

I BOWING, HOW TO HANDLE THE WEAPONS

1. BCNATNG

( 1 ) Beginning

Uke has a pistol inside his judogi and a stick (about 3 feet in length, 1 inch indiameter and dagger (blade up) in right hand, pointing end of stick and daggerdiagonally downward.

Tori is right side facing Shomen and Uke is left side. Tori and Uke are apart5.4 meters (18 feet) and bow to Shomen. Then bow to each other.

(2) Ending

Uke hold the weapons in the same way as in the beginning, and standing at thesame starting position. Then bow to each other and bow to Shomen.

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2. HOW TO HANDLE THE WEAPONS BY UKE AT BEGINNING AND END

After bowing to each other, Uke draws his right foot back, then turns to his left90 degrees facing Shomen and advances 3 meters forward. Then kneels down toSeiza position. Uke places the weapons on the mat, dagger first (dagger bladetowards Uke and end of dagger pointing to Uke's left, stick and pistol nozzle alsopointing to Uke's left). After placing the weapons down, Uke stands up and turnsaround to the right 180 degrees and advances with Aumiashi 3 meters and turns left90 degrees to face Tori. Tori and Uke step forward left foot then right foot. Theyare now ready to begin the kata.

At the end of the kata, Uke already has a pistol inside of his judogi, Uke drawshis right foot back, then turns to his left 90" facing Shomen and advances his left footforward and walks toward the weapons with Aumiashi. When Uke reaches theweapons, Uke kneels down to Seiza. Uke takes the dagger and stick with his righthand and puts them on his right hip and stand up and turns around to the right 180degrees and advances 3 meters and turns left 90 degrees to face Tori with Shizenhontai. Step back lo Kiotsuke position and bow to each other and bow to Shomen.

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3. KEY POINTS WHEN CHANGING FROM UNARMED ATTACK TO ARMED ATTACK

After finishing Yokogeri (Side-kick), Uke goes back to the original position andfaces Tori and both stand in Shizen hontai. Uke draws the right foot back then turnsto his left 90' (facing Shomen) and advances the left foot forward. Walk toward theweapons with aumiashi. When Uke reaches the weapons, he kneels down to place leftknee on the mat, and then puts a dagger inside of his judogi. Uke stands up and goesback to the original position and faces Tori. You now begin to perform the daggerattack and defense.

When changing from dagger attack to stick attack, and stick attack from pistolattack, Uke moves in the same manner as explained above.

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4. HOW TO HANDLE THE WEAPONS BETWEEN TECHNIQUES

When Uke handles the dagger, stick and pistol, Uke places the left knee on themat as show in the pictures. Pictures below show how to pick the weapons up fromthe mat into your hand or into the judogi.

b

5. KEY POINTS ON PERFORMANCE OF KATA

Tori and Uke switch sides after each technique. They walk to the originalposition where Tori and Uke stood after taking Shizen-hontai. When theyreach the original position, they turn around and approach each other forthe beginning of the next technique.

After the first seven techniques, Tori and Uke return to their startingpositions to begin the attacks from a distance.

Uke's attacks are performed while moving toward Tori when Uke reachesthe proper distance. (Except Kataude-dori.)

(A )

(B)

(c)

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I I AGAINST UNARMED ATTACK

1 . WHEN BEING HELD

( 1 ) Ryote-dori (Two Hand Hold)

Tori 's right side faces Shomen and Uke's left side faces Shomen. Tori andUke stand in Shizen hontai. They start to approach each other.

As soon as Uke gets into Maai (proper distance), he advances his left footforward and simultaneously grabs Tori 's wrists and then tries to kick Tori 's groinarea with his right knee.

Tori immediately spreads his arms outside and pulls them back slightlywith extended fingers, draws his left foot diagonally back, (this action shouldmake Uke off-balanced to his front). Now he bends his right arm hard towardhis chest and freeing his right arm, (F3) strikes Uke's right temple with the knifeedge of his right hand (shufo). (F4) Tori grabs Uke's right wrist from top withhis right hand and applies Kote-hinerl (Tori turns Uke's wrist toward Uke'scenterline) (F5XF5') He steps back with his right foot and opens his body to hisright. Tori clamps Uke's right arm under his left arm and twists Uke's right wrist.(F6)

Uke gives submission signal by tapping two (2) t imes, either to his body orto Tori's body when the Kote-hineri is effective.

KEY POINT:When Tor i controls Uke's r ight wr ist , Tor i must c lamp Uke's r ightarm as shown in picture (F6).

- ) -

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(2) Hidari Eri-dori (Left-lapel Hold)

Tori's left side faces Shomen, and Uke's right side faces Shomen. Tori andUke stand in Shizen-hontai. They start to approach each other.

As soon as Uke gets into Maai (proper distance), he advances his rightfoot forward simultaneously grabbing Tori 's left lapel. He then tries to push Toribackward and down to the ground.

Tori immediately grabs his left lapel just below Uke's right hand and strikesat Uke's eyes with the back of his right hand while drawing his left foot diagonallyback. Using Uke's pushing energy to make him off-balance. (F2) Then heimmediately grabs Uke's right wrist from the top with his right hand and appliesKote'hineri. Tori places his left hand on Uke's right elbow (F4) and stepsdiagonally back from his right foot, opens his body to his right, with Tsugiashi.He brings Uke's body to the mat (F5), Tori places his left knee at the back ofUke's right shoulder blade, pushes Uke's right arm toward Uke's head and appliesUde-hishigi Te-gatame on Uke's right elbow.

Uke gives submission signal by tapping two times on the mat when theTe-gatame is effective.

KEY POINTS:( A ) When Tori strikes Uke's eyes, Tori should use the back of his

hand. (Hand kept open). (F2) Do not make a fist.

( B ) Keep Uke's right hand on your left lapel while Tori applies Kote-hiner i against Uke's r ight wr ist . (F3,4)

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II

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- 8 -

( F 6 )

(3) Migi Eri-dori (Right-lapel Hold)

Tori's right side faces Shomen and Uke's left side faces Shomen. Tori andUke stand in Shizen hontai. They start to approach each other.

As soon as Uke gets into Maai (proper distance), he grabs Tori 's rightlapel then steps back with his left foot and tries to pull Tori down to mat. (F1)

Tori immediately steps forward with his right foot and delivers anuppercut with his right f ist. (F2) Tori grabs Uke's right hand from the top withhis left hand, (this should be in Kote-gaeshi - Tori turns Uke's wrist away fromUke's center l ine) (F3), and grabs Uke's right hand from bottom with his righthand and presses it f irmly against his chest. (F3') Tori draws his left foot backand turns his body to his left to twist Uke's right wrist unti l he throws Uke on themat. (F4)

KEY POINTS:( A ) When Tori grabs Uke's right hand lo Kote'gaeshi, he keeps

Uke's r ight hand grabbing his r ight lapel .

( B ) Tori does not need to place right knee to Uke's right elbow togive an armbar af ter takes down Uke with Kote-gaeshi .

* Pictures taken from opposite side ol Shomen.

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( F 2 )

- .