tag:blogger.com,1999:blog-25384320156578498102024-03-14T19:33:21.529-07:00The School of Jan de JongThe school of Jan de Jong refers to a school of thought that originated from the late martial arts master, Jan de Jong.John Coleshttp://www.blogger.com/profile/14634192254115557179noreply@blogger.comBlogger153125tag:blogger.com,1999:blog-2538432015657849810.post-9063205369521185552024-03-14T19:32:00.000-07:002024-03-14T19:32:23.006-07:00The Development of the Jan de Jong Jujutsu Grading System 5.1: Sandan Part 2<p>Previously ...</p><p style="background-color: white; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px;">This post will be done in two parts because the <i>sandan</i> grading contains 12 parts, whereas <i>shodan</i> and <i>nidan</i> were long enough with nine parts.</p><p style="background-color: white; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px; text-align: left;">You will recall from previous posts that the structure of the <i>dan</i> grades was set with JDJ's initial grading system, the <a href="https://schoolofjandejong.blogspot.com/2023/11/the-development-of-jdj-jujutsu-grading.html" style="color: #336699; text-decoration-line: none;" target="_blank"><i>kyu</i> grades</a>, with <i>ikkyu</i> being the instructor grade. </p><p style="background-color: white; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px;">Note: There is no <i><a href="https://schoolofjandejong.blogspot.com/2023/11/the-development-of-jdj-jujutsu-grading.html" style="color: #336699; text-decoration-line: none;" target="_blank">shinken shobu no kata</a></i> part in <i>sandan</i>. This is the only grading in JDJ's grading system that does not contain a reflex/<i>shinken shobu no kata</i> part to the grading.</p><p style="background-color: white; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px;">The grading requirements and description of the different parts are taken from <i>Jan de Jong: the man, his his school and his ju jitsu system</i> (Jan de Jong Self Defence School, 1997 (p.52)).</p><p style="background-color: white; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px;">This is part two of the two parts discussing the Jan de Jong (JDJ) jujutsu <i>sandan</i> grading.</p><p style="background-color: white; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px;"><b>Part 7 Taiho Jutsu</b></p><p style="background-color: white; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px;">'Demonstrate various arresting techniques from standing and sitting positions.'</p><p style="background-color: white; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px;">'Taiho' is defined in the abovementioned book as 'arrest, apprehend, seize.'</p><p style="background-color: white; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px;">There are six techniques to this grading. Six.</p><p style="background-color: white; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px;"><b>Part 8 Toshu Kakuto Jutsu</b></p><p style="background-color: white; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px;">'Demonstrate searching and hand cuffing techniques.'</p><p style="background-color: white; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px;">JDJ said that he included this part in the <i>sandan</i> grading to share with his instructors what he <a href="https://schoolofjandejong.blogspot.com/2011/08/jan-de-jong-pt-11-his-grading-system-pt_4064.html" target="_blank">taught</a> the Special Air Service Regiment (SAS). </p><p style="background-color: white; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgamEmXe6_pbg4nzTX3TJbwdSkHXmjdWcQyIx5Kdosr7Oa6iG_1s32_dlSK4_sw1uQJMrpgajDoBAyLcxAStvuihpHaxkNv12Qt2wgiFFYUyFzLhAw_M8sRqPheu8p1uD8WsFHbjoCRbuTPNwpm3v8R3v5vowaHnu5ebcO3TEU_FaY1FSiALajqf9KPHYA" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" data-original-height="311" data-original-width="200" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEgamEmXe6_pbg4nzTX3TJbwdSkHXmjdWcQyIx5Kdosr7Oa6iG_1s32_dlSK4_sw1uQJMrpgajDoBAyLcxAStvuihpHaxkNv12Qt2wgiFFYUyFzLhAw_M8sRqPheu8p1uD8WsFHbjoCRbuTPNwpm3v8R3v5vowaHnu5ebcO3TEU_FaY1FSiALajqf9KPHYA" width="154" /></a></div><p>The Australian Defence Force (ADF) could have saved themselves some money by buying <i>Kill or Get Killed: Riot Control Techniques, Manhandling, and Close Combat for Police and the Military</i> <i>by</i> Rex Applegate (1976) because all of the techniques in this part of the <i>sandan</i> grading are taken straight from this book. Even the order of the techniques is the same.<br /><br />I alone, among the instructors, found this out because I alone did not rely wholly and solely on the teachings of JDJ. I came to research the subject matter of the gradings.</p><p><br /><br /><span style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;"><span style="background-color: white; font-size: 14.85px;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgLLUDpU5G70gmpIRdtxdGmoy09HI3WwEBqCdr5M4O2JRdhBc6UcbiULYWHcFlpAYzj4IuiQYOTYPcf8j_sy4hDfrdoHaDSie8Dg24GRwLnEVoFH0se_E5kjobs6nCCHXfJwGKlhSiWx_xeFbWlXEhtIRxdFxqp3dAmaZJNE726InPSxnQbrdMKk7TsPk4"></a></span></span><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgLLUDpU5G70gmpIRdtxdGmoy09HI3WwEBqCdr5M4O2JRdhBc6UcbiULYWHcFlpAYzj4IuiQYOTYPcf8j_sy4hDfrdoHaDSie8Dg24GRwLnEVoFH0se_E5kjobs6nCCHXfJwGKlhSiWx_xeFbWlXEhtIRxdFxqp3dAmaZJNE726InPSxnQbrdMKk7TsPk4" style="background-color: transparent; clear: left; color: #333333; display: inline !important; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img alt="" data-original-height="1000" data-original-width="732" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEgLLUDpU5G70gmpIRdtxdGmoy09HI3WwEBqCdr5M4O2JRdhBc6UcbiULYWHcFlpAYzj4IuiQYOTYPcf8j_sy4hDfrdoHaDSie8Dg24GRwLnEVoFH0se_E5kjobs6nCCHXfJwGKlhSiWx_xeFbWlXEhtIRxdFxqp3dAmaZJNE726InPSxnQbrdMKk7TsPk4" width="176" /></a></p>I found a book, <i>Techniques of Vigilance: A Textbook for Police Self-Defence</i> by Kevin Parsons (1980). The photographs are 'interesting' given that the 'models' are dressed like the motorcycle cops in the TV series CHiPs with Eric Estrada. That having been said, it is still a very authoritative book. <p></p><p style="background-color: white; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjZryqgwuU9hjibFUVLxqrq8FPRAHwglU4AIrVDRkrHNAJA1XRtZ8ZSx-G6PLCDrCZMmT0e_ofrwZagJT0c0PZxB-f09Mhh9TAM799OYUMwj-Bnx5Lxl4WkD-mQLR_CpLEaHkRRsAokumtzMM8ngNvsFhbKd-g2eijT-TWvF6s9FruiwgpONV13O47OOSQ" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" data-original-height="4160" data-original-width="3120" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEjZryqgwuU9hjibFUVLxqrq8FPRAHwglU4AIrVDRkrHNAJA1XRtZ8ZSx-G6PLCDrCZMmT0e_ofrwZagJT0c0PZxB-f09Mhh9TAM799OYUMwj-Bnx5Lxl4WkD-mQLR_CpLEaHkRRsAokumtzMM8ngNvsFhbKd-g2eijT-TWvF6s9FruiwgpONV13O47OOSQ" width="180" /></a></div>In that book there is a technique to restrain a suspect with a belt by securing their wrists (see bottom sequence in photo to the right). When <a href="https://schoolofjandejong.blogspot.com/2023/11/who-was-best-teacher-as-jan-de-jong.html" target="_blank">Greg Palmer</a> and I were training for this part of the <i>sandan</i> grading, I showed him this alternative to that in the grading/<i>Kill or Get Killed</i>. Easy as, but we found that we might have to get a knife to cut the belt in order to release the hands. Which is a good thing when restraining someone.<p></p><p>I showed this to JDJ during the grading. He wasn't interested, even though it was a far superior technique to the one he was teaching. <br /><br />The top sequence of images in the photograph to the right is also a very simple and effective use of a shoelace or string/rope to make a pair of handcuffs. It is also included in the <i>sandan</i> grading via <i>Kill or Get Killed</i>. I taught this technique to my neighbour's young daughter, who would go on to become my stepdaughter. This then became her 'show and tell' at primary school where she handcuffed one of her fellow primary school students. Needless to say, her mother was called in for a parent-teacher conference.<br /><br /><b style="background-color: white; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px;">Part 9 Jo Jutsu</b></p><p style="background-color: white; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px;">'Demonstrate the use of tobitanbo and jo against various attacks.'</p><p style="background-color: white; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px;"><i>Tobi tanbo</i> is defined/translated in the glossary of the abovementioned JDJ book as being 'jumping stick.' I will let the late <a href="https://schoolofjandejong.blogspot.com/2013/01/sensei-greg-palmer-continues-to-teach.html" target="_blank">Greg Palmer</a> provide the description:</p><i>The short answer to your question is perhaps. The Tsutsumi Ryu Ju Jutus (sic) has a set of techniques in which the jo is used to catch and lock or throw the attacker. We do not use it for striking at all pretty much.<br /><br />We also train techniques with the keibo (keijo) - about 22" long which, our sensei told us, were originally police techniques. These we refer to as Tobitanbo (Jumping Stick) techniques. The stick is held downwards along the leg and as a person punches the stick is flicked up to hit the inside of the wrist or elbow, locks or strangles are then done from this position. The hanbo is used in a similar manner but some of the jo techniques are possible with the hanbo. We generally never strike with any of the sticks we use - tanbo, hanbo, keibo and jo. I was shown one or two locking techniques with the yawara stick but our sensei passed away before he taught them to us.<br /><br />Whether or not these techniques are taught or used by Japanese police I don't know. Apparently the ones we learnt were used by the equivilant of the police in the past.<br /><br />Hope this answers your question about the possibility of locks etc being done with sticks of various lengths.<br /><br />Greg Palmer<br /><br />Tsutsumi Ryu Ju Jutsu</i><div><br /></div><div>(<a href="https://www.e-budo.com/archive/index.php/t-33439.html" target="_blank">E-Budo forum</a>, 16 August, 2006)</div><div><br /></div>The use of this weapon in this way, I have never seen before. It would appear unique to JDJ's teachings. It would be interesting to know where it came from.<br /><br />Btw, note Greg's use of 'Tsutsumi Ryu' and not '<a href="https://schoolofjandejong.blogspot.com/2022/04/tsutsumi-hozan-ryu-jujutsu-or-not.html">Tsutsumi Hozan Ryu</a>.' The badges for JDJ's school also referred to Tsutsumi Ryu, as did the grading certificates. Why not Tsutsumi Hozan Ryu?<br /><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimLlVsL17CZxT6TkpMm-8r5Fom3flIGimGvAGX7l-PqefKIxwLoqBkKRrufvikwxOh6LgfMzz_A5TSL35oWxr1mQSuau7apdMipQuNyG7BcyO5UOR0RO1Il_VU5xpcN4eAAWRahSfcWHyseMPtuOpxYV9rgZtO9-P8OiMaSI6piX_Qt2WT3O-N3OIVN6o/s2500/de%20jong%20jfc%20jo_0002.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="2496" data-original-width="2500" height="319" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimLlVsL17CZxT6TkpMm-8r5Fom3flIGimGvAGX7l-PqefKIxwLoqBkKRrufvikwxOh6LgfMzz_A5TSL35oWxr1mQSuau7apdMipQuNyG7BcyO5UOR0RO1Il_VU5xpcN4eAAWRahSfcWHyseMPtuOpxYV9rgZtO9-P8OiMaSI6piX_Qt2WT3O-N3OIVN6o/s320/de%20jong%20jfc%20jo_0002.jpg" width="320" /></a></div><div><br /></div>There are nine defences with <i>tobi tanbo</i> against a backhand strike (<i>haishu</i>), 16 against <i>jodan tsuki</i> (high punch), and two against a front kick. There are 14 defences with <i>jo</i> against <i>jodan tsuki</i> and five against a front kick.</div><div><br />The photograph to the right is JDJ demonstrating a <i>jo</i> technique on a '<a href="https://schoolofjandejong.blogspot.com/2011/10/jan-de-jong-pt-20-jan-de-jong-self.html">(apparently) hapless instructor John Coles</a>' as Jenny Armstrong described me in an article published in <i>Blitz</i>.<br /><br />There was also the time that JDJ was demonstrating defences with a <i>jo</i> at the end of a Norway summer camp (or what passes for summer in Norway) where JDJ fractured the <a href="https://kojutsukan.blogspot.com/search?q=hyoid">hyoid bone</a> in my throat which could have had fatal consequences. He missed the initial deflection and so applied the final technique to my throat a little too vigorously to make up for it. <br /><br />A JDJ <i>ryuha</i> includes this part in their <i>sandan</i> grading, however, the participants have to make up their own defences against the same attacks for a good part of the grading because the head of that <i>ryuha</i> did not grade <i>nidan</i> nor <i>sandan</i> under JDJ and did not train this grading to any great degree.<br /><br /><b>Part 10 Manriki-gusari Jutsu<br /></b><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjy8SzGi-F3mkB-PL4bQpmtwE_-sJQrbNIDZoNgSHkpKaTsq-sgZuL38eDf6pJsi4UT1dg7GUd1COXLf-NyeJMzgXrlkF74RXBhhMBKh3cb-QBdlRPMHAB9smqRHIqgBmMhoJ061M9oG2jD1O-CVUYZIaSDZjke81Rvp5LUNVUJVg1KO2GMlwg-Cy_M46k" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" data-original-height="225" data-original-width="225" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEjy8SzGi-F3mkB-PL4bQpmtwE_-sJQrbNIDZoNgSHkpKaTsq-sgZuL38eDf6pJsi4UT1dg7GUd1COXLf-NyeJMzgXrlkF74RXBhhMBKh3cb-QBdlRPMHAB9smqRHIqgBmMhoJ061M9oG2jD1O-CVUYZIaSDZjke81Rvp5LUNVUJVg1KO2GMlwg-Cy_M46k" width="240" /></a></div>'Demonstrate the use of manriki-gusari defences against various attacks.'<br /><br />In the grading there are defences against <i>tehodoki, kitori, kubitsukamshime, tsuki, tsuki-mawashi tsuki, uraken,</i> and <i>keri,</i> and there is a section for <i>sutemiwaza</i>.</div><div><br /></div><div>Many of the defences were not specified; the candidates had to make them up for themselves.</div><div><br /></div><div>Criticisms of this grading would be, (a) there are no striking techniques, therefore, the candidate is not learning to 'fight' with this weapon but just todemonstrate a series of 'tricks,' and (b) the weapon is held in a ready position rather than concealed in one hand as it should be. Having said that, it was a fun grading to train for.</div><div><br /></div><div>When we accompanied JDJ to a three-day seminar in Germany, organised by Herr Teichmann (?) who was reportedly later involved in some diamond smuggling operation that was investigated by the legal authorities, and who provided the diamond for the fund-raising raffle at the seminar, Peter Clarke was the designated <i>manriki-gusari</i> demonstrator.</div><div><br /></div><div>When we arrived at Hamburg airport, I, being the lowest ranked among our group (<i>ikkyu</i>), carried the weapons bag - a very large bag with swords, <i>bokken</i>, <i>jo</i>, <i>tanbo</i>, knives, replica guns, etc., through the airport, without question. Imagine doing that today. </div><div><br /></div><div>Peter Clarke, he would walk down the main streets of Munich twirling his <i>manriki-gusari</i> around, as a women emerged from a secured jewelry shop with a monkey wearing a nappy on her shoulder. As John Lennon said, 'strange days indeed.'</div><div><br /></div><div>When Peter Clarke went to board the plane to return home via Bangkok, which is a whole other story, he took his <i>manriki-gusari</i> out of the pocket in his jacket and put it in the tray as he walked through the metal detector and then picked it up on the other side, put it in his pocket and boarded the airplane. Again, imagine doing that these days.</div><div><br /></div><b>Part 11 Shiai</b><div><br />'Free fight with tanbo vs tanto.'<br /><br />The issue of the free fighting gradings in the JDJ jujutsu grading system has been discussed ad nauseum, including in this previous <a href="https://schoolofjandejong.blogspot.com/2024/01/the-development-of-jdj-jujutsu-grading.html" target="_blank">post</a>.</div><div><br /></div><div>Again, the candidates in this grading were not how to fight with a <i>tanbo</i> or a <i>tanto</i> and there was no instruction as what is expected of the candidates or what is supposed to be learned from this part of the <i>sandan</i> grading.</div><div><br /></div><div>Typically, if the candidates were actual 'fighters,' the one with the <i>tanbo</i> would beat the living daylights out of the one with the <i>tanto</i>. Was that the supposed lesson?</div><div><br /></div><div><b>Part 12 Ju Jitsu Keikaku</b></div><div><br /></div><div>'Candidates are assigned a project by Shihan Jan de Jong which will be of benefit for the students of the dojo, ryu, or ju jitsu.'</div><div><br /></div><div>I was credited with the writing of <i>Jan de Jong: the man, his school and his ju jitsu system</i> for this part of the <i>sandan</i> grading.</div><div><br /></div><div><br /></div><div><br /></div><div><br /><br /><br /><br /><br /><br /></div>John Coleshttp://www.blogger.com/profile/14634192254115557179noreply@blogger.com0tag:blogger.com,1999:blog-2538432015657849810.post-11722019285721705302024-03-13T19:35:00.000-07:002024-03-13T19:35:57.935-07:00The Development of the Jan de Jong Jujutsu Grading System 5.0: Sandan Part 1<p>The final technical grading in the Jan de Jong (JDJ) jujutsu grading system is <i>sandan</i>.</p><p>This fits with the narrative that the final technical grading in the Tsutsumi Hozan Ryu (THR) jujutsu grading system that JDJ was involved in with his original jujutsu instructors, the <a href="https://schoolofjandejong.blogspot.com/2011/08/jan-de-jong-pt-2-pre-war-years.html" target="_blank">Saito brothers</a>, was <i>sandan</i>.</p><p>There are only five people who have completed the technical grading system of the jujutsu taught by JDJ under JDJ, and which is apparently part of the THR tradition, are Peter Clarke, Robert Hymas, Paul Connolly, Greg Palmer, and myself. Me - their student. The only 'student' to complete the JDJ jujutsu grading system under JDJ.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8YvOU4TYGKb-ur5Qcum2VGBLUnlqDIIaYHU4EpJMIClYnI2k2evyv5-lK7ngeLF2pctNzcR6N26emRT8O3gR335IODR2uaVAq9Ty-q2p_ouIKl_Dx7e4MkLRTNMMQAS_PPRY8ZsmzzuEouWIBNH7mw2YqIRPinnwLqcPt0GTYFscB4zyAzhHhukUnRNs/s827/all%20grey%204%201.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="554" data-original-width="827" height="214" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8YvOU4TYGKb-ur5Qcum2VGBLUnlqDIIaYHU4EpJMIClYnI2k2evyv5-lK7ngeLF2pctNzcR6N26emRT8O3gR335IODR2uaVAq9Ty-q2p_ouIKl_Dx7e4MkLRTNMMQAS_PPRY8ZsmzzuEouWIBNH7mw2YqIRPinnwLqcPt0GTYFscB4zyAzhHhukUnRNs/s320/all%20grey%204%201.jpg" width="320" /></a></div>Left to right: Peter Clarke, JDJ, Robert Hymas, and Paul Connolly.<div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkbY06XNeZmcFCE66mLM7qeLTT71NWsEEf-h9nxcGRLOizPeRvh2cs3qJ_WH7irVQgljjlk5kYfRwKPwO0YI70GXzW02WtY8hiA_C7UzTngkbfE4RDT_0eSO1tDwgl2UbTtq-PuWnbY4h8I2xSj3ctFV4cHPMPrg6ilyFqfiVeGWwMzr7jz353CFNnunk/s1600/mukaedaoshi%20gp%20jfc.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1292" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkbY06XNeZmcFCE66mLM7qeLTT71NWsEEf-h9nxcGRLOizPeRvh2cs3qJ_WH7irVQgljjlk5kYfRwKPwO0YI70GXzW02WtY8hiA_C7UzTngkbfE4RDT_0eSO1tDwgl2UbTtq-PuWnbY4h8I2xSj3ctFV4cHPMPrg6ilyFqfiVeGWwMzr7jz353CFNnunk/s320/mukaedaoshi%20gp%20jfc.jpg" width="258" /></a></div>Standing and not standing, Greg Palmer and me respectively.<br /><div><p>There are some other 'students' that have been graded <i>sandan</i>, and higher, in the JDJ tradition through a JDJ <i>ryuha</i>, however, that grading system is compromised in relation to JDJ's grading system because the head of that <i>ryuha</i> did not grade above <i>shodan</i> under JDJ. Consequently, their <i>nidan</i> and <i>sandan</i> grades contain less and are different to that taught by JDJ. And even in that <i>ryuha</i>'s <i>shodan</i> grading, there are mistakes.</p><div>You will recall from previous posts that Clarke, Hymas, and Connelly were the first through the <i>nidan</i> and <i>sandan</i> gradings because they were to be JDJ's <a href="https://schoolofjandejong.blogspot.com/2023/11/who-was-best-teacher-as-jan-de-jong.html" target="_blank">legacy</a>. Greg and I came through after the first trio. It is important to remember that fact because, among other things, it gave JDJ a chance to review the <i>nidan</i> and <i>sandan</i> gradings that he had developed and to change (improve) upon them. </div><p>This post will be done in two parts because the <i>sandan</i> grading contains 12 parts, whereas <i>shodan</i> and <i>nidan</i> were long enough with nine parts.</p><div>You will recall from previous posts that the structure of the <i>dan</i> grades was set with JDJ's initial grading system, the <a href="https://schoolofjandejong.blogspot.com/2023/11/the-development-of-jdj-jujutsu-grading.html" target="_blank"><i>kyu</i> grades</a>, with <i>ikkyu</i> being the instructor grade. </div><p>Note: There is no <i><a href="https://schoolofjandejong.blogspot.com/2023/11/the-development-of-jdj-jujutsu-grading.html" target="_blank">shinken shobu no kata</a></i> part in <i>sandan</i>. This is the only grading in JDJ's grading system that does not contain a reflex/<i>shinken shobu no kata</i> part to the grading.</p><p>The grading requirements and description of the different parts are taken from <i>Jan de Jong: the man, his his school and his ju jitsu system</i> (Jan de Jong Self Defence School, 1997 (p.52)).</p><p><b>Part 1 Kime no Kata</b></p><p>'Explain the theory and answer questions on demonstrated defences.'</p><p>You will recall from previous <a href="https://schoolofjandejong.blogspot.com/2024/01/the-development-of-jan-de-jong-jujutsu_26.html" target="_blank">posts</a> that <i>kime no kata</i> is generally considered to be a revision grading within the JDJ jujutsu grading system. According to the glossary in the abovementioned book, it means 'form of agreement (attack and defences are agreed upon and so form a demonstration)' (p.58).</p><p>This grading consists of 57 attack-defence combinations, none of which have been included in any other grading within the JDJ jujutsu grading system; they are all new attack-defence combinations.</p><p>When Greg and I did this grading, JDJ asked no questions. Greg was disappointed because he was prepared and wanted to discuss the theory behind the defences. He asked JDJ why he hadn't asked us any questions. JDJ said that he didn't have to because he knew that we know the theory.</p><p>I would have liked to have heard any questions that he asked of Clarke, Hymas, and Connolly, and their answers.</p><p><b>Part 2 Ju Jitsu no Jitsuen</b></p><p>'Arrange a 10 minute demonstration on a topic given by Shihan Jan de Jong using only yudansha. Twenty minutes preparation time will be allowed.'</p><p>This part follows on from the <i>ju jitsu no jitsuen</i> part in the <i><a href="https://schoolofjandejong.blogspot.com/2024/03/the-development-of-jan-de-jong-jujutsu.html" target="_blank">nidan</a></i> grading.</p><p>The way JDJ conducted this grading was, during the Friday night instructor's class, he'd simply inform the candidate (Clarke, Hymas, Connolly, Palmer, or myself) that they would be putting on a demonstration using <i>yudansha</i> that were attending the class that night. Literally, only 20 minutes to prepare on a subject of JDJ's choosing with the performers present that night.</p><p>It was an interesting grading for me as I was instructing my former instructors what to do. I was assessing their capabilities in terms of what they could perform adequately. That was a challenge in itself.</p><p><b>Part 3 Taisabaki no Kata</b></p><p>'Prepare a kata to show the different variations of the body movements.'</p><p>The five body-movements are the five main body-movements (<i>taisabaki</i>) taught by Yoseikan Budo (YB).</p><p>I did a bit of 'teach the teacher' in this grading. You will recall from a previous <a href="https://schoolofjandejong.blogspot.com/2024/02/the-development-of-jdj-jujutsu-grading.html" target="_blank">post</a>:</p><i>The dodging body-movement was included in this grading due to Greg Palmer's lobbying. I argued that dodging was simply a variation of either flowing or sliding body-movements, which I went on to demonstrate in my taisabaki no kata grading in sandan. It was a 'teach the teacher' moment, however, even though they agreed with me, it is still retained in this grading.<br /></i><p><b>Part 4 Sutemiwaza no Kata and Taoshiwaza no Kata</b></p><p>Sutemiwaza no Kata: 'Demonstration and full explanation of the theory of 20 different sacrifice throws and their variations.'</p><p>Taoshiwaza no Kata: 'Demonstration and full explanation of the theory of 20 different takedown techniques and their variation.'</p><p>This part of the grading is pure YB. </p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEg_p4dngDFjoauuV2t1kmvetgmSZZZkshi6uLoFo6ZixpaPzNg9fNKAbX5P4pAHSvcc6j2M-24fllmaWv8QnidXE29Dhlvvg5IisUlBPHeTkeAXN_Q7CmBJNtFWVl1q2g2BxBjDl3Ngsd7ad9-jDiCGkucEETWvu1v-WN8wMbNVe-gZOtITu2UE9CCPDc8" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" data-original-height="4160" data-original-width="3120" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEg_p4dngDFjoauuV2t1kmvetgmSZZZkshi6uLoFo6ZixpaPzNg9fNKAbX5P4pAHSvcc6j2M-24fllmaWv8QnidXE29Dhlvvg5IisUlBPHeTkeAXN_Q7CmBJNtFWVl1q2g2BxBjDl3Ngsd7ad9-jDiCGkucEETWvu1v-WN8wMbNVe-gZOtITu2UE9CCPDc8" width="180" /></a></div>You will recall from a previous <a href="https://schoolofjandejong.blogspot.com/search?q=erik" target="_blank">post</a> that I obtained a copy of Minoro Mochizuki's book, <i>Nihonden Jujutsu</i>, from Jan-Erik Karlsson while assisting JDJ teaching for him in Sweden. I gave a copy of that book to JDJ.<p></p><p>The book has many hand-drawn images of techniques. JDJ photocopied 20 of those techniques for each part of this part of the grading and handed them out in the instructors class on a Friday night. This was this part of the <i>sandan</i> grading - taken straight from Mochizuki's book.</p><p>The abovementioned JDJ <i>ryuha</i> does not include the <i>taoshiwaza no kata</i> section in their <i>sandan</i> grading. I would suggest that it is because the principal of that <i>ryuha</i> did not learn or grade this part of the grading. On the other hand, the YB <i>sutemiwaza</i> had been taught and trained ad nauseum within the Jan de Jong Self Defence School (JDJSDS).</p><p>A joint element of this grading is the theory behind the techniques. What is the first theory question that should be asked?</p><p>Given that the two parts are sacrifice throws and takedown techniques, the first question that should be asked is: what is the difference between a throw and a takedown?</p><p>As I discuss in my as yet unpublished book, <i>The Science Behind All Fighting Techniques</i>, there is no definitive distinction between throwing and takedown techniques in the martial arts literature or teachings, except the one that I provide based on biomechanics. Based on that definition and classification, about 25% of the takedown techniques in the takedown techniques section of this part of the grading are in fact throws.</p><p>There is one technique in the takedown section of this part of the grading: <i>oshi otoshi</i>. JDJ said that it meant 'aggressive push-down.' Every time JDJ taught it in the instructors class, he taught it differently. I was confused, not the least because none of what JDJ was teaching worked. I asked Clarke and Hymas separately, 'What are we supposed to be doing here?' They both replied that they didn't know.</p><p>At that time, the priority for JDJ and Clarke, Hymas, and Connolly was to get through the grading system so that JDJ could promote them with honorary grades. One technique that did not work - what does it matter.</p><p>Mea culpa: I too adopted the same approach as Clarke, Hymas, and Connolly, and did something in the grading, not knowing what I was supposed to be doing, knowing that it was one technique, and it would not affect my overall makes in the grading. I, like them, were going to pass this grading with or without this technique.</p><p>After JDJ passed away, and when YouTube came online, I finally saw <i>oshi otoshi</i> being performed by a YB school in Belgium. It is an amazing YB technique, and one which nobody in the JDJSDS has ever performed correctly, even though it is in the grading system.</p><p>JDJ did not know how to perform <i>oshi otoshi</i>. It looked similar to other techniques, but it wasn't that technique, and in this instance, it did not work. It was ineffective. </p><p>A similar situation can be found in JDJ's shodan <i>shinken shobu no kata</i> grading with <i>te nage</i>. When I was taught this technique, way back when, I said even then that it did not make sense. Unbalance forward and down, and then up and back to the opposite rear corner, and then forward and down again, and then around the corner - there are so many changes in direction that you get dizzy. And why? It's because it looks like hand-set arm breaking, but that is not the takedown technique. </p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEifG_9W29YTu8Mb5cAl10DHn5e5GXcHRTHnroa49tuxO_bFIJEWkwUbZW9CKyHZJgyHaEZYdjge_G3fg1fF4-o8UsLKyGVfVpMYxnjSQB5QCsMMGmnSUkl896Vp4DE8q6ZNVk-lPgqIQAj0hgRegppIIo9YQ7KVrjEqAApUgVBEQNa0z2BjfKWwGZ4gHBY" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" data-original-height="198" data-original-width="200" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEifG_9W29YTu8Mb5cAl10DHn5e5GXcHRTHnroa49tuxO_bFIJEWkwUbZW9CKyHZJgyHaEZYdjge_G3fg1fF4-o8UsLKyGVfVpMYxnjSQB5QCsMMGmnSUkl896Vp4DE8q6ZNVk-lPgqIQAj0hgRegppIIo9YQ7KVrjEqAApUgVBEQNa0z2BjfKWwGZ4gHBY" width="242" /></a></div>When I was assisting two prospective <i>yudansha</i> for the abovementioned <i>ryuha</i> to prepare for their <i>shinken shobu no kata</i> grading, I again encountered JDJ's <i>te nage</i> and its teaching by the instructors of the <i>ryuha</i>. And after all these years, I still thought it was ridiculous, but this time, when searching for an answer, there are so many more resources available. JDJ's <i>te nage</i> should be aikido's <i>ikkyo</i> or <i>nikyo</i>. It is a great technique, when performed correctly, and one that I could perform even in my physical condition.<p></p><p><b>Part 5 Kodachi no Kata</b></p><p>'Demonstration of kodachi (wakizashi) techniques against katana.'</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjg30-c2W_ljsdxYxQq9nYGJ2LofmSblL-IA_EtPb5zuJ9SoHsdlBJtyAzT8ZwvzXv7Mnq7WehlIzCeRjesdGYZn_P-ykqfO-3pI-PFh28G5qKxdpusq8cUTApy_l91_ZytAv80nI8ZKDD2BAqOiGoA36WT4w5qkOqG-p9RiYHeRbjlwbc6IFRIReYZmU4" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="" data-original-height="634" data-original-width="894" height="227" src="https://blogger.googleusercontent.com/img/a/AVvXsEjg30-c2W_ljsdxYxQq9nYGJ2LofmSblL-IA_EtPb5zuJ9SoHsdlBJtyAzT8ZwvzXv7Mnq7WehlIzCeRjesdGYZn_P-ykqfO-3pI-PFh28G5qKxdpusq8cUTApy_l91_ZytAv80nI8ZKDD2BAqOiGoA36WT4w5qkOqG-p9RiYHeRbjlwbc6IFRIReYZmU4" width="320" /></a></div>The kata is taken straight from Michael Finn's <i>Kendo-no-Kata</i> (1986). No deviations whatsoever, and the order is the same.<p></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><b>Part 6 Hojo Jutsu</b></p><p>'Demonstrate use of rope to tie up an opponent.'</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEi96UosdwPyEoFzj69myVBQ0IHamUIApb8uIDVDvNqAi6o1mRMvAJ5hioQDrL2LcWqB6490aPE1tHURE50w36nkJt7oGLN8J8y-TKxTTwFHGqfpOkClJs0TXoaEbmZYqZP8M9W64XKTx5SLTMrCmkeZuiOfhi2FcRpTZD3J9BvyCSBmy2NH5PhOZulBSLo" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="153" data-original-width="329" height="149" src="https://blogger.googleusercontent.com/img/a/AVvXsEi96UosdwPyEoFzj69myVBQ0IHamUIApb8uIDVDvNqAi6o1mRMvAJ5hioQDrL2LcWqB6490aPE1tHURE50w36nkJt7oGLN8J8y-TKxTTwFHGqfpOkClJs0TXoaEbmZYqZP8M9W64XKTx5SLTMrCmkeZuiOfhi2FcRpTZD3J9BvyCSBmy2NH5PhOZulBSLo" width="320" /></a></div><br />This was an interesting grading, and an impractical grading. The techniques were taken from various sources and consisted of tying up a person in intricate ways. The impractical aspect was that the grading did not involve restraining <i>uke</i> before the tying up commenced. They just stood there. It was like a demonstration of wrapping a gift.<p></p><p><b>Next Post</b></p><p>The next post will discuss the final six parts to the <i>sandan</i> grading.</p><p><br /></p><p><br /></p><p><br /></p><p><br /></p></div>John Coleshttp://www.blogger.com/profile/14634192254115557179noreply@blogger.com0tag:blogger.com,1999:blog-2538432015657849810.post-47695273535013500962024-03-11T19:44:00.000-07:002024-03-11T19:44:23.324-07:00Answers to Questions on Nidan Grading Facebook Sharing PostThe following is a series of questions received on my Facebook post sharing the previous blog <a href="https://schoolofjandejong.blogspot.com/2024/03/the-development-of-jan-de-jong-jujutsu.html" target="_blank">post</a> on the <i>nidan</i> grading. I found the questions interesting and insightful, and the answers would be a useful contribution to the discussion concerning the development of the Jan de Jong (JDJ) jujutsu grading system.<br /><br /><i>I am genuinely curious. Were any jujutsu candidates ever required to open Happoken no kata by, after the rei, shifting into an open stance, as often seen in formal demonstrations of other karate kata?<br /></i><br />From <i>Jan de Jong: the man, his school and his ju jitsu system</i> (1997): 'Happoken no Kata (Kate of Eight Fists) ... Open by stepping into kiba-dachi with the left then right leg then punch both fists down in front stopping at hip level' (p. 53).<div><br /></div><div>The opening to JDJ's 'version' of <i>happoken no kata</i> is not as elaborate as that in Yoseikan, which reflects JDJ's focus on the practical. <br /><div><br /></div><div><i>And were any jujutsu candidates required to open and close their demonstrations of Kentai ichi no kata with formal, kneeling rei to pass their grading?</i></div><div><p>The linked <a href="https://www.google.com/search?q=hans+de+jong+ken+tai+ichi+no+kata&oq=hans+de+jong+ken+tai+ichi+no+kata&gs_lcrp=EgZjaHJvbWUyBggAEEUYOTIGCAEQRRg90gEIODU0NGowajmoAgCwAgA&sourceid=chrome&ie=UTF-8#fpstate=ive&vld=cid:90a3c20b,vid:FtFcR4HpNs4,st:0" target="_blank">post</a> is to the <i>kata</i> being performed by two of Hans de Jong's (HDJ) <i>yudansha</i>. It shows the formal opening and closing of the <i>kata</i> in <i>seiza</i>.</p><p><i>And, not to be too contrarian, but in the spirit of adding information. I was told by JDJ that he would not teach a particular Yoseikan kata of changing techniques because "it set bad habits:" The kata consists of a lengthy series of "changes" in an unrealistic chain. He said that you might need to adjust your intentions once, but that expecting further chances was unrealistic. (Or, maybe more accurately, that's how I interpreted what he said.)</i></p><p>Not sure how the author of the above comment is being contrarian as their comment is in line with mine in the previous post where I stated that JDJ included a 'changing techniques' section in his <i>nidan</i> grading even though he was opposed to the teaching of changing techniques because it initially trained ineffective technique.</p><p>The particular Yoseikan <i>kata</i> to which the author refers is Hyori no Kata (form of front and back). See this <a href="https://www.facebook.com/watch/?v=1159776692576" target="_blank">link</a> for video of the <i>kata</i>. </p><p>The first time I saw this <i>kata</i> was in a copy of Minoru Mochizuki's book that I obtained from Jan-Erik Karlsson and shared with JDJ (see linked <a href="https://schoolofjandejong.blogspot.com/2011/08/jan-de-jong-pt-6-mochizuki.html" target="_blank">post</a>). The next time was in a two-disk DVD, <i>Yoseikan Sogo Budo</i> by Mochizuki.</p><p>I initially found the <i>hyori no kata</i> very interesting, however, I quickly came to the same point of view as JDJ. Why train poor technique? </p><p>Why not train changing techniques, like everyone else does. The rationale, as explained above, is that you initially train poor technique, however, the rationale is also a samurai/warrior approach to combat. Your defensive technique is fully committed, and if that doesn't work, your next defensive technique is fully committed. 100% all the time, every time.</p><p>I remember my first introduction to changing techniques and how they were in fashion. It was at a seminar in southern Germany in the late 1980s. I was part of a group of instructors that accompanied JDJ as he was teaching at that seminar. I was <i>ikkyu</i> at that stage. JDJ had not included any changing techniques in his grading system at that stage. Even then I didn't appreciate the methodology. I successfully applied the initial technique to which the other person could not defend against. He said, 'You're not supposed to do that. You're supposed to let me get out of it' (or words to that effect). Yeah, that's not the approach to combat that I had been taught.</p><p><i>And, if asked 'Why is the final sword technique in ken tai ichi no kata that was taught to you, which you graded, and which you now teach, result in a mutual slaying?' my answer would have to be 'It doesn't.' (1. the tenth technique certainly does not result in a mutual slaying. 2. Neither does the fifth technique "as I was taught it." For other readers and for some clarity, I agree with what John has previously said about the fifth technique performed the way he describes it. I did learn the kata, for the first time as a whole set rather than simple sword exercises, from JdJ as he was teaching John and Garth. The 'requirement' to enter directly when performing the fifth technique was not mentioned until several years later.</i></p><p>Don't quite understand what is being said there, however, the fifth sword technique in <i>ken tai ichi no kata</i> as JDJ taught (see above linked post), it was a downwards strike defended with specific instructions. The specific instructions were no evasive body-movement and <i>tori</i>'s sword to never be raised higher than <i>uke</i>'s neck. This results in a mutual slaying. This should be obvious even without observing the attack and defence.</p><p>JDJ was specific in his instructions, and he was right, at least in that regard. It's just that he misremembered the attack. The attack is a straight thrust, as I learned when acquiring the abovementioned Mochizuki videos. </p><p>Watch the abovementioned HDJ <i>yudansha</i> <i>ken tai ichi no kata</i> with the technique in question on slow motion. How does <i>tori</i> avoid being slayed? Through the use of an evasive body-movement. This is how most of the instructors at the Jan de Jong Self Defence School performed the defence, even though JDJ was specific in his instructions - no evasive body-movement. The instructors did not teach the defence as including an evasive body-movement, even though they would employ an evasive body-movement when performing the defence or <i>kata</i>.</p><p><i>All just FWIW.</i></p><p>I am not familiar with this initialism.</p></div></div>John Coleshttp://www.blogger.com/profile/14634192254115557179noreply@blogger.com0tag:blogger.com,1999:blog-2538432015657849810.post-81291516065190783032024-03-05T16:56:00.000-08:002024-03-05T16:56:35.129-08:00The Development of the Jan de Jong Jujutsu Grading System 4.0: Nidan<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7OcJ5OFsIWjSkaxkxyHMM3ITniGKhTHOaKkuyF7mEqWV4uXAoDa2EgB03EGosMLtPjifqc2qKJVuOUtlEEJxoZ9rpF3EvyEJhpQPua7dT3inu6aSk2Pz57wW8QX-BvFDr5gDTMYhnz4otR9RzZ29Z7cd6ANEbKff9hkPROFz2ByVADJa461t1mFK5r0Y/s228/black%20belt%20everyone.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="228" data-original-width="221" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7OcJ5OFsIWjSkaxkxyHMM3ITniGKhTHOaKkuyF7mEqWV4uXAoDa2EgB03EGosMLtPjifqc2qKJVuOUtlEEJxoZ9rpF3EvyEJhpQPua7dT3inu6aSk2Pz57wW8QX-BvFDr5gDTMYhnz4otR9RzZ29Z7cd6ANEbKff9hkPROFz2ByVADJa461t1mFK5r0Y/s1600/black%20belt%20everyone.jpg" width="221" /></a></div>In a previous post, I explained how the Jan de Jong (JDJ) jujutsu grading system was developed by JDJ to further his needs at the time. <p></p><p>The <a href="https://schoolofjandejong.blogspot.com/2023/11/the-development-of-jdj-jujutsu-grading.html" target="_blank"><i>kyu</i> system</a> was developed because he needed a grading system to support his new business of teaching jujutsu on a full-time basis that was to become his sole source of income. The <a href="https://schoolofjandejong.blogspot.com/2023/11/the-development-of-jdj-jujutsu-grading_29.html" target="_blank"><i>shodan</i></a> gradings were developed to provide him with black belt instructors to further his ambitions of teaching in Europe. The <a href="https://schoolofjandejong.blogspot.com/2022/12/jdj-jujutsu-grading-analysis-series-5.html" target="_blank"><i>nidan</i> and <i>sandan</i></a> gradings were developed to provide JDJ with a legacy.</p><p>The story goes that the technical gradings in the jujutsu system taught by JDJ's instructors, the Saito brothers, finished at <i>sandan</i> with 'Progression to higher grades [being] based on the <i>yudansha</i>'s (black belt holder) contributions to ju jitsu, the <i>ryu</i> (style or system), or the school and at the discretion of Shihan Jan de Jong' <i>(Jan de Jong: the man, his school and his ju jitsu system</i>, Jan de Jong Self Defence School, 1997, p. 11). </p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEig8-D0C4WkJ4Ul-pN87CKUPqXHZwvrYaRucI0DPgTMNAKNKnv2dpJ5TRctwbIaKPKWoXxb5fucfRk7UZL9PVVCkOmClTdeTn6z2Ks0ALC1PeIBES1QL7dqDeQLnM4ECt8xowiDgup9duEwoDRQQI1JUsR6hDtyO1KmrqujXc9j0sE8LhCZDnEIeQTJOQY/s827/all%20grey%202%202.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="527" data-original-width="827" height="204" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEig8-D0C4WkJ4Ul-pN87CKUPqXHZwvrYaRucI0DPgTMNAKNKnv2dpJ5TRctwbIaKPKWoXxb5fucfRk7UZL9PVVCkOmClTdeTn6z2Ks0ALC1PeIBES1QL7dqDeQLnM4ECt8xowiDgup9duEwoDRQQI1JUsR6hDtyO1KmrqujXc9j0sE8LhCZDnEIeQTJOQY/s320/all%20grey%202%202.jpg" width="320" /></a></div>JDJ needed to develop <i>nidan</i> and <i>sandan</i> gradings so that Peter Clarke, Robert Hymas, and Paul Connelly could be graded as such in order for JDJ to be able to award them higher honorary grades. They were to be his <a href="https://schoolofjandejong.blogspot.com/2023/11/who-was-best-teacher-as-jan-de-jong.html" target="_blank">legacy</a>. <p></p><p>Ironically, when I broached the subject of 'succession planning' with JDJ in the mid-1990s, me being a business/management professional, he did not want to have a bar of it. He literally said that he didn't care what happened after he died because he wouldn't be here. His focus was always on the here and now (possibly the product of his <a href="https://schoolofjandejong.blogspot.com/2011/08/jan-de-jong-pt-3-war-years.html" target="_blank">war time experience</a>). That appeared to change when he saw his 'expiration date' approaching, and thus the <i>nidan</i> and <i>sandan</i> gradings were developed and introduced, and the rushing through of Clarke, Hymas, and Connelly to complete those gradings.</p><p>You will be familiar with the basic format of the <i>nidan</i> grading because the basic template for the <i>dan</i> grades was set with JDJ's <i>ikkyu</i> in the <a href="https://schoolofjandejong.blogspot.com/2023/11/the-development-of-jdj-jujutsu-grading.html" target="_blank"><i>kyu</i> system</a>. You will recall from the <i>kyu</i> grading post that the <i>kyu</i> system was developed as a one-off, stand-alone grading system with <i>ikkyu</i> being the instructor grading. </p>The titles of the below sections are taken from the <i>nidan</i> grading requirements in <i>Jan de Jong: the man, his school and his jujutsu system</i> (Jan de Jong Self Defence School, 1997, p.51).<div><br /></div><div><b>Part 1: Kime no Kata</b></div><div>'Demonstrate locks and throws from counters to resistance to locks and throws.'</div><div><br /></div><div>You will recall from the above referenced <i>ikkyu</i> post that <i>kime no kata</i> is broadly taken as being a revision grading within the JDJ jujutsu grading system. The term 'broadly' is appropriate for this grading.</div><div><br /></div><div>A general description of this part is that it involves 'changing techniques.'</div><div><br /></div><div>The requirements of this part are five different joint-locks and three different throws to be demonstrated for the nine basic joint-locks which are resisted. Three different throws and five different joint-locks to be demonstrated for five specified throws that are resisted.</div><div><br /></div><div>The type of resistance became a matter of debate. Greg Palmer and I are the only other two to have completed <i>nidan</i> and <i>sandan</i> under JDJ. We came after the abovementioned trio and so JDJ got to have a 'second look' at the gradings that he'd developed and only seen once before when the abovementioned trio graded. Thus, the format changed, or improvements were made based on the second look.</div><div><br /></div><div>The same was true of <i><a href="https://schoolofjandejong.blogspot.com/2023/11/the-development-of-jdj-jujutsu-grading_29.html" target="_blank">shodan shinken shobu no kata</a></i> where the first ones to go through (including the abovementioned trio) performed the 140 attack-defence combinations as a demonstration whereas those who came after had to perform under true reflex conditions. In this case, the form of resistance for Greg and myself differed to that used by the abovementioned trio.</div><div><br /></div><div>JDJ was against changing techniques because he considered it to mean initially training and performing ineffective techniques, so why did he include this grading in <i>nidan</i>? It is probably because everyone else was teaching changing techniques at the time, and JDJ did include elements into his grading system that he was 'not a fan of' simply because others were doing so at the time, e.g., <i><a href="https://schoolofjandejong.blogspot.com/2024/01/the-development-of-jdj-jujutsu-grading.html" target="_blank">shiai</a></i>. This an explanation as to why he changed his ideas of the grading the second time round.</div><div><br /></div><div><b>Part 2: Ju Jitsu no Jitsuen</b></div><div>'Arrange a demonstration using up to eight lower grades to show some aspect of ju jitsu. Twenty minutes of explanation type demonstration and ten minutes of fast action are required to be shown.'</div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEi1Z5zplm7yjHgHHSSa5EqDbo_SAqPyfbpMoGYuIM9TdfEo0Ocv1pM3qr2M-UHlkzl6aw-HRW7Yaa2II11ShNN7hXKHoCIONEHS2aO0PlWpS1FXf3cy4znMn-Fj08g3YCa3L-rAqjcxWcr_ED3Iz1aBjyxQ3vIpJMLqgrieJjwHr3Y_B2tBj-9Uj3MUSAU" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" data-original-height="720" data-original-width="960" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEi1Z5zplm7yjHgHHSSa5EqDbo_SAqPyfbpMoGYuIM9TdfEo0Ocv1pM3qr2M-UHlkzl6aw-HRW7Yaa2II11ShNN7hXKHoCIONEHS2aO0PlWpS1FXf3cy4znMn-Fj08g3YCa3L-rAqjcxWcr_ED3Iz1aBjyxQ3vIpJMLqgrieJjwHr3Y_B2tBj-9Uj3MUSAU" width="320" /></a></div>Greg Palmer's demonstration has been posted on <a href="https://www.youtube.com/watch?v=6kOzDuKSIbw" target="_blank">YouTube</a> in three parts.</div><div><br /></div><div>JDJ often said that Greg's demo was the best ever, in fact, when the video of the first demo did not work out, JDJ got us (I was a member of Greg's demo team) to do it again so that he had a good video of that demonstration. Why was Greg's demo the best? Because he was a <a href="https://schoolofjandejong.blogspot.com/2023/11/who-was-best-teacher-as-jan-de-jong.html" target="_blank">teacher</a> and therefore knew how to train us, a la four-time premiership coach, Alistair Clarkson, who was a teacher before becoming head coach for Hawthorn.</div><div><br /></div><div>The requirement of this grading reflects JDJ's focus on producing instructors in the <i>dan</i> grades. The basic idea behind this grading is that the instructor should be able to explain to others what jujutsu is, not unlike the Ju Jitsu Rekishi parts in the <i>ikkyu</i> and <i><a href="https://schoolofjandejong.blogspot.com/2024/01/the-development-of-jdj-grading-system_5.html" target="_blank">shodan</a></i> gradings.</div><div><br /></div><div>It also reflects that putting on demonstrations was a big part of the promotion of the Jan de Jong Self Defence School (JDJSDS) and JDJ at that time. Demonstration stories abound, with the older generation of the JDJSDS.</div><div><br /></div><div><b>Part 3: Shinken Shobu no Kata</b></div><div>'Reflex examination.'</div><div><br /></div><div>52 attack-defence combinations down from 140 in <i>shodan</i>. There is an increased focus on defences against punches (19).</div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjr2R1VQ2lTzQmmu13vNVGn349F2CHKTxjgCb7dfwLkmgOZAe3HOIrNFke0wq62kECdcdDsSkd2m45dktyIPrZsIE784iYUkr7IkgoEzusYMYZ_NtZh6z6ZQIT4Fcj-r6Po-3Rbdz15oUB-PYSd9lzFjTnZJc3U5HcATblnoz3XO7iVtOUnv1f_Yy7LXfw" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="173" data-original-width="320" height="173" src="https://blogger.googleusercontent.com/img/a/AVvXsEjr2R1VQ2lTzQmmu13vNVGn349F2CHKTxjgCb7dfwLkmgOZAe3HOIrNFke0wq62kECdcdDsSkd2m45dktyIPrZsIE784iYUkr7IkgoEzusYMYZ_NtZh6z6ZQIT4Fcj-r6Po-3Rbdz15oUB-PYSd9lzFjTnZJc3U5HcATblnoz3XO7iVtOUnv1f_Yy7LXfw" width="320" /></a></div><div><br /></div><b>Part 4: Hantachiwaza no Kata and Kentai Ichi no Kata</b></div><div>'Demonstration with uke in seiza and tori standing.'</div><div>'Demonstration of katana and the unarmed application.'<br /><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjmZhI89fDa-udjbGK8xG4kGnZusS79gmnTIJ4T8uZsJ2ZQBs0y0DCY-nXMeHRDj1j20dsDMyj4RVXaF1NSvOf7xEsaE_Uo15RjVl13YvxjYpt-8GchAdblavL37DCv5dd0OMuLL3bf1iAX-8kqRbtlr7LrmS9Hczz5kA4jiNpIna-y_6c_X30K1hhEj0k" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" data-original-height="138" data-original-width="220" height="201" src="https://blogger.googleusercontent.com/img/a/AVvXsEjmZhI89fDa-udjbGK8xG4kGnZusS79gmnTIJ4T8uZsJ2ZQBs0y0DCY-nXMeHRDj1j20dsDMyj4RVXaF1NSvOf7xEsaE_Uo15RjVl13YvxjYpt-8GchAdblavL37DCv5dd0OMuLL3bf1iAX-8kqRbtlr7LrmS9Hczz5kA4jiNpIna-y_6c_X30K1hhEj0k" width="320" /></a></div>The <i>kentai ichi no kata</i> is an extension of the idea of the Yoseikan Budo (YB) <i>kata</i> that JDJ included in <i><a href="https://schoolofjandejong.blogspot.com/2023/12/the-development-of-jdj-jujutsu-grading_30.html" target="_blank">shodan</a></i>, however, the techniques taught within this <i>kata</i> are not from YB.</div><div><br /></div><div><div>I'm not sure, nor have I attempted to find out, where the techniques in these two <i>kata</i> have been taken from. This will be a different case with the future <i>sandan</i> grading post.</div><div><br /></div></div><div><b>Part 5: Tanbo Jutsu and Jo Jutsu</b></div><div>'Demonstrate defences with tanbo.'</div><div>'Demonstrate defences against jo.'</div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZ65QcMsyzE90HzhsmiImtVT8POUZNegsfFNd6vk5YdQ-0aiTBddNWqyZz8f4LhWiPWIPrAq4WHATbGqaiDsxyIyRSR0Ix9SvIw72OERxFUGKY62jQ3ap53JTLJbKkFdI7acWRH09S-1hn6SFl35JEUuL66FmNfCNU8kf_OhaQiUrAQZGXkjf5Dvjugls/s3507/blitz%20armstrong.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3507" data-original-width="2480" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZ65QcMsyzE90HzhsmiImtVT8POUZNegsfFNd6vk5YdQ-0aiTBddNWqyZz8f4LhWiPWIPrAq4WHATbGqaiDsxyIyRSR0Ix9SvIw72OERxFUGKY62jQ3ap53JTLJbKkFdI7acWRH09S-1hn6SFl35JEUuL66FmNfCNU8kf_OhaQiUrAQZGXkjf5Dvjugls/s320/blitz%20armstrong.jpg" width="226" /></a></div>The <i>tanbo</i> (short stick) section includes two sections: one where the <i>tanbo</i> is concealed as in the photograph to the right (although only one <i>tanbo</i> is used), and one where the <i>tanbo</i> is 'open', meaning that it is held at the end but concealed behind <i>tori</i>'s leg.</div><div><br /></div><div>The use of the <i>tanbo</i> concealed is <i><b>unique</b></i> to JDJ's teachings. It comes from his pencak silat teachings where the short stick (<i>gada</i>) is used singularly or in a pair as in the photograph to the right, and both defensively and offensively.</div><div><br /></div><div>The JDJ <i>ryuha</i> that offer courses and suggest that they teach to fight with this weapon are delusional and misleading. This grading only teaches a limited number of joint-locking techniques against punches (see below), some 'tricks.' If one wants to learn how to fight with this weapon, one needs to see Peter Clarke at <a href="https://southerncrossbujutsu.com.au/stick-programme/short-stick.aspx" target="_blank">Southern Cross Bujuts</a>u who is the only person to have been graded 'black' in both JDJ's jujutsu and pencak silat, and who is the only person teaching JDJ's pencak silat. The use of this most versatile of weapons is well worth studying, so see Peter Clarke.</div><div><br /></div><div>The two sections in the <i>tanbo</i> section include a single joint-locking technique inside and outside, left and right, with a straight arm or retracted. Eight defences in all, covering all possibilities, which is a tactical lesson that could be extended further within the grading system. It was well thought out.</div><div><br /></div><div>This tactical lesson was also present in the original sixth <i>kyu</i> grading, the first grading in the <i>kyu</i> system (see reference above) which was JDJ's original grading system. There are three defences against <i>morote-kote-dori suihei</i> (two hands grabbing the forearm of <i>uke</i>). When I came to realise that JDJ's grading was disjointed and while the <i>mon</i> system was YB based and featured unbalancing, the <i>kyu</i> was not and did not. I asked JDJ about two of the defences that featured unbalancing because they did not fit this newfound realisation. He explained that before he introduced the <a href="https://schoolofjandejong.blogspot.com/2024/01/the-development-of-jdj-jujutsu-grading_5.html" target="_blank"><i>mon</i> system</a>, he tried to introduce the YB unbalancing into the <i>kyu</i> system, and that in doing so he had changed two of the three defences against the aforementioned attack. The original defences were disengagements that placed <i>tori</i> to the right, left, or in front but away from <i>uke</i>/the attacker. It was a brilliant tactical lesson, but which has since been lost through the retention of JDJ's changes, which are no longer needed due to the introduction of the <i>mon</i> system. </div><div><br /></div><div>The defences against a jo (4'6" staff) include seven techniques from the outside and one from the inside and were probably taken from YB. The techniques involve throws, joint-locks, and takedowns.</div><div><br /></div><div>Once again, the JDJ <i>ryuha</i> advertising that they teach how to fight with this weapon are delusional and misleading. They are teaching 'tricks' that are included in this and other gradings. They are not teaching how to 'fight' with this weapon because if one were being taught how to 'fight' with this weapon, or the short stick, the first and principal technique that would be taught would be striking techniques. And once again, if one wants to learn how to fight with this weapon, one should go and see the abovementioned <a href="https://southerncrossbujutsu.com.au/stick-programme/long-stick.aspx" target="_blank">Peter Clarke </a>at Southern Cross Bujutsu.</div><div><br /></div><div><b>Part 6: Kyushowaza</b></div><div>'Demonstrate various pressure point attacks.'</div><div><br /></div><div>This grading was included in <i>nidan</i> because in the 1990s, everybody was teaching pressure point techniques. Karate, jujutsu, aikido, wing chun, kung fu, everyone was teaching pressure point techniques. Much like ground techniques are now the flavour of the month due to Brazilian Ju Jitsu and everyone is teaching their ground techniques. I was previously unaware that wing chun and karate taught ground techniques. :/ </div><div><br /></div><div><a href="https://en.wikipedia.org/wiki/George_Dillman" target="_blank"></a><div class="separator" style="clear: both; text-align: center;"><a href="https://en.wikipedia.org/wiki/George_Dillman" target="_blank"></a><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjs3egjrokHNcqAwjyG3OSZDqKTiDVfU8NeUyY_U7xjcp_d99HxhSinuJkRtwx7rHrP43e1bQk96cByvgD4NKF7lWhUAvdnUH2fPleSl1TigI4cAPmf60r3Z8orPRXuCqomhxh5tR-hqMHuOvPwZoBhz3bB-dqsqDIErzMG9ge1MN09pACzXV7Er-ZpgUU" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="" data-original-height="270" data-original-width="187" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEjs3egjrokHNcqAwjyG3OSZDqKTiDVfU8NeUyY_U7xjcp_d99HxhSinuJkRtwx7rHrP43e1bQk96cByvgD4NKF7lWhUAvdnUH2fPleSl1TigI4cAPmf60r3Z8orPRXuCqomhxh5tR-hqMHuOvPwZoBhz3bB-dqsqDIErzMG9ge1MN09pACzXV7Er-ZpgUU" width="166" /></a></div><br />George Dillman was at the forefront of this movement at the time. He couldn't sell karate because everyone taught karate so he 'differentiated his product' (marketing 101) by teaching pressure point techniques along with his karate.</div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgfs4FTr8-aqxQQ5eZnv2RCZEgLgaDhpFhOb-_ZYzY_5HkiLHNGBD7B6IvSBZYGL_wwS-G4t3prB_1fZAE7JoCc0EKJGsFXVZNhtG61Qd7FaAiet_nlKTQDxHNy8N5UG-gKhOKrYDftLXURWNrj3iE0DtXbiLf5IaZGvp8VOQPNA1at7v7C7ASOW3GW_M/s1780/jay%20and%20jfc.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1184" data-original-width="1780" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgfs4FTr8-aqxQQ5eZnv2RCZEgLgaDhpFhOb-_ZYzY_5HkiLHNGBD7B6IvSBZYGL_wwS-G4t3prB_1fZAE7JoCc0EKJGsFXVZNhtG61Qd7FaAiet_nlKTQDxHNy8N5UG-gKhOKrYDftLXURWNrj3iE0DtXbiLf5IaZGvp8VOQPNA1at7v7C7ASOW3GW_M/s320/jay%20and%20jfc.jpg" width="320" /></a></div>I'm open to new ideas and while I was living in London, I attended a seminar hosted jointly by Wally Jay (Small Circle Theory Jujutsu) and Dillman. Jay taught his jujutsu, which basically involved bending a person's fingers backwards, and Dillman taught his pressure point techniques.</div><div><br /></div><div>He demonstrated a technique where two hits to two different pressure points on the forearm would cause the person to fall to the ground. The explanation was that somehow the two hits caused something to travel along the nerves that caused the person to fall to the ground. His <i>uke</i> was an American airman who had travelled from his posting in Germany to attend Dillman's seminar. Two hits and American airman <i>uke</i> duly falls to the ground.</div><div><br /></div><div>We pair up and my partner strikes my forearm twice in the designated areas and turns away, only to turn back to find me still standing. He's confused. He tries again but stays looking at me this time and sees the same result. After a couple of more tries, out of frustration, he calls Dillman over. Dillman does his two hits and turns away to explain that this is how it is done, only to turn back and find that I'm still standing. He then lays into my forearm with some almighty punches. Dillman is a short, stocky <i>karateka</i> and does possess powerful strikes as seen in his breaking demonstrations. His powerful strikes cause me to bend over, but not because of any pressure points but because he'd just punched the 'crap' out of my arm (I ended up with two bruises where he punched me). Dillman then walked away without explanation.</div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjf8RW6RhRg10wy1J4UdGCqKCUu0Nc1OdSwDm2RGrFiOZ96nxa9XFz_8rsY-b5OGaCSFXxrPQJmwQE2Xjt4iKm3qBIOxTzH6IGm2hTwYp_VVnZC5TcPmOOcPt2bdAYIDTKq0CDUFNS_3eP6XPL9auf7YQdJ0PW5ucgwkaVqFV9AvC8CJfnUvmpn_D46XZQ" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" data-original-height="168" data-original-width="300" height="179" src="https://blogger.googleusercontent.com/img/a/AVvXsEjf8RW6RhRg10wy1J4UdGCqKCUu0Nc1OdSwDm2RGrFiOZ96nxa9XFz_8rsY-b5OGaCSFXxrPQJmwQE2Xjt4iKm3qBIOxTzH6IGm2hTwYp_VVnZC5TcPmOOcPt2bdAYIDTKq0CDUFNS_3eP6XPL9auf7YQdJ0PW5ucgwkaVqFV9AvC8CJfnUvmpn_D46XZQ" width="320" /></a></div>At the end of the seminar, Dillman demonstrated his pressure point knock-out technique. A hit to a pressure-point on the jaw that causes the individual to lose consciousness. He demonstrated this first on a teenage girl who was literally hiding behind a male participant at the seminar. Quick hit to the jaw and she's down. When it came to my turn, he was demonstrating this on all of the participants, lucky us, he gives me a short, sharp punch to the side of my jaw, and while I am dazed, I don't go down. I end up with a horrendous headache but not unconscious. No pressure point, just a good short sharp hit to jaw, while holding the other side of the head so that it cannot move and thus dissipate the force applied, moving the brain inside the skull and possibly causing a mild concussion.</div><div><br /></div><div>Good times, but back to this grading. The pressure points are applied, not in a fighting context but while JDJ is sitting down. This leads to questions as to its effectiveness in a more fluid environment.</div><div><br /></div><div>When I did my grading, the pressure points around JDJ's trapezius area were a bit pointless on his bull-like upper body. The only way a pressure point could be used effectively there is with a baseball bat. But on his 'chicken-like' legs, he felt every one, and would 'tap-off' to signify that I had got it right and he felt something. Unfortunately, his 'tap-off' was like a focused hit to the back of my head, and I was at risk of receiving a concussion, so much of that part of the grading was done at arm's length with me cringing so as not to be rendered unconscious from a 'tap-off.' This is a grading that required the wearing of protective equipment, e.g., a helmet. :)</div><div><br /></div><div><b>Part 7: Shiai</b></div><div>'Free fight with tanto vs tanto.'</div><div><br /></div><div>The description and issues associated with this section of the grading are discussed in a previous <a href="https://schoolofjandejong.blogspot.com/2024/01/the-development-of-jdj-jujutsu-grading.html" target="_blank">post</a>.</div><div><br /></div><div><b>Part 8: Jutsuri no Kata</b></div><div>'Oral examination conducted with at least two other candidates, discussing the technical aspects on any technique selected by Shihan Jan de Jong.'</div><div><br /></div><div>The idea behind the grading is laudable, however, the technical knowledge within the JDJSDS and within JDJ was lacking at the time. However, a scene from <i>Under the Tuscan Sun</i> is pertinent here:</div><div><br /></div><i>Martini: Signora, between Austria and Italy, there is a section of the Alps called the Semmering. It is an impossibly steep, very high part of the mountains. They built a train track over these Alps to connect Vienna and Venice. They built these tracks even before there was a train in existence that could make the trip. They built it because they knew some day, the train would come.<br /></i><div><br /></div><div>JDJ built the tracks, and my work goes a good way to providing that train (see previous <a href="https://schoolofjandejong.blogspot.com/2019/01/de-jong-built-tracks-i-built-train.html" target="_blank">post</a> with this proposition and discussing this issue).</div><div><br /></div><div>What would be some of my questions to candidates undertaking this grading?:</div><div><br /></div><div>'Why is the final sword technique in <i>ken tai ichi no kata</i> that was taught to you, which you graded, and which you now teach, result in a <a href="https://schoolofjandejong.blogspot.com/2023/11/ken-tai-ichi-no-kata-example.html" target="_blank">mutual slaying</a>?'</div><div><br /></div><div>'<a href="https://schoolofjandejong.blogspot.com/2020/07/o-soto-otoshi.html" target="_blank">What are the similarities and differences between <i>o soto gari, o soto guruma, and o soto otoshi</i></a>?' The answer to that question is complicated given that even though <i>o soto otoshi</i> is included in the grading system and that has been taught, graded, and is now being taught by the grading candidates, it was never understood or taught properly by JDJ and therefore by his instructors.</div><div><br /></div><div>'Why is the <i>te nage</i> in the <i>shodan shinken shobu no kata</i> grading such a ridiculous, over complicated technique that has so many changes in direction that it makes one dizzy?' </div><div><br /></div><div>'Why are blocks used in conjunction with <a href="https://schoolofjandejong.blogspot.com/2024/01/the-development-of-jdj-jujutsu-grading_12.html" target="_blank">evasive body-movements</a> in the grading system?'</div><div><br /></div><div>'What is the purpose of the <a href="https://schoolofjandejong.blogspot.com/2024/01/the-development-of-jdj-jujutsu-grading.html" target="_blank"><i>futari dori</i> and <i>shiai</i></a> gradings in the grading system?'</div><div><br /></div><div><b>Part 9 Ju Jitsu Rekishi</b></div><div>'Candidates are required to submit an essay with no less than 3000 words on a topic to be approved by Jan de Jong.'</div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhBNbtTlsCOyXKQZhXvH8s-GRQ9WIxI55Ir5QiYfZg2lMWqsLOgzOUaVaDqNIupVd8mNkpxJVN4zik-pPg1r94eO4m2TsLu86_JJkn7D_bkacHImzHuqiXDyNiqDH825-sStnr_LYgl04HTM_Dkv9LYGhnOW9wT0JfpnLbILsdcFA45clxtPLIMSRDW9JY" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" data-original-height="216" data-original-width="320" height="216" src="https://blogger.googleusercontent.com/img/a/AVvXsEhBNbtTlsCOyXKQZhXvH8s-GRQ9WIxI55Ir5QiYfZg2lMWqsLOgzOUaVaDqNIupVd8mNkpxJVN4zik-pPg1r94eO4m2TsLu86_JJkn7D_bkacHImzHuqiXDyNiqDH825-sStnr_LYgl04HTM_Dkv9LYGhnOW9wT0JfpnLbILsdcFA45clxtPLIMSRDW9JY" width="320" /></a></div><br />My topic was an international franchise proposal for the JDJSDS. How this came about is discussed in a previous <a href="https://schoolofjandejong.blogspot.com/2011/08/jan-de-jong-pt-10-indonesia-1995-pt-1.html" target="_blank">post</a> involving our invitation to Jakarta, Java, Indonesia by a Chinese-Indonesian entrepreneur (CIE) in 1995.</div><div><br /></div><div>It was a fantastic opportunity. One that the vast majority of start-up franchises never get.</div><div><br /></div><div>The CIE was prepared to fund it all. A house in the Jakarta CBD to act as <i>dojo</i> and residence for instructors from the JDJSDS. A cook, cleaner, driver, translator, food, and a car. Marketing was taken care of as is explained in the abovementioned post. There were European instructors calling out to be included under the JDJ banner, so a successful establishment in Jakarta, fully funded by the CIE, would have gone a long way to establishing an international franchise of the JDJSDS.</div><div><br /></div><div>JDJ and the CIE were both dead keen, but they were like two trains on different tracks heading in the same direction, but they would never meet. How do you establish an international franchise of the jujutsu taught by JDJ which takes a minimum of 10 years to be graded <i>shodan</i> without compromising standards? That was the question. I came up with the answer, which was the subject matter of my project that satisfied the requirement of this part of the grading.</div><div><br /></div><div>JDJ never implemented my proposal, even though he was more focused on his international teaching than his domestic school in those days. Why not? That's a question for another day. :)</div><div><br /></div><div>The next post will look at the final grading in the JDJ grading system - <i>sandan</i>.</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div> </div><div><br /></div>John Coleshttp://www.blogger.com/profile/14634192254115557179noreply@blogger.com1tag:blogger.com,1999:blog-2538432015657849810.post-46675901010981630612024-02-15T16:45:00.000-08:002024-02-15T16:45:43.934-08:00The Development of the JDJ Jujutsu Grading System 3.8: 7th Kyu<p><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgf77VGm4lmxbh_oAHMJYUtVT3_Fk7p6c0LYfmU1mUfLxWuPqmO56QtWIfPpRjc4kxTWo14TJVArU31Jtx_Ekawp1xV6OB4IcVveFTSOFUuKjMDf77DGD6Srq9QzNiau2tj0KvUWaLZk7GCVjlBG4I2r9xqCW5Y0olVzBCsp4cEcMzcKG3fbupLPdBoUgg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img alt="" data-original-height="225" data-original-width="225" height="200" src="https://blogger.googleusercontent.com/img/a/AVvXsEgf77VGm4lmxbh_oAHMJYUtVT3_Fk7p6c0LYfmU1mUfLxWuPqmO56QtWIfPpRjc4kxTWo14TJVArU31Jtx_Ekawp1xV6OB4IcVveFTSOFUuKjMDf77DGD6Srq9QzNiau2tj0KvUWaLZk7GCVjlBG4I2r9xqCW5Y0olVzBCsp4cEcMzcKG3fbupLPdBoUgg=w200-h200" width="200" /></a>The final grade in the <i>mon</i> system is 7th <i>kyu,</i> red belt. </p><p>The titles of the below sections are taken from the grading sheets in <i>Jan de Jong: the man, his school and his jujutsu system</i> (Jan de Jong Self Defence School, 1997).</p><p><b>Breakfalls (Ukemi)</b></p><p>Bridgefall, and backwards flat, sideways flat, forwards roll, sideways roll separately over an obstacle. </p><p>The bridge fall, aka <i>o mae ukemi</i>, is the same as in the <a href="https://schoolofjandejong.blogspot.com/2024/01/okay-back-on-track.html" target="_blank">previous grading</a>.</p><p>While responding to a comment on my Facebook post sharing the previous blog post, I remembered that I neglected to explain why sideways roll is so uncommon in the martial arts. It's because most <i>ukemi</i> comes from judo and there is no need for a sideways roll from judo techniques.</p><p>I was also reminded that there are some (aikido) that teach a backwards roll that starts to resemble a Jan de Jong (JDJ) sideways roll. That is true, but it is more of a backwards roll than a JDJ sideways roll, however, having said that, it is worth noting because a JDJ sideways roll transitions into a backwards roll.</p><p>This is one of the aims of these series of posts, if not this entire blog, and that is to encourage those engaged in martial arts to engage in critical thinking, to seek insights that produce a new and better understanding, rather than just teaching and training what is taught. </p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijkzVSHK34FF438vCyfsAnyY86FslMiftFaIfWt3FO9K02N8d7Zb3oDw-7Xo3n1FCtybxwYdPbfblBF0VA4V3fSisTUf6_2QFCKAxCbMDSg9BLrl0FuU9G_YIt41q4xCT7BHhnSBNIJr5L-HGuT2YsDpa_VDFI0-0IxdLq7qiWcpEnsm7M5SYP3iKP7VU/s4160/group%20shot.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3120" data-original-width="4160" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijkzVSHK34FF438vCyfsAnyY86FslMiftFaIfWt3FO9K02N8d7Zb3oDw-7Xo3n1FCtybxwYdPbfblBF0VA4V3fSisTUf6_2QFCKAxCbMDSg9BLrl0FuU9G_YIt41q4xCT7BHhnSBNIJr5L-HGuT2YsDpa_VDFI0-0IxdLq7qiWcpEnsm7M5SYP3iKP7VU/s320/group%20shot.jpg" width="320" /></a></div>For progression, the <i>o mae ukemi</i> could have been performed over an obstacle in this grading. There is a 'trick' to performing <i>o mae ukemi</i> over an obstacle. <p></p><p>The trick to performing <i>o mae ukemi</i> over an obstacle, I discovered by observing John Poulton (<i>ikkyu</i>) in the instructors class way back when. John Poulton is front left, beard, in this photo taken from the JDJSDS Yearbook 1986 - <i>Hakusho</i>. He was performing <i>o mae ukemi </i>over obstacles when none of the other instructors pictured could and ever did. It is simply a forwards roll that you don't come out of; a forwards roll terminating in a backwards flat. :)</p><p>There is a lot of history in that photograph. Do the current JDJ <i>ryuha</i> know and study that history and share it with their students? Who can name all in the photograph and their legacy? This blog is about preserving and understanding the history of the JDJ tradition.</p><p><b>Wakai no Kata</b></p><p>You will recall from the 'Historic Ikkyu Part 1' <a href="https://schoolofjandejong.blogspot.com/2024/01/the-development-of-jan-de-jong-jujutsu_26.html" target="_blank">post</a> that JDJ developed <i>wakai no kata</i> to replace Yoseikan Budo's (YB) <i>happoken</i> and <i>sanbogeri</i>. He then moved the <i>kata</i> to <i>nikyu</i> and included it in 7th <i>kyu</i>, the last of the <i>mon</i> grades before the <a href="https://schoolofjandejong.blogspot.com/2023/11/the-development-of-jdj-jujutsu-grading.html" target="_blank"><i>kyu</i> system</a>. <i>Happoken</i> taught blocking and striking skills and <i>sanbogeri</i> taught kicking skills. JDJ's <i>wakai no kata</i> is designed to teach blocking, striking, and kicking skills.</p><p>The issue of using a block in conjunction with an evasive body-movement (EBM) that was discussed in a previous <a href="https://schoolofjandejong.blogspot.com/2024/01/the-development-of-jdj-jujutsu-grading_12.html" target="_blank">post</a> is present in this <i>kata</i>.</p><p>Last year I saw a JDJ <i>ryuha yudansha</i> demonstrate this <i>kata</i> while teaching it to their students. I would fail that performance if a grading candidate presented it for their 7th <i>kyu</i> grading, let alone a <i>yudansha</i> that has supposedly performed it in two gradings. </p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgvXU6uKJ96_qjMhiNo-DvuncDyXryQ435_0vYVRQ9w1AMkKYWEdKcGWoqRfm7WP3mSVSSOjMxFSPOOh1rM2cU6X9OnCxT4CMnX89VhyktgJvcWkLMFNVbmPrAp_nuyOatmeFBOSq7FqVtcjDd0EYT6GnBEcMGd0xJlADs3pmD8mjxOAHzPW68Vc1qc37w" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" data-original-height="4160" data-original-width="3120" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEgvXU6uKJ96_qjMhiNo-DvuncDyXryQ435_0vYVRQ9w1AMkKYWEdKcGWoqRfm7WP3mSVSSOjMxFSPOOh1rM2cU6X9OnCxT4CMnX89VhyktgJvcWkLMFNVbmPrAp_nuyOatmeFBOSq7FqVtcjDd0EYT6GnBEcMGd0xJlADs3pmD8mjxOAHzPW68Vc1qc37w" width="180" /></a></div>JDJ's <i>wakai no kata </i>includes pencak silat's <i>depok</i> and <i>sempok</i> stances. Same stance but looking forward or backward. It is an extremely versatile stance in terms of an EBM and setting up for strikes, kicks, and unbalancing. <p></p><p>In the abovementioned performance, the performer did not perform the stances correctly (or simply did not know how to do so), which nullified their tactical effectiveness.</p><p>Then of course there was the issue that the kicks were poorly executed, wafting upwards rather than 'shooting' in and out, and the <a href="https://schoolofjandejong.blogspot.com/search?q=timing" target="_blank">timing</a> of the defensive combinations was all wrong. Basically, it was a blur from start to finish interrupted only by the performer being unbalanced when performing the <i>depok</i> and <i>sempok</i> stances. </p><p>These issues were also common with the performances within the Jan de Jong Self Defence School (JDJSDS), including that of most of the instructors.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEi5bdAWnMJhF_jKpcYI7WTxLcNQhuI6DlwCGW_-tTaQifQ2JsGzLMx0B8QuQDkb55-30UrbAX_P5q1r92PpUuLaLkvtwHnXaIKx3IawQY0jBkSDnpUp4Vjn6U7YO6uIIqznBTRPGJqKmKDET_jJtNp5txXqwI0hnbMhapPD-9tZD0cnfg22LW0K3hEdfoQ" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="" data-original-height="246" data-original-width="205" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEi5bdAWnMJhF_jKpcYI7WTxLcNQhuI6DlwCGW_-tTaQifQ2JsGzLMx0B8QuQDkb55-30UrbAX_P5q1r92PpUuLaLkvtwHnXaIKx3IawQY0jBkSDnpUp4Vjn6U7YO6uIIqznBTRPGJqKmKDET_jJtNp5txXqwI0hnbMhapPD-9tZD0cnfg22LW0K3hEdfoQ" width="200" /></a></div>The abovementioned JDJ <i>ryuha</i> refers to this stance as a 'cross stance' (<i>kosa dachi</i>). That is a reference to a Japanese karate stance which is 'similar' to the pencak silat <i>depok</i> and <i>sempok</i> except that karate does not realise or understand the potential of this stance.<p></p><p>I attended a seminar co-jointly hosted by Wally Jay and George Dillman while I was living in London. Dillman was on the pressure point bandwagon at that stage, but he also presented his 'study' of karate <i>kata</i> which included a Shotokan <i>kata</i> where this stance is performed. He explained that this stance is entirely useless but that it was a 'secret' of the <i>kata</i> because it was part of a turning move when executing what the JDJ tradition knows as <i>hachi mawashi</i> (hair-chin turning). When Dillman asked what is the point of this stance before his 'explanation', I wanted to put my hand up and say that it was a major feature of a very effective martial art taught to one of the most populous nations on the earth, but I didn't.</p><p><b>Throwing Techniques (Nage Waza)</b></p><p>This is the first time in the mon system that throwing techniques have been introduced. There are four throwing techniques from specified attacks: single lapel grip (low) - hip throw; single lapel grip (high) - shoulder throw; low punch - minor inner reaping; and low punch - minor outer reaping.</p><p><b>Body Movements (Taisabaki)</b></p><p>'Defender's choice of attack, using any block.' </p><p>The issue of 'blocks' and the demonstration of these body-movements as defences has been discussed in previous posts.</p><p>All five of YB's basic body-movements are included in this section, along with dodging (<i>kawashi</i>).</p><p>The dodging body-movement was included in this grading due to Greg Palmer's lobbying. I argued that dodging was simply a variation of either flowing or sliding body-movements, which I went on to demonstrate in my <i>taisabaki no kata</i> grading in <i>sandan</i>. It was a 'teach the teacher' moment, however, even though they agreed with me, it is still retained in this grading.</p><p>To challenge the reader's understanding of this body-movement that they are either training and grading or teaching, is the dodging body-movement as taught a variation of flowing or sliding? Even though JDJ used a dodging body-movement often in his demonstrations, why and how is it different to the one included in this grading? Also, identify the defences in the <i>kyu</i> and <i>dan</i> grades where this dodging body-movement is used in a defence.</p><p><b>Unbalancing (Kuzushi)</b></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgaiv7ELKk_S0gHsugcB_J6WBwUPpNjB58wCGaIgAKcePV-Szyt5sX0q2fSJ4l34nhs9K07_BqlLjc-_6YV2VKpzuF3oB3I6jvS5Le43BDGQ30noE-o_IbdP2Y60FAJ5D9i99eVHz89v6Bo2pEHK5UvUs3lr16zBCHTh8EIks5-asHUZGuKPKV5fQBcWSo" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" data-original-height="224" data-original-width="202" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEgaiv7ELKk_S0gHsugcB_J6WBwUPpNjB58wCGaIgAKcePV-Szyt5sX0q2fSJ4l34nhs9K07_BqlLjc-_6YV2VKpzuF3oB3I6jvS5Le43BDGQ30noE-o_IbdP2Y60FAJ5D9i99eVHz89v6Bo2pEHK5UvUs3lr16zBCHTh8EIks5-asHUZGuKPKV5fQBcWSo" width="216" /></a></div>Normal single wrist grip - Normal and same side unbalancing<p></p><p>Reverse single wrist grip - Reverse and same side unbalancing</p><p>Same side single wrist grip - Normal and same side unbalancing</p><p>The unbalancing from single wrist grips is taken straight from YB, however, JDJ is building on YB's teachings. What is JDJ trying to teach/impart with the two forms of unbalancing from the same single wrist grip? Did the instructors (a) understand this lesson, and (b) teach this lesson along with the techniques?</p><p>In his later years, JDJ was teaching this lesson and referred to <i>kuzushi</i> and <i>hazushi</i> for the two types of unbalancing. <i>Hazushi</i> means disengagement or release according to the glossary in <i>Jan de Jong: the man, his school and his jujutsu system</i> (Jan de Jong Self Defence School, 1997). </p><p>The basic idea is that with normal and reverse unbalancing, the captured hand is disengaged whereas with same side unbalancing it is not. This then facilitates one of the nine basic joint-locking techniques taught by the JDJ tradition and which is demonstrated in the <i>mon</i> grades. Same side unbalancing does not necessarily disengage the hand grip, turns the elbow up, thus facilitating straight arm lock, side wrist lock, and wrist crust. Normal and reverse unbalancing disengages the hand grip and keeps the elbow down thus facilitating the other six joint-locking techniques. </p><p>This is a valuable and sophisticated lesson in versatile tactics, a unique one developed by JDJ, that is often not understood within the JDJ tradition. This leads to the question, should it be included in the relatively lowly grades of the <i>mon</i> system?</p><p><b>Locking Techniques (Kansetsu Waza)</b></p><p>'Two attackers defender's choice of attack.' </p><p>The issue of the appropriateness of this stress element in these early gradings has been discussed in numerous pervious posts in this series.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiuAC6iQM462MvZdlJr_RhmnaJUUnj4libU50BGMTokSzM_-tucBfqcfCNElwCaFhAoGCNgdxWPzlUK_9mQ84fLCGkA5L1TD3sTz2e668w8GHMPWsehP7TynU8BcDcwe96t63dyWtVhEoHxCkLEzrqbD5fw_Ok264-Fk4olQeSNO_bvSFoPj1Fx8VqT674" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" data-original-height="212" data-original-width="300" height="226" src="https://blogger.googleusercontent.com/img/a/AVvXsEiuAC6iQM462MvZdlJr_RhmnaJUUnj4libU50BGMTokSzM_-tucBfqcfCNElwCaFhAoGCNgdxWPzlUK_9mQ84fLCGkA5L1TD3sTz2e668w8GHMPWsehP7TynU8BcDcwe96t63dyWtVhEoHxCkLEzrqbD5fw_Ok264-Fk4olQeSNO_bvSFoPj1Fx8VqT674" width="320" /></a></div>The three <i>kansetsu waza</i> in this grading are arm entanglement (<i>ude garami</i>), side wrist lock (<i>yoko tekubi hishig</i>i), and wrist hand throw (<i>tekubi te nage</i>). The latter two are known by different names in aikido. This completes the nine basic <i>kansetsu waza</i> taught within the JDJ tradition.<p></p><p><b>Basic Blocks and Attacks (Uke and Atemi)</b></p><p>Three punches and one kick - four basic karate-style blocks. </p><p>There is no unbalancing - blocking section as included in <a href="https://schoolofjandejong.blogspot.com/2024/01/the-development-of-jan-de-jong-jujutsu.html" target="_blank">9th kyu</a>. </p><p>These blocks are often taught in conjunction with an EBM. As has continually been questioned in numerous posts, e.g., <a href="https://schoolofjandejong.blogspot.com/2024/01/the-development-of-jdj-jujutsu-grading_12.html" target="_blank">The Mon System and Blocking Techniques</a>, what is the purpose of the block when used in conjunction with an EBM. It's not to avoid injurious contact with the body because the EBM takes care of that problem. This is a question that should be asked and answered as it would demonstrate insight and understanding.</p><p>The defences in this section include a karate-style block followed by a punch. This should be taught as an alternative to the singular use of EBMs, or just avoiding an attack. It would be a useful tactic to employ in the <a href="https://schoolofjandejong.blogspot.com/2024/01/the-development-of-jdj-jujutsu-grading.html" target="_blank">free fighting gradings</a> of <i>ikkyu</i> and the <i>dan</i> grades.</p><p><b>Reflex (<a href="https://schoolofjandejong.blogspot.com/2023/11/the-development-of-jdj-jujutsu-grading.html" target="_blank">Shinken Shobu no Kata</a>)</b></p><p>Fifteen defences from holding, strangulation, punching, kicking, stick, and knife attacks. There are two 'restraining techniques' included in the 15 defences, which is to say a pre-emptive application of a joint-locking technique.</p><p>All of the defences have been demonstrated in this or previous gradings, as they should be.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiMVwtCfXUip7EdV2TF2PVLi2eHXkBk5eBNAeUMeffeH07NK-MOrORW-N06Cdj7fLCdBVp1C_lp5szm-opPVHVqbvfpN-uYrg9V96XZa4-hgX6qSg5w0yDA3LVvcBA704zNOIwiOTa0TUyeyGBg9nfJEXpJjIxZkmQ9rViwGHfOpSLEwEh7Qi5jO7Qq0KI" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" data-original-height="194" data-original-width="259" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEiMVwtCfXUip7EdV2TF2PVLi2eHXkBk5eBNAeUMeffeH07NK-MOrORW-N06Cdj7fLCdBVp1C_lp5szm-opPVHVqbvfpN-uYrg9V96XZa4-hgX6qSg5w0yDA3LVvcBA704zNOIwiOTa0TUyeyGBg9nfJEXpJjIxZkmQ9rViwGHfOpSLEwEh7Qi5jO7Qq0KI" width="320" /></a></div>There is a 'stick-overhead attack.' <div><br /></div><div>Last year, I observed a number of classes of a JDJ <i>ryuha</i> where this same attack was used in the lessons. It would appear that <i>uke</i> did not know how to hit a person with a stick. If they made contact with <i>tori</i>, it would be with the butt of the stick held in the hand of <i>uke</i>. This obviously affects the distancing of the defence. With a lot of practice, the student would become proficient at defending themselves against an attack that was trying to hit them in the head with the butt of the stick, however, if someone was actually trying to hit them with a stick, they would literally fall short. <p></p><p>This was also a common fault in the JDJSDS.</p><p>The lesson to be learned here is to <b>teach the students how to attack properly first, and then teach the defence</b>.</p><p>This was something lacking in the JDJSDS as well.</p></div>John Coleshttp://www.blogger.com/profile/14634192254115557179noreply@blogger.com0tag:blogger.com,1999:blog-2538432015657849810.post-12410272507658641072024-02-03T15:57:00.000-08:002024-02-03T15:57:44.595-08:00The Development of the Jan de Jong Jujutsu Grading System: Curriculum vs Examination (Grading) QuestionThe following is a comment that was posted on one of my Facebook posts sharing one of the posts about the development of the Jan de Jong jujutsu grading system:<br /><br /><i>Earlier I made an implied minor criticism of one aspect of the approach taken in these analyses. I said something along the lines of the need to clearly differentiate between an examination set or system and a curriculum. I added a vague comment stating that designing teaching outlines / lesson plans around test questions is a really bad idea.</i><div><br /></div><div>I could not locate the earlier implied criticism regarding examinations and curriculum, although I vaguely remember it. </div><div><br /></div><div>The criticism was vague and lacked a practical explanation, however, it did sow a seed that I initially resisted but then succumbed to my natural curiosity (curiosity being one of <a href="https://schoolofjandejong.blogspot.com/2021/06/the-insights-provided-by-happoken-no.html" target="_blank">Klein's</a> five paths to insight that can lead to a new and better understanding).</div><div><br /></div><div>I consulted a 40-year veteran educator who has also been involved in curriculum development for the Department of Education WA. This is an extract from his response:</div><br /><i>Thanks for the email. An interesting question. Lots of detailed arguments can be made but essentially exams and tests are about eliciting information from the candidate that reflects their understanding of the curriculum that has been taught. ...<br /></i><div><br /></div><i>The tests and assessments (at least the major summative ones) cannot hope to cover the whole curriculum (i.e. everything that is taught) and so tend to be testing only the “core” or important parts of the course. They also test both skills (e.g mapping) and content understanding and application. Questions and the required format of answers (e.g. – multi choice, short answer, math problems, essay arguments etc.) relate to the level of answer required from simple recall/understanding through to application and then evaluation.</i><div><br /></div><div>I then asked my education expert to apply the theory to martial arts practice:</div><br /><i>Essentially, if I was to link the idea to martial arts, the curriculum would be the skills and knowledge taught during a block of learning, and the “grading” would be the test to see if the student could demonstrate that he/she/they knows the curriculum. In the Martial Arts case, I assume the curriculum is about the throws, blocks etc, that you learn and practise. These are then tested appropriately with demonstrations. I don’t know if you can test everything in the curriculum in a grading or whether, like in education, you just do the core of the curriculum. The nature of your curriculum (if its just practical skills) means that the gradings are just physical tests looking for technical demonstration of the curriculum. If there are other aspects to the course/curriculum, you may be able to add other ways to test the students.<br /></i><div><br /></div><div>In terms of teaching to pass examinations (gradings), my education expert had this to say:</div><br /><i>In education, “teaching to the test”, means just focusing on how to pass the test or exam, through the explicit teaching of exam techniques and a focus on core areas and just past papers. The goal here (and we have become this unfortunately) is to prepare the kids to pass the exam at a high level. That is now an industry across Australia – revision seminars, practice books on NAPLAN etc. But the tests are not the curriculum – that is much bigger and wider. </i><div><br /></div><div>I am all about using theory to inform practice in a practical way. This idea was first enunciated for me in my first lecture during my MBA (Master of Business Administration) at the University of Western Australia's Graduate School of Management - using theory to inform practice in a practical way. This has been the basis for the first book that I wrote on the science behind all fighting techniques. It is the basis for the second book on a new and better understanding of our natural and learned responses to a threat. It was the basis for the articles that have been published in various national and international magazines based on the work within those two books. It is the basis of this blog and that of the <a href="https://kojutsukan.blogspot.com/" target="_blank">Kojutsukan</a> blog.</div><div><br /></div><div>What, if anything, can we extract from the above discussion in terms of theory informing practice in a practical way?</div><div><br /></div><div>The first thing that comes to my mind is: <span style="color: red;">is the grading system the curriculum for the jujutsu taught by JDJ and the JDJ tradition?</span></div><div><br /></div><div>Here I invite the readers to express an opinion either way. If you believe that there is a curriculum separate from the grading system, please provide details.</div><div> </div><div>Both the abovementioned critic and the education expert adviser express the view that 'teaching to the test' is not a good thing. Towards the end of my teaching tenure at the Jan de Jong Self Defence School, I taught to the test, and I was very good at it. In fact, JDJ said that I was the best instructor in the school based on my student's performances in their gradings. They consistently excelled in their gradings to the point that at times JDJ would stop marking so as not to miss any of the performance.</div><div><br /></div><div>When thinking about it, the traditional approach to advancement was for the instructor to determine one day that the student was ready for advancement without any formal testing. Is there a distinction between curriculum and examination in that tradition?</div><div><br /></div><div>The abovementioned critic referred to teaching plans and lesson outlines. If the refer to anything other than copies of the grading sheets, then they were absent in the Jan de Jong Self Defence School. </div><div><br /></div><div>Remember, that while we are focused on one martial arts school here, the detailed examination enables us to learn something about all martial arts schools, as Friday argues in <i>Legacies of the Sword</i>: 'One can, therefore, learn something of broad value about the physiology of traditional Japanese martial art by carefully dissecting one school, in much the same way one can draw broad insights about the physiology of all species of all mammals by dissecting any one' (p. 10). Also see Shodan Requirement: History of Jujutsu <a href="https://schoolofjandejong.blogspot.com/2020/10/shodan-requirement-history-of-jujutsu.html" target="_blank">post</a>.</div><div><br /></div><div>Of course the <a href="https://schoolofjandejong.blogspot.com/2023/12/the-development-of-jdj-jujutsu-grading_22.html" target="_blank">core of all learning</a>, the identification of similarities and differences, are at the heart of this process. <br /><div><br /></div><div>And here I would like to invite readers of other martial arts schools to share their distinction between curriculum and examinations/gradings, if there is one. In this way we can learn by comparing, one of the proven highly effective ways of identifying similarities and differences, and on of <a href="https://schoolofjandejong.blogspot.com/2022/09/jan-de-jong-jujutsu-grading-system.html" target="_blank">Klein's</a> paths to insight that can lead to a new and better understanding.</div><div><br /></div></div>John Coleshttp://www.blogger.com/profile/14634192254115557179noreply@blogger.com0tag:blogger.com,1999:blog-2538432015657849810.post-24498556094236505862024-01-29T19:26:00.000-08:002024-02-10T16:07:27.960-08:00The Development of the JDJ Jujutsu Grading System Part 3.7: 8th Kyu<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4QyYaBYxH2MiwXndg8IaYyWY24wPQRiM1U0erKzPiDzjgEaoPAXtpT1SSKrpJ70tayYNLB4yb0loRWV9TBwCpkE-dMkLepb6qVYjSXsKfTZd1C5tgKxhDkBE8mIb4Pyw0_Hq4z-9KgnGncP9V9I49h9LcG6g5I_q3ID0IT9AIza6xJHq0zsS8kdZPPVE/s298/red%20and%20white%20belt.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="169" data-original-width="298" height="169" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4QyYaBYxH2MiwXndg8IaYyWY24wPQRiM1U0erKzPiDzjgEaoPAXtpT1SSKrpJ70tayYNLB4yb0loRWV9TBwCpkE-dMkLepb6qVYjSXsKfTZd1C5tgKxhDkBE8mIb4Pyw0_Hq4z-9KgnGncP9V9I49h9LcG6g5I_q3ID0IT9AIza6xJHq0zsS8kdZPPVE/s1600/red%20and%20white%20belt.jpg" width="298" /></a></div><div>Okay, back on track.</div><div><br /></div>The <a href="http://schoolofjandejong.blogspot.com/2024/01/the-development-of-jan-de-jong-jujutsu.html" target="_blank">previous post</a> (before the last post) looked at the first grading in the <i>mon</i> system for adults - 9th <i>kyu</i>. This post looks at the second grading in that system - 8th <i>kyu</i>, red and white belt.<p></p><p>Btw, if you're looking for quality belts and <i>gi </i>for your students at reasonable prices, see <a href="https://www.rayhanas.com/" target="_blank">Ray Hana's Martial Arts Superstore</a>.</p><p><b>Breakfalls (Ukemi)</b></p><p>Forwards roll, backwards roll, sideways roll, bridgefall, backwards roll over an obstacle, forwards roll over an obstacle, backwards flat over an obstacle, and sideways flat over an obstacle.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEia03Se28Gb4d6Lt139jgOMn3m5SiYY3H0Av4GaYulWsUld-GaRAlDuBTJNGS-hJexx7znQBXXGNeYqK-_PVpHywyCauOX4EO59FJeAwH5knYqHS68BYC1_39MWQz329O0hsnUEXfrDRBmLU4g-piq4QK-ATR6_1mZHjOYGv3b6zLcOHcfC5v-QXRIPsYU/s600/P3120010.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="600" data-original-width="450" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEia03Se28Gb4d6Lt139jgOMn3m5SiYY3H0Av4GaYulWsUld-GaRAlDuBTJNGS-hJexx7znQBXXGNeYqK-_PVpHywyCauOX4EO59FJeAwH5knYqHS68BYC1_39MWQz329O0hsnUEXfrDRBmLU4g-piq4QK-ATR6_1mZHjOYGv3b6zLcOHcfC5v-QXRIPsYU/s320/P3120010.jpg" width="240" /></a></div>The new introduction is <a href="https://kojutsukan.blogspot.com/2010/07/blog-post.html" target="_blank">bridgefall</a>, also referred to by Jan de Jong (JDJ) as <i>o mae ukemi</i> (major front breakfall). This technique was the subject of a 2010 <a href="http://kojutsukan.blogspot.com/2010/07/blog-post.html" target="_blank">post</a> in which a video of the technique is posted. <br /><p></p><p>Just as with sideways roll, this technique would appear to be relatively unique to JDJ's teachings, following a Google search and personal experience. </p><p>In a 2010 post, I tell of an experience while teaching with JDJ in Sweden. JDJ demonstrated a 'hip turn' technique which I 'broke my fall' with <i>o mae ukemi</i>. During the break (no pun intended), I was approached by the seminar organiser, an instructor of a jujutsu school, and asked to teach him, not the hip-turn technique but the <i>o mae ukemi</i> to land safely from the execution of the technique. He had never heard of it or seen it before.<br /></p><p>A point of differentiation that might be emphasised in the teachings of the jujutsu taught by JDJ, if it is understood by those teaching the jujutsu taught by JDJ.</p><p>The introduction of an obstacle for some of the breakfalls demonstrated in the previous grading is an increase in degree of difficulty over the previous grading.<br /></p><p><b>Basic Blocks and Attacks (Uke and Atemi)</b></p><p>Front roundhouse kick, back side drive kick, and front side drive kick. Solo demonstrations. No blocks are included in this section.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjxtgVSwoveX_WNQ-qF8V06nTBRTHFTlFhsy-OtRYLzMlP55MFyGIpiPMLfuqZ_0pk6NxQtsKR5UhrkqRLvrTh5yi0qowRmW0jASs3MS6hztPmKXpPInbgQAD7nmDzI83USDHNW_g9rsjLcQYvYiqLbbunDIhcKD_HjHC0PoOmCnoxi3uu8jzVxU7mNAig" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" data-original-height="647" data-original-width="863" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEjxtgVSwoveX_WNQ-qF8V06nTBRTHFTlFhsy-OtRYLzMlP55MFyGIpiPMLfuqZ_0pk6NxQtsKR5UhrkqRLvrTh5yi0qowRmW0jASs3MS6hztPmKXpPInbgQAD7nmDzI83USDHNW_g9rsjLcQYvYiqLbbunDIhcKD_HjHC0PoOmCnoxi3uu8jzVxU7mNAig" width="320" /></a></div>A useful inclusion/replacement in this section could be Yoseikan Budo's (YB) <i>sambo geri</i> or <i>yonbo</i> (?) <i>geri. </i>These are exercise or <i>kata </i>that are used to teach three and four kicks respectively. I have found it a very useful exercise to teach, particularly in that it necessitates lifting the knee to stay balanced. Kicking skills are not great in most of those who trained exclusively within the JDJ jujutsu tradition. These kicking skills could be enhanced, based on experience, by training to lift the knee when initiating a kick, which the correct teaching of this <i>kata </i>teaches.<p></p><p>Last year I was assisting <i>ikkyu</i> graded <i>jujutsuka</i> in the JDJ tradition and introduced <i>sambo geri</i> to them. They could not perform the <i>kata</i>/kicks. This is representative of the kicking skills in the JDJ jujutsu, and aikido, tradition. Train your kicks people, and you might have to look outside your school to learn and train how to kick, as I did.</p><p>You will recall from the previous post, <i>sambo geri</i> was included in the <i>ikkyu</i> 'Basics' grading which then became the <i>nikyu kime no kata</i>/revision grading. <i>Sambo geri</i> was replaced by JDJ's <i>wakai no kata</i> which is included in the next grading, 7th <i>kyu</i> (part of the <i>mon</i> system), red belt.</p><p><b>Happoken no Kata</b></p><p>As has been stated before in numerous posts, this is a straight-up YB <i>kata</i>. JDJ changed the stances used in the <i>kata </i>which led to questions about the first block. Why is the middle block used when the <i>taisbaki</i>, evasive body-movement, has taken care of the injurious contact with body problem (see <a href="http://schoolofjandejong.blogspot.com/2024/01/the-development-of-jdj-jujutsu-grading_12.html" target="_blank">post 3.4</a>)?</p><p>Last year, I saw a JDJ <i>ryuha yudansha</i> teaching this <i>kata</i>. They clearly had no understanding of the <i>kata</i>. The <i>kata</i> has four different strikes and four different blocks. The aforementioned <i>yudansha</i> was using basically the same striking technique for three of the four strikes.</p><p>Said <i>yudansha</i> also had no concept of the timing of the <i>kata</i>. It should be, 1,2 stop. 1,2 stop. 1,2,3,4 stop. Not 1,2,3,4,5,6,7,8 stop. This was a common problem with the <i>kata </i>and <i>kambangan </i>(pencak silat <i>kata</i>) in JDJ's school. It was a race from the beginning to the end. This compromised techniques and what the exercise was supposed to be teaching. Taking the lead from the Setia Hati pencak silat that I introduced JDJ to and which he began to teach his pencak silat instructors and through them his students, the <i>kata </i>and <i>kambangan </i>were broken down into their constituent parts and trained separately before being put back together again for the complete <i>kata/kambangan</i>. In this way the timing was corrected and the techniques improved.</p><p>Another issue is that <i>happoken no kata</i> is only taught and trained as a grading requirement. Once completed, it is hardly, if ever, trained again. Should <i>happoken no kata</i> be examined at the end of the <i>kyu</i> system, <i>ikkyu</i>, to see if the candidate has improved their technique and understanding?</p><p><b>Body Movements (Taisabaki)</b></p><p>'Defender's choice of attack, using any block'</p><p>The issue of 'blocks' has been covered in a number of previous emails.</p><p>Flowing with front snap kick, entering, entering rotation, major entering rotation, sliding. The first three <i>taisabaki </i>were demonstrated in the previous grading. A progression with the flowing technique is the inclusion of a front snap kick. The final two <i>taisabaki </i>are new inclusions and complete the YB basic <i>taisabaki</i>. <br /></p><p><b>Unbalancing (Kuzushi)</b></p><p>Normal single grip on sleeve (low) - Normal unbalancing - atemi</p><p>Normal single grip on sleeve (high) - Reverse unbalancing - atemi</p><p>Front both wrists grip - Same side unbalancing - atemi</p><p>Rear single wrist grip and strangle - Rear unbalancing - atemi</p><p>Normal, same side, reverse, and rear unbalancing are the basic unbalancing techniques from hand grips taught by YB.</p><p>Why is <i>atemi </i>included with each unbalancing? What is being examined in this unbalancing section? This is a classic example of a lack of understanding re the <a href="https://schoolofjandejong.blogspot.com/2024/01/the-development-of-jdj-jujutsu-grading_8.html" target="_blank">YB division of a defence into phases</a>. The stance and positioning when executing the <i>atemi </i>means that this unbalancing demonstration is not necessarily helping when these unbalancing techniques are used within the grading system, other than when finishing with an <i>atemi</i>.<br /></p><p><b>Locking Techniques (Kansetsu Waza)</b></p><p>'Two attackers, defender's choice of attack'</p><p>The inappropriateness of this stress grading to demonstrate the learned <i>kansetsu waza</i> has been discussed in a previous <a href="https://schoolofjandejong.blogspot.com/2024/01/the-development-of-jdj-jujutsu-grading_8.html" target="_blank">post</a>.</p><p>The previous grading included wrist twist, arm turning, and body set arm breaking techniques. This grading includes wrist crush, variant arm entanglement, forearm twist. These techniques cover six of the nine basic <i>kansetsu waza</i> taught by JDJ jujutsu (and YB). </p><p><b>Basic Blocks and Attacks (Uke and Atemi)</b></p><p>Different moving attack with flowing-brushing block-punch, entering-brushing block-punch, entering-double block-punch, flowing-brushing block-punch.</p><p>This is not the Unbalancing (Kuzushi) - Blocking (Uke) section introduced in the previous grading, even though brushing block was included in that section in the previous grading. As it is, this is a demonstration of a defence and not a part of the division of defences into phases.<br /></p><p><b>Reflex (Shinken Shobu no Kata)</b></p><p>There are 10 attack-defence combinations included in this section of the grading. Nine of the 10 defences require a joint-locking technique to be demonstrated. The joint-locks include the three demonstrated in the previous grading and the three demonstrated in the above section in this grading, albeit against two attackers and so not assessed for their technical proficiency on their own.</p><p>The final defence is agains a stick - overhead attack. Last year I observed a JDJ <i>ryuha</i> class on multiple occasions where a stick - overhead attack was included in the training. The attacker had no idea what they were doing. They were attacking with the butt end of the stick, thus changing the distancing which in term affects the defence. </p><p>The attack should be taught first and then teach the defence. If the attack is flawed, so will be the defence. The defender will become really proficient in defending against a flawed attack, which will probably mean that it will be <i>ineffective</i> against a <i>real</i> attack that is intended to do harm.</p><p><br /></p>John Coleshttp://www.blogger.com/profile/14634192254115557179noreply@blogger.com0tag:blogger.com,1999:blog-2538432015657849810.post-47737346303367177292024-01-26T02:38:00.000-08:002024-01-26T02:38:43.071-08:00The Development of the Jan de Jong Jujutsu Grading System Part 1.2: Historic Ikkyu Part 1: Basics and Current Nikyu Part 1: Kime no Kata<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgFfatlYqNKW-Z8jAYTaeIgaIqCV-kCI2yymRIc0AT_oc6OCVXHuVse9kTiWg3hGZZaVv1VwbPgF83SJgFuAdf1bGzVoNzuBfXALOPCQ2A_vqFAo5J4MteiZ3SiuHB-TiySsrmUQ3aWR3BTBOTgAe29UgKyo76JyIwKTU7Nld3qE4FmuzzU43UcJ_dYAJI" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" data-original-height="538" data-original-width="717" height="300" src="https://blogger.googleusercontent.com/img/a/AVvXsEgFfatlYqNKW-Z8jAYTaeIgaIqCV-kCI2yymRIc0AT_oc6OCVXHuVse9kTiWg3hGZZaVv1VwbPgF83SJgFuAdf1bGzVoNzuBfXALOPCQ2A_vqFAo5J4MteiZ3SiuHB-TiySsrmUQ3aWR3BTBOTgAe29UgKyo76JyIwKTU7Nld3qE4FmuzzU43UcJ_dYAJI=w400-h300" width="400" /></a></div>This post follows on from the <a href="https://schoolofjandejong.blogspot.com/2023/11/the-development-of-jdj-jujutsu-grading.html" target="_blank">post</a>, Part 1: The Kyu System.<p></p><p>You will recall from that post that the original Jan de Jong (JDJ) grading system consisted of only the <i>kyu</i> grades, which was a one-off grading system when it was developed. Start to finish, nothing else to follow or precede. That is it! Done and dusted (in the voice of Al Pacino in <i>The Heat</i>).</p><p>The image to the right is of a historic grading sheet regarding the requirements of the <i>ikkyu</i> grade which the recipient of my gifting of historical records was kind enough to forward to me based on this series of posts.</p><p>In the above linked post, I argued that the <i>ikkyu</i> grading was an instructor grading. That argument is supported by the heading to the above historic grading sheet: Ikkyu (Kyoshi) Instructor. </p><p>All those that attained <i>ikkyu</i> are instructors in JDJ's original grading system, and it could/should be argued that they are instructors under the current system which includes the <i>dan</i> grades. It could/should be argued that they should be referred to as <i>sensei</i> rather than <i>sempai </i>as they are now, given that that is how the <i>ikkyu</i> grading was developed.</p><p>Part 1: Basics in the above <i>ikkyu</i> grading requirements reflects the Yoseikan Budo (YB) influence introduced into the grading system, therefore, this grading was introduced post 1969 when JDJ trained for a short time at the YB dojo in Japan (also see below). </p><p>At some stage, the <i>ikkyu</i> Part 1: Basics became <i>nikyu</i> Part 1: Kime no Kata. </p><p><i>Kime no kata</i> is referred to as 'revision' in JDJ's jujutsu grading system. So the <i>ikkyu</i> Part 1: Basics became a revision grading when it was moved to <i>nikyu</i>, but what is it revising? It is revising the YB inspired <a href="https://schoolofjandejong.blogspot.com/2024/01/the-development-of-jdj-jujutsu-grading_5.html" target="_blank"><i>mon</i> grades</a> with the <i>ikkyu</i> Part 2: Kime no Kata in the above image being a true revision of the <i>kyu</i> grades. That grading requires the grading candidate to select defences from the <i>kyu</i> grades in the nominated sections in that gradings. </p><p>All of the techniques in Part 1: Basics are YB techniques, including Itsutsu no Kata, Happoken, and Sambogeri. When <i>ikkyu</i> Part 1: Basics becomes <i>nikyu</i> Part 1: Kime no Kata, Happoken and Sambogeri were replaced by Wakai no Kata.</p><p><a href="https://schoolofjandejong.blogspot.com/2019/02/happoken-no-kata.html" target="_blank">Happoken</a> is a YB <i>kata</i> designed to teach striking and blocking skills. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEj7O5v79aUdxu7Tf7_0fXlyIjNw_kkozhmeH48NDkrXgvZSObo-U1f_pzWIckHsjCbrWe03MOIJ0k0kp2ICL57uS4kmrIQzwInQuydeVxggtBVlFmsOkilC_a70DJX4ecfZ_Xufv5bKDF-37yqz0uY1iqtRR0pAingUDjt38uqDk0bUENoecTwGI4E4u_M" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" data-original-height="647" data-original-width="863" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEj7O5v79aUdxu7Tf7_0fXlyIjNw_kkozhmeH48NDkrXgvZSObo-U1f_pzWIckHsjCbrWe03MOIJ0k0kp2ICL57uS4kmrIQzwInQuydeVxggtBVlFmsOkilC_a70DJX4ecfZ_Xufv5bKDF-37yqz0uY1iqtRR0pAingUDjt38uqDk0bUENoecTwGI4E4u_M" width="320" /></a></div><br />Sambogeri is a YB <i>kata</i>/exercise designed to teach kicking skills (see image right from Mochizuki's book). In future posts, I will be suggesting that Sambogeri and derivations thereof be introduced into the <i>mon</i> grades to improve the kicking skills of JDJ <i>jujutsuka</i>, which are generally substandard unless the student trained in a percussion based martial art.<p></p><p><a href="https://schoolofjandejong.blogspot.com/2011/09/jan-de-jong-pt-12-kyu-grades.html" target="_blank">Wakai no Kata</a> is a <i>kata</i> that JDJ developed to teach striking, blocking, and kicking skills, along with different stances. Wakai no Kata will be the subject of a future post when exploring the <i>mon</i> system. In that post I will explain why it tends to be poorly performed in the JDJ tradition, even by the majority of instructors.</p><p>The abovementioned generous provider of the historic grading sheets also commented:</p><i>After doing the nikyu revision, Greg Palmer came up to me and said "you have me to thank for that grading". The Boss has tasked him with developing an assessment for those who hadn't done the mons. Further cementing the case for Greg to have been a yondan on completion of sandan.<br /></i><p>I argued in the first <a href="https://schoolofjandejong.blogspot.com/2023/11/who-was-best-teacher-as-jan-de-jong.html" target="_blank">post</a> of this series that Greg Palmer was the best teacher at the school because he was a trained and qualified teacher, and I don't mean in a martial arts system which is basically amateurish. I was unaware that Greg developed this grading, however, it makes sense because it is a coherent introduction, not revision as suggested above, to the YB system that forms the basis of the <i>mon</i> grades.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO1yv-5XC6wu6sLEZRAcGt0BZDO7NiHa0Tdqwkp2eQS3Mpbw4maCw_cduRWlBxYpjKlaa4gqfqgmgyRwPDd4huR9Q6c1RRwwb8jD-BIX6MmIgUE9XGx8G0jhIesyz4O5kQzZv0IccWN4GMPBYc110iUz43APkcFwVLK1BT7xZY0irF4KuNxKyn_eJPm3E/s2958/Greg%20%20De%20Jong%20Sml%20(2).jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="2958" data-original-width="2346" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO1yv-5XC6wu6sLEZRAcGt0BZDO7NiHa0Tdqwkp2eQS3Mpbw4maCw_cduRWlBxYpjKlaa4gqfqgmgyRwPDd4huR9Q6c1RRwwb8jD-BIX6MmIgUE9XGx8G0jhIesyz4O5kQzZv0IccWN4GMPBYc110iUz43APkcFwVLK1BT7xZY0irF4KuNxKyn_eJPm3E/s320/Greg%20%20De%20Jong%20Sml%20(2).jpg" width="254" /></a></div>With regards to Greg and the awarding of <i>yondan</i> upon completion of the 'technical' grades in the JDJ jujutsu grading system. I would go further than the above commentor and argue that Greg was entitled to be graded <i>rokudan</i> along with the anointed <a href="https://schoolofjandejong.blogspot.com/2023/11/who-was-best-teacher-as-jan-de-jong.html" target="_blank">trio</a>. <p></p><p>Greg's contribution to the grading system far exceeded that of any of the trio, including introducing JDJ to a mindset of progressive gradings. It is generally acknowledged that his understanding of techniques and how to teach them exceeded that of the trio. He also selflessly taught for JDJ for nearly 40 years with no remuneration, unlike two of the trio. He was also the first and only to have established a branch outside the metropolitan area for JDJ.</p><p>You will recall in a previous post that I shared an insight that I had gained through studying the development of the JDJ jujutsu grading system, and that is that the instructors teaching the <i>mon</i> grades may not have actually gone through the <i>mon</i> grades. The above comment would appear to confirm that.</p><p>In that case, the <i>nikyu</i> revision, as the above provider described it, was not a revision grading for those that did not go through the <i>mon</i> system. It is an introduction to the <i>mon</i> system. It features the <a href="https://schoolofjandejong.blogspot.com/2024/01/the-development-of-jdj-jujutsu-grading_8.html" target="_blank">YB division of a defence into phases</a>: <i>taisabaki, kuzushi, waza</i> (body-movement, unbalancing, technique). It features the five basic YB <i>taisabaki</i>, their basic <i>kuzushi</i> from hand grips, and their nine basic <i>kansetsu waza</i> (joint-locking techniques) as <i>waza</i>. </p><p>Did the instructors who did not go through the <i>mon</i> system understand that these were phases in a defence? Did JDJ? This might explain some/many of the issues that I have and will be raising in connection with the <i>mon</i> grades and the teaching thereof.</p><p><br /></p>John Coleshttp://www.blogger.com/profile/14634192254115557179noreply@blogger.com0tag:blogger.com,1999:blog-2538432015657849810.post-62560394779215857472024-01-19T18:30:00.000-08:002024-01-19T18:30:24.540-08:00The Development of the Jan de Jong Jujutsu Grading System Part 3.6: 9th Kyu (First Adult Grading in Mon System)<div class="separator"><p style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="Amazon.com: MACS Martial Arts 1.75" Wide Karate/Taekwondo Double Wrap Striped Color Belts (Brown with White Stripe, 0) : Clothing, Shoes & Jewelry" class="rg_i Q4LuWd" data-atf="true" data-deferred="1" data-iml="1052" height="168" 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width="302" /> <br /></p></div><p>The beginning of the <i>mon </i>system for adults is <a href="http://schoolofjandejong.blogspot.com/2024/01/the-development-of-jdj-jujutsu-grading_5.html" target="_blank">9th <i>kyu</i></a>, brown and white belt. This post will look at the 9th <i>kyu</i> grading.</p><p>You will recall from a <a href="http://schoolofjandejong.blogspot.com/2024/01/the-development-of-jdj-jujutsu-grading_8.html" target="_blank">previous post</a> that the grading is made up of various sections. The following will consider each section. The initial reference point will be the gradings published in <i>Jan de Jong: the man, his school and his ju jitsu system </i>(Jan de Jong Self Defence School, 1995).</p><p><b>Breakfalls (Ukemi)</b></p><p>Six types of <i>ukemi </i>are demonstrated: (1) forwards, backwards, and sideways rolls, and (2) forwards, backwards, and sideways flats.</p><p></p><p>1. All of the <i>ukemi</i>, except for sideways roll, are taught in judo (see point 5 below). Most jujutsu schools take their <i>ukemi</i> from judo. <br /></p><p>2. Sideways roll is <i><u>unique </u></i>to the jujutsu taught by Jan de Jong (JDJ), and it should be taught as such. This is a clear point of differentiation between the jujutsu taught by JDJ and that of all other jujutsu, aikido, and judo teachings. (Marketing 101 - differentiate the product).</p><p>I found a 'sideways roll' included in the door-stopper of a book by Marc Tedeschi, <i>Hapkido: Traditions, Philosophy, Technique</i> (2000; 1136 pages, over 9000 photographs). The sideways roll included in Tedschi's book is a barrel roll: starting on all fours, roll sideways and back up to on all fours. <br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf7QCCmhwPA4bi2aqRrLILVPmJJyTHt3_cAHEwVdJrniDZzw-rXnaAVarACkQtUZdZabu1Vy8kqc5NfF6-BFf5y64aV3kce2Zqsy5NQBYVK3vZ8VstFM9Ho_o0e-HIS_I3rAsTlYD_iT068S1ELoGP3Kxcg5TO5OgUpHnVXH2nJWAjgp8NL-cbMuYBJlQ/s392/parachute.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="129" data-original-width="392" height="105" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf7QCCmhwPA4bi2aqRrLILVPmJJyTHt3_cAHEwVdJrniDZzw-rXnaAVarACkQtUZdZabu1Vy8kqc5NfF6-BFf5y64aV3kce2Zqsy5NQBYVK3vZ8VstFM9Ho_o0e-HIS_I3rAsTlYD_iT068S1ELoGP3Kxcg5TO5OgUpHnVXH2nJWAjgp8NL-cbMuYBJlQ/s320/parachute.jpg" width="320" /></a></div><p>3. Sideways roll as taught by JDJ is best described in terms of the old-school parachute landing involving sequential impact with the landing surface of body parts from the ankle to the shoulder thus reducing the force to be absorbed by the body per unit area and per unit time (see my book on the science behind all fighting techniques).</p><p>I did find a similar roll in Kreighbaum and Barthels (1996), <i>Biomechanics: A Qualitative Approach for Studying Human Movement</i>. Apparently this type of sideways roll is taught in volleyball.</p><p>4. Sideways roll is generally taught and demonstrated very poorly in the JDJ tradition. Starting off the roll on a flat foot generally results in a sideways flat that transitions into a backwards roll. Jumping into the roll often ends up with the same result. I teach to start off on the edge of the foot with the body arced in a 'C' position with the hip leading and shoulders leaning away from the direction of the fall. This forces the person to have sequential body parts impact (ankle, calf, thigh, hip, shoulder) before transitioning into a backwards roll. An important factor is, as with so many techniques, the direction the practitioner looks when executing the technique. Look at the ground and the body turns forward towards the ground. Look straight ahead or slightly to the other side, and the body stays side-on, thus executing a true sideways roll.<br /></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg94MUiE37cb1tiwvOEgl9LX1wWbN8VVJDGsGMtK-1OxCvZOQmq5lKlMHIF2Rduq5kbI8bbreIZsjzQcQS6izVSledVxMoqwV9p10JiTOTIWp45oQCVSGHyRA3QFlV0NGvyCYBc887O7fhWmM4od3nxGrK3pYUJETtwOGGfBkiRrXrglZI5Oh9t43aIDZg/s4160/fwds%20roll.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3120" data-original-width="4160" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg94MUiE37cb1tiwvOEgl9LX1wWbN8VVJDGsGMtK-1OxCvZOQmq5lKlMHIF2Rduq5kbI8bbreIZsjzQcQS6izVSledVxMoqwV9p10JiTOTIWp45oQCVSGHyRA3QFlV0NGvyCYBc887O7fhWmM4od3nxGrK3pYUJETtwOGGfBkiRrXrglZI5Oh9t43aIDZg/s320/fwds%20roll.jpg" width="320" /></a></div>5. <i>Kaiten ukemi</i> (rolling breakfalls) are taught within the JDJ tradition such that the technique ends with the individual facing their opponent. This is a jujutsu approach compared to a judo approach, according to Pat Harrington in <i>Principles of Jujutsu</i> (1997) and Eddie Ferrie in <i>Ju-Jitsu: Classical and Modern</i> (1990):<p></p><p><!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" Priority="9" SemiHidden="true"
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<w:LsdException Locked="false" Priority="9" SemiHidden="true"
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<w:LsdException Locked="false" Priority="9" SemiHidden="true"
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<w:LsdException Locked="false" Priority="9" SemiHidden="true"
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<w:LsdException Locked="false" Priority="9" SemiHidden="true"
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<w:LsdException Locked="false" Priority="9" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="35" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
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<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
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<w:LsdException Locked="false" Priority="30" QFormat="true"
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<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
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<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
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<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
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<w:LsdException Locked="false" Priority="21" QFormat="true"
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<w:LsdException Locked="false" Priority="31" QFormat="true"
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<w:LsdException Locked="false" Priority="32" QFormat="true"
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<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
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<![endif]--><i>The major difference between the forward breakfall in judo and jujutsu is the way jujutsu exponents come to their feet facing in the direction from which they have just fallen. It is standard practice to roll and come to your feet, simultaneously turning to face your opponent in a defensive guard. Judoka, on the other hand, roll, stand up and usually carry on walking.</i> (Ferrie 1990, 33)<br /></p><p>Judo teaches to walk away (not face the attacker) with <i>kaiten ukemi</i>. It has been suggested that this reflects the lack of combative focus in judo teachings. <i>Do </i>rather than <i>jutsu</i>. The same suggestion has been raised with respect to aikido when <i>kaiten</i> <i>ukemi </i>is taught in the same fashion. <br /></p><p></p><p>JDJ included the 'judo' approach to <i>kaiten ukemi</i> in the instructors class. Why not include the judo approach in the <i>mon </i>grades? If nothing else, it increases the tactical options for students when regaining one's feet from a <i>kaiten ukemi</i>.</p><p>One of the exercises I use when teaching <i>kaiten ukemi</i> involves a person pushing another who executes the <i>kaiten ukemi</i> while the 'pusher' walks towards that person. This demonstrates that one needs to rise to their feet rapidly when used in a defensive situation. Often the person was very close when the person rose to their feet, because of the execution of the <i>kaiten ukemi</i>. One option is to adopt the judo approach in order to create distance between the 'attacker' and defender before turning to face them. The other is the slow rise to the feet is often a product of where the person is looking when they are exiting the roll. Throw your head back to immediately seek out the attacker and the body follows.<br /></p>Greg Palmer and Peter Templeman (two JDJ <i>yudansha</i> instructors) told of how they did not sustain injuries when coming off a motorcycle at speed because of their <i>kaiten ukemi</i> training. The told of <i>mae kaiten ukemi</i>, <i>ushiro kaiten ukemi</i>, <i>ushiro kaiten ukemi</i>, <i>yoko kaiten ukemi</i>, etc. Only one <i>mae kaiten ukemi</i> - why? Because if the only way you've been taught <i>kaiten ukemi</i> is the 'jujutsu way', it rules out <i>mae kaiten ukemi</i> after any initial use as the person will always be facing the direction from which the fall commenced.<p>The secret for teaching the jujutsu and judo <i>kaiten ukemi</i> ways? Either a figure-4 or parallel leg arrangement. It's as simple as that. And don't forget where the performer looks.<br /></p><p><b>Basic Blocks and Attacks (Uke and Atemi)</b></p><p>The four blocks are karate style blocks demonstrated solo (high, middle x 2, low: see a <a href="http://schoolofjandejong.blogspot.com/2024/01/the-development-of-jdj-jujutsu-grading_12.html" target="_blank">previous post</a>).</p><p>The two attacks are front snap kick and punch with step. </p><p>I recently saw a video prepared for student instruction where the JDJ <i>ryuha yudansha</i> was demonstrating a front snap kick/front kick. Their attempt to kick high resulted in their toes not being pulled back so as to kick with the ball of the foot. This is what the kick should look like (btw, it is not a 'snap' kick):<br /></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihrnLRJQvaHGEDzjuxAEr7iMe2GErZLFNT-llAnpYwWSOQPum2_YMG2iYU1OmRl8FIpk1uFnYqHN_GM7MCcVrG5kfd274mg7l_QQ7-v3h5VfRnQ2J5oQgnfsPNConTETrzYiXNyaL3vViBzKFzTmymQ8tc_PM9gFG754RCyNXQZIc87k0Y78xCg-fOH1I/s640/front%20kick.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="502" data-original-width="640" height="251" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihrnLRJQvaHGEDzjuxAEr7iMe2GErZLFNT-llAnpYwWSOQPum2_YMG2iYU1OmRl8FIpk1uFnYqHN_GM7MCcVrG5kfd274mg7l_QQ7-v3h5VfRnQ2J5oQgnfsPNConTETrzYiXNyaL3vViBzKFzTmymQ8tc_PM9gFG754RCyNXQZIc87k0Y78xCg-fOH1I/s320/front%20kick.jpg" width="320" /></a></div><p>Kicking techniques do not tend to be taught too well in the JDJ tradition. For those in the JDJ tradition demonstrating for students or publishing instruction manuals and/or videos, remember, students will study those images <i>ad nauseum</i> in an attempt to replicate them. If the images are of poor technique, they will work hard to produce poor technique.</p><p><b>Body Movements (Taisabaki)</b></p><p>'Defender's choice of attack, using any block'</p><p>The issue of 'any block' was discussed in the previous two posts.</p><p><b>Unbalancing (Kuzushi)</b></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPjeF1m7zHyafGHt9AYcTkvBcLAOf0oMvl7rtycVvSdtRaI6x_A9Lc3x1mJ_3Vdl5pLIyi1KvhbXdAwZNRa464PPtr9iBUq8TbT8dWkmnmlTGw_VHSL711tsdy5mXLRyrP5ipDl3yOjms6cE_kbVNb1S6tNQj-LlZReIh9f76MlwN1Ejnmoz81qjubYDk/s4160/jun%20kuzushi.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3120" data-original-width="4160" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPjeF1m7zHyafGHt9AYcTkvBcLAOf0oMvl7rtycVvSdtRaI6x_A9Lc3x1mJ_3Vdl5pLIyi1KvhbXdAwZNRa464PPtr9iBUq8TbT8dWkmnmlTGw_VHSL711tsdy5mXLRyrP5ipDl3yOjms6cE_kbVNb1S6tNQj-LlZReIh9f76MlwN1Ejnmoz81qjubYDk/s320/jun%20kuzushi.jpg" width="320" /></a></div>Normal single wrist grip - Normal unbalancing<p></p><p>Same side single wrist grip - Same side unbalancing </p><p>Reverse single wrist grip - Reverse unbalancing</p><p>Rear both wrists grip - Rear unbalancing</p><p>Front both wrists grip - same side unbalancing</p><p>The first four attacks and unbalancings are pure <a href="http://schoolofjandejong.blogspot.com/2024/01/the-development-of-jdj-jujutsu-grading_17.html" target="_blank">Yoseikan Budo</a> (YB).</p><p>The fourth attack and unbalancing is an extension of the basic unbalancings from wrist grips. Why is an extension being added into this section in the first grading an adult will be attempting? Shouldn't the first grading at least just be examining basic techniques. Variations can be introduced in later gradings.</p><p><b>Unbalancing (Kuzushi) - Blocking (Uke)</b></p><p>This section of the grading was discussed in the previous post where the issue of JDJ's classification of blocking techniques as being unbalancing techniques was explored.<br /></p><p>Note that the above demonstrated blocks, karate style blocks, are not included in the unbalancing use of blocks in this section of the grading.</p><p>It is also worth noting that the required brushing block against a downwards hit in no way, ever, unbalances an opponent. <i>Ever! </i>(see previous post) <br /></p><p><b>Locking Techniques (Kansetsu Waza)</b></p><p>'Two attackers, defender's choice of attack'</p><p>This is the first grading for an adult, and they are being expected to defend using a specified <i>kansetsu waza</i> against two attackers. It is their first grading. The inappropriateness of this stress element in this and in all of the <i>mon </i>grades was discussed in a <a href="http://schoolofjandejong.blogspot.com/2024/01/the-development-of-jdj-jujutsu-grading_8.html" target="_blank">previous post</a>. </p><p><b>Reflex (Shinken Shobu no Kata)</b></p><p><i>Shinken shobu no kata</i> is explained and discussed in this <a href="http://schoolofjandejong.blogspot.com/2023/11/the-development-of-jdj-jujutsu-grading.html" target="_blank">post</a>. This grading and training method is another <i><u>unique </u></i>aspect of JDJ's teaching and should be appreciated and shared as such (Marketing 101: differentiate the product).</p><p>This is an adult's <i><u>first </u></i>grading; is there any need for this (or any other) stress element? Maybe it's to acclimatise the student to <i>shinken shobu no kata</i> gradings given that this is the principal form of grading from the <i>kyu</i> grades onwards. Fair enough, but does this mean they are given a lot of leeway in this grading due to the stress element (ditto for the above stress element) and the fact that it is their very first grading?<br /></p><p>#1 Normal single grip on the sleeve (low) - Body set arm breaking.</p><p>In the above unbalancing section, normal single wrist grip is demonstrated with normal unbalancing. In this defence sequence, body set arm breaking is facilitated by 'same side unbalancing' from a normal single grip on the sleeve (low). Why? Why complicate things in the first grading? Surely it should be to apply the whole <a href="http://schoolofjandejong.blogspot.com/2024/01/the-development-of-jdj-jujutsu-grading_8.html" target="_blank"><i>taisabaki</i>, <i>kuzushi</i>, <i>waza </i>phases</a> of a technique that the grading seems to be based upon to bring the phases together in a defence?! A <a href="https://schoolofjandejong.blogspot.com/2024/01/the-development-of-jdj-jujutsu-grading_5.html" target="_blank">systems thinking</a> approach.<br /></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiz8gEQ8FeDFehI0eUiL4p90wJvIi-HRwB_Tpewej95UExeXNLV1gdoLAr7lqqvfYilUKd4mtjEhukedgdAqZ6WrlDyKnUJcZxV29YxV1QxzTGeV1LB1qmQqbacjlUnVPubl83PhkofHFbThH1jQKYyvDbD3yIptb2v7JpTpimjp0ylOkr9BBhimupWas/s1066/card7%20042.1.JPG" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1066" data-original-width="800" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiz8gEQ8FeDFehI0eUiL4p90wJvIi-HRwB_Tpewej95UExeXNLV1gdoLAr7lqqvfYilUKd4mtjEhukedgdAqZ6WrlDyKnUJcZxV29YxV1QxzTGeV1LB1qmQqbacjlUnVPubl83PhkofHFbThH1jQKYyvDbD3yIptb2v7JpTpimjp0ylOkr9BBhimupWas/s320/card7%20042.1.JPG" width="240" /></a></div>#3 High punch - <i>Atemi </i>- body set arm breaking.<p></p><p>The use of <i>atemi </i>to unbalance an opponent, in the <i>kuzushi </i>phase of a defence, has not been introduced to the student in the grading as yet. Why include this new element in this stress section of the grading when other unbalancing methods have been demonstrated in the grading?</p><p>#5 Front snap kick - Brushing block - punch.</p><p>I would teach a grading candidate to use an <a href="http://schoolofjandejong.blogspot.com/2024/01/the-development-of-jdj-jujutsu-grading_17.html" target="_blank">'empty block'</a>, no block at all, when executing this defence as a 'teach-the-teacher' exercise (see above re brushing blocks). Would the JDJ ryuha instructors mark the grading candidate down if they did not use a brushing block but simply an <a href="http://schoolofjandejong.blogspot.com/2024/01/the-development-of-jdj-jujutsu-grading_17.html" target="_blank">evasive body-movement</a> and a decisive punch?<br /></p><p><b>Comment</b></p><p>It may seem like I'm being overly critical of JDJ's efforts, however, it's more about learning from his efforts. First, how would you go about developing a grading system when you have no real experience with a grading system? How you go about introducing a systems based element into a 'collection of defences' grading system when you have no real understanding of systems based thinking? JDJ did a remarkable job given the circumstances, however, it behoves those that follow him to study what he did in order to improve on what he did; to see further by standing on the shoulders of a giant. It behoves them to gain insights and understanding rather than simply to imitate.<br /></p><p><br /></p>John Coleshttp://www.blogger.com/profile/14634192254115557179noreply@blogger.com0tag:blogger.com,1999:blog-2538432015657849810.post-65136987857008809272024-01-17T19:04:00.000-08:002024-01-17T19:04:25.438-08:00The Development of the JDJ Jujutsu Grading System Part 3.5: The Mon System and JDJ's Blocking Techniques Classification<p></p><p></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDqL67F3J3LKByCT55MjVkucHlZfgSN40NzR-H9OgOlyUX1TBUV5zOMdmslTKVh5RJsPz9garO2ZAGocCoj8mw-T3A2zE1Cdfp6GBM0Q5hoJzDbL6uVO2T_gCzPcTEwxbgBE4dkAIeTArEezMKHhBJEd7-lS2ubfW4UQAQx3AavcJysEMu2Dld3KAeNXQ/s2560/card7%20034.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1920" data-original-width="2560" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDqL67F3J3LKByCT55MjVkucHlZfgSN40NzR-H9OgOlyUX1TBUV5zOMdmslTKVh5RJsPz9garO2ZAGocCoj8mw-T3A2zE1Cdfp6GBM0Q5hoJzDbL6uVO2T_gCzPcTEwxbgBE4dkAIeTArEezMKHhBJEd7-lS2ubfW4UQAQx3AavcJysEMu2Dld3KAeNXQ/w200-h150/card7%20034.jpg" width="200" /></a></div>This post follows on from the <a href="http://schoolofjandejong.blogspot.com/2024/01/the-development-of-jdj-jujutsu-grading_12.html" target="_blank">previous post</a> concerning blocking techniques in the Jan de Jong (JDJ) jujutsu <i>mon</i> grading system. Specifically, this post looks at JDJ's classification of blocking techniques that he introduced into the <i>mon</i> grades. <p></p><b>Classification</b><p>You will recall from a <a href="https://schoolofjandejong.blogspot.com/2023/12/the-development-of-jdj-jujutsu-grading_22.html" target="_blank">previous post</a> that the core of all learning is the identification of similarities and differences. One of the proven highly effective means of identifying similarities and differences is classification. Many in the martial arts think of classification as simply being an administrative exercise. They could not be more wrong, as I explain in my book on the science behind all fighting techniques:</p><p><i>Lackoff (1987) warns against such a dismissive attitude. He suggests that there is nothing more basic to our thought, perception, action, and speech than classification and that without the ability to classify we would not function at all, either in the physical world or in our social and intellectual lives.'</i></p><p><b>JDJ's Classification of Blocking Techniques</b> <br /></p><p>JDJ's classification of blocking techniques involves six categories: hard, soft, pushing, pulling, grabbing, and empty. Exploring those categories and the classification system itself is revealing.<br /></p><p></p><p><b>Yoseikan Budo Kuzushi and JDJ's Classification of Blocking Techniques</b></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5fht6hAFIdLN-vRw78SNSNEDsPGcmoEVhk1p97FMjZrkOTJIHKhkhOphJH3aQ1TSYp-BM3F0YpDM9WEz_WkHxvf5fUhPZiBUA-FLU2bJ9c7FEr8ApfXCGJITPfo0l3rA2Yuft7FNur1Lprn3Ht5c0r4X6oYqqWwfMsOuYIleS4Kmdiy2RrMWotYq1NgE/s4160/jun%20kuzushi.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3120" data-original-width="4160" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5fht6hAFIdLN-vRw78SNSNEDsPGcmoEVhk1p97FMjZrkOTJIHKhkhOphJH3aQ1TSYp-BM3F0YpDM9WEz_WkHxvf5fUhPZiBUA-FLU2bJ9c7FEr8ApfXCGJITPfo0l3rA2Yuft7FNur1Lprn3Ht5c0r4X6oYqqWwfMsOuYIleS4Kmdiy2RrMWotYq1NgE/s320/jun%20kuzushi.jpg" width="320" /></a></div>You will recall from a <a href="http://schoolofjandejong.blogspot.com/2024/01/the-development-of-jdj-jujutsu-grading_8.html" target="_blank">previous post</a> that JDJ included unbalancing (<i>kuzushi</i>) sections in his <i>mon </i>grades. These sections involved unbalancing techniques from hand grabs: e.g., normal single wrist grip - normal unbalancing. These attacks and techniques are taken straight from Yoseikan Budo (YB).<p></p><p>The JDJ classification of blocking techniques was introduced into the <i>mon </i>system to complement the unbalancing from hand grips, but for moving attacks. This is seen in their use in the various sections in the <i>mon</i> grades, however, it is explicitly seen in the Unbalancing (<i>Kuzushi</i>) - Blocking (<i>Uke</i>) sections in 5th <i>mon</i> and 9th <i>kyu</i> (both part of the <i>mon </i>system; see previous post).<br /></p><p>You will recall from the previous post that one of Nakayama's blocking possibilities is unbalancing the opponent with a block. Do the blocks in JDJ's classification unbalance an opponent with the blocking technique?</p><p></p><p></p><p><b>JDJ's Classification of Blocking Techniques, Unbalancing, and Pencak Silat</b></p><p>JDJ <i>did not</i> originally develop his classification of blocking techniques to compliment the <i>tehodoki kuzushi</i>. He developed it to classify the response to an attack in the pencak silat he taught. This classification was then introduced into his pencak silat grading system. In this way, JDJ was conceptualising 'blocking techniques' as being <i>uke waza</i>.</p><p></p><p><b>Uke Waza</b></p><p><i>Uke waza</i> is often translated in karate as being blocking techniques, however, it actually translates as receiving techniques; techniques used to receive an attack.</p><p>In this way, <i>uke waza</i> includes evasive body-movements (EBM), aka <i>taisabaki</i>, and so-called blocking techniques.</p><p></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi88DkELGOQ98pujafwuvXDhziz-u8wuwGom4KS8CMgBuQ3rf8QaOxizz_pzMrtP8H5K5L7-iPSGE6IVZt934Ca7t9tMqH59QmkBDxYAwd1H0E3a9qrJYjB7FGWVzM7rWUZvmyY0i3FE3oMG8jirF1ErXHIHKcl-CComNBfdyZ8hAc4O2SHUmOvN7N4wws/s720/aikido%20off%20line.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="400" data-original-width="720" height="178" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi88DkELGOQ98pujafwuvXDhziz-u8wuwGom4KS8CMgBuQ3rf8QaOxizz_pzMrtP8H5K5L7-iPSGE6IVZt934Ca7t9tMqH59QmkBDxYAwd1H0E3a9qrJYjB7FGWVzM7rWUZvmyY0i3FE3oMG8jirF1ErXHIHKcl-CComNBfdyZ8hAc4O2SHUmOvN7N4wws/s320/aikido%20off%20line.jpg" width="320" /></a></div>There are three ways of dealing with a moving attack in order to avoid injurious contact with the body: (1) 'block' the attack (see below), (2) move the attacking limb or object off the line of attack (deflection), or (3) move off the line of attack (EBM). There are three ways of repositioning oneself to execute a counterattack from a moving attack: (1) 'block' the attack, (2) move the attacking limb off the line of attack (deflection), or (3) move off the line of attack.<p></p><p>The last sentence was in response to a comment received on my Facebook post sharing the previous blog post. I share their conception of <i>taisabaki </i>in that it repositions <i>tori </i>to execute a technique, however, they are only half right. The avoiding injurious contact with the body from an attack aspect of <i>taisabaki </i>can never be forgotten or minimised.</p><p><i>Taisabaki </i>is taught within the JDJ teachings in terms of an EBM to avoid injurious contact with the body. In doing so, it does not necessarily reposition <i>tori </i>in an optimum position to execute a decisive technique. When I began instructing my students that <i>taisabaki </i>is used to avoid injurious contact with the body <i>and</i> to reposition in order to attack, the positioning, distancing, and timing problems they experienced previously tended to sort themselves out. It also changed their mindset from being prey trying to avoid being eaten to being a counterattacker, a fighter.</p><p>PS: <i>Uke </i>means to receive. <i>Ukemi </i>is often translated as breakfalls, however, it actually means to receive through or with the body. In this case, <i>ukemi </i>is a biomechanically accurate description of breakfalling techniques. The force applied to the body when landing from a fall is based on Newton's third law of motion: for every action there is an equal and opposite reaction. Newton's 'action' and 'reaction' means mechanical force. In the case of <i>ukemi</i>, the falling body applies force to the landing surface upon impact, and the landing surface applies a reaction force to the falling/landing body, which <i>ukemi </i>is designed to absorb in a way that reduces the risk of injury (see my book on the science behind all fighting techniques). <br /></p><p><b>Unbalancing (<i>Kuzushi</i>) - Blocking (<i>Uke</i>) </b></p><p>You will recall from the previous post that an Unbalancing (<i>Kuzushi</i>) - Blocking (<i>Uke</i>) section was included in the 5th <i>mon </i>and 9th <i>kyu </i>gradings. Included in these sections were the demonstration of pushing, pulling, and grabbing block against a low punch and a brushing block against a downwards hit.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg05POEyrfYtrfc03NAl8Uy_u4QyNAzSQ6IjZb4GOzW4dO_sl2NO1Tp1dB9C92NSuO_q0eblZhqnheyRiBCe06bPaeb_QXxl3rcz-KHzLZpyhF32w9RyMkSsYAH5FEY-kX3BZwPY5uIqT21s7WZ5GAmwHDk4u7wdkZeMs7Jro69yPYT_XdOURbbUDe9P9U/s2560/card7%20033.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1920" data-original-width="2560" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg05POEyrfYtrfc03NAl8Uy_u4QyNAzSQ6IjZb4GOzW4dO_sl2NO1Tp1dB9C92NSuO_q0eblZhqnheyRiBCe06bPaeb_QXxl3rcz-KHzLZpyhF32w9RyMkSsYAH5FEY-kX3BZwPY5uIqT21s7WZ5GAmwHDk4u7wdkZeMs7Jro69yPYT_XdOURbbUDe9P9U/w200-h150/card7%20033.jpg" width="200" /></a></div>A pushing block involves an EBM (<i>irimi</i>) and a pushing force being applied to the opponent's attacking arm to unbalance the opponent (see first image above). A pulling block is the same except the EBM is either <i>nagashi </i>or <i>irimi</i> <i>senkai</i> and a pulling force is applied to the opponent's attacking arm for the same purpose (see image to the right). <p></p><p>As explained in my book on the science behind all fighting techniques, mechanical force is defined as a push or a pull (see my post published in <a href="https://schoolofjandejong.blogspot.com/2013/05/theory-grades.html" target="_blank">2013 </a>that explained the use of the mechanical concept of force to understand all techniques). Whenever an 'object' starts, stops, speeds up, slows down, or changes direction, a force caused that change in motion. As I explain in the aforementioned book, Jigoro Kano, founder of Kodokan Judo, was the quintessential martial arts biomechanist when he described <i>kuzushi </i>as being a push or a pull in his <i>Kodokan Judo</i>.<br /></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiO3DV34j7WhxUV51dQZuE5YyNDYQNuF3RHyge-RHkpRRx4omrmoQ7wmnB1Ns3MW9CDDRU6_6zq4q4SS6EyvkwpzPAiMtJo3MB4hFfoR-xU0O3G5DWzcaYejrohMF2mqWc4DaTFHqVD8cZ3XaqZn1xF8J02kdbKAY9pVV0DdFCbehwyvIwGR_M0q7EY9A0/s2560/card7%20038.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1920" data-original-width="2560" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiO3DV34j7WhxUV51dQZuE5YyNDYQNuF3RHyge-RHkpRRx4omrmoQ7wmnB1Ns3MW9CDDRU6_6zq4q4SS6EyvkwpzPAiMtJo3MB4hFfoR-xU0O3G5DWzcaYejrohMF2mqWc4DaTFHqVD8cZ3XaqZn1xF8J02kdbKAY9pVV0DdFCbehwyvIwGR_M0q7EY9A0/w200-h150/card7%20038.jpg" width="200" /></a></div>A grabbing block involves an EBM and 'grabbing' the opponent's attacking arm (see image to right). Unbalancing occurs when the EBM positions <i>tori </i>a small distance away for <i>uke</i>'s attacking arm and the grabbing motion pulls said arm to <i>tori</i>'s body thereby unbalancing <i>uke</i>. In force-related terms, this involves a pulling force being applied to <i>uke</i>'s attacking arm at right angles.<br /><p></p><p>I cannot remember any defence included in the JDJ jujutsu grading system that uses this type of 'block', not in its purest form at least. An example of its practical use might be in a grabbing-pulling motion when unbalancing <i>uke </i>in a circular motion which is a common tactic in YB and aikido, and JDJ's jujutsu and aikido. If so, why not demonstrate that in the grading rather than a technique that is never used?</p><p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqb-g5VMhtrYwIdbmiaAkn-uheQawwqieUtQaHkzHxDHdPpf6n_1SfOlh2NtQS9xEMYDwE6BQjouuEPQTwjqPy8PLmIfoww80BADGv-xXg-IVaxhT5hJidIwf4sImEwz6gkzdfSQ8c_WyJsJBaqP9Qmgnas8S1jNBsvWH8Aqitia96dcZppdfiiMV8dT0/s2560/card7%20030.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2560" data-original-width="1920" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqb-g5VMhtrYwIdbmiaAkn-uheQawwqieUtQaHkzHxDHdPpf6n_1SfOlh2NtQS9xEMYDwE6BQjouuEPQTwjqPy8PLmIfoww80BADGv-xXg-IVaxhT5hJidIwf4sImEwz6gkzdfSQ8c_WyJsJBaqP9Qmgnas8S1jNBsvWH8Aqitia96dcZppdfiiMV8dT0/w150-h200/card7%20030.jpg" width="150" /></a></div><br />Brushing block is as described. It brushes the opponent's attacking arm, like brushing dirt of their sleeve. It does not deflect the attacking arm. It doesn't have to because the EBM has taken care of the problem of avoiding injurious contact with the body (see previous post) The attacking arm stays on course without interruption. See below for an illustration of a brushing block (ignoring the strike to the throat).<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipYHNakdFk6urKhvOMow7s_D0y44fpZx6jfX9F8cb0TuodduE0LOAE6TEeAby12tEPYVNkRbuquOCWw8Pel91FckeMC7MSv71ptF77gjbmcXatVtus9U8YdTZvKSXklvh0EoNZO96avr1lbhRyVwb3Aw0EpufyE7URbB2SO2IGuEqjwd2iBP7zrbw9FuE/s1066/card7%20042.1.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1066" data-original-width="800" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipYHNakdFk6urKhvOMow7s_D0y44fpZx6jfX9F8cb0TuodduE0LOAE6TEeAby12tEPYVNkRbuquOCWw8Pel91FckeMC7MSv71ptF77gjbmcXatVtus9U8YdTZvKSXklvh0EoNZO96avr1lbhRyVwb3Aw0EpufyE7URbB2SO2IGuEqjwd2iBP7zrbw9FuE/w240-h320/card7%20042.1.JPG" width="240" /></a></div><p>There is no 'grabbing'. There is no pulling. There is no pushing. How does a brushing block unbalance an opponent? After all, it is included in the section of the grading in which the grading candidate demonstrates unbalancing an opponent using a block? When I asked two of the senior instructors this question, it was suggested that the unbalancing comes from the 'brush' slightly adding to <i>uke</i>'s forward motion thereby slightly unbalancing them in that direction. Being polite, that is the very definition of a <a href="https://schoolofjandejong.blogspot.com/2021/06/the-insights-provided-by-happoken-no.html" target="_blank">shoehorned </a>answer/explanation.</p><p>If that was a shoehorned answer/explanation, then the answer to the same question in relation to empty blocks is a shoehorned answer/explanation par excellence.</p><p>PS: I challenge all students who are engaged in training with JDJ <i>ryuha </i>were these gradings are still employed to ask their instructor how a brushing block unbalances an opponent, which it is supposed to do given that it is included in a section of the grading that examines unbalancing techniques. <br /></p><p><b>Empty Block</b></p><p>JDJ's empty block is no block at all. It is an EBM used to avoid injurious contact with the body. Empty block is part of JDJ's blocking techniques classification but is never mentioned in JDJ's jujutsu grading system. Why not?<br /></p><p>JDJ's classification of blocking techniques was used in the JDJ jujutsu grading system to classify unbalancing techniques used against moving attacks. How does an empty block, no block at all and only an EBM, unbalance an opponent? When I asked this question of the senior instructors, it was suggested that by not being where the opponent expected, the opponent would topple forward having not met the expected resistance to the force applied by their attack. That may well happen, however, are you going to base your tactics in a physical confrontation on that assumption?<br /></p><p><b>Hard and Soft Blocks</b></p><p>The hard-soft blocking techniques dichotomy is an oft discussed dichotomy in the martial arts and martials arts literature. It is usually discussed in terms of explaining the superiority of soft blocks over karate hard blocks. Often this argument is supported scientifically with the aid of the concept of forces, an argument that is flawed and shows the lack of understanding in terms of theory that many in the martial arts have.</p><p>Examples of the hard karate blocks are the basic high, middle, and low blocks of karate. The example given of soft blocks is deflections. It is suggested that more force is required to be applied with the hard karate blocks than with the soft deflections.<br /></p><p><img alt="Karate Moves for Beginners" class="rg_i Q4LuWd" data-atf="true" data-deferred="1" data-iml="1295" height="166" src="data:image/jpeg;base64,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" width="305" /></p><p>What the arguers do not understand is that these hard karate blocks are in fact deflections (for the most part; see below).</p><p>The argument is often that the hard karate blocks apply force against force whereas deflections do not, thus the latter being more efficient. The hard karate blocks do not apply force against force. The apply force at an angle to the attacking limb, thus deflecting the trajectory of the attacking limb. More force is applied to deflect the attacking limb in this case, therefore the only question is, why is more force applied in the case of hard blocks than soft blocks? Is the answer found in Nakayama's blocking possiblity #1 which is the block being used as an attack to discourage further attacks (see previous post)?</p><p><b>What is a 'block'?</b></p><p>Let's go back to the beginning ask the basic question: what is a block? The general definition is to make the movement or flow difficult or impossible. It's to put something in the way of something. </p><p><img alt="3 Techniques to Defeat a Block | Joe Daniel Football" class="rg_i Q4LuWd" data-iml="57751" height="180" src="https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcQ6XT0AdNorqHs56pMxwqB1EAqy1YI4B1g997pixNRCn1rpg-8VLa2HSjCaxmfZmll9ikY&usqp=CAU" width="252" /> <br /></p><p>The martial arts has a tendency of using terms without reference to their general meaning. There is no better example than that of throws and takedowns in the martial arts. A definitive distinction between these two classes of techniques is abscent in martial arts theory, and those proposed are either incomprehensible or plain wrong, until the one that I proposed in my book on the science behing all fighting techniques. My definition is supported by the general definition of throw and takedown, which the martial arts seem to have ignored.</p><p>The abovementioned argument in support of the superiority of soft deflections over hard karate blocks is that the latter apply force against force. The above presented a counter-argument, however, there are exceptions.</p><p>Are there true blocks in the martial arts, ones that apply force against force, ones that are put in front of an attack? A shin block is one. </p><p>Gracie and Danaher distinguish between evasion and blocking in their <i>Mastering Jujitsu</i> (2003):</p><p><i>Evasive skills allow you to avoid strikes without contact. There are easy on your body and require proficient motion skills. Blocking allows you to safely absorb impact (rather than avoid it), and it requires sound conditioning and stance skills.</i> (p. 77) <br /></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVtCMltWuhWDBbGbW9k5sdW1XpysUYhqEKCz5A4XwfEaVhxzQfnEArqjFnBdjcQb_Rf4WuglsaE9leGlhal6ZPyuQw66K4ILMT37Fp3v1ojX8B1rukxNXJasQ4pukOXQBZ_18ZboBY-hKN-s6HetejQzi0zkKnKYXO1PGXJF5ZNu5R5mZZbqZDK8nRNIc/s4160/double%20forearm%20block.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3120" data-original-width="4160" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVtCMltWuhWDBbGbW9k5sdW1XpysUYhqEKCz5A4XwfEaVhxzQfnEArqjFnBdjcQb_Rf4WuglsaE9leGlhal6ZPyuQw66K4ILMT37Fp3v1ojX8B1rukxNXJasQ4pukOXQBZ_18ZboBY-hKN-s6HetejQzi0zkKnKYXO1PGXJF5ZNu5R5mZZbqZDK8nRNIc/w200-h150/double%20forearm%20block.jpg" width="200" /></a></div>Their blocks include covering block, palm block, double-forearm block, and shin block. The shin block is referred to above as a true block. The double-forearm block (see right image) will be the only other Gracie and Danaher block considered here: <p></p><p><i>From your fighting stance, turn toward the incoming blow as you simultaneoulsy step away from it slightly. Bring your forearms together and tuck your chin, crunching your upper body inward, like a turtle retreating into a shell.</i> (p. 78)</p><p>Aside from never having seen this block used or taught, other than in boxing where huge gloves provide the protection, why is the double-forearm block being used when the step away, the EBM, has taken the defender out of range of the attacker? Even if there is a valid answer, that question should always be asked when a block is used in conjunction with an EBM.<br /></p><p>Returning to karate hard blocks. In addition to being deflections, they can also be true blocks depending on the direction of the attack and the body position of the defender. For instance, <i>age uke</i> (rising block, aka high block) is a deflection against a punch but is a true block against a downard hit with no EBM employed. A low block is a true block employed against a low roundhouse kick.<br /></p><p><b>The Dog's Breakfast</b></p><p>You can see that the concept of blocking techniques as applied in the JDJ jujutsu mon grading system is a bit of a dog's breakfast, as it is in the martial arts in general (as I demonstrated in the chapter on blocking techniques in my book on the science behind all fighting techniques). But what to do about it? That is the question that is being raised throughout this examination of the development of the JDJ jujutsu grading system. What would you do?<br /></p><p><br /></p><p><br /></p><p> </p><p> </p><br />John Coleshttp://www.blogger.com/profile/14634192254115557179noreply@blogger.com0tag:blogger.com,1999:blog-2538432015657849810.post-66477248866120610242024-01-12T15:53:00.000-08:002024-01-12T15:53:26.494-08:00The Development of the JDJ Jujutsu Grading System Part 3.4: The Mon System and Blocking Techniques<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEh3SQ39lLRY5WFpSGkyEewJx-CIMK-jYajpOiifFx_wXufgfvER4FokJkKoVFoGtKg0x0WyJZrkyk026DIShK7ipzzcHz28R0_UHCZli1vpYxY5dHc9P1AgBcLINnmg0gNGso4ZJpJ7TdslmjT3UbHgwghlpIVQKQYXh9exxTb01iaBFdAbaMv1Hr3IysI" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" data-original-height="215" data-original-width="234" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEh3SQ39lLRY5WFpSGkyEewJx-CIMK-jYajpOiifFx_wXufgfvER4FokJkKoVFoGtKg0x0WyJZrkyk026DIShK7ipzzcHz28R0_UHCZli1vpYxY5dHc9P1AgBcLINnmg0gNGso4ZJpJ7TdslmjT3UbHgwghlpIVQKQYXh9exxTb01iaBFdAbaMv1Hr3IysI" width="261" /></a></div>The previous <a href="https://schoolofjandejong.blogspot.com/2024/01/the-development-of-jdj-jujutsu-grading_20.html" target="_blank">post</a> referred to the introduction of blocking techniques in the Basic Blocks and Attacks (<i>Uke</i> and <i>Atemi</i>) section of the 2nd <i>mon</i> grading. I overlooked the use of 'blocks' in the 1st <i>mon</i> grading.<p></p><p>You will recall the division of a skill into phases, that is the basis of the <i>mon</i> grades, from <a href="https://schoolofjandejong.blogspot.com/2024/01/the-development-of-jdj-jujutsu-grading_8.html" target="_blank">Part 3.2</a> of this series: <i>taisabaki, kuzushi, waza</i> (body-movement, unbalancing, technique). </p><p>The Locking Techniques (<i>Kansetsu Waza</i>) section includes a wrist twist being demonstrated against a top strike and a low punch from two attackers (see Part 3.2 post for a discussion as to the advisability of including this stress element in the 1st <i>mon</i> and the other <i>mon</i> grades). The <i>kuzushi</i> element in these defences is considered to be a block in the JDJ tradition. This block is not demonstrated separately in this grading, and it is not specified in the description of the defence, however, it is used to execute the defence nonetheless. </p><p>In the previous post, I also referred to the conceptualisation of blocking techniques in the JDJ tradition, exemplified in their inclusion in the <i>mon</i> grades, as being a 'dog's breakfast.' This post looks at that dog's breakfast.</p><p>Btw, the description of the concept of blocking techniques as being a dog's breakfast is not limited to the JDJ tradition.</p><p><b>Block Definition</b></p><div class="separator" style="clear: both;">What is a block in martial arts? As it turns out, the <a href="https://en.wikipedia.org/wiki/Blocking_(martial_arts)">Wikipedia</a> entry does a pretty good job of answering that question: 'In martial arts, blocking is the act of stopping or deflecting an opponent's attack for the purpose of preventing injurious contact with the body.'</div><div class="separator" style="clear: both;"> </div><div class="separator" style="clear: both;">The following is a review of blocking techniques in the <i>mon</i> system. <br /><br /><b style="text-align: left;">2nd Mon</b></div><div><p>The Basic Blocks and Attacks (<i>Uke</i> and <i>Atemi</i>) (BB&A) section in the 2nd <i>mon</i> grading include middle inside block and middle outside block. These are basic karate-style blocks and are demonstrated solo.</p><p><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhWm7fvhGHA7Iu1KkXXFHWGYG-1hlco1WU-KDHvljUiELYmSPfvkRHGcm2tAa3KNlk7ItgwOg6WW94SGpWxsq_oeJhYdbjCiXI1Bg3gXTkt1RD7t_99hDh5xsyhBxKdi42xsKSvQKKOfn_2k10bDR-LSdbPGecE5hIt6r_6AiXisILlL2fdYX2yapzxKg8" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img alt="" data-original-height="159" data-original-width="318" height="160" src="https://blogger.googleusercontent.com/img/a/AVvXsEhWm7fvhGHA7Iu1KkXXFHWGYG-1hlco1WU-KDHvljUiELYmSPfvkRHGcm2tAa3KNlk7ItgwOg6WW94SGpWxsq_oeJhYdbjCiXI1Bg3gXTkt1RD7t_99hDh5xsyhBxKdi42xsKSvQKKOfn_2k10bDR-LSdbPGecE5hIt6r_6AiXisILlL2fdYX2yapzxKg8" width="320" /></a></p></div><p></p><p>In the Body Movements (<i>Taisabaki</i>) (BM) section, the instructions are: 'Defender's choice of attack, using pushing, pulling, or grabbing block.' The blocks are being used in conjunction with the specified evasive body-movements (<i><a href="https://en.wikipedia.org/wiki/Tai_sabaki" target="_blank">taisabaki</a></i>) (EBM).</p><p>There is another BB&A section in the 2nd <i>mon</i> grading. In this section, the block is demonstrated against an attack: 'Front snap kick - Flowing - brushing block.' Flowing (<i>nagashi</i>) is demonstrated in the BM section of the grading, which does not include brushing block in the blocking technique options (see above).</p><p>No blocks are specified in the Locking Techniques (<i>Kansetsu Waza</i>) (LT) section (against two attackers: see previous post), however, a block is used against the low punch attack along with an EBM in order to unbalance the opponent.</p><p>First, why are blocks being used in conjunction with an EBM? It's not to avoid injurious contact with the body because the EBM takes care of that problem. Second, what are pushing, pulling, grabbing, and brushing blocks?</p><p><b></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/a/AVvXsEj7aKlO_cqSIc_sIkvax_T7xZHlkIu4XN_N4TAmYLgrmDWU_1wpLTVwcbXFlK5Lb4YG6Hn-xQXxEsVqkkoEUz8C7aj60v34LBTbhESCOvM96lselbZbMAcSnsQlK6aDwHOqe9IRJBKqZUgo_Xfql5rthnMD8VBHZiMw59bUnHTJ5MxlkIauT78JVQ1VP-M" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" data-original-height="225" data-original-width="225" height="200" src="https://blogger.googleusercontent.com/img/a/AVvXsEj7aKlO_cqSIc_sIkvax_T7xZHlkIu4XN_N4TAmYLgrmDWU_1wpLTVwcbXFlK5Lb4YG6Hn-xQXxEsVqkkoEUz8C7aj60v34LBTbhESCOvM96lselbZbMAcSnsQlK6aDwHOqe9IRJBKqZUgo_Xfql5rthnMD8VBHZiMw59bUnHTJ5MxlkIauT78JVQ1VP-M=w200-h200" width="200" /></a></b></div><b>3rd Mon</b><p></p><p>The minimum age requirements for 3rd <i>mon</i> are 12 to 15 years (1st <i>mon</i> is under 12 years) (see <a href="https://schoolofjandejong.blogspot.com/2024/01/the-development-of-jdj-jujutsu-grading_5.html" target="_blank">Part 3.1</a>).</p><p>BB&A section: no blocks.</p><p>BM section: instructions refer to using any block in conjunction with the specified EBMs.</p><p>LT section: no specified attacks nor blocks, but blocks used in conjunction with EBMs if defender chooses moving attacks.</p><p>BB&A section: 'Front roundhouse kick - Double block - punch.' The double block is used in conjunction with an EBM.</p><p>Does 'any block' in the BM section include the blocks identified in the previous grading, including the karate-style middle blocks, as well as the newly introduced double block? Can other blocks not demonstrated up to this point in the gradings be used?</p><p><b></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgdv1I5hbRRq0a_kyK9qs3YQBjhoOmFDQ2WaGOafAP5o4aEvMNQtiq7tdcNkiZJFWzXyVufgxpChtiSJF7aDgytWRUzZ4fogCSe-4eL6appSLi-w-hhrLLnKn1dOvi6DeMPcfIe5lCAjWNYMQAE8roYZbThwf6J5z1-pNNzi2JSCOsi_2pKYDibHoeC_oE" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" data-original-height="225" data-original-width="225" height="200" src="https://blogger.googleusercontent.com/img/a/AVvXsEgdv1I5hbRRq0a_kyK9qs3YQBjhoOmFDQ2WaGOafAP5o4aEvMNQtiq7tdcNkiZJFWzXyVufgxpChtiSJF7aDgytWRUzZ4fogCSe-4eL6appSLi-w-hhrLLnKn1dOvi6DeMPcfIe5lCAjWNYMQAE8roYZbThwf6J5z1-pNNzi2JSCOsi_2pKYDibHoeC_oE=w200-h200" width="200" /></a></b></div><b>4th Mon</b><p></p><p>BM and LT sections: same as for 3rd <i>mon</i>. </p><div>BB&A section: includes double block and attacking or brushing blocks being demonstrated against specified attacks, and each involves the concurrent use of an EBM.</div><p>So now we have pushing, pulling, grabbing, brushing, and attacking blocks categories to consider.</p><p>Reflex (<i><a href="https://schoolofjandejong.blogspot.com/2023/11/the-development-of-jdj-jujutsu-grading.html" target="_blank">Shinken Shobu no Kata</a></i>) section: introduced for the first time. Included in the defences is the use of a double block and brushing block used in conjunction with an EBM. There is another defence against a low punch that also involves a block and an EBM with the block not being specified in the description.</p><p><b></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgopN1ArYFNgs1cR1WfoEJKW9uIsXojYNoNDe7Afl4QcN-jixcqY1x9Mzfd4m_Iymw1m4WmQ_AmjeEFFUwBz-OxlS3r23ghKUMKRTJogkrYpqKZrXG9Kqf-FkKWHVZqTI5SufoR9N76BzTeGu_byU2wuymrTnQR6V2ATo-u0FAklmmK6-ibwu4_kkjXTjA" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" data-original-height="225" data-original-width="225" height="200" src="https://blogger.googleusercontent.com/img/a/AVvXsEgopN1ArYFNgs1cR1WfoEJKW9uIsXojYNoNDe7Afl4QcN-jixcqY1x9Mzfd4m_Iymw1m4WmQ_AmjeEFFUwBz-OxlS3r23ghKUMKRTJogkrYpqKZrXG9Kqf-FkKWHVZqTI5SufoR9N76BzTeGu_byU2wuymrTnQR6V2ATo-u0FAklmmK6-ibwu4_kkjXTjA=w200-h200" width="200" /></a></b></div><b>5th Mon</b><p></p><p>BM section: brushing, grabbing, and middle blocks used in conjunction with EBMs. The middle blocks are the karate-style blocks demonstrated in 2nd <i>mon</i> (see above). </p><p>Unbalancing (<i>Kuzushi</i>) - Blocking (<i>Uke</i>) section: new section introduced in this grading. Includes pulling, pushing, grabbing, and brushing blocks used against specified attacks. They are all demonstrated using an EBM.</p><p>LT section: same as for 3rd <i>mon</i>.</p><p>BB&A section: high and low block used in conjunction with an EBM. The high and low blocks are karate-style blocks.</p><p>Reflex section: specified brushing block in one defence with blocks also used in defences against moving attacks, although unspecified, with EBM used in conjunction with the blocks.</p><p style="clear: both; text-align: center;"><b></b></p><div style="text-align: left;"><b><b>9th Kyu</b></b></div><p></p><p></p><div><p>The minimum age requirement for 9th <i>kyu</i> is over 15 years (see Part 3.1). It is the first of the adult gradings.<br /></p></div><p>BB&A section: high, middle outside, middle inside, and low blocks demonstrated solo. These are the karate-style blocks discussed above.</p><p style="clear: both;"><span style="text-align: left;"><br /></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgGV7Fy4nVjCzyO_rA5h9njAVj2C-NOUziWE4idpKdoatb2hCeUa8g0IgZqnGf3tWIbOJy3U47aypgG4-M4jUMOk1iQdKINKyG1fq9GmkqbX3fpLndKeQnEjHBFrSCxIkz8R1XQHgWpra7Z3_G8f7P_djswWgSbrcupHAEtKPN2fTvxki_jxe2CVoDXRi4" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="165" data-original-width="305" height="173" src="https://blogger.googleusercontent.com/img/a/AVvXsEgGV7Fy4nVjCzyO_rA5h9njAVj2C-NOUziWE4idpKdoatb2hCeUa8g0IgZqnGf3tWIbOJy3U47aypgG4-M4jUMOk1iQdKINKyG1fq9GmkqbX3fpLndKeQnEjHBFrSCxIkz8R1XQHgWpra7Z3_G8f7P_djswWgSbrcupHAEtKPN2fTvxki_jxe2CVoDXRi4" width="320" /></a></div><br />BM section: same as for 3rd <i>mon</i>.<p></p><p style="clear: both;"><span style="text-align: left;">Unbalancing (</span><i style="text-align: left;">Kuzushi</i><span style="text-align: left;">) - Blocking (</span><i style="text-align: left;">Uke</i><span style="text-align: left;">) section: 5th </span><i style="text-align: left;">mon</i><span style="text-align: left;"> section repeated.</span></p><div style="text-align: left;"><p>LT section: same as for 3rd <i>mon</i>.</p><p>Reflex section: same as for 5th <i>mon</i>. </p><p><b>8th Kyu</b></p><p style="clear: both; text-align: center;"></p><p>BB&A section: no blocks.</p><p><i>Happoken no kata</i> section: You will recall from a previous <a href="https://schoolofjandejong.blogspot.com/2021/06/the-insights-provided-by-happoken-no.html" target="_blank">post</a> that <i>happoken no kata</i> is a Yoseikan Budo (YB) <i>kata</i>. The <i>kata</i> is comprised of four strikes and four blocks.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEj2LTqqzyXZ-Rc33zecqGdEWmoM1Skkk6Km6rjMQbF2QhFBaKurMrbI3pbxBlGCaNm31eMQAzuudy0mlcz6kqgtVhH8lNmGITjHH90X3spuErpCwJbkRqV-ooqQwiSm1BG1VyvPR_jZlJ4ILZ0Uvi7t0-0VUCqaC3Di9RrtNVylBcvqTjkc30crRLMP2hE" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="189" data-original-width="267" height="227" src="https://blogger.googleusercontent.com/img/a/AVvXsEj2LTqqzyXZ-Rc33zecqGdEWmoM1Skkk6Km6rjMQbF2QhFBaKurMrbI3pbxBlGCaNm31eMQAzuudy0mlcz6kqgtVhH8lNmGITjHH90X3spuErpCwJbkRqV-ooqQwiSm1BG1VyvPR_jZlJ4ILZ0Uvi7t0-0VUCqaC3Di9RrtNVylBcvqTjkc30crRLMP2hE" width="320" /></a></div><p></p><div style="text-align: left;"><p>The YB <i>kata</i> adopts a parallel stance. JDJ modified the <i>kata</i> to adopt a staggered (<i>zenkutsu dachi</i>) stance. In doing so, the first block (middle outside block) is used in conjunction with an EBM. The final block is a punch straight down to the opponent's rising knee-thigh from an attempted knee to the groin.</p><p>BM and LT sections: as for 3rd <i>mon</i>. </p><p><span style="text-align: center;">BB&A section: brushing and double blocks against specified attacks used in conjunction with an EBM.</span></p><p></p><div><p></p><p>Reflex section: includes 'Block - punch or takedown' against a side drive kick attack. While not specified, the block is a double fist downward block used in conjunction with an EBM. Unspecified blocks used in defences against moving attacks.<br /></p><p>There is no Unbalancing (<i>Kuzushi</i>) - Blocking (<i>Uke</i>) section in this grading or the next.</p><p style="text-align: left;"><b></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/a/AVvXsEg7Mp-z_9PB1FSp-GZ5CWy1_aDTNLW-cLYoHQsBtWNdkRKyXyJfHgNPbECBq4LGggU70G1kC36d9CUNAeYs26TLd3SQ0EYQK4i8PZOKsp0lh-va-M10JTSpaGJ5JxXP2vbMkLvQUnRzVmR526kFs4iYsiYnpELuclevMuBN631giB-SjnYQO7ZqYrCqHq8" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" data-original-height="225" data-original-width="225" height="200" src="https://blogger.googleusercontent.com/img/a/AVvXsEg7Mp-z_9PB1FSp-GZ5CWy1_aDTNLW-cLYoHQsBtWNdkRKyXyJfHgNPbECBq4LGggU70G1kC36d9CUNAeYs26TLd3SQ0EYQK4i8PZOKsp0lh-va-M10JTSpaGJ5JxXP2vbMkLvQUnRzVmR526kFs4iYsiYnpELuclevMuBN631giB-SjnYQO7ZqYrCqHq8=w200-h200" width="200" /></a></b></div><b>7th Kyu</b><p></p><div><p>7th <i>kyu</i> is the end of the 'mon system.'</p></div><p><i>Wakai no kata</i> ('New <i>kata</i>'; see future post) section: JDJ developed this grading to teach striking, blocking, and kicking skills. The blocks are karate-style blocks and sometimes used in conjunction with an EBM.</p></div></div><p>Throwing Techniques (<i>Nage Waza</i>) section: no specified blocks but blocks used in conjunction with EBMs against low punch attacks.</p><p>BM and LT sections: as for 3rd <i>mon</i>.</p><p>BB&A section: high, middle outside, low, and middle inside karate-style blocks against specified attacks and are demonstrated in conjunction with an EBM.</p><p><b>Purpose of Blocks</b></p><div><p>What is the purpose of blocks in the martial arts. The basic description refers to avoiding injurious contact with the body (see above). </p><p><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgvhXLTjy4AKBlRj5H8_ogbOvL7BiyV3S3Z1zfksyMfsWrjVYGx_iYorLcswc8k73SzgffHzHrUnR2kUfzgNTResd6F8tL0ArCUGTkUFODvvnxquEuQDM3bOALOh_WeEsZuFGDi1HViyKyVYwV8V5OxyWvS3ZGXVSaf_GlX2cX2OQVpKpzJTNoh39gLCwM" style="clear: right; float: right; font-style: italic; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img alt="" data-original-height="268" data-original-width="188" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEgvhXLTjy4AKBlRj5H8_ogbOvL7BiyV3S3Z1zfksyMfsWrjVYGx_iYorLcswc8k73SzgffHzHrUnR2kUfzgNTResd6F8tL0ArCUGTkUFODvvnxquEuQDM3bOALOh_WeEsZuFGDi1HViyKyVYwV8V5OxyWvS3ZGXVSaf_GlX2cX2OQVpKpzJTNoh39gLCwM" width="168" /></a>Masatoshi Nakayama (1966) is the author of the classic <i>Dynamic Karate</i>, a book to be studied and not just read, and studied by martial artists other than <i>karateka</i>. In the chapter devoted to the theory and practice of blocking, Nakayama explains that the defence against an attack in karate is a more complicated process than it appears at first glance. He then lists six possibilities in blocking:</p><p></p><p>1. Block the opponent's arm or leg with sufficient force to discourage further attack. In a sense, this kind of block can be called an attack.</p><p>2. Block the opponent's attack with only enough force to parry or deflect it. This would be termed a light block in #1.</p><p>3. Block and attack. Block the opponent's attack and immediately counterattack. It is also possible to block and counterattack at the same instant.</p><p>4. Unbalance the opponent with a block.</p><p>5. Block the opponent's attack as it is about to begin.</p><p>6. Block and then retreat to a safe position until a chance to counter presents itself.</p><p>It should be noted that at no time does Nakayama refer to the purpose of blocking as being to prevent injurious contact with the body from an attack.</p></div><p style="text-align: left;"><b>Karate-Style Blocks and EBMs</b></p><p style="text-align: left;">The above summary of the use of blocks in the <i>mon</i> system included references to karate-style blocks. Most times they were referenced in connection with their use in conjunction with an EBM. The basic question should <i>always </i>be asked when blocks are used in conjunction with an EBM: what is the purpose of the block? It's not to avoid injurious contact with the body because the EBM takes care of that problem.</p><p style="text-align: left;">Sometimes there are answers to that question (see possibilities in blocking above). Sometimes there are not. Sometimes there are '<a href="https://schoolofjandejong.blogspot.com/2021/06/the-insights-provided-by-happoken-no.html" target="_blank">shoehorned</a>' answers because what is being taught is what was taught without question.</p><p style="text-align: left;">There is another question when karate-style blocks are used in conjunction with EBMs. Do they even make contact with the attacking limb? All of Nakayama's blocking possibilities are not available if the block does not make contact or only slightly touches the opponent's attacking limb.</p><p style="text-align: left;">For example, <i>happoken no kata</i> (see above). The first attack is a punch from the left-hand side of <i>tori</i>. When adopting the YB parallel stance and no EBM is used, a block is needed in order to avoid injurious contact with the body. Outside middle block is used to accomplish that task.</p><p style="text-align: left;">JDJ modified <i>happoken no kata</i> to make use of a staggered stance (<i>zenkutsu dachi</i>). In the JDJ version, <i>tori</i> steps forward with their right foot and turns to their left facing in <i>uke</i>'s direction while executing outside middle block. The block finishes in line with <i>tori</i>'s shoulder, which is now on the inside of the line of attack. It can only make contact with <i>uke</i>'s attacking arm if a <i>poor</i> outside middle block is executed where the block finishes beyond <i>tori</i>'s shoulder. What is the purpose of the outside middle block in this case? It's not to avoid injurious contact with the body because the EBM takes care of that problem. Is it to unbalance <i>uke</i> (Nakayama blocking possibility #4)? It would need to make contact for that to happen, which as previously stated means executing a poor outside middle block.</p><p style="text-align: left;">There is a video on Facebook of a a JDJ <i>ryuha</i> demonstrating this <i>kata </i>in public but using attackers in order to demonstrate the practical application of the techniques taught in the <i>kata</i>. Why didn't they pick up that this block served no purpose? Is it a case of teaching what is taught without question?</p><p style="text-align: left;">How could JDJ make this mistake, for a mistake it is? It was because JDJ employed analytic thinking rather than <a href="https://schoolofjandejong.blogspot.com/2024/01/the-development-of-jdj-jujutsu-grading_5.html" target="_blank">systems thinking</a> when changing the <i>kata</i>. He only focused on the stance and did not see what the change in stance has on the actual technique.<br /></p><p style="text-align: left;">This problematic approach is also seen in a defence against a knife attack that JDJ changed in the <i>shodan</i> reflex grading. JDJ changed the block, which was an improvement on the original block, but it no longer set <i>tori</i> up for the <i>tai gatame ude kujiki</i>, instead setting up for <i>tekubi hineri</i> but the finishing technique was never changed. Lesson from systems thinking: change one thing in a system, then see how that affects the other elements in the system, or the system may not be able to achieve its objective.</p><p style="text-align: left;">What to do? No matter how one goes about fixing this/these problem/s, the lesson is lost when the solution is implemented and there are no more flaws.</p><p style="text-align: left;"><b>Karate-Style Blocks and No EBMs</b></p></div><p style="text-align: left;">An improvement in the tactics taught JDJ would be to include karate-style blocks executed with no EBMs. This means that the karate-style blocks need to either stop or change the direction of the attack.</p><p style="text-align: left;">EBM are generally the rule against moving attacks in the JDJ teachings. A notable exception in the JDJ jujutsu grading system is the defences against <i>tanbo</i> (short stick) in the <i>ikkyu</i> reflex grading where either a stopping block or deflection are used without an EBM.</p><p style="text-align: left;">When I have taught students to use karate-style blocks without EBMs, and given them license to use them and not perform an EBM, the students have excelled in the <i>futrai dori</i> section of the <i>ikkyu </i>practical grading and the <i>shiai</i> grading in shodan (see <a href="https://schoolofjandejong.blogspot.com/2024/01/the-development-of-jdj-jujutsu-grading.html" target="_blank">Post 2.6</a> for a discussion of these grading elements). They no longer start to bounce around like 'Energizer Bunnies' in anticipation of an attack.<br /></p><p style="text-align: left;"><b>JDJ's Classification of </b><b>Blocking Techniques </b></p><p style="text-align: left;">You will recall from above that reference to pushing, pulling, grabbing, attacking, and brushing blocks were made in various gradings. This refers to JDJ's classification of blocking techniques. The next post will consider JDJ's classification of blocking techniques.</p><p style="text-align: left;"><br /></p><p style="text-align: left;"><br /></p><div><p><i></i></p><div class="separator" style="clear: both; text-align: center;"><i></i></div></div>John Coleshttp://www.blogger.com/profile/14634192254115557179noreply@blogger.com0tag:blogger.com,1999:blog-2538432015657849810.post-35515876738546591802024-01-08T04:10:00.000-08:002024-01-08T04:10:50.416-08:00The Development of the JDJ Jujutsu Grading System Part 3.3: 2nd Mon<p>The following is the second grading in the <i>mon</i> system, whose age <a href="https://schoolofjandejong.blogspot.com/2024/01/the-development-of-jdj-jujutsu-grading_5.html" target="_blank">requirements</a> are under 12-years-old, taken from <i>Jan de Jong: The Man, His School and His Ju Jitsu System</i> (Jan de Jong Self Defence School, 1997).</p><p><b></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgxYRT9OjIVpeb9POg7oZxCVDsF6ORfcoANeAMD_udS1vGbuIuE4y8RzER8WtrVCCoXGG231cEOTckGBNNW1nAJ-alWKdrZ85twtDuehfL7afxvk1DR3-gfgMtoGb1UluEuRiuANAn7OV2KkaY5xcFEuTnSVHqFYbgxJZN20nTBRiZY753rkl0fA8hU_iM" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" data-original-height="225" data-original-width="225" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEgxYRT9OjIVpeb9POg7oZxCVDsF6ORfcoANeAMD_udS1vGbuIuE4y8RzER8WtrVCCoXGG231cEOTckGBNNW1nAJ-alWKdrZ85twtDuehfL7afxvk1DR3-gfgMtoGb1UluEuRiuANAn7OV2KkaY5xcFEuTnSVHqFYbgxJZN20nTBRiZY753rkl0fA8hU_iM" width="240" /></a></b></div><b>2ND MON: BLUE AND WHITE BELT</b><p></p><p><b>Breakfalls (Ukemi)</b></p><p>Forwards roll</p><p>Backwards roll</p><p>Forwards flat</p><p>Backwards flat</p><p><b>Basic Blocks and Attacks (Uke and Atemi)</b></p><p>Middle inside block</p><p>Middle outside block</p><p>Front roundhouse kick</p><p><b>Body Movements (Taisabaki)</b></p><p>Defenders choice of attack, using pushing, pulling or grabbing block</p><p>Flowing</p><p>Entering</p><p>Entering rotation - outside</p><p><b>Unbalancing (Kuzushi)</b></p><p>Normal single wrist grip - Normal unbalancing</p><p>Same side single wrist grip - Same side unbalancing</p><p><b>Basic Blocks and Attacks (Uke and Atemi)</b></p><p>Front snap kick - Flowing - brushing block</p><p><b>Locking Techniques (Kansetsu Waza)</b></p><p>Two attackers</p><p>Normal single wrist grip - Wrist twist</p><p>Low punch - Forearm twist</p><p><br /></p><p>You can see the same basic framework for the grading as seen and discussed in the previous <a href="https://schoolofjandejong.blogspot.com/2024/01/the-development-of-jdj-jujutsu-grading_8.html" target="_blank">post</a> that focused on 1st <i>mon</i>. There have been increments or progressions, as there should be in a grading system.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEg7UrBeAnS5zXNAL_KqdlTqisbxrVLTIa9T0LyXZyP6UqsypikQyD1O9ipbLFWN20c9nEatNx3Q4Cfuuh5GiWHHFY03HcOeXteQgTh-X_eom8ky4wYW5RVU8ZMILKEio92RnkzVE9JYjzbfmtKPu-UjWc5a9_vO9iUVQ_Pq9T33Fb-g3BPKTTSlm5_zQBg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" data-original-height="272" data-original-width="185" height="400" src="https://blogger.googleusercontent.com/img/a/AVvXsEg7UrBeAnS5zXNAL_KqdlTqisbxrVLTIa9T0LyXZyP6UqsypikQyD1O9ipbLFWN20c9nEatNx3Q4Cfuuh5GiWHHFY03HcOeXteQgTh-X_eom8ky4wYW5RVU8ZMILKEio92RnkzVE9JYjzbfmtKPu-UjWc5a9_vO9iUVQ_Pq9T33Fb-g3BPKTTSlm5_zQBg=w271-h400" width="271" /></a></div>Entering rotation (<i>irimi senkai</i>) has been added to the <i>taisabaki</i> section and which is the body-movement used in the previous gradings <i>kansetsu waza</i> section and is used in this gradings <i>kansetsu waza</i> section. However, the same problem exists. The demonstration of this section of the grading is as a defence in-and-of-itself and not as a prototypical <i>irimi senkai taisbaki</i> used in many other defences/techniques. Ditto on the techniques in the <i>kuzushi</i> section.<p></p><p>A new <i>kansetsu waza</i> is introduced - forearm twist (<i>kote hineri</i>). The absurdity of its demonstration with two attackers persists (see previous post).</p>The notable introduction to this grading is blocks. The basic blocks and attacks section includes two basic karate-type blocks. The body-movements (<i>taisabaki</i>) section refers to the defender using pushing, pulling, or grabbing blocks. The next basic blocks and attacks section includes a brushing block being used in response to a front snap kick attack.<div><br /></div><div>The next post will focus on the 'dog's breakfast' that is the blocking techniques in the JDJ jujutsu grading system and which are specifically included in the <i>mon</i> grades. The dog's breakfast that is the concept of blocking techniques in not confined to the JDJ tradition teachings, as I explain in detail in my book on the science behind all fighting techniques. <div><br /><p></p><p><br /></p><p><br /></p></div></div>John Coleshttp://www.blogger.com/profile/14634192254115557179noreply@blogger.com0tag:blogger.com,1999:blog-2538432015657849810.post-959229557193250002024-01-08T02:44:00.000-08:002024-01-08T02:44:29.337-08:00The Development of the JDJ Jujutsu Grading System Part 3.2: 1st Mon<p>As Maria says in <i>The Sound of Music</i>, let's start at the very beginning, a very good place to start. The beginning, <a href="https://schoolofjandejong.blogspot.com/2023/11/the-development-of-jdj-jujutsu-grading.html" target="_blank">now</a>, in Jan de Jong's (JDJ) jujutsu grading system is 1st <i>mon</i>.</p><p>The first grading in the <i>mon</i> system is a good place to start because it reveals/raises some of the issues associated with the <i>mon</i> grades.</p><p>You will recall from the previous chapter that the age requirement for 1st <i>mon</i> is under 12 years. It is the first grading for new students aged five and six years old.</p><p>The following is the grading reproduced in <i>Jan de Jong: The Man, His School and His Ju Jitsu System</i> (Jan de Jong Self Defence School, 1995):</p><p><b></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/a/AVvXsEi2OfTEUO76e_-BQRXQk6t19RtxnMRWDc3wZXjdpu1iEDhjvTmkl9wWWMH6EMv_Xii7l7HWfChgz9BsdebHRyzx1tVhS582W86_2ROUQurrL7WFncFpQW5dzHxTAPpJqlhh08ynPJUZESrq9-bQAVSgiT30u73jsjy7rKoKdJcHqUtYlaGdJkjOps_7beo" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" data-original-height="225" data-original-width="225" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEi2OfTEUO76e_-BQRXQk6t19RtxnMRWDc3wZXjdpu1iEDhjvTmkl9wWWMH6EMv_Xii7l7HWfChgz9BsdebHRyzx1tVhS582W86_2ROUQurrL7WFncFpQW5dzHxTAPpJqlhh08ynPJUZESrq9-bQAVSgiT30u73jsjy7rKoKdJcHqUtYlaGdJkjOps_7beo" width="240" /></a></b></div><b><br />1ST MON: YELLOW AND WHITE BELT</b><p></p><p><b><span>Breakfalls (Ukemi)</span><br /></b></p><p><span>Forwards roll</span></p><p><span>Backwards roll</span></p><p><span><b>Body Movements (Taisabaki)</b></span></p><p><span>Flowing</span></p><p><span>Entering</span></p><p><span><b>Basic Blocks and Attacks (Uke and Atemi)</b></span></p><p><span>Punch - with kick</span></p><p><span>Front snap kick</span></p><p><span><b>Unbalancing (Kuzushi)</b></span></p><p><span>Normal single wrist grip - Normal unbalancing</span></p><p><span><b>Locking Techniques (Kansetsu Waza)</b></span></p><p><span>Two attackers</span></p><p><span>Top strike - Wrist twist</span></p><p><span>Low punch - Wrist twist</span></p><p>The use of Japanese terminology can be seen coming into play in the very first grading, which is part of the reason why there is a <a href="https://schoolofjandejong.blogspot.com/2024/01/the-development-of-jdj-grading-system.html" target="_blank">terminology</a> grading in <i>ikkyu</i> and <i>shodan</i>. JDJ introduced the use of Japanese terminology, as he explained, so that his students could understand the use of it in texts about Japanese martial arts that use Japanese terminology. JDJ being an avid collector and reader of martial arts texts, and which were a great source of his continuous professional development as previously explained.</p><p>You will recall from the previous <a href="https://schoolofjandejong.blogspot.com/2024/01/the-development-of-jdj-jujutsu-grading_5.html" target="_blank">post</a>, the advice in Gary Carr's <i>Sports Mechanics for Coaches </i>to divide the skill into phases and the reasons why to do so. This grading, and the following <i>mon</i> grades, reflect that advice.</p><p>Yoseikan Budo (YB) divides their defences into the following phases: <i>taisabaki</i>, <i>kuzushi</i>, <i>waza</i> (body-movement, unbalancing, technique). You can see that this grading, and all of the <i>mon</i> grades, is based on the YB defence phase division. The specific elements in those sections are also taken from YB (see below).</p><p>The idea of the division of skills into phases by Minoru Mochizuki, founder of YB, was probably taken from Jigoro Kano, founder of Kodokan Judo (KJ), Mochizuki being an acolyte of Kano's. </p><p></p><div class="separator" style="clear: both;">Kano divided his throwing techniques into the follow phases: <i>kuzushi</i>, <i>tsukuri</i>, <i>kake</i> (unbalancing, fitting-in, execution). <br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEh0RtLuIUgZTASGMxytl6zDsxWKaJgcoA9diye2Se5Izk38KauPY8KQTqbH_Z566jcZWoDqReqeqEwsH1-jyODRGacOZKyYEp0rFtFPFTzKK50SFClXOe6lkLc_8hJte0gPGrsBefKl24aFsho8EP6V2fljmof51shKdLRP8GhpVURV1nzA73Jvs8lW1WI" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="158" data-original-width="319" height="158" src="https://blogger.googleusercontent.com/img/a/AVvXsEh0RtLuIUgZTASGMxytl6zDsxWKaJgcoA9diye2Se5Izk38KauPY8KQTqbH_Z566jcZWoDqReqeqEwsH1-jyODRGacOZKyYEp0rFtFPFTzKK50SFClXOe6lkLc_8hJte0gPGrsBefKl24aFsho8EP6V2fljmof51shKdLRP8GhpVURV1nzA73Jvs8lW1WI" width="320" /></a></div><br /><span style="text-align: left;">When including the comments of various judo masters in </span><i style="text-align: left;">Judo Formal Techniques: A Complete Guide to Kodokan Randori no Kata</i><span style="text-align: left;">, T. Otaki and D.F. Draeger (1983), some recognise </span><i style="text-align: left;">taisabaki</i><span style="text-align: left;"> but are not sure where to put it into Kano's division of phases in throwing techniques.</span></div><p>Otaki and Draeger also suggest that grappling include a comparable set of components. Grappling meaning those techniques that end with joint-locking techniques (<i>kansetsu waza</i>).</p><p>One of the things that sets KJ apart is Kano's teachings, which involves the division of judo skills into phases. This conceptualisation of techniques and the teaching thereof is relatively unique in the martial arts. This unique conceptualisation and teaching of martial arts techniques was probably due to Kano being a professional <a href="https://schoolofjandejong.blogspot.com/2023/12/inflated-timelines-of-jdj-jujutsu.html" target="_blank">teacher</a>. Mochizuki, being an acolyte of Kano's, adopted the same approach when developing his YB.</p><p>An issue that arises within the <i>mon</i> grades is that this systems approach, this division of a defence/technique into phases, does not appear to have been fully understood by JDJ and the senior instructors at the Jan de Jong Self Defence School (JDJSDS).</p><p>With the <a href="https://schoolofjandejong.blogspot.com/2024/01/the-development-of-jdj-jujutsu-grading_5.html" target="_blank">senior instructors</a>, a part of the problem might have been that they did not go through the <i>mon</i> system. They are products of the original <a href="https://schoolofjandejong.blogspot.com/2023/11/the-development-of-jdj-jujutsu-grading.html" target="_blank"><i>kyu</i> system</a>, which is a totally different system, in that the <i>mon</i> system is based on systems thinking and the <i>kyu</i> system is based on 'tricks.'</p><p><b>Taisabaki (Body-Movements)</b></p><p> Flowing (<i>nagashi</i>): the following image of <i>nagashi</i> is taken from Mochizuki's <a href="https://schoolofjandejong.blogspot.com/2023/11/ken-tai-ichi-no-kata-example.html" target="_blank">book</a>, <span face="Arial, Tahoma, Helvetica, FreeSans, sans-serif" style="background-color: white; color: #333333; font-size: 14.85px;">(</span><i style="background-color: white; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14.85px;">Giho Nihonden Jujutsu</i><span face="Arial, Tahoma, Helvetica, FreeSans, sans-serif" style="color: #333333;"><span style="background-color: white; font-size: 14.85px;"> </span></span>(Traditional Japanese Jujutsu))<span face="Arial, Tahoma, Helvetica, FreeSans, sans-serif" style="color: #333333;"><span style="background-color: white; font-size: 14.85px;">.</span></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh06VOrPLtzhA5DQ9r9s4e0GvGUl3ff8ZUq3Tc1bwixKPeLSLc_jGYJQk2GpMOZp0N00Jpok_g1iXcLVf00vCLIsS3sE08txkUn6lqkMsdRj-YIT9yVdfK3GCKqLBe-Ip7gut-n_nEPqg_F8z5VBVnX2Au8zc3K5ZdlSpgLQnwXLinCE3HUkofOFuuQpUQ/s4160/nagashi.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3120" data-original-width="4160" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh06VOrPLtzhA5DQ9r9s4e0GvGUl3ff8ZUq3Tc1bwixKPeLSLc_jGYJQk2GpMOZp0N00Jpok_g1iXcLVf00vCLIsS3sE08txkUn6lqkMsdRj-YIT9yVdfK3GCKqLBe-Ip7gut-n_nEPqg_F8z5VBVnX2Au8zc3K5ZdlSpgLQnwXLinCE3HUkofOFuuQpUQ/s320/nagashi.jpg" width="320" /></a></div><br /><p>I was going to make a point about how JDJ had the right idea drawn from YB but his execution was flawed, and then I went and got the above image from Mochizuki's book to include in this post. As it turns out, the demonstration of <i>nagashi</i> in this grading is similar to the YB demonstration and so my point was not made.</p><p>I thought I had mentioned it in another (previous) post, but I cannot find any such mention. Some/many of the issues associated with the <i>mon</i> grades come to light when attempting to write a book based on or about JDJ's grading system, or producing videos of the requirements of the grading system to aid those engaged in the grading system. I have been involved in both processes.</p><p>You will recall the Tsutsumi and Higashi book discussed in a previous <a href="https://schoolofjandejong.blogspot.com/2023/11/the-development-of-jdj-jujutsu-grading.html" target="_blank">post</a>. All of the defences/techniques in that book are referred to as 'tricks.' They are described/explained in full, wholly independent of all other defences/techniques. They are described/explained in terms that do not refer to any similarities or differences (the <a href="https://kojutsukan.blogspot.com/2021/11/core-of-all-learning-and-martial.html" target="_blank">core</a> of all learning) with other defences/techniques. But what happens when there are commonalities in defences/techniques? At the very least, it is inefficient to have to describe/explain the same thing over and over again.</p><p>When adopting a <a href="https://schoolofjandejong.blogspot.com/2024/01/the-development-of-jdj-jujutsu-grading_5.html" target="_blank">systems approach</a>, such as that adopted by YB, it is more efficient to describe/explain the common elements once and then refer to that description/explanation. A glossary, if you will. Whenever <i>nagashi</i> is used in a defence/technique, it would be more efficient to refer to the one defining example of <i>nagashi,</i> a 'protypical' example of <i>nagashi</i> in this case. Even when the <i>nagashi</i> is different in another defence/technique, it is still more efficient to refer to the one prototyical example and then refer to the differences, e.g., it is the same except that ... </p><p>The problem here is that the <i>nagashi</i> is demonstrated as a defence in-and-of itself (see image above). It is not a demonstration of the prototypical <i>nagashi </i>that forms part of many other defences/techniques in the YB system. This is an example of teaching 'tricks' rather than teaching a 'system' of defences/techniques. This is an example of not understanding that demonstrating <i>taisabaki</i> (and <i>kuzushi</i>) is not demonstrating a defence.</p><p>The same is true of entering (<i>irimi</i>) in this grading.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidbNbvmMjbgUV02jbcbAaEOeIqwKyl9h4nXGqd_EzpjhrhkX1xzES6NjMb96PZERtFWuZZBxJ6i9heB8mXvOHtLBGLDWJ2iq8YKsueut3I_eOVlmgpsvBTexRtrNqfYK2myqs-ND6CPrcdxg3Dsy6-HjwP9x69RTmeARECcnYF1zByS8lHU_uQSKp3PLo/s4160/irimi.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4160" data-original-width="3120" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidbNbvmMjbgUV02jbcbAaEOeIqwKyl9h4nXGqd_EzpjhrhkX1xzES6NjMb96PZERtFWuZZBxJ6i9heB8mXvOHtLBGLDWJ2iq8YKsueut3I_eOVlmgpsvBTexRtrNqfYK2myqs-ND6CPrcdxg3Dsy6-HjwP9x69RTmeARECcnYF1zByS8lHU_uQSKp3PLo/s320/irimi.jpg" width="240" /></a></div><div><br /></div><div><div>The <i>taisabaki</i> is part of the <i>taisabaki-kuzushi-waza</i> phase division of defences/techniques (see above). These <i>taisabaki</i> are used time and time again in defences. Imagine making videos of the elements in the grading system. Would it not be smart/efficient,to provide a glossary of these common elements in their prototypical form that could be explained in detail once rather than doing so with each and every defence where they are present? If not a glossary, than when they are demonstrated in the <i>mon</i> grades. </div><div><br /></div><div><div><b>Kuzushi (Unbalancing)</b></div><div><p>The second phase in the YB division of techniques after <i>taisabaki</i> is <i>kuzushi</i> (unbalancing). </p><p>The demonstration of unbalancing in the <i>mon</i> grades is done from hand grips. There are four basic unbalancings from four basic handgrips, however, there is an element of confusion as they are referred to by the same name. </p><p><i>Jun katate dori</i> (normal single handgrip), <i>dosoku katate dori</i> (same side single handgrip), <i>gyaku katate dori</i> (reverse single handgrip), and <i>ushiro ryote dori</i> (rear both hands handgrip). The prototypical unbalancings are <i>jun kuzushi</i> (normal unbalancing) from <i>jun katate dori</i>, <i>dosoku kuzushi</i> (same side unbalancing) from <i>dosoku katate dori</i>, <i>gyaku kuzushi</i> (reverse unbalancing) from <i>gyaku katate dori</i>, and <i>ushiro kuzushi</i> (rear unbalancing) from <i>ushiro ryote dori</i>.</p><p>There are variations of these basic unbalancings as examined in the <i>kime no kata</i> grading in the <i><a href="https://schoolofjandejong.blogspot.com/2023/11/the-development-of-jdj-jujutsu-grading.html" target="_blank">nikyu</a></i> grading. </p><p>In his later years, JDJ taught these forms of unbalancing using a <i>kuzushi-hazushi</i> dichotomy. The basic idea was the <i>kuzushi</i> type was where <i>uke</i> held on whereas the <i>hazushi</i> (disengagement, release) was where the hold was disengaged. </p><p>This <i>kuzushi-hazushi</i> dichotomy was used in relation to the nine basic <i>kansetsu waza</i> (joint-locking techniques). <i>Kuzushi</i> involved the elbow being turned upwards during the unbalancing which facilitated <i>ude kujuki</i> (arm breaking), <i>tekubi hishigi</i> (wrist crush), and <i>yoko tekubi hishigi</i> (side wrist lock). The <i>hazushi</i> variant involved the elbow being turned during the unbalancing facilitating the other six basic <i>kansetsu waza</i> to be executed. The <i>kuzushi</i> and <i>hazushi</i> variations could be used with any of the abovementioned basic handgrips and was demonstrated and taught as such.</p><p>But here again, this element in this grading is taught and demonstrated as a defence in-and-of itself. Taught and demonstrated as a 'trick' and not as a prototypical example of a technique used in multiple defences/techniques.</p><p><b>Kansetsu Waza (Locking Techniques)</b></p><p>Given that it's just after Xmas, I'll refer to <i>Love Actually</i> and Rufus (Rowan Atkincson) when wrapping the present for the cheating Harry (Alan Rickman): 'Oh, this isn't a bag sir. This is so much more than a bag.' </p><p>The final element in the YB phase division of defences is <i>waza</i> (<i>taisbaki, kuzushi, waza</i>). This section of the grading ostensibly examines a particular type of <i>waza, kansetsu waza</i> (joint-locking techniques), but it examines so much more than the <i>kansetsu waza.</i></p><p>The following is from an interview with Hans de Jong (HDJ) published in the <i>Blitz</i> magazine:</p><p><i>While people tend to focus on techniques, tactics are also an important part of jujutsu training. Without employing the correct tactics, there's often no opportunity to use the techniques successfully, at least. Our very first grading involves dealing with two attackers, who attack one by one in quick succession, or simultaneously. The student is not only examined on technique, but how they are able to avoid the second attacker while dealing with the first. So how the body movement is used and how the attacker is placed in front of the other is looked at during the grading ...</i></p><p>HDJ's explanation of this format in the <i>mon</i> grades is an accurate explanation of its use in the JDJSDS. This is how the instructors described this section in the <i>mon</i> grades. But <i>really????</i></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjGoEY5_KaU61rVmoeL5PKJU3dONSUUzx84zxB5rOvVcWDGjkEaXkv2g5RS3bd2rgkI8Fct-HVmUJDepdjS0_hKJ8P2v9CI9OsDR9iQWMoQcluKByR-jPCpbTocc9wiXn69Vo-OtgkP5jLL3Y9i-pdRE9amfrKo9RJ_SK4X5KSVuzEXqDXCTmJgYx_L47Q" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" data-original-height="177" data-original-width="284" height="199" src="https://blogger.googleusercontent.com/img/a/AVvXsEjGoEY5_KaU61rVmoeL5PKJU3dONSUUzx84zxB5rOvVcWDGjkEaXkv2g5RS3bd2rgkI8Fct-HVmUJDepdjS0_hKJ8P2v9CI9OsDR9iQWMoQcluKByR-jPCpbTocc9wiXn69Vo-OtgkP5jLL3Y9i-pdRE9amfrKo9RJ_SK4X5KSVuzEXqDXCTmJgYx_L47Q" width="320" /></a></div>A five or six year old, in their very first grading, and they are going to be assessed on their tactical abilities in relation to two attackers. <i>Really?</i><p></p><p>This is JDJ's attempt at introducing <i>randori</i> into his grading system.</p><p><i>Randori is a term used in various martial arts, particularly in disciplines like Judo and Aikido. It refers to a training exercise where a person or a group of people face multiple opponents in a relatively free-form manner. The word 'randori' is of Japanese origin, where 'ran' means chaos or disorder, and 'dori' means taking or grasping. </i></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEioploavwenuzyPP_cIT-y9k316vF3UtSY6TTsCRgeotl4b-0-3oepyrpH9myaksBkFxQJchqN_7IeBpDSQlSOClqpXHCSOKoPUxBltQNilL8TuzIJzPJfyrkHN_PdGJW7lFnCYHsw7TukpuQD7lsYpg42Z1s5uBAw8okFW1nbQhhydnQcB2cPefkZheSs" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" data-original-height="196" data-original-width="257" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEioploavwenuzyPP_cIT-y9k316vF3UtSY6TTsCRgeotl4b-0-3oepyrpH9myaksBkFxQJchqN_7IeBpDSQlSOClqpXHCSOKoPUxBltQNilL8TuzIJzPJfyrkHN_PdGJW7lFnCYHsw7TukpuQD7lsYpg42Z1s5uBAw8okFW1nbQhhydnQcB2cPefkZheSs" width="315" /></a></div>Without going into a detailed discourse on the concept of <i>randori</i>, it is a form of stress training. The <i>kyu</i> grades employ <i><a href="https://schoolofjandejong.blogspot.com/2023/11/the-development-of-jdj-jujutsu-grading.html" target="_blank">shinken shobu no kata</a></i> as the form of stress training with no demonstration of techniques under non-stress conditions. JDJ became aware of <i>randori</i> as a form of training/stress training and given that <i>shinken shobu no kata</i> was used in the <i>kyu</i> grades, he included this form of training in the <i>mon</i> grades without any real understanding of this form of training.<p></p><p>What do you think is more stressful, more reminiscent of 'real' fighting: two attackers in a free-form manner or <i>shinken shobu no kata</i>? If the former, why include the more 'stressful' form of training for beginners then ease off for the adult <i>kyu</i> and <i>dan</i> grades?</p><p>In terms of progression, where is the one attacker free-form training before jumping to two attackers?</p><p>How would you go about developing this grading (and the other <i>mon</i> grades) based on this analysis and the fact that it is based on the <i>taisabaki, kuzushi, waza</i> phase division approach? You would include a demonstration of the <i>taisabaki</i>, and then the <i>kuzushi</i>, and then the <i>waza</i>, separately. You would then include a demonstration of the three phases put together, and then, and only then, you might include a stress element.</p><p>Not only is this section flawed because of the absurdity of the two attackers and its purpose, the defence involving the wrist twist from a top strike and a low punch involve <i>irimi senkai</i> (entering rotation) <i>taisabaki</i> and a 'grabbing block' (see future post on blocks) as a form of unbalancing used in conjunction with the body-movement, both of which are not demonstrated in the <i>taisabaki</i> and <i>kuzushi</i> sections.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEifTqeY8ORIRQmC9ITZSN3eB-lGMqTKSOGoblpzEeJFGY7QjuKaTgwSh9SK0M7nsKwurnLD4yy7hxI5DFYxTBjROgKjqYUYxqUwnq0jLh8afFcKF2jYVmGC3UiSeN3C91mDv4MjV9SLRgW_V2GzvmhF1n9RL4LlOJkSApKikVJozQgjjMZMgl5uofycuRw" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" data-original-height="195" data-original-width="194" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEifTqeY8ORIRQmC9ITZSN3eB-lGMqTKSOGoblpzEeJFGY7QjuKaTgwSh9SK0M7nsKwurnLD4yy7hxI5DFYxTBjROgKjqYUYxqUwnq0jLh8afFcKF2jYVmGC3UiSeN3C91mDv4MjV9SLRgW_V2GzvmhF1n9RL4LlOJkSApKikVJozQgjjMZMgl5uofycuRw" width="239" /></a></div>If a five- or six-year-old grading candidate is struggling with this section of the grading, is it because of the stress element or is it because they cannot perform the wrist twist? Taking the grading as it is, we don't even know if the student can perform a wrist twist technique.<p></p><p>When I asked what was supposed to be taught and examined in this section of the grading, the answer by the senior instructors was the same as HDJ's explanation above. I ignored that instruction. Even way back when, I recognised it was a nonsense. All I wanted to see from the five- and six-year-old grading candidates was that they could perform the <i>kansetsu waza</i>, wrist twist. The same was true of the <i>taisabaki</i> and <i>kuzushi</i> techniques. All I wanted to see is if they could perform those techniques and not if they could perform a defence involving some variant of those techniques.</p><p><br /></p></div></div></div>John Coleshttp://www.blogger.com/profile/14634192254115557179noreply@blogger.com0tag:blogger.com,1999:blog-2538432015657849810.post-58432948846070712392024-01-05T22:00:00.000-08:002024-01-05T22:02:11.361-08:00The Development of the JDJ Jujutsu Grading System Part 3.1: The Mon System Introduction<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFEtdPCOctWul5ZNGP5O1B5QqviyMwcr-dkiT2UGJbWEUM46M6F1jPSZW1Tefrbiw6GDyUfAQuAE3FM6XZMQUh_iUJUyH5Ef8lVlKtOmoR9YTq643HZVOVlB8c2PN0OcOo7A4WmEIJD-KeavzvjzRf6c5_LUaKcO0ex-P6RwPgFiPgE_Tu3tlOcCkJK5A/s4160/cover%20jdj%20book.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="4160" data-original-width="3120" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFEtdPCOctWul5ZNGP5O1B5QqviyMwcr-dkiT2UGJbWEUM46M6F1jPSZW1Tefrbiw6GDyUfAQuAE3FM6XZMQUh_iUJUyH5Ef8lVlKtOmoR9YTq643HZVOVlB8c2PN0OcOo7A4WmEIJD-KeavzvjzRf6c5_LUaKcO0ex-P6RwPgFiPgE_Tu3tlOcCkJK5A/s320/cover%20jdj%20book.jpg" width="240" /></a></div>The following introduction to the <i>mon</i> system is taken from <i>Jan de Jong: The Man, His School and His Ju Jitsu System</i> (Jan de Jong Self Defence School, 1995) (the 'JDJ book'):<br /><br /><i>The Tsutsumi Hozan ryu ju jitsu system originally commenced at Rokku (6th kyu - yellow belt). Jan de Jong has made incremental changes in the techniques and the system over the years, however, the most substantial change was the introduction of the 'mon system' in 1978.</i> (p. 12)<br /><br />The introduction of the <i>kyu</i> system was discussed in a previous <a href="https://schoolofjandejong.blogspot.com/2023/11/the-development-of-jdj-jujutsu-grading.html" target="_blank">post</a>. <div><br /></div><div>That post included that the individual levels and colour belt system of Jan de Jong's (JDJ) <i>kyu</i> system reflected that of Tsutsumi Hozan Ryu (THR) included in Tsutsumi Masao and Higashi Katsukuma's <i>Die Selbstverteidigung (Jiu-Jitsu): nebst einem Anhange über Kuatsu (Wissenschaft der Wiederbelebung Verunglückter): mit 72 Abbildungen nach dem Leben</i> (Self-defense (Jiu-Jitsu): along with an appendix on Kuatsu (science of resuscitation of casualties): with 72 illustrations based on life) published in Germany in 1906. It is unknown whether the content of the two grading systems were the same. It is unknown if the JDJ <i>kyu</i> grading system is the THR jujutsu <i>kyu</i> grading system.</div><div><br /></div><div><span style="font-family: inherit;">It should be noted that a former JDJ jujutsu instructor who ended up teaching for him full-time has stated that during his time (1963-1974), JDJ did not discuss THR in classes or that what was being taught was THR jujutsu.</span></div><div><span style="font-family: inherit;"><br /></span></div><div><span style="font-family: inherit;">The <i>mon</i> system was introduced at the front end of the JDJ grading system, however, it will be seen that the same influence had a major impact on the development of the <i>dan</i> system at the back end. How it fits with the <i>kyu</i> system in the middle, well ...</span></div><div><span style="font-family: inherit;"><br /></span></div><div><span style="font-family: inherit;">The <i>mon</i> system is comprised of 1st <i>mon</i> to 7th <i>kyu</i>. Why did JDJ refer to the last three gradings in the <i>mon</i> system as <i>kyu</i> grades? From the abovementioned JDJ book </span>(p. 31)<span style="font-family: inherit;">:</span></div><div><br /></div><div><i>Entry Levels</i></div><div><i>Age Requirements and First Grading</i></div><div><i>Under 12 years - 1st Mon</i></div><div><i>12-15 years - 3rd Mon</i></div><div><i>Over 15 years - 9th Kyu</i> </div><div><br /></div><div><span style="font-family: inherit;"><span></span></span></div><div><span style="font-family: inherit;">It would appear that JDJ considered <i>mon</i> grades, junior grades and <i>kyu</i> grades, adult grades, when he developed the <i>mon</i> system.</span></div><div><span style="font-family: inherit;"><br /></span></div><div><span style="font-family: inherit;"><i>Until the introduction of the 'mon system' (refer pate 12) in 1978, people of all ages attempted the yellow belt grading first. Paul Connolly (refer page 19) started under the old system at the age of twelve. Two years later he was the youngest person to grade purple belt showing that it was a challenge but not an insurmountable one.</i> (JDJ Book, p. 27)</span></div><div><span style="font-family: inherit;"><br /></span></div><div>The <i>mon</i> grades opened up a whole new market for JDJ - kids and youths/teenagers. Before the <i>mon</i> system, there was only 6th <i>kyu</i> that was trained by and with adults. The above statement concerning the 'old system' being a challenge but not insurmountable is being generous to an extreme.</div><div><br /></div><div><i>The 'mon system' is a series of gradings that supplement the original grading system and primarily examine the fundamentals of ju jitsu. It is a rational, scientific approach to the teaching and learning of ju jitsu.</i></div><div><i><br /></i></div><div><i>By providing novice ju jitsuka (ju jitsu students) with a basic framework of ju jitsu skills and understanding at the beginning of their training, they are better prepared to tackle the demanding grading system and attain a higher level of proficiency more quickly. The outcome of this bold move has proved extremely successful with the graduates of this system having a deeper understanding of ju jitsu earlier.</i></div><div><i><br /></i></div><div><i>These fundamentals link all the techniques and provide a 'system' of self defence rather than a collection of unrelated 'tricks'. Armed with an understanding of these fundamentals, an experienced ju jitsuka could develop their own style of ju jitsu. In ancient times this could mean the loss of likelihood for the original master, or even a challenge for his position or life. Thus these fundamentals were closely guarded secrets and only revealed to very advanced and trained yudansha (black belt holder).</i></div><div><br /></div><div>The JDJ book was researched, written, and edited by me, with contributions by the senior instructors of the school and with extensive consultation with JDJ, as acknowledged at the start of the book. The book was based on my understanding of the grading system back in 1995. That understanding has changed significantly in the meantime with further study and reflection, as these series of posts demonstrate.</div><div><br /></div><div>The gist of the above understanding was derived from Greg Palmer (one of five to complete the JDJ technical grades and be awarded <i>sandan</i> before being awarded <i>yondan</i> for his contributions to JDJ and his school). Greg was able to gain those <a href="https://schoolofjandejong.blogspot.com/2022/09/jan-de-jong-jujutsu-grading-system.html" target="_blank">insights</a> that lead to a new and better understanding because he was a professional trained <a href="https://schoolofjandejong.blogspot.com/2023/11/who-was-best-teacher-as-jan-de-jong.html" target="_blank">teacher</a>. How much of those insights were shared by the other instructors and their teaching of the <i>mon</i> system and application to the teaching of the <i>kyu</i> system is open to question.</div><div><br /></div><div>The reference to 'system' and 'tricks' is reference to systems theory. In the context of systems theory, a system refers to a complex whole, comprised of interconnected and interdependent parts or elements. Systems thinking is an approach to understanding and solving problems that emphasises the examination of the entire system, rather than focusing on its individual components. </div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhctJzar-8beb_O530EXw8u2bRwl2IzjW2ynjLfdIrYgbfrPsNkp0T_vWo19dBEuQwfUdS4hMkOBGZmQS-y2W3ypDaVmwGaDdSb_GBWPb4Z8UciG0kL4KTforC075wnUN4a6SRlojxNtgpLTy8zjQjSc00PucX_BJdAuBEq9jT7CM3pb3Tx18TciMBmrEU" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" data-original-height="385" data-original-width="297" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEhctJzar-8beb_O530EXw8u2bRwl2IzjW2ynjLfdIrYgbfrPsNkp0T_vWo19dBEuQwfUdS4hMkOBGZmQS-y2W3ypDaVmwGaDdSb_GBWPb4Z8UciG0kL4KTforC075wnUN4a6SRlojxNtgpLTy8zjQjSc00PucX_BJdAuBEq9jT7CM3pb3Tx18TciMBmrEU" width="185" /></a></div>Another way of understanding this approach is contained in the chapter on analysis in my book on the science behind all fighting techniques. In that chapter I refer to Gerry Carr, <i>Sports Mechanics for Coaches</i>, 2edn, 2004:</div><br /><i>Carr explains how it is easy to be overwhelmed by the complexity and speed of a skill when it is performed in its entirety. He suggests that when the skill is divided into phases it is far easier to analyse each phase of the skill separately rather than concentrate on the total skill. Dividing a skill into phases also allows us to teach, learn and train each phase separately before combining them to perform the complete skill. It enables us to identify the similarities and differences between different skills which has been described as the core of all learning. Identifying the similarities between techniques and defences means that by training the similar phases we are training a part of a number of techniques or defences rather than just the technique or defence in question. This produces efficiencies in training and produces a system rather than just a collection of techniques.<br /> </i><div><br /></div><div>The reference to 'tricks' in the above JDJ book excerpt, and which has been discussed in a previous <a href="https://schoolofjandejong.blogspot.com/2023/11/the-development-of-jdj-jujutsu-grading.html" target="_blank">post</a>, is reference to skills being considered in their entirety and independent of all other skills. The reference to 'system' is reference to the phases in the performance of a defence; the fundamentals of ju jutsu as the above JDJ book excerpt refers to them as. These phases/fundamentals form the basis for the <i>mon</i> grades, however, how they fit with the <i>kyu</i> grades is another matter.</div><div><br /></div><div>The idea that these fundamentals in the <i>mon</i> system were the 'secrets' of the THR grading system that JDJ chose to go against tradition and share with novice students was a myth that grew out of JDJ's penchant for not <a href="https://schoolofjandejong.blogspot.com/2023/11/ken-tai-ichi-no-kata-example.html" target="_blank">acknowledging</a> the source of his teachings. </div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhWZeedJyMO3yrHCJD0bQTpHC0NNmK6P8lr9qs4Lpq_I_jDUojnLy-a6j0Dcsvp_0x33gL8YAG50ehqe9qmVgsvZEY3OitMJPHlDxpID2s7zRnD6DRCKEKCmf89T88dHaW1upeJRci4si32gNlILBpVUcjQbK44MOwIvzHA2HKQ-wwYZm0q5yC_Z-6OLhI" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" data-original-height="225" data-original-width="225" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEhWZeedJyMO3yrHCJD0bQTpHC0NNmK6P8lr9qs4Lpq_I_jDUojnLy-a6j0Dcsvp_0x33gL8YAG50ehqe9qmVgsvZEY3OitMJPHlDxpID2s7zRnD6DRCKEKCmf89T88dHaW1upeJRci4si32gNlILBpVUcjQbK44MOwIvzHA2HKQ-wwYZm0q5yC_Z-6OLhI" width="240" /></a></div>What is missing from the above description of the <i>mon</i> system is that it is based in large part on Yoseikan Budo (YB) teachings. JDJ adopted those teachings and developed the <i>mon</i> system based on those teachings without acknowledging the source of those teachings. Anyone from the YB tradition could comfortably pass all of the <i>mon</i> grades without any instruction from the JDJ tradition. They would also do pretty well with a lot of the gradings in the <i>dan</i> grades.</div><div><br /></div><div>In terms of the comment in the above extract regarding attaining a higher level of proficiency more quickly and that the outcome of this bold move of introducing the <i>mon</i> system at the front end of the grading system, and how it has proved extremely successful, I will refer to an <a href="https://schoolofjandejong.blogspot.com/2012/" target="_blank">interview</a> that JDJ participated in. The interviewer asked if JDJ thought it was a good idea to change the system to suit the students.</div><i><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgImK-uLwhpZifrvL1KxmldyGbyc553xKFUlW9nAdEWhV142aKDp2bCu-OSEPlWLzvIFM2BBB0eVDPQiozJDkXuT4U8F3eBTN_0kqKB44Trybd-qtgYsdKEztpmiDmmtnnCHmvWytrswk8Q9uYifgDuH8EqOAxxCN7mp_GvccI3wM6PGfEF3peSU78rPIg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" data-original-height="385" data-original-width="270" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEgImK-uLwhpZifrvL1KxmldyGbyc553xKFUlW9nAdEWhV142aKDp2bCu-OSEPlWLzvIFM2BBB0eVDPQiozJDkXuT4U8F3eBTN_0kqKB44Trybd-qtgYsdKEztpmiDmmtnnCHmvWytrswk8Q9uYifgDuH8EqOAxxCN7mp_GvccI3wM6PGfEF3peSU78rPIg" width="168" /></a></div><br />Yes, I know what you're saying, but you know you can learn all the time. And if the results are better one way than the other, why carry on in a way that gives poorer results? I'll give you an example. In 1978 a Major Greg Mawkes MBE asked me if I would go and teach the army self-defence. I said okay and soon afterwards found myself teaching members of the SAS and the Commandoes. Shortly after I had started to do this the Major and I had a discussion about things. He told me that he thought the method of fighting was really good and he was pleased with that. But he said the men were having some difficulty understanding it all. I said this was the usual way of things and that my students were the same. He then explained the army did not have unlimited time to spend on this and that what he needed was quick results.<br /><br />So it was at that point I had to think things through and see what I could come up with. I looked at the usual way the army taught things and decided I would alter the way I was teaching and come more in line with the army way of doing things. Well, do you know, the people started to pick things up much faster than before, and they could do the techniques much better than before! So I had a talk with my Instructors and said I thought that we should change things so that we were teaching everyone like this. And at that time we changed the way we taught the students. The techniques were still the same, it was only the method of teaching them that was different. And since then things have been much better.</i><div><br /></div><div>The JDJ <i>ryuha</i> that are teaching JDJ's grading system in any large degree should take note of JDJ's comment regarding carrying on in a way that gives poorer results. I have long <a href="https://schoolofjandejong.blogspot.com/2023/11/the-development-of-jdj-jujutsu-grading.html" target="_blank">argued</a> that JDJ's grading system is 1.0 and is in need of revision. It is overly cumbersome, overly burdensome, and disjointed, not to mention the faults that are contained therein. The grading system is in need of rationalisation and integration. Without it, the JDJ tradition will die, which can be seen through the ever-diminishing JDJ <i>ryuha </i>since JDJ's passing.</div><div><br /></div><div>If grading system 2.0 is to be realised, one must understand how system 1.0 was developed or evolved. That is one of the main purposes of these series of posts.</div><div><br /></div><div>JDJ's reference to Mawke's comment that his men (SAS troopers) were having difficulties understanding JDJ's teachings is reference to the <i>kyu</i> system approach. The reference to the Army way of doing things is reference to the <i>mon</i> system approach, which is basically a YB system approach, and which involves the division of a skill into phases (see Carr above). An understanding of this approach can produce the abovementioned improved outcomes, however, as will be demonstrated in the following posts, that understanding is lacking in many of the instructors within the JDJ tradition, including to a large extent JDJ.</div><div><br /></div><div>Is that understanding lacking, at least in part, due to the way the <i>mon</i> system was introduced? The <i>mon</i> system was introduced into the JDJ grading system in 1978 when the senior instructors were already the instructors to which JDJ referred to in the above interview extract. The ones he referred to talking with about the introduction of the <i>mon</i> grades. In which case, did the senior instructors go through the <i>mon</i> grades? Were their introductory sessions that enabled the instructors who would be teaching these grades to gain an understanding of their content? It has to be understood that the <i>mon</i> grades are a significantly different system to the <i>kyu</i> grades. They are different in the very basis of their conception.</div><div><br /></div><div>Am I the first black belt to have gone through the <i>mon</i> system? In which case, I am the first to complete the technical grades in the JDJ jujutsu grading system that included the <i>mon</i> grades (only five complete the technical grades and were awarded <i>shodan</i>; me and four of my instructors).</div><div><br /></div><div>The next post will start to delve into the <i>mon</i> grades in some detail.</div><div><br /></div>John Coleshttp://www.blogger.com/profile/14634192254115557179noreply@blogger.com0tag:blogger.com,1999:blog-2538432015657849810.post-46984026579576943962024-01-05T01:50:00.000-08:002024-01-05T22:01:10.615-08:00The Development of the JDJ Grading System Part 2.8: Shodan (Part 7 Ju Jitsu Rekishi (History), Part 8 Kyoji (Teaching), and Part 9 (Examining)<p>This post will complete the review of the Jan de Jong <i>shodan</i> jujutsu grading.</p><p>The final three parts to the grading are all teaching oriented.</p><p>The translation of the Part title and the Part descriptions are taken from <i>Jan de Jong: The man, his school and his ju jitsu system</i> (Jan de Jong Self Defence School, 1995).</p><p><b>SHODAN PART 7: JU JITSU REKISHI</b></p><p><i>Rekishi</i> is translated as 'history.'</p><p>'Candidates are required to submit an essay with no less than 1500 words on the history of ju jitsu and no less than 1500 words on any one aspect of ju jitsu.'</p><p>This Part carries on from <i>ikkyu</i> part 4 of the same name: 'Oral examination of the history of ju jitsu and a general history of Asian martial arts.'</p><p>The recommended reading for the <i>shodan</i> grading were:</p><p><i>Beginning Ju-Jitsu</i> by James Shortt</p><p><i>Comprehensive Asian Fighting Arts</i> by Donn Dreager and Robert Smith</p><p><i>Classical Budo</i> by Donn Dreager</p><p><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/a/AVvXsEi_yik6iZgD92Ni_1ufi_XjaoqDc8fxfNWR_Jq-PK03xZGwEWAlQ7yf016WdB2kjenI3IIoAkKNZ0pkHDtBLnOCX29eTol0-LueXOVEcizlOJc5C7Fe8AOxvVpb9D6WlSlDVJuUt7qg8myXgNhXimBGXnTlHG1aiQCL-hoxWhytMwKh4VAHT6e0Wc2sV2s" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" data-original-height="385" data-original-width="271" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEi_yik6iZgD92Ni_1ufi_XjaoqDc8fxfNWR_Jq-PK03xZGwEWAlQ7yf016WdB2kjenI3IIoAkKNZ0pkHDtBLnOCX29eTol0-LueXOVEcizlOJc5C7Fe8AOxvVpb9D6WlSlDVJuUt7qg8myXgNhXimBGXnTlHG1aiQCL-hoxWhytMwKh4VAHT6e0Wc2sV2s" width="169" /></a></i></div><i>Modern Budo and Modern Bujitsu</i> by Donn Dreager<p></p><p><i>Secrets of the Samurai</i> by Ratti and Westbrook</p><p><i>The Fighting Spirit of Japan</i> by E. Harrison</p><p><i>Zen Combat</i> by Jay Gluck</p><p>There have been some authoritative books published since Jan de Jong (JDJ) devised this grading and compiled the above recommended reading list. Two that should be compulsory reading are:</p><p><i>Legacies of the Sword: The Kashima-Shinryu and Samurai Martial Culture</i> by Karl F. Friday (1997)</p><p><i>Armed Martial Arts of Japan: Swordsmanship and Archery</i> by G. Cameron Hurst III (1998)</p><p>Friday is associate professor of Japanese history at the University of Georgia. Hurst was a historian of Japan and Korea holding academic posts at various universities in the U.S. and Japan. Unfortunately Hurst passed away before he could publish his promised accompanying <i>Unarmed Martial Arts of Japan</i>.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiTm2QaxVWAFfeGupMDbiS4fgUG4ovAn0Wg6EoIsDB5CWscNc-20A5uHEwy14c53Pojz_peoJleR2a4JdWy8YZZDD5PYxcbMWlBRvkqoODuCHGV68YQim8-BvBgXzt89IAxaThMpLhHYedbB1OPuuwoWxiQoozUxaqVFSmEd3ffivuxCDA-Wnl61K2fq3k" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" data-original-height="500" data-original-width="315" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEiTm2QaxVWAFfeGupMDbiS4fgUG4ovAn0Wg6EoIsDB5CWscNc-20A5uHEwy14c53Pojz_peoJleR2a4JdWy8YZZDD5PYxcbMWlBRvkqoODuCHGV68YQim8-BvBgXzt89IAxaThMpLhHYedbB1OPuuwoWxiQoozUxaqVFSmEd3ffivuxCDA-Wnl61K2fq3k" width="151" /></a></div>Friday had this to say in the introduction to his book and martial arts literature:<p></p><p><i>Errors ... persist in Western writings due in large measure to the insularity of both the audience and the authors. The overwhelming majority of the literature on Japanese martial art has been directed at practitioners and other afficionados, and penned by journalists, martial art teachers, and others without formal academic training in premodern Japanese culture or history. Not surprisingly then, most English-language books and articles on the topic have relied almost exclusively on other English-language martial art books and articles, supplemented by survey histories. Thus, mistakes and misinformation tend to circulate and recirculate largely because those with the wherewithal to correct them - the community of experts versed in Japanese history and thought, and trained to read primary sources - have generally viewed the bugei with little more than bemused condescension.</i> (p.8)</p><p><i>The English-language literature on the traditional bugei includes how-to manuals, biographies of master swordsmen, translations and commentaries on classical texts, and broadly synthesizing historical or analytical studies. Much of this work suffers from historical naivete, flawed by errors of fact or conception, but most is useful in one way or another and some is quite excellent. Even the best, however, suffers from limitations imposed by the sheer diversity of the bugei.</i> (p.9)</p><p>JDJ introduced the history grading into both his initial instructor gradings because, as he explained, an instructor needs to be able to explain what jujutsu is to prospective students and others.</p><p>My writing journey began around 2000 when I started writing a book on the jujutsu that JDJ taught. The first chapter was, 'What is Jujutsu?' Answering that question was JDJ's intent when he introduced the history grades into <i>ikkyu</i> and <i>shodan</i>, however, I found knowledge of the history of jujutsu did not answer that question.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhsOPpY1mnPKZMsMGF1G4ukgXGrBoOQktTvEdjx8stxxkXsJ2_kqraFBG1_bYSATWmA0YqNBbrRhzRxKwo2OK5WBzRCWEMArsuHpUsPNJwcymQ0TAaXwWvukpPnmRDEe0je8YlvyeklgRsWOsiGwljyRTl5UT7GjkwYyFUTtJvumiW_p2wA-ELUNLHqobM" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" data-original-height="188" data-original-width="268" height="224" src="https://blogger.googleusercontent.com/img/a/AVvXsEhsOPpY1mnPKZMsMGF1G4ukgXGrBoOQktTvEdjx8stxxkXsJ2_kqraFBG1_bYSATWmA0YqNBbrRhzRxKwo2OK5WBzRCWEMArsuHpUsPNJwcymQ0TAaXwWvukpPnmRDEe0je8YlvyeklgRsWOsiGwljyRTl5UT7GjkwYyFUTtJvumiW_p2wA-ELUNLHqobM" width="320" /></a></div>Instead, I found Draeger was the most thorough in answering that question. Dreager consistently analysed and explained jujutsu in terms of the generic nature of the term, its history, its technical content, and the practical application of the philosophical concept of <i>ju</i>.<p></p><p>Understanding the generic nature of the term is a must in understanding what jujutsu is. When martial artists say that jujutsu is [ ], there are always exceptions. Friday has this to say about attempting to understand phenomena in generic terms:</p><p><i>Analysing and explaining the bugei in generic terms is a bit like conceptualising world history, world literature, or world religion in similar fashion. Standing back far enough to examine the phenomenon in toto permits one to describe its outlines, but seeking deeper insights about its essence forces one to grapple with a volume of diversity and detail that quickly becomes overwhelming.</i> (p.9)</p><p>In addition to the generic issue above, I found that the history of jujutsu, if there is even such a thing, did not add much to the understanding of jujutsu. Instead, I found an evolutionary approach was far more informative. An evolutionary approach looks at the same historical period but with a clear focus on function. It has a clear focus on explaining how what is under investigation came to be what it is today.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjGr1Lqy1_4HazcQ6J3rogdDj7vxVv4xXAy76Fb1WUNGpYfLXnKcWP3oOPZ2hJzSyUh4nnJm5kwX12ykxwxnd-roG9MAdDEo7TOeX7J4dv9npRhgvwxy-raXWeeZXNlrlD4J0sR9TcTMHaRALHk9IRJjWL8bT5eFMjsD1vTo_NxAfUpYOD_VuZgRsviUqk" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" data-original-height="276" data-original-width="183" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEjGr1Lqy1_4HazcQ6J3rogdDj7vxVv4xXAy76Fb1WUNGpYfLXnKcWP3oOPZ2hJzSyUh4nnJm5kwX12ykxwxnd-roG9MAdDEo7TOeX7J4dv9npRhgvwxy-raXWeeZXNlrlD4J0sR9TcTMHaRALHk9IRJjWL8bT5eFMjsD1vTo_NxAfUpYOD_VuZgRsviUqk" width="159" /></a></div>An important book in this regard is <i>Giving Up the Gun: Japan's Reversion to the Sword, 1543-1879</i> by Noel Perrin (1988). This book uses the evolutionary concept of speciation, albeit not explicitly, to explain the uniqueness of the Japanese warrior arts compared to that of European knights.<p></p><p>Another book that looks at the evolution of the Japanese warrior that is also helpful in understanding the generic nature of the Japanese warrior arts is<i> Heavenly Warriors: The Evolution of Japan's Military, 500-1300</i> by William Wayne Ferris (1996). In fact, Ferris' principles of counter-response and symmetry - the tendency of one antagonist to reproduce the same kind of weapon as the enemy, which he suggests dominated much of martial thinking in the premodern era as it does today, explains the development of the modern phenomena that is 'mixed martial arts' as a martial art in itself and which destroyed the original concept of those competitions.</p><p>The technical content of jujutsu reflects the evolution of the Japanese warrior which is explained in the last four-mentioned books. Friday compares the Japanese warrior arts to the Chinese, Korean, and Okinawan boxing arts:</p><p><i>Japan, however, had no counterpart to Chinese boxing - at least not until modern times. The bugei practiced in Japan today descend directly from arts developed for the battlefield. Furthermore, until modern times the Japanese fighting arts were more or less the exclusive property of the samurai, the ruling class throughout the period in which the disciplines matured. Chinese, Okinawan, and Korean boxing forms, by contrast, were created by tradesmen, peasants, ascetics, entertainers, monks, rebels, bandits, and other political have-nots.</i> (p.6)</p><p>The final element in Dreager's explanation of jujutsu is the practical application of the philosophical concept of <i>ju</i>. Dreager explains that the principle has been interpreted in highly individual and technically differentiated ways, all of which are subsumed under the generic concept of jujutsu. I won't go into a discussion on the subject, but I will note that it is an important part of an explanation of jujutsu and that it serves as a point of differentiation between different jujutsu methods.</p><p>You will recall from the description of this grading at the beginning of this section that the essay is to be comprised of one half on the history of jujutsu and the other half on one aspect of jujutsu. I cannot remember what my aspect was. </p><p>One of my training partners, Gerald Woods, a very funny person, informed me that he'd submitted his essay. I asked what aspect of jujutsu did he write about? He was perplexed. He hadn't read the instructions thoroughly and wrote the entire essay on the history of jujutsu. When I point out his error, he said <i>au contraire</i>. The first half of his essay was on the history of jujutsu and the second half on an aspect of jujutsu was on the aspect of the history of jujutsu. I've got to give him that.</p><p><b>SHODAN PART 8: KYOGI</b></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4gdxnaEFVg9zb9vW2HgflZFm8BKQD1gNZVYemnWkewPM6hQL7M6TLrC5K8ufKOfqvmSwGKL5z5xcIyXb4I_PMt3nB-o8a9YV6ojx-Iij_L6rYS3aKinZ5mFKE71ONr6jzZz-YktAtQHPhgxcqN6Zp73gwZuhKfS-Cb0Vwt5InH1NPb9YYRfXhzdyi_jQ/s300/996%20Hay%20street.BMP" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="212" data-original-width="300" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4gdxnaEFVg9zb9vW2HgflZFm8BKQD1gNZVYemnWkewPM6hQL7M6TLrC5K8ufKOfqvmSwGKL5z5xcIyXb4I_PMt3nB-o8a9YV6ojx-Iij_L6rYS3aKinZ5mFKE71ONr6jzZz-YktAtQHPhgxcqN6Zp73gwZuhKfS-Cb0Vwt5InH1NPb9YYRfXhzdyi_jQ/s1600/996%20Hay%20street.BMP" width="300" /></a></div>Kyogi means 'teaching.'<p></p><p>'Examination of the candidate's ability to teach all grades to Ikkyu. Candidates will be judged on manner of presentation, explanation, demonstration, correction, technical knowledge and attitude to and handling of students.'</p><p>This grading follows on from part 6 of <i>ikkyu</i> which is exactly the same except the grades are from <i>ichimon</i> (1st <i>mon</i>) to <i>gyoku</i> (5th <i>kyu</i>).</p><p>The 'sheepdog' approach was adopted to teaching prospective teachers at the Jan de Jong Self Defence School (JDJSDS). What I mean by that is that the candidates would assist an instructor in teaching classes and would basically learn to teach by observation, with very little if any instruction. </p><p>There were no requirements regarding minimum time assisting before being eligible to attempt the teaching grading in the JDJSDS. A JDJ <i>ryuha</i> has introduced a minimum time assisting requirement before being eligible to attempt the teaching grade. </p><p>In a previous <a href="https://schoolofjandejong.blogspot.com/2023/11/who-was-best-teacher-at-jdjsds-revisited.html" target="_blank">post</a>, I explained that JDJ asked me to take over a branch of his school after 1.5 years training, graded 3rd <i>kyu</i> (orange belt), and after having never assisted any instructor in the school. Maggie de Jong once attempted to 'explain' to me the the high calibre of our instructors was because they all had assisting experience and were graded <i>shodan</i> (conveniently forgetting that instructors were <i><a href="https://schoolofjandejong.blogspot.com/2023/11/the-development-of-jdj-jujutsu-grading.html" target="_blank">ikkyu</a></i> when there was no <i>shodan</i> grading). I reminded her that her father had asked me to take over a branch of his school when I was 3rd <i>kyu</i> and that I had never assisted any instructor. She backtracked and said that I was the exception. I <i>was</i> the exception, but why?</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbagVDWzm2m58OizqIt9qPtSGqW6IzZ6TgXOAYEpK1dneIXjhRGB4IKxqmpc07Zo8gYrPOIeEVFcF_wYVvbAtHDo2Terb8VW2cd7yqHr-PBL1L2bZlUZSgsJh8hkSbXSA5TJlCDTdZcm1CVIsG0XfjH2d6w190DjvGpabpYv8ewIW8c2n3tRPxLk4izJk/s1768/jakarta%20cbd%20jfc%20mdj%20jdj.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1192" data-original-width="1768" height="216" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbagVDWzm2m58OizqIt9qPtSGqW6IzZ6TgXOAYEpK1dneIXjhRGB4IKxqmpc07Zo8gYrPOIeEVFcF_wYVvbAtHDo2Terb8VW2cd7yqHr-PBL1L2bZlUZSgsJh8hkSbXSA5TJlCDTdZcm1CVIsG0XfjH2d6w190DjvGpabpYv8ewIW8c2n3tRPxLk4izJk/s320/jakarta%20cbd%20jfc%20mdj%20jdj.jpg" width="320" /></a></div>I didn't stop teaching from the time I started, and I only ever assisted two instructors at the JDJSDS. One was <a href="https://schoolofjandejong.blogspot.com/2023/11/who-was-best-teacher-as-jan-de-jong.html" target="_blank">Peter Clarke</a>, who was one of the trio that JDJ awarded <i><span style="background-color: white;">roku</span>dan</i> (6th <i>dan</i>). I requested to assist him because I thought I could learn something from him. The other was JDJ who asked me to assist him in his classes. I also assisted him teaching throughout Western Europe, the Eastern States, and Java, Indonesia. I came to be the main instructor at the JDJSDS teaching more classes and private lessons than any other instructor there at the time (mid-90s).<p></p><p>I also assisted Debbie Clarke when she was teaching the women's self defence courses that she developed and taught for the JDJSDS. I was the only male to do so for any extended period and I learned a great deal assisting her. One thing I learned that being a martial arts instructor does not necessarily prepare you for teaching women's self defence.</p><p>There was no consistency in teaching standards or methods at the JDJSDS. Teaching martial arts is still an amateurish affair. It is patently obvious that teaching prospective teachers how to teach would lift the teaching standard within the school and introduce some sort of consistency in terms of teaching standards and methods that can only benefit students.</p><p><b>SHODAN PART 9: EXAMINING</b></p><p>'Candidates are required to assist with 40 hours of gradings in an assistant examiner capacity. Twenty (20) hours must be completed with Shihan Jan de Jong. An official record signed by the head examiner is to be submitted.'</p><p>There is no similar grading in <i>ikkyu</i>. You will recall from a previous <a href="https://schoolofjandejong.blogspot.com/2023/11/the-development-of-jdj-jujutsu-grading.html" target="_blank">post</a> that <i>ikkyu</i> was the instructor grading in the one-off <i>kyu</i> system that JDJ initially developed. Why is there no examining requirement in <i>ikkyu</i>? </p><p>If there was no consistency in teaching standards within the JDJSDS there was <i>absolutely</i> no consistency in examining standards. The standard varied so widely that no candidate for this grading could have developed an understanding for what standard is required for any grading in the JDJSDS.</p><p>There was one senior instructor who was so lenient in his marking that it was nigh on impossible to fail a grading under him (in terms of teaching standards, it was his students who tended to fail gradings). There were other senior instructors who considered JDJ too lenient and so tended to mark a lot harder than JDJ. In fact, one of the instructors went out of his way to show me what a 'high standard' he imposes on grading performances when I was 'assisting' him that he was in danger of failing the student who did not deserve to fail. In the second half of the grading, he overly compensated but passed the responsibility for those marks over to me, his supposed assistant. </p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk7ZCiRUIwtX1196eAbNuU9DvGYW5egsO5UyTVZx0kW8rg9ahvYH_5PFpnu5-HAwEH2nJs4EnU0d24JZhsQMj7_mE4V3yBwCsgwgPd_M5bLi2oUyc2iUQcKsnE-Qgj-iOYo0UJ1UGLovwhnCv_C5lWs-U_EMMH1vwIM54sL4PQ84EWAhlgYq9HRza0s1I/s5184/12-5-2013_043.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3360" data-original-width="5184" height="207" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk7ZCiRUIwtX1196eAbNuU9DvGYW5egsO5UyTVZx0kW8rg9ahvYH_5PFpnu5-HAwEH2nJs4EnU0d24JZhsQMj7_mE4V3yBwCsgwgPd_M5bLi2oUyc2iUQcKsnE-Qgj-iOYo0UJ1UGLovwhnCv_C5lWs-U_EMMH1vwIM54sL4PQ84EWAhlgYq9HRza0s1I/s320/12-5-2013_043.JPG" width="320" /></a></div>On a grading table, there is the examiner with either one or two 'assistants' sitting there with them. For the most parts, the assistants are 'bookends.' The do nothing, are taught nothing by the examiner, and learn nothing. I'm not a 'bookend' type of person.<p></p><p>The senior instructors who openly considered JDJ to be too lenient in his marking of gradings, I figured JDJ couldn't be that bad because he graded them, and they are not too shabby. So I decided to teach myself to grade to JDJ's standard.</p><p>I would assess the grading performance in my head and compare my marks to that of JDJ. If there were major differences, I would ask JDJ about them when the grading and awarding had been completed. In time, I got so good at this that I would regular get within one or two marks of JDJ's assessment. I can confidently say that I can grade to the same standard as JDJ. That is how I know that the other instructors were inconsistent with their marking, when it came to the standard being set by the head of the school, JDJ.</p><p>The current approach to this grading is generally a waste of time. There are better ways to develop examiners. For instance, formalise my approach. Have the assistants mark a grading sheet and then compare them with the examiner. Alternatively, technology can assist. Get examiner candidates to watch videos of gradings, grade them, and compare them to the standard set by the principal of the school. In this way, differences can be identified and clarified in real time (remember, this cannot be done during gradings as it would interrupt gradings). </p><p><br /></p>John Coleshttp://www.blogger.com/profile/14634192254115557179noreply@blogger.com0tag:blogger.com,1999:blog-2538432015657849810.post-37989240490594128782024-01-04T04:40:00.000-08:002024-01-04T04:40:29.519-08:00The Development of the JDJ Grading System Part 2.7: Shodan (Part 6: Jutsuri no Kata (Theory) and Kotoba no Hyogen (Terminology))<p><b>SHODAN PART 6: JUTSURI NO KATA AND KOTOBA NO HYOGEN</b></p><p>Part 6 of Jan de Jong's (JDJ) jujutsu <i>shodan</i> grading includes two parts: <i>jutsuri no kata</i> and <i>kotoba no hyogen</i>.</p><p><b>Jutsuri no Kata</b></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgL1QewbEMRxiVK-3jcCmliU1LF2rnMkpmsSJYFldWQujxOMQALOp-DeklAuLuJvlUIsiFm3GHtiGLLcDrVPFQWcsXfpyTJQoGKKUKO8-dvJXXiaQ_-UdZsLjOvujOvThfYgomUY2L40gWsW4l3T6DV204lGW5-enCDk9Q4KpUhOBzsZAAiROHl6fvmr-g/s4160/cover%20jdj%20book.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="4160" data-original-width="3120" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgL1QewbEMRxiVK-3jcCmliU1LF2rnMkpmsSJYFldWQujxOMQALOp-DeklAuLuJvlUIsiFm3GHtiGLLcDrVPFQWcsXfpyTJQoGKKUKO8-dvJXXiaQ_-UdZsLjOvujOvThfYgomUY2L40gWsW4l3T6DV204lGW5-enCDk9Q4KpUhOBzsZAAiROHl6fvmr-g/s320/cover%20jdj%20book.jpg" width="240" /></a></div>According to <i>Jan de Jong: The man, his school and his ju jitsu system</i> (<span style="background-color: white;">Jan de Jong Self </span>Defence School, 1995), <i>jutsuri no kata</i> means 'kata of the reason of the art, theory.'<p></p><p>The description of the <i>jutsuri no kata</i> in the abovementioned book is: 'Oral examination on technical aspects on any technique in all the grades up to and including Ikkyu.'</p><p>This grading follows on from Part 5 of the <i>ikkyu</i> grading: 'Oral examination on technical aspects on any technique in Ichimon to Gokyu.'</p><p>These gradings are indicators of the instructor element in JDJ's jujutsu grading system. They are indicators that <i>ikkyu</i> and <i>shodan</i> gradings were designed by JDJ to produce high quality instructors as well as high quality practitioners, if not more so. These gradings are a major innovation that was introduced by JDJ into his grading system.</p><p>These gradings are known as 'theory gradings.' While the idea is laudable, it's execution was, and is in all JDJ <i>ryuha, </i>flawed because the theory was/is lacking. I can now provide the theory that fulfills the promise of JDJ's innovative theory gradings.</p><p>Here I'll defer to my chapter on forces in my as yet unpublished book on the science behind all fighting techniques. The following is the introduction to that chapter:</p><p class="MsoNormal"><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgobLGrQ-D0AD9SrTrsyaLqzhVtqlJbUw4VzpXtuc9rCYiEAlsKXFeTXVha1zAk6eeDbCFFZIM-AixnG9HudmaBYIdpBN3FmXaimUOgdfX0phzTd_vyLmyOs2ovxFS-_ET2OeT-4GneUuQ4VXNPzh-e84nON9zcarOJ8d-qe0U1-3t44ugvDPPWSs8N9jU" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" data-original-height="248" data-original-width="200" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEgobLGrQ-D0AD9SrTrsyaLqzhVtqlJbUw4VzpXtuc9rCYiEAlsKXFeTXVha1zAk6eeDbCFFZIM-AixnG9HudmaBYIdpBN3FmXaimUOgdfX0phzTd_vyLmyOs2ovxFS-_ET2OeT-4GneUuQ4VXNPzh-e84nON9zcarOJ8d-qe0U1-3t44ugvDPPWSs8N9jU" width="194" /></a></i></div><i><br />You will recall from chapter one that Gracie and Gracie
suggest that a black belt is a fully qualified teacher who knows why a given
move works in addition to knowing how to perform the move. That is, they
suggest, a black belt understands the biomechanical principles that underlie
the move. Biomechanics is the study of forces and their effects on living
systems (McGinnis 2005), therefore, a black belt is expected to understand the
mechanical concept of force and its effect on humans in the martial arts. This
chapter provides that understanding which is sorely lacking in the martial arts. <o:p></o:p></i><p></p><p>There is a bit to unpack in the above extract.</p><p>Gracie and Gracie are right, and they are wrong, when suggesting that a black belt is a fully qualified teacher. They are right in terms of the general perception by the public (and maybe Brazilian Jiu-Jitsu), but they are wrong for two reasons: (1) Most Japanese martial arts consider <i>shodan</i> to be a 'beginner's' grading in that the student has mastered the basics. They are not considered to be teachers of any description until 3rd-5th dan. (2) Most martial arts do not teach students/practitioners to be teachers. Teaching requires a different set of skills and knowledge to that of a practitioner. That is why I <a href="https://schoolofjandejong.blogspot.com/2023/11/who-was-best-teacher-as-jan-de-jong.html" target="_blank">argued</a> that Greg Palmer was the best teacher at the <span style="background-color: white;">Jan de Jong Self</span> Defence School (JDJSDS) - because he was a trained teacher. However, Greg also lacked an understanding of biomechanical principle that underlie techniques.</p><p>Greg used to say that this is where the JDJ jujutsu grading system was different to most other martial arts grading systems. In the Japanese martial arts, <i>shodan</i> is considered to be a beginner-type grading (see above) whereas in the JDJ jujutsu system, <i>shodan</i> is the equivalent of a 'master' grading in most other grading systems because of the teaching (including theory) elements, and the extensive <i>kyu</i> grading system that came before. In fact, the same may be said of <i>ikkyu</i> given that JDJ developed the <i>kyu</i> system as a one-off grading system with <i><a href="https://schoolofjandejong.blogspot.com/2023/11/the-development-of-jdj-jujutsu-grading.html" target="_blank">ikkyu</a></i> being the instructor grade.</p><p>In this way, Gracie and Gracie are correct in terms of JDJ <i>shodan</i>s (and <i>ikkyu</i>s) being fully qualified teachers, at least compared to most martial arts, because there are teaching elements in those gradings. But there is room for significant improvement in those elements, and those improvements are relatively easy to introduce and implement, with the aid of my teachings on the science behind all fighting techniques.</p><p>Gracie and Gracie describe the basis of the theory grades in JDJ's grading system. The basis lies in understanding how a technique works. Gracie and Gracie go on to explain that this basis involves an understanding of the biomechanical principles that underlie techniques. I can categorically state that that understanding is missing in the JDJ tradition and in most, if not all, martial arts. My book on the science behind all fighting techniques is designed to fill that void.</p><p>The theory grades are no theoretical exercise. They form the basis for teaching, learning, and correcting techniques and performances. It can be done better and provide a consistent standard of instruction for the organisation and its offshoots (see below). </p><p>In the section on 'Force' in the abovementioned chapter in my book:</p><p class="MsoNormal"><i>Kreighbaum and Barthels (1996) suggest that the
visualisation of forces is a necessary skill for, among others, teachers and
coaches because forces account for the changes in the motion and shape of all
things in the environment. It would also be a beneficial skill for students for
the same reason.<o:p></o:p></i></p><p>After a brief introduction to the mechanical concept of force:</p><p class="MsoNormal"><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiXfso8lKCJ36KjxMUmD6NRXPTF3TYHC_OAcYeLiROK4krTpjaICXVlVjTXyJ0gNjIl5eqvdPwDuwRF9Sc_Y_IQUGgoJUwb3LTv1-ztc0So_lBpTEgeclCdL24b_s88z__6xeI_m2F4ldQbM5l9V9Ert16tlM5U0nDZnDoFljo05ep-ghwHN-PF1mDX54w" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" data-original-height="168" data-original-width="300" height="179" src="https://blogger.googleusercontent.com/img/a/AVvXsEiXfso8lKCJ36KjxMUmD6NRXPTF3TYHC_OAcYeLiROK4krTpjaICXVlVjTXyJ0gNjIl5eqvdPwDuwRF9Sc_Y_IQUGgoJUwb3LTv1-ztc0So_lBpTEgeclCdL24b_s88z__6xeI_m2F4ldQbM5l9V9Ert16tlM5U0nDZnDoFljo05ep-ghwHN-PF1mDX54w" width="320" /></a></i></div><i>Think about every technique taught by martial arts and you
will see that they are designed to change the motion of an opponent’s body and/or
to cause the deformation of their bodily tissues in order to cause pain and/or
injury. Forces cause those changes. Forces are responsible for the
effectiveness of every technique taught by martial arts and other activities
associated with preparing a person to engage in a violent encounter and those
used in violence generally, therefore, it is important for those that teach and
study those techniques to understand what forces are and how they can be
pictured as they are applied to or by a body. <b>The beauty of it all is that the
mechanical concept of force is very easy for the layperson to understand and
apply</b>.<o:p></o:p></i><p></p><p class="MsoNormal">The last sentence has been emphasised for obvious reasons.</p><p class="MsoNormal">After explaining the mechanical concept of force that is very easy for the layperson to understand and apply, the following is an extract from the section that refers to JDJ's theory gradings:</p><p class="MsoNormal"><i>The black belt grades in the jujutsu grading system
developed by Shihan Jan de Jong OAM 9th Dan (see chapter one) are as much about
producing proficient teachers as they are about producing proficient
practitioners. Each of the black belt grades include theory gradings, which
reflects Gracie and Gracie’s suggestion that a black belt is a fully qualified
teacher that is expected to know why a technique works in addition to knowing
how to perform it (see chapter one). The theory grading in shodan (first dan) requires
the candidate to answer questions on techniques without demonstration. A
favourite question of de Jong’s was: ‘What are the forces involved with tai gatame ude kujuki (body-set arm
breaking)?’ </i></p><p class="MsoNormal"><i>Figure 4.1 Tai gatame
ude kujuki (body-set arm breaking). Photo courtesy of Paul Amyes. Reprinted
by permission.<o:p></o:p></i></p><p class="MsoNormal"><i>De Jong had an intuitive understanding that forces are what
makes techniques work, however, neither he nor the grading candidates possessed
knowledge of the mechanical concept of force. Their lack of knowledge often
resulted in convoluted explanations by grading candidates that may or may not
have focused on the essential elements of the technique. De Jong and the
grading candidates would have been better served if they had an understanding of
the mechanical concept of force when asking and answering those most insightful
of questions.<o:p></o:p></i></p><p>Given the above insight, this is a question that I have asked many of JDJ's and JDJ <i>ryuha</i> <i>ikkyu</i> and <i>yudansha</i> and I have never been disappointed in <i>not</i> receiving an accurate and concise answer; an accurate and concise explanation of what makes the technique work. An accurate and concise explanation is available, as I've suggested above, and that accurate and concise explanation is easily understood by a recipient of said explanation and who has no knowledge of the concept of mechanical force.</p><p>I then go on to explain teaching with forces:</p><p class="MsoNormal"><i>The learning of students will be accelerated if they are
first taught how to learn. First teach them the mechanical concept of force. Explain
that forces are what makes every technique work; that a force is either a push
or a pull and that it has a PoA, direction, and magnitude; that the purpose of
applying a force is to change the motion of an opponent or to deform their
tissues in order to cause pain and/or injury; and then consistently teach
techniques using this force-based approach. The students will learn to look for
forces when a technique is taught; to look for the essence of the technique.
When they come to identify and correct errors in their own or other’s
performance, they will go directly to the heart of the technique. </i></p><p>First, there is an obvious lack of content given that the elements of force have not been shared here but are the subject of the chapter in question. Second, if anyone is interested in learning the concept of force which goes directly to the heart of every technique taught in the martial arts or used in violence generally, please feel free to contact me.</p><p>The above extract refers to the learning by students and teaching them how to learn. The following is an extract from the introduction to my book on the science behind all fighting techniques:</p><p class="MsoNormal"><i>The title of Carr’s (2004) </i>Sport Mechanics for Coaches<i> might imply that it is only for
coaches, however, Carr explains that his book is written for coaches, teachers,
athletes, and sports fans. After explaining how a knowledge of sport mechanics
helps produce better sporting performances, Carr explains that his book will
help those who coach to become better coaches. That is in line with Gracie and
Gracie’s assertion that a knowledge of the why of techniques makes for far
better martial arts teachers. Carr also suggests that athletes will discover
that the information contained in his book will help improve their
performances. Even though I led with Gracie and Gracie’s teacher reference, </i>The Science Behind All Fighting Techniques<i>
is written for both martial arts teachers and students (and anyone interested
in fighting techniques generally). It will make for far better teachers, as
Gracie and Gracie, and Carr suggest. It will also make for far better students.
It will make for far better students because (a) they will have far better
teachers, and (b) their own knowledge of why a technique works will mean that
they will not be as reliant on their teacher’s knowledge of why a technique
works and they can take greater responsibility for their own learning
experience.<o:p></o:p></i></p><p>The theory, an understanding of what makes every technique work, does not necessarily need to be the sole province of instructors. It can be shared with students so that they know what to look for when learning and correcting techniques before they even enter a class. However, this cannot be shared with said students if the instructors do not know that theory.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhrecB-0jbKVG9OkATIZS3hOXvaVQojFqQzkP8SGFqjJQROmwlb9izxFUGjEwdSnM-J5X3qk3LRsLWYcH1X2ytBgiWF-9G96RAUEH9rM4l2NHfo3x7kUphxzjWgItjOG9bsmnNMqrjot9ImJ4LDo0hbY08YyZMtKH7HPUZ8jGgXyprCabSkJKZl41_D89U" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" data-original-height="145" data-original-width="347" height="134" src="https://blogger.googleusercontent.com/img/a/AVvXsEhrecB-0jbKVG9OkATIZS3hOXvaVQojFqQzkP8SGFqjJQROmwlb9izxFUGjEwdSnM-J5X3qk3LRsLWYcH1X2ytBgiWF-9G96RAUEH9rM4l2NHfo3x7kUphxzjWgItjOG9bsmnNMqrjot9ImJ4LDo0hbY08YyZMtKH7HPUZ8jGgXyprCabSkJKZl41_D89U" width="320" /></a></div>Another of JDJ's favourite theory grading questions was: what is the difference between <i>o soto gari</i>, <i>o soto guruma</i>, and <i>o soto otoshi</i>? All those who answered this question in the JDJ tradition have got the answer at least partially wrong, and they will continue to do so without help.<p></p><p>You will recall from a previous <a href="https://schoolofjandejong.blogspot.com/2023/11/who-was-best-teacher-at-jdjsds-revisited.html" target="_blank">post</a> that the core of all learning is the identification of similarities and differences. A more complete question would have been, what are the <i>similarities</i> and differences between these three techniques? </p><p>One of the similarities is that all three techniques are designed to apply forces in order to cause <i>uke</i> to fall to the ground/mats. A difference is in the application of forces in each of the three techniques, and the difference between throws and takedowns.</p><p>In my chapter on throws and takedowns, I demonstrate that there is no accurate, definitive distinction between throws and takedowns in the martial arts and martial arts literature. For instance, the three abovementioned techniques are included in the Kodokan Judo (KJ) syllabus. A unique feature of KJ is the classification of their techniques. Classification is one of the proven highly effective means of identifying similarities and differences. In the KJ classification, there is a throwing class (<i>nage waza</i>) but no takedown class (<i>taoshi waza</i>). Does that mean that KJ does not teach takedown techniques/<i>taoshi waza</i>?</p><p>In my book, I have developed a biomechanical definition (which is classification; see above) of throwing techniques and takedown techniques. An answer to the abovementioned question would include classifying the three techniques as either a throw or a takedown, which in turn would feature an explanation on the application of applied forces to achieve the objective of the technique.</p><p>From my chapter on throws and takedowns in the abovementioned book:</p><p class="MsoNormal"><i>What does a student know when they are told that they are
about to learn a particular throw or takedown when no distinction is made
between those two types of techniques? They know that they are about to learn a
technique where forces are applied to cause an opponent to fall to the ground.
What does a student know when they have been taught the above biomechanical
difference between throws and takedowns, and they are told that they are about
to learn a two-legged takedown? They know that forces will be applied (see
chapter four) to the opponent that: ...<o:p></o:p></i></p><p class="MsoNormal"><i>They know all of this before they even know the name of the
technique let alone having seen it demonstrated, just because of the
biomechanical classification of throwing and takedown techniques. They know
what the gist of the technique is, what makes it work, and they can look for
those elements when the technique is demonstrated. When they come to correct
errors in their or other’s performance, they know where to start because they
know the mechanical elements that make the technique work.<o:p></o:p></i></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjH71M2G10OtN8VijQ5WDnaaPRpBNF47IdwtyOdIA5SCy7YNSEN0SF6lSCzuyXU1xBI29EYqKi8eXUBe-opVWIC1036EfRk8rGSpHhJFSKHNFn2PN6Pjrw-fhG_4ZDn4vM9zKKGQvK9qJEYqEQj5WBHJbzyZbwhuhK6TCmHTTVQ3sijwWklOPknz0v05Jw" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" data-original-height="261" data-original-width="193" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEjH71M2G10OtN8VijQ5WDnaaPRpBNF47IdwtyOdIA5SCy7YNSEN0SF6lSCzuyXU1xBI29EYqKi8eXUBe-opVWIC1036EfRk8rGSpHhJFSKHNFn2PN6Pjrw-fhG_4ZDn4vM9zKKGQvK9qJEYqEQj5WBHJbzyZbwhuhK6TCmHTTVQ3sijwWklOPknz0v05Jw" width="177" /></a></div><p class="MsoNormal">This is also called previewing. Previewing involves using the known to understand the unknown. An example of previewing would be teaching <i>o soto otsohi</i>: '<i>o soto otoshi</i> is like <i>o soto gari</i> except that ...' Here we run into another small problem. JDJ did not know how to perform <i>o soto otoshi,</i> even though the technique is included as a defence in the gradings a number of times. If JDJ did not know, nor did his instructors and nor did his students. </p><p class="MsoNormal">I came to know by studying <a href="https://schoolofjandejong.blogspot.com/2023/12/the-development-of-jdj-jujutsu-grading.html" target="_blank">outside</a> of JDJ's teachings. I came to know after reading Toshiro Daido's <i>Kodokan Judo: Throwing Techniques</i> which is the best book by far on the subject, and which liberally uses the identification of similarities to teach throwing techniques and their variations. </p><p></p><p>There was no consistency in teachers in the JDJSDS. The development of a theory body of knowledge as suggested above would provide some consistency in the teachers and their teaching in the JDJSDS and the JDJ <i>ryuha</i>. It would also provide a point of differentiation for marketing purposes and produce superior results faster.</p><p><b>Kotoba no Hyogen</b></p><p>The translation of <i>kotoba no hyogen</i> according to the abovementioned JDJSDS book is 'expression (hyogen) of the language (kotoba), terminology.'</p><p>The description of the grading in the same book is: 'Oral examination of Japanese terminology used in Ichimon and Ikkyu . General Japanese terminology for weapons will also be examined, e.g., bo, jo, nunchaku, etc.'</p><p>This part of the grading is carried on from part 4 of the <i>ikkyu</i> grading which included <i>ju jitsu rekishi</i> (history) and <i>kotoba no hyogen</i>. <i>Jutsuri no kata</i> was a separate grading in <i>ikkyu</i> (part 5).</p><p>The description of the <i>kotoba no hyogen</i> part of part 4 of the <i>ikkyu</i> grading is: 'Oral examination of Japanese terminology used in Ichimon to Gokyu. General Japanese terminology for weapons will also be examined, e.g., bo, jo, nunchaku, etc.'</p><p>Why did JDJ include these types of gradings in his grading system?</p><p>His original grading sheets were all in English so there was no need for translation. Later on, the grading sheets were recast using Japanese terminology. The obvious reason for the necessity of terminology gradings is that the recasting required an understanding of Japanese terminology to understand the grading sheets.</p><p><a href="https://schoolofjandejong.blogspot.com/2023/11/the-development-of-jdj-jujutsu-grading.html" target="_blank">Zak</a>, a full-time instructor for JDJ before my instructors, informed me that JDJ used Japanese terminology for techniques 'always.' He also informed me that things were a lot less formal in his day (1963-1974) and there was no kneeling (<i>seiza</i>), bowing, and '<i>sensei ni rei</i>' to start classes.</p><p>For those JDJ <i>ryuha</i> who have reverted to producing grading sheets using English terms, why then persist with the <i>kotoba no hyogen</i> gradings? It is user friendly to produce grading sheets using English terms, but what is the point of this grading in that case?</p><p>JDJ once told me that the reason he introduced these gradings into his grading system was so that his instructors could understand the terms when used in books outside of his system of jujutsu. There are two problems with that explanation: (1) the instructors did not tend to study anything outside of JDJ's teachings as previously explained, and (2) JDJ used different terms at times than are commonly used. For instance, the commonly used <i>shiho nage</i> is JDJ's <i>tekubi te nage</i>, <i>kote geashi</i> is JDJ's <i>tekubi hineri</i>, etc.</p><p><b>Conclusion</b></p><p>JDJ's theory gradings are a major innovation and contribution to all martial arts gradings. It focuses on producing qualified teachers, which is generally lacking in the martial arts. Unfortunately, the theory is lacking, which is where my work comes in to fill that void, and in an easily accessible and useful way. </p><p> </p><p><br /></p><p></p>John Coleshttp://www.blogger.com/profile/14634192254115557179noreply@blogger.com0tag:blogger.com,1999:blog-2538432015657849810.post-71632138760891255352024-01-02T02:14:00.000-08:002024-01-04T21:43:03.298-08:00The Development of the JDJ Jujutsu Grading System Part 2.6: Shodan (Part 5: Shiai)<p><b>SHODAN PART 5: SHIAI</b></p><p>Part 5 of Jan de Jong's (JDJ) jujutsu <i>shodan</i> grading is <i>shiai</i>. </p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj61pAd0a_j6xMpkcAYln027zPNNFjV6lNbYoiy0d60cXbNF05TNfqDnbfKOhTGPS6xnzPi9tUD2HP78rjaEnu8dwrrLQ-kLNKWBdRt5CDgL-ZLKolS73rkiTj_Q0AY1rhDFTOmIpgkEW2RFFutjkvy0DmDwMSUeDUQXbPr86sxAUa68SJ_WqmpgGcCJsU/s4160/cover%20jdj%20book.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="4160" data-original-width="3120" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj61pAd0a_j6xMpkcAYln027zPNNFjV6lNbYoiy0d60cXbNF05TNfqDnbfKOhTGPS6xnzPi9tUD2HP78rjaEnu8dwrrLQ-kLNKWBdRt5CDgL-ZLKolS73rkiTj_Q0AY1rhDFTOmIpgkEW2RFFutjkvy0DmDwMSUeDUQXbPr86sxAUa68SJ_WqmpgGcCJsU/s320/cover%20jdj%20book.jpg" width="240" /></a></div>The translation of <i>shiai</i> in <i>Jan de Jong: The man, his school and his ju jitsu system</i> (Jan de Jong Self Defence School, 1995) is 'a game, match, or contest.' <div><br /></div><div>There are a number of <i>shiai</i> gradings in the higher grades (<i>ikkyu</i> to <i>sandan</i> inclusive). Insights, or greater insights, (see <a href="https://schoolofjandejong.blogspot.com/2023/11/who-was-best-teacher-at-jdjsds-revisited.html" target="_blank">Klein</a>) may be gained that lead to a new and better understanding by studying these <i>shiai</i> gradings together rather than separately.</div><div><p><b>Why Shiai Gradings?</b></p><p>The first question that has to be asked is, why did JDJ include <i>shiai</i> gradings in his jujutsu grading system? That question needs to be asked in the context of the fact that JDJ did not see much of value in <i>shiai</i> as a training method. </p><p>I know this for a fact because he specifically told me so and discouraged the practice when I was 'sparring' with a training partner when orange or purple belt. It was reinforced by <a href="https://schoolofjandejong.blogspot.com/2023/11/who-was-best-teacher-as-jan-de-jong.html" target="_blank">Robert Hymas</a>, a senior jujutsu instructor at the Jan de Jong Self Defence School (JDJSDS) and who was one of the three that JDJ ultimately awarded <i>Rokudan</i>, when he reiterated JDJ's views from the JDJ perspective.</p><p>So why did JDJ introduce <i>shiai</i> gradings into his jujutsu grading system? </p><p>One explanation is that he was unfamiliar with grading systems, as has previously been <a href="https://schoolofjandejong.blogspot.com/2023/11/the-development-of-jdj-jujutsu-grading.html" target="_blank">mentioned</a>, and he saw others were including <i>shiai</i>-type gradings into their grading systems. Kodokan Judo for instance. Then there was Tomiki Aikido/Shodokan Aikido and their competition aikido. Karate. Kyokushin karate and their x-man kumite. All of those forms of training were to be found in books, which as previously stated, were a great source of JDJ's '<a href="https://schoolofjandejong.blogspot.com/2023/11/the-development-of-jdj-jujutsu-grading.html" target="_blank">continuous professional development</a>.' And, of course, the Australian Ju Jitsu Association were lobbying for him to develop a <a href="https://schoolofjandejong.blogspot.com/2023/12/inflated-timelines-of-jdj-jujutsu.html" target="_blank">competition format</a> for the organisation given his role as President and National Coach of the organisation.</p><p>Given all of that, the second question is, did JDJ know what he was trying to teach or assess in the <i>shiai</i> gradings? What was the purpose of those gradings, other than including them because others were and, of course, to populate the higher grades given his one-off development of the <a href="https://schoolofjandejong.blogspot.com/2023/11/the-development-of-jdj-jujutsu-grading.html" target="_blank">kyu grades</a> as his grading system?</p><p>I suggest that JDJ did not know what he was trying to teach or assess in these types of gradings. Sacrilege, I know, however, as will be seen below, that view is supported by the fact that there was virtually no instruction provided by JDJ nor his senior instructors as to what to do in these gradings; what they are trying to teach the student; what is being assessed. This is also supported by the fact that JDJ saw very little of value in this type of training. In this, I agree, which will also be seen below.</p><p>But, as always, there is a lot to learn by studying JDJ's <i>shiai</i>-type grades and their introduction, even if they serve no useful purpose ... other than to provide those lessons (see conclusion below).</p><p><b>Ikkyu: Futari Dori</b></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEi1Y2VBvm1vq1WxXZFhBtraHg5OAwtl1NQiHCldZcUXGsfFqY9a-ku3OKWGNOAaTUp020fFGPO3Ro_5V30X3DCyTSyMMpNyTJRn4XWNcNbxb2kUnLVfZ53LY6wKLe_5t-6so8zw2iZSFYiHlA7Wf8SNU2svhS0SddGxi0CIOF8yvC62olrRjO9JNtak6gk" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" data-original-height="640" data-original-width="445" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEi1Y2VBvm1vq1WxXZFhBtraHg5OAwtl1NQiHCldZcUXGsfFqY9a-ku3OKWGNOAaTUp020fFGPO3Ro_5V30X3DCyTSyMMpNyTJRn4XWNcNbxb2kUnLVfZ53LY6wKLe_5t-6so8zw2iZSFYiHlA7Wf8SNU2svhS0SddGxi0CIOF8yvC62olrRjO9JNtak6gk" width="167" /></a></div>At the end of the <a href="https://schoolofjandejong.blogspot.com/2023/11/the-development-of-jdj-jujutsu-grading.html" target="_blank"><i>ikkyu</i> <i>shinken shobu no kata</i></a> grading (practical grading) there is a section titled <i>Futari Dori</i> (attacks featuring two opponents). The description of the grading refers to two attackers, five attacks in total, and unarmed vs unarmed.<p></p><p>When looking for an image for this section (see left), it appears that <i>futari dori</i> is very much an aikido term and an aikido form of training, albeit very different to JDJ's grading referred to by the same name.</p><div>First question: did the senior instructors of the Jan de Jong Self Defence School (JDJSDS), those that graded <i>shodan</i> before I did, grade this section of the grading? Was it part of the original <i>ikkyu</i> grading? Or was it introduced when Jan de Jong (JDJ) introduced the <i>shodan</i> grading which led to <a href="https://schoolofjandejong.blogspot.com/2023/11/the-development-of-jdj-jujutsu-grading.html" target="_blank">additional gradings</a> being added to the <i>nikyu</i> and <i>ikkyu</i> gradings? I might have been able to tell you, however, I no longer have access to the old grading sheets that I was gifted and which I regifted for the noblest of reasons. It appears that no good deed does go unpunished.</div><p>I recently saw a video posted on Facebook by a JDJ <i>ryuha</i> showing a <i>nikkyu</i> training/demonstration of this grading. (a) It was a mess, and (b) I would fail the candidate based on that performance, today.</p><p>The candidate in question should not be disheartened by those comments. Their performance was reflective of all who preceded them in this section of the grading. It was reflective of their instructor's performance in their grading, and reflective of their instructor's instructor's performance in their grading. In this case, the fault most definitely lays with the instructor, as it did in the JDJSDS.</p><p>Why is the performance in this grading always a mess. It is because the grading candidates abandon all of their training when engaged in this section of the grading. They start moving around all over the place, crouched in anticipation of an attack, and they are more inclined to move backward rather than forward in response to an attack. Was this their actions in <i>any</i> of the many <i>shinken shobu no kata</i> (practical) gradings that came before, and even the <i>shinken shobu no kata</i> grading that this section is a part of? The answer is a resounding, <i>No!</i></p><p>George S. Patton: 'You fight like you train.' That would not appear to be the case within the JDJ tradition when the <i>shiai</i>-type grades are attempted. This raises a question as to the practicality of the <i>shinken shobu no kata</i> method of training. </p><p><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjmYT-YUHp2MfulOjc9RqQTh5j4bKFn8QJ7LIkVN7wP87GZLSJPU7wN5DOMHmBsnhhBcMl_shnmQFq5fZiXFg8jmfiM18QWpjbYZ0jrknpBdLQwvbinu5id4eKKcB7FtVOxrvSCMo8R9ocJh6WRTZPxSU8JQJJowWsVqdDjKKyYKNfjRcSyBIe0zNPw28g" style="clear: right; display: inline; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img alt="" data-original-height="183" data-original-width="276" height="212" src="https://blogger.googleusercontent.com/img/a/AVvXsEjmYT-YUHp2MfulOjc9RqQTh5j4bKFn8QJ7LIkVN7wP87GZLSJPU7wN5DOMHmBsnhhBcMl_shnmQFq5fZiXFg8jmfiM18QWpjbYZ0jrknpBdLQwvbinu5id4eKKcB7FtVOxrvSCMo8R9ocJh6WRTZPxSU8JQJJowWsVqdDjKKyYKNfjRcSyBIe0zNPw28g" width="320" /></a></p><br />When I teach or discuss this grading, I suggest the person think Cpt Algren in <i><a href="https://www.youtube.com/watch?app=desktop&v=IV7jcaXQgds" target="_blank">The Last Samurai</a></i> when he is confronted by three assailants armed with swords while he is unarmed. He stands his ground and waits for the attackers to attack, to come to him, and then he responds. The application of the 'mind of no mind' lesson in a life-and-death situation. This is representative of the <i>shinken shobu no kata</i> training.<p></p><p>The above is what should be being looked for in this grading, however, that is what is <i>not</i> being demonstrated in this grading. Why not? Because the instructors do not teach tactics for this grading, other than to place one opponent in front of the other. The same instruction given to 1st <i>mon</i> candidates, aged five or six, in the two-attacker section of their grading. This is an issue that will be taken up when the <i>mon</i> grades are considered.</p><p>I was going to share my experience in successfully completing this grading as there is a great deal to learn through the analysis of that experience, however, I'm trying to limit the length of these posts, unsuccessfully so as it appears.</p><p>How did I go in this grading? I passed. That is about all I can say about my performance. I, like the abovementioned JDJ <i>ryuha</i> demonstrator, moved 'all over the shop.' My two attackers chased me all over the <i>dojo</i>, and it was a large <i>dojo</i>. Did I execute any successful defensive techniques? A block or two, maybe. No locks, no throws, no takedowns. I didn't land any percussion techniques of my own, but then neither did my attackers. Is a pass in this grading not being hit? Is that what this grading is supposed to teach and assess? Is it simply a game of 'stay away'? I don't know, because my instructors would not appear to have known given their instruction and feedback. </p><p><b>Shodan Shiai</b></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjaSIf7a_siybQsWHOTTAJ3W7lLEAr0mY3NcLbw5ZlPKiOWdm8jg24HLZXJWQQ9kF-AtL70Mh2GcBXUX6V3K9fjvucPvSMotJ52lG2hid45CIdEW6YsjIE3GzaEDcVaaxRduMTnSNC5XlfGSIh4_J50lxORRkHm_wN2p5T-SKqi301Hzylb9L8up8iYg6Y" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" data-original-height="196" data-original-width="258" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEjaSIf7a_siybQsWHOTTAJ3W7lLEAr0mY3NcLbw5ZlPKiOWdm8jg24HLZXJWQQ9kF-AtL70Mh2GcBXUX6V3K9fjvucPvSMotJ52lG2hid45CIdEW6YsjIE3GzaEDcVaaxRduMTnSNC5XlfGSIh4_J50lxORRkHm_wN2p5T-SKqi301Hzylb9L8up8iYg6Y" width="316" /></a></div><div><div>'Free fight unarmed vs tanto, unarmed vs tanbo, then uke and tori swap roles.'</div><div><p><i>Tanto</i> refers to a knife; <i>tanbo</i> a short stick.</p></div></div><div><b><i>First</i></b>, it was a very different time. Occupational health and safety (OHS) did not exist, at least not in these gradings. No safety precautions were taken, other than mats. No restrictions on attacks with weapons. Head, eyes, groin where all acceptable targets for both armed and unarmed participants. No restrictions on techniques. No instructions whatsoever (for the most part).</div><p>The <i>tanbo</i> and <i>tanto</i> were usually rolled up newspaper which were then taped. Those makeshift training weapons did inflict a fair 'sting' when hit or stabbed with them, and were capable of causing injury, which they did on occasion. </p><p><b><i>Second</i></b>, this could be seen to be a relatively fair grading in that the attackers were not trained in fighting/attacking with a <i>tanto</i> or <i>tanbo</i> whereas the defender was trained in defending against <i>tanto</i> and <i>tanbo</i> attacks, to some degree.</p><p>It could be seen to be a relatively fair grading ... in theory. In practice, the armed attacker annihilates the unarmed defender. When the two candidates swap roles, the same result occurs. In order to pass the grading, the difference between the two scores has to be within a certain range otherwise both fail.</p><p>When I asked a senior instructor what the purpose of this grading was, he replied that it was to show that even with training that a person would be annihilated by an armed, relatively untrained in fighting with that weapon, attacker. And that is what the grading does show, time and time again. Good lesson. Good to know. Thanks. Cheers. </p><p>It was a good thing that I did not take that lesson on board when I was confronted by a knife-wielding assailant on two separate occasions (the starting point of my book on a new and better understanding of our natural and learned responses to a threat).</p><p><b><i>Third</i></b>, why free fighting unarmed against a knife and unarmed against a short stick? In fact, why one unarmed against two unarmed in the previous grading? Shouldn't the progression be one unarmed against one unarmed, then one against two, and then one unarmed against one armed, and then both armed with the same weapon, etc.? Where is the one unarmed against one unarmed? </p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhRXPk068hI9vPeOeHwyPOaztd0mjHDhT5nMrfaSWsWkWd_yZoCcrtFIFgji7xGUnV8R1xDAJXOq07ixXa9nAKviX00MfWDI-mYBKK8DjpVnT4_n37ab7eJGVP92ZQSV5W01ts7bK22shpp4ZFi49oMzs-yeOMpm-_Tk7Ia9XLO4zCu52O4HJW4EcaAggc" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" data-original-height="171" data-original-width="294" height="186" src="https://blogger.googleusercontent.com/img/a/AVvXsEhRXPk068hI9vPeOeHwyPOaztd0mjHDhT5nMrfaSWsWkWd_yZoCcrtFIFgji7xGUnV8R1xDAJXOq07ixXa9nAKviX00MfWDI-mYBKK8DjpVnT4_n37ab7eJGVP92ZQSV5W01ts7bK22shpp4ZFi49oMzs-yeOMpm-_Tk7Ia9XLO4zCu52O4HJW4EcaAggc" width="320" /></a></div>An answer to these questions might be found in Tomiki's explanation of his introduction of <i>shiai</i> (<i>randori</i>) into his aikido.<p></p><p>Tomiki was a student of Jigoro Kano, founder of Kodokan Judo, and was eventually graded 8th dan by the Kodokan. He became fascinated by Morihei Ueshiba’s aikido and became one his early students. In his ‘<a href="https://www.tomikiaikido.ie/files/UserFiles/downloads/Article_Jujutsu_and_its_Modernization.pdf" target="_blank">On Jujutsu and its Modernisation</a>’, Tomiki argues for two forms of <i>randori</i> training:</p><p><br /><i>When we analyse the essence of attacks, they fall into two general categories:<br />1. An opponent, from close in, tries to topple (taosu) or restrain (osaeru) you.<br />2. An opponent, from a distance, tries to strike, lunge at, or kick you, or with a weapon tries to cut or stab you.<br />...<br />The system of randori practice that Master Kano formulated is for the situations described in point 1 above; it is the category of nage-waza, where from close in you apply a waza at the collar and sleeve of a Japanese style judo jacket. A system of randori practice where you would avoid your opponent's attack from a distance (as in point 2 above) and then apply a technique would utilize the atemi-waza and kansetsu-waza. Against this latter attack, the attack from a distance, there is a need to establish such system of randori training. </i><br /><br /><i>Randori</i> practiced in aikido usually involves two or more opponents. It is not 'free fighting' <i>per se</i> but simply a 'free flowing' attack and defence with no continued fighting. JDJ had relatively little experience with <i>randori</i> training.</p><p>Tomiki's <i>shiai</i> (<i>randori</i>) involved an attacker armed with a knife. Did JDJ adopt Tomiki's <i>shiai</i> to continue that the <i>shiai</i> form of grading included in his one-off instructor grading, <i>ikkyu</i>? Did he include these types of gradings in terms of introducing a <i>randori</i> type in <i>ikkyu</i> and a Tomiki type in <i>shodan</i>? Did he include a short stick element because of its use in his pencak silat? ... Why aren't the attackers trained in the use of the weapons in attack mode?</p><p><b><i>Lastly</i></b>, my grading, or I should say, <i>our</i> grading. Dave Palmer and my grading, it was something that had not been seen before or since. It was a literal blood bath. Maggie de Jong had to scrub the walls and mop the mats after the grading to remove the blood that had been spilled during the grading. There was a lot of blood.</p><p>This has to be expected when you get two <i>real</i> fighters, not just mere martial artists, together and there are no rules, no protective equipment, and when weapons are involved, and told to 'free fight.'</p><p>Again, a great deal can be learned from an analysis of my/our grading, however, post length considerations prohibit the sharing of my/our experience and its analysis.</p><p>How did Dave and I do in our grading? We passed ... even though the grading ended with Dave being taken to emergency after I punched him in the forehead with a standing fist punch and blood cascaded down his face and the front of his <i>gi</i>. He was attempting to retrieve a weapon that I had knocked out of his hand, and I instinctively punched him when he advanced to do so. He was knocked back the length of a <i>tatami</i> and as he attempted to advance, I instinctively punched him.</p><p>We passed even though I was rendered unconscious during the grading when I landed on my head/neck from a sacrifice throw by Dave (btw, great execution of the technique, dangerous, but great nonetheless).</p><p>In terms of OHS, our weapons were not taped rolled up newspaper. The knife was a wooden training knife and the <i>tanbo</i> was a piece of PVS piping wrapped in cloth and then taped. When you got hit with those 'training' weapons, you got <i>hit</i>, and the risk of injury increased exponentially. But we wanted to test ourselves, and of course there was no guidance or supervision provided by the senior instructors.</p><p>OHS-wise, nobody from the instructors table came to see how I was when I landed on my head/neck from Dave's sacrifice throw, and when a crack from my neck was heard 'like a "roo shooter's" shot' across the <i>dojo</i>, and as I laid on the ground unconscious for a bit. They simply waited for me to rise and continue the grading, which I did, albeit initially by backing off as the fight had become unfair with now two armed Daves advancing on me.</p><p>There was no feedback provided at the end of the grading, however, Hymas did approach me (us?) later and said that JDJ was not happy with the grading. JDJ never expressed that sentiment to us. Even then, I thought, 'How can any of the examiners be unhappy with the grading given the complete lack of direction provided by the instructors as to the conduct and purpose of the grading. Given the complete lack of indication as to what is supposedly being assessed.'</p><p><b>Nidan Shiai</b></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjDkOfY5xRoC5MGvsiFX0bY4rGwbKDGD-86aEQZ-SpsULPQHUlJGfNuGcv4iPKVNT6-9-yz9vc3VqQ4SHz8r5wsZ2OxuJ2TZSv62mCae8WecbkT_z0JNVJrn84jAVa-8R7RKHnMP1RbK8pliZGH3xLibSAn3aabAW7CHAk5QX4mjvwS0jhlGdLGVIpDs9I" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" data-original-height="284" data-original-width="177" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEjDkOfY5xRoC5MGvsiFX0bY4rGwbKDGD-86aEQZ-SpsULPQHUlJGfNuGcv4iPKVNT6-9-yz9vc3VqQ4SHz8r5wsZ2OxuJ2TZSv62mCae8WecbkT_z0JNVJrn84jAVa-8R7RKHnMP1RbK8pliZGH3xLibSAn3aabAW7CHAk5QX4mjvwS0jhlGdLGVIpDs9I" width="150" /></a></div>'Free fight with tanto vs tanto'<p></p><p>This is the only <i>shiai</i>-type grading where there is an equal footing (see above re the absence of one unarmed v one unarmed). It is an equal footing because the two participants are armed with the same weapon. It is also an equal footing because the two participants have not been trained in the use of the knife and knife fighting. <a href="https://schoolofjandejong.blogspot.com/2023/12/the-development-of-jdj-jujutsu-grading_22.html" target="_blank">'What is going on here?'</a></p><p>This is indicative of an issue within the JDJ tradition that I will address in a post associated with the <i>mon</i> grades, and that is that the attackers in the JDJ tradition are not taught how to attack properly. This has implications for the training of defensive tactics. </p><p>I prepared for this grading. I learned from the previous <i>shiai</i>-type gradings that I'd undertaken.</p><p>The two attackers in my <i>futari dori</i> grading in <i>ikkyu</i> were Hymas and Dave Palmer. I asked Hymas to be one of my attackers because I wanted to test myself against the best. My strategy was to stay away from Hymas and to focus on responding to Dave's attacks or to attack Dave when Hymas attacked me. On the face of it, it was a sound strategy, however, as it turns out, it was a floored strategy. Dave was by far the more dangerous opponent.</p><p>Dave committed to his attacks. Hymas knew everything that I knew and knew the defences that I might employ against his attack, so he provided uncommitted attacks with a focus on countering my defence. This is a problem in this type of grading. I know everything you know, and you know everything that I know, and that knowledge impacts on tactics and strategies employed in the grading. It also leads to questions regarding the practicalities of the tactics and strategies thus learned in terms of 'real world' application.</p><p>I used this insight in my grading. I would faint an attack and observe the response. I'd faint it again and observe the response. If it was the same response, I'd attack with the anticipation of the response and adjust my attack accordingly. This became a strategy that I shared when engaged in my Master of Business Administration (MBA) degree. If I can discern your strategy, I can develop ways to defeat you.</p><p>I hadn't trained the <i>futari dori</i> grading with Hymas and Dave prior to the grading. If I had, I might have discerned Hymas' approach to his attacking role and developed a different strategy going into the grading, e.g., stay away from Dave and focus on Hymas.</p><p>In the shodan <i>shiai</i> grading, Dave and I did train the grading together prior to engaging in the grading. I learned that Dave tended to not acknowledge a strike and would walk through it to attack me.</p><p>Confidence isn't necessarily everything, but it is a big thing. On a rare occasion that we 'trained' this grading in the instructors class, I was paired with Darryl Cook. Cook is a very good practitioner. He is a contemporary of mine. He is aggressive and he is taller than me, bigger than me, and stronger than me. He was armed with the knife and I was unarmed, but I was 'all over him.' He had no answers. I actually felt physically taller and bigger than him. It was as though I was looking down on him from a height. Hymas took Cook aside to give him some advice since he observed that I was 'kicking his butt,' as the Americans would say. Cook returned and raised his knife to my face. Order was restored in the universe, my perception of my size returned to reality, and there was no more butt kicking.</p><p>I knew that Dave gained confidence when he walked through my attacks and 'kicked my butt.' The strategy going into the grading was to not allow that to happen; not to allow him to gain confidence by walking through my attacks and kicking my butt. The first time he tried it, I was ready. I put him on his 'arse', held him by the throat on the ground with my fist raised ready to 'ground and pound.' He covered up and raised both feet-legs ready to kick me. </p><p>'Matte, matte, matte', JDJ shouted as he pounded the grading table. Hymas jumped up from the grading table and pulled me back ... and all the while, Dave and I were smiling at each other. We knew what this was all about. It was setting the 'rules' for this grading. Nobody had lost control, in fact, far from it, unbeknown to JDJ, Hymas, and whoever else was sitting on the grading table.</p><p>My <i>nidan</i> grading involved a number of candidates, all of whom had been my instructors. I trained a little with all of them, only to see how they fought. And then I studied knife fighting, given that there was zero instruction in knife fighting provided within the JDJSDS. Then I developed strategies to defeat my opponents, my instructors.</p><p>Memorably, when paired up with Debbie Clarke, a great practitioner and a real fighter, there was a standoff, so I provided an opening by lifting my hands. You will recall this strategy when <i>ken tai ichi no kata</i> was discussed in a previous <a href="https://schoolofjandejong.blogspot.com/2023/12/the-development-of-jdj-jujutsu-grading_22.html" target="_blank">post</a>. It was a genuine opening and if she was good enough, she could 'kill' me. No takers. I raised my hands a little higher to entice her into attacking. No takers. A little higher, she attacked, I 'died.' Fair enough.</p><p>You will recall from a previous post that many, and most definitely the senior instructors, did not look <a href="https://schoolofjandejong.blogspot.com/2023/11/ken-tai-ichi-no-kata-example.html" target="_blank">outside</a> of JDJ's teachings. In preparation for this grading, I looked outside of JDJ's teachings given that there were no specific teachings regarding knife fighting within JDJ's teachings. I also thought that this might give me a competitive advantage.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_r-h9-lBy-xoeA2Xhrvw8t0byCF-crWyxSJVqJvEEJgc7emZDTvg6P5t63X2mqmS1fxSLqoQy1_eTisydw7fHiLaZwy1youaaH_LE74vkbO9U-qNkag4zNaIYYGs2wjeO6Bj9vwxWfQRzKFVyaTWuPRbY_y08PYdp65qCK4pIB1qDbhTllTI1zFBqDEs/s4160/applegate%20knife.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3120" data-original-width="4160" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_r-h9-lBy-xoeA2Xhrvw8t0byCF-crWyxSJVqJvEEJgc7emZDTvg6P5t63X2mqmS1fxSLqoQy1_eTisydw7fHiLaZwy1youaaH_LE74vkbO9U-qNkag4zNaIYYGs2wjeO6Bj9vwxWfQRzKFVyaTWuPRbY_y08PYdp65qCK4pIB1qDbhTllTI1zFBqDEs/s320/applegate%20knife.jpg" width="320" /></a></div>Part of my study re knife fighting was reading Col. Rex Applegate's <i>Kill or Get Killed</i>. The description accompanying the image to the right is:<p></p><p><i>Attack With Knife From Crouch</i></p><p><i>Beware of the man who holds his knife this way and who attacks from a crouch, with the blade held close to his body and with his free arm out in front to parry or to help create an opening for a slash or thrust.</i></p><p>Beware me. The following was included in the text:</p><p><i>The trained man will use this knife, in the attack, from a crouch, with the left hand forward and the knife held ... close to the body. The outstretched left hand will act as a guard, a foil or a parry, and will help to create the opening for a slash or thrust. The left hand also may be used to distract the adversary's attention - by waving it in his face, by throwing something, or by making sudden darting motions toward him. ...</i></p><p>Beware me and I was a trained man. I was trained in knife fighting by Applegate and not my instructors at the JDJSDS, even though there was a knife fighting grading in the curriculum which the senior instructors (Hymas, Peter Clarke, and Paul Connolly) had successfully completed. </p>I adopted Applegate's approach, at times, with one important addition. When a thrusting attack was launched, I would move from the left foot forward staggered stance (<i>han zenkutsu dachi</i>) to a cross-stance. Or more accurately, <i>sempok</i> from pencak silat (see image below).<p></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiq5sSuNo5YeTnwXsiaJW_Q3xIHzJcIkmau-ztNkU16z4BS-3LpjLyJL_6dOOblZMj_GcC8h3rILyPUr-tx6KFYxHbszB2_Qsq2I_uaV3MjwUWwbZuS0VhBaFQPLkMZGjDh4LIG10XvRVCq-R0fAmEztdNBAtGneiBFFwSjpo8TRj_dPKHDiwUUJ2Zv5tk/s4160/sempok.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4160" data-original-width="3120" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiq5sSuNo5YeTnwXsiaJW_Q3xIHzJcIkmau-ztNkU16z4BS-3LpjLyJL_6dOOblZMj_GcC8h3rILyPUr-tx6KFYxHbszB2_Qsq2I_uaV3MjwUWwbZuS0VhBaFQPLkMZGjDh4LIG10XvRVCq-R0fAmEztdNBAtGneiBFFwSjpo8TRj_dPKHDiwUUJ2Zv5tk/s320/sempok.jpg" width="240" /></a></div><br /><p></p><p>I was well versed in this stance having trained pencak silat for quite some time. Most importantly, the training was with <a href="https://schoolofjandejong.blogspot.com/2019/08/jan-de-jong-pt-7-yoshiaki-unno.html" target="_blank">Richard de Bordes </a>school in London rather that at the JDJSDS as JDJ had, as he said, Westernised his pencak silat so that it would be acceptable for a Western audience. He had in fact <a href="https://schoolofjandejong.blogspot.com/2019/08/jan-de-jong-pt-7-yoshiaki-unno.html" target="_blank">Japanised</a> it so that it resembled karate to a fair degree. </p><p>Moving into this stance from a traditional staggered stance is effectively an evasive body-movement, similar to <i>nagashi</i> (flowing) in JDJ and Yoseikan Budo practice. Interestingly, the image accompanying the Tomiki aikido discussion above shows both <i>aikidoka</i> ostensibly assuming the same stance. The same stance is seen in some karate styles, and it is seen in JDJ jujutsu teachings, however, I would argue that there is less understanding of the use and the structure of this stance in all those arenas than in pencak silat.</p><p>Another part of the transition into this stance is that it moves the back hand to the front through the turn of the shoulders. This is also used to great effect in pencak silat. </p><p>Part of my strategy was to employ this tactic, moving from a staggered stance into <i>sempok</i>/cross-stance thereby executing an evasive body-movement and moving my rear knife-wielding hand to my front hand and a trusting attack. It was part of my strategy because the other candidates, my instructors, had not seen it before. </p><p>Memorably, this tactic was employed against the abovementioned Debbie Clarke.</p><p>Debbie lunged forward and I executed the move. She was going to barrel into the now thrusting knife, which was a molded metal knife, and she was in danger of being 'impaled' on impact. I relaxed my grip and as impact occurred, the knife slide through my hand and fell to the floor. It was beautiful, it was perfect ... and it was missed by JDJ. A clean 'kill', and it was not recorded. </p><p>JDJ took me aside after the grading and told me that I was the best in the grading. But all that meant was that I knew 'how to play the game' better than my instructors. I learned how to knife fight to some degree whereas they did not due to lack of instruction. I learned a fantastic move and had a greater appreciation for the use of <i>sempok</i> as a fighting tactic. But is that what this grading is designed to impart to students?</p><p>Before we leave this section, I was present when two JDJ <i>yudansha</i> engaged in this grading. One has since gone on to be awarded <i>Rokudan</i> by a JDJ <i>ryuha</i> principal. The other had his own <i>ryuha</i> and was a 'fighter.' They 'fenced' with the knives, like one would when fencing. Tapping against each other's knives as fencers tap against each other's swords. I was astounded. Why would anyone consider this approach, particularly given that they were supposedly highly experienced and graded martial artists? But here's the thing, how can you fail them, even though the performance was ludicrous, given that no training nor instruction is given in knife fighting even though this is a knife fighting grading in the grading system. </p><p><b>Sandan Shiai</b></p><p>'Free fight with tanbo vs tanto.'</p><p>What is not included in the description of this grading is that the roles are swapped, as in the <i>shodan</i> <i>shiai</i> grading. And as in the <i>shodan</i> <i>shiai</i> grading, the person with the <i>tanbo</i> annihilates the person with the <i>tanto</i>. And as in the <i>nidan</i> <i>shiai</i> grading, the candidates are not trained in the use of fighting with either weapon.</p><p>What is the point, other than including <i>shiai</i>-type gradings into the <i>dan</i> grading system and populating the <i>dan</i> grading system given the relatively comprehensive <i>ikkyu</i> grading?</p><p><b>Conclusion</b></p><p>Unlike my instructors, I can teach students how to go about these gradings, but still, what is the point? I can, and have done, train them to defeat the students of other instructors, hands down, but what is the point? </p><p>These gradings in the JDJ grading system are seriously floored, but here's the thing. If they are removed or 'fixed', the lessons learned through the above analysis are lost. The insights that can be gained are lost. The new and better understanding that can be derived from those insights are lost. It is a quandry, conundrum, and other such words to describe this situation.</p><p>What would you do?</p></div>John Coleshttp://www.blogger.com/profile/14634192254115557179noreply@blogger.com0tag:blogger.com,1999:blog-2538432015657849810.post-77432565607908079712023-12-30T20:23:00.000-08:002023-12-30T22:06:02.363-08:00The Development of the JDJ Jujutsu Grading System Part 2.5: Shodan (Part 4.3: Ken Tai Ichi no Kata)<div class="separator">This post looks at the individual attack-defence sequences in <i>ken tai ichi no kata</i> taught by Jan de Jong (JDJ).</div><br />From the <a href="https://schoolofjandejong.blogspot.com/2023/12/the-development-of-jdj-jujutsu-grading_21.html" target="_blank">post</a> 'Part 2.3: Shodan 4.1 Ken Tai Ichi no Kata': <div><br /></div><div>The JDJ jujutsu grading sheet reads:</div><div><br />1. Yoko Tekubi Hishigi: Tori – Seigan Kamae, Uke – Seigan Kamae<br />2. Ude Kujiki: Tori – Seigan Kamae, Uke – Gedan Kamae<br />3. Tekubi Te Nage: Tori – Seigan Kamae – Gedan Kamae, Uke – Jodan Kamae<br />4. Ude Hiji Nage: Tori – Hasso Kamae, Uke – Hasso Kamae<br />5. Ura Tai Otoshi: Tori – Gedan Kamae, Uke – Gedan Kamae<br /><br />The first phrase represents the unarmed technique that is being demonstrated. The <i>tori</i> and <i>uke kamae</i> description refer to the ‘combat engagement posture’ (see Donn Dreager) for the sword attack-defence sequence.<br /><br /><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgkUOVrnxlaNrZFGwKbjVqMnjXBzZ9A5wUo8NiUHpaFcljAImVn_sRc3bh9E0HxUz6OhJpVCzl1M7OLvaSfISxway2hMYjQnk9bGj3bBEABlHlWCYcyQiz3pgCR0R8eFuE2gVydLnDV7SFG9g31LKGXkKsQcJ4ARLAaqX_btcNa4MI5bNbt_P_PnAKi6L8" style="margin-left: 1em; margin-right: 1em;"><img src="https://blogger.googleusercontent.com/img/a/AVvXsEgkUOVrnxlaNrZFGwKbjVqMnjXBzZ9A5wUo8NiUHpaFcljAImVn_sRc3bh9E0HxUz6OhJpVCzl1M7OLvaSfISxway2hMYjQnk9bGj3bBEABlHlWCYcyQiz3pgCR0R8eFuE2gVydLnDV7SFG9g31LKGXkKsQcJ4ARLAaqX_btcNa4MI5bNbt_P_PnAKi6L8" /></a><br /><br /><br /><div>An example of the JDJ <i>kata</i> was posted on <a href="https://www.youtube.com/watch?v=FtFcR4HpNs4" target="_blank">YouTube</a> by the Hans de Jong Self Defence School (HDJSDS), a JDJ <i>ryuha</i>.<br /><br />We saw in the <a href="https://schoolofjandejong.blogspot.com/2023/11/ken-tai-ichi-no-kata-example.html" target="_blank">post</a> titled ‘Ken Tai Ichi no Kata Example’ that <i>ken tai ichi no kata</i> is a Yoseikan Budo (YB) kata. An example of the YB <i>kata</i> was posted on <a href="https://www.youtube.com/watch?v=bOKjf8WhOBw&t=1803s" target="_blank">YouTube</a> as part of a larger video taken from the Yoseikan Sogo Budo DVD set by Minoru Mochizuki, the founder of YB. The <i>ken tai ichi no kata</i> is located at the 22:40 mark in the aforementioned YouTube video. </div><div><br /></div><div>The order between the JDJ and YB <i>kata</i> is different as reconciled in this <a href="https://schoolofjandejong.blogspot.com/2023/12/the-development-of-jdj-jujutsu-grading_21.html" target="_blank">post</a>.<br /><br />The YB <i>kata</i> consists of five sword v. sword, five unarmed v. sword, and five unarmed v. unarmed attack-defence sequences. The subtitles on that video refer to these sequences as <i>ken</i> (sword) and <i>tai</i> (unarmed), thus: <i>ken-ken</i>, <i>tai-ken</i>, and <i>tai-tai</i>. Those are the terms that will be used in this post.<br /><br />JDJ did not include the <i>tai-ken</i> sequence in his <i>ken tai ichi no kata</i>. The reasoning behind that omission was explored in this <a href="https://schoolofjandejong.blogspot.com/2023/12/the-development-of-jdj-jujutsu-grading_21.html" target="_blank">post</a>.</div><div><br /></div><div>The following commentary will be initially based on the HDJSDS Jan de Jong Self Defence School (JDJSDS) representative video (see above). </div><div><br /></div><div>The <a href="https://schoolofjandejong.blogspot.com/2023/12/the-development-of-jdj-jujutsu-grading_22.html" target="_blank">core</a> of all learning - the identification of similarities and differences - will be used in order to provide <a href="https://schoolofjandejong.blogspot.com/2023/12/the-development-of-jdj-jujutsu-grading_22.html" target="_blank">insights</a> that can lead to a new and better understanding through asking, 'What's going on here?' (see <a href="https://schoolofjandejong.blogspot.com/2023/12/the-development-of-jdj-jujutsu-grading_22.html" target="_blank">Klein</a>).</div><div><br /></div><div><b>Nomenclature</b></div><div>The first thing to note is that JDJ sometimes uses a different nomenclature than that commonly used in the Japanese martial arts. For instance, most use <i>kote</i> to refer to wrist whereas JDJ uses <i>tekubi</i>. JDJ's <i>tekubi te nage</i> (wrist hand throw) is more commonly known as <i>shiho nage</i> (four corner throw) in aikido. What's going on here? Exploring why JDJ uses different nomenclature is another anomaly and a potential rabbit hole that I am going to avoid at this time.</div><div><br /></div><div><b>1. Yoko Tekubi Hishigi (Side Wrist Crush): Tori – Seigan Kamae, Uke – Seigan Kamae</b></div><div><i><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhwTlYJKNvEpJoXpZTMDqlgPBjQJL4HuoewN9d2BkpDOb5Lb6Y9f3UaGHcnacGkOuMS1SqJxmDetq0FV65xSBQalDTaF3RB6phCtHLG4UQhCak4qXNKceR0RQxVuAO3BoFhGE4gn8v_R7GvrED3SN5XQvNl0PWwD8XgZH9oFf7F5drwnuOlPpANww_VU94" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" data-original-height="231" data-original-width="218" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEhwTlYJKNvEpJoXpZTMDqlgPBjQJL4HuoewN9d2BkpDOb5Lb6Y9f3UaGHcnacGkOuMS1SqJxmDetq0FV65xSBQalDTaF3RB6phCtHLG4UQhCak4qXNKceR0RQxVuAO3BoFhGE4gn8v_R7GvrED3SN5XQvNl0PWwD8XgZH9oFf7F5drwnuOlPpANww_VU94" width="226" /></a></div>Tori</i> assumes <i>seigan kamae</i>, which a previous <a href="https://schoolofjandejong.blogspot.com/2023/12/the-development-of-jdj-jujutsu-grading_22.html" target="_blank">post</a> explained is a totally defensive posture. This means that <i>uke</i> has to either move <i>tori</i>'s sword off-line in order to attack down the line or to move off the line to attack in order to attack. In this case, <i>uke</i> moves <i>tori</i>'s sword off the line in order to attack down the line. This is a tactical lesson that if generally not shared/taught. Why not?</div><div><br /></div><div>This <i>kata</i> is generally learned and taught solely as a requirement of the <i>shodan</i> grading. It is not used as a teaching-learning tool for broader insights and understanding. Nobody studies this <i>kata</i> (other than me) other than in relation to satisfying a performance requirement in the <i>shodan</i> grading. It will be seen through the following analysis that a great deal can be learned from the study of this <i>kata</i>, which includes the flaws in the <i>kata</i>.</div><div><br /></div><div><i><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvci54GYiTfu4aHLJQ9LJ5vOoJyk5Cu1htGFmKmDDtT85sAFhVcdvxbrFPh5XIEeoOnAohOi8zXjYOwAdpETf5kCBxsly3JoYyWte-bhc5_8Gp37WzYeYhfGhvAp7MCCvTk_m6ekHOiVx9KGLd1lscRWuc_aajoA2QpraZuPGUmEeR5v13gzfYZuwHY1g/s240/sidewristlock.png" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="180" data-original-width="240" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvci54GYiTfu4aHLJQ9LJ5vOoJyk5Cu1htGFmKmDDtT85sAFhVcdvxbrFPh5XIEeoOnAohOi8zXjYOwAdpETf5kCBxsly3JoYyWte-bhc5_8Gp37WzYeYhfGhvAp7MCCvTk_m6ekHOiVx9KGLd1lscRWuc_aajoA2QpraZuPGUmEeR5v13gzfYZuwHY1g/s1600/sidewristlock.png" width="240" /></a></div><br />Tai-tai</i> - the technique is called <i>kote kudaki</i> (wrist crush) in the YB video. The attack is a wrist grab which is then countered, recountered, and countered again. Back, forward, back, forward ... JDJ's <i>yoko tekubi hishigi</i> (side wrist lock) is applied more directly without the toing and froing. Was this a deliberate change by JDJ to make the <i>tai-tai</i> technique more efficient and effective/practical?</div><div><br /></div><div>The JDJ technique involves an initial unbalancing (<i>kuzushi</i>) move; one that is actually taught in YB. Giving <i>tori</i> the benefit of the doubt in the HDJSDS video in terms of unbalancing <i>uke</i> before applying the technique, the unbalancing is different to the <i>ken-ken</i> technique. With the <i>ken-ken</i> technique, there is a deflection of the sword, however, with the <i>tai-tai</i> technique, there is a physical unbalancing of <i>uke </i>which is unavailable in <i>ken-ken. </i>Rather than attempting to demonstrate the similarities between sword and unarmed techniques, would a more complete understanding of tactics and techniques be provided by identifying the similarities <i>and differences</i> between sword and unarmed techniques? </div><div><i><br /></i></div><div><b>2. Ude Kujiki (Arm Crush/Breaking): Tori – Seigan Kamae, Uke – Gedan Kamae<br /></b></div><div>The HDJSDS video reflects the <i>tori</i> <i>ken kamae</i> as described above, which is as per the grading sheet, however, we saw in a previous <a href="https://schoolofjandejong.blogspot.com/2023/12/the-development-of-jdj-jujutsu-grading_22.html" target="_blank">post</a> that (a) the grading sheet was not complete, and (b) <i>uke</i> would not advance on a <i>ken seigan kamae</i> without deflecting the sword first. At the very least, the instructor and the candidates should have said, 'That can't be right,' which is Klein's operationalisation of the <a href="https://schoolofjandejong.blogspot.com/2023/12/the-development-of-jdj-jujutsu-grading_22.html" target="_blank">contradiction</a> path to gaining insight. The candidates might justify their performance in terms of doing what they've been taught, even if they question such teachings, however, that does not excuse the instructor's lack of understanding. This situation was also present in the JDJSDS at times, e.g., the JDJ misremembering the attack in the final <i>ken-ken</i> sequence discussed in a previous <a href="https://schoolofjandejong.blogspot.com/2023/11/ken-tai-ichi-no-kata-example.html" target="_blank">post</a> dedicated to that issue.</div><div><br /></div><div>The <i>ken</i> defence involves an evasive body-movement (EBM) and a 'brushing block' in the JDJ and YB demonstrations. What is the purpose of the brushing block? It's not to avoid injurious contact with the body because the EBM takes care of that problem. Why not just use an EBM and a strike? This is an issue that appears time and time again, in JDJ techniques and that of other jujutsu schools and martial arts. Sometimes there are answers, sometimes there are reasons, but more often than not there is <a href="https://schoolofjandejong.blogspot.com/2023/12/the-development-of-jdj-jujutsu-grading.html" target="_blank">shoehorning</a>.</div><div><br /></div><div>This issue will be explored more thoroughly, including the concept of 'blocks', in a future post when discussing the <i>mon</i> system.</div><div><br /></div><div>A final comment. <i>Tori</i> finishes the defensive performance with a dramatic flourish of the sword. JDJ would, quite rightly, not approve. <i>Tori</i> is training to miss the target. With enough training, they will become expert at ... missing the target. This is an issue that is reflected in weapon attacks within the JDJSDS and the JDJ <i>ryuha</i>. A poor weapon attack affects the distancing and thus the student is training poor distancing that will negatively affect the effectiveness of the defence against a real attack.</div><div><br /></div><div>Think of the sword training scenes in <i>The Last Samurai</i> were Ujio and Cpt Algren finish with their bokkens placed on each other's <a href="https://www.youtube.com/watch?v=jTOwYXx8a18" target="_blank">necks</a> when they draw in their contest.</div><div><br /></div><div><b>3. Tekubi Te Nage: Tori – Seigan Kamae – Gedan Kamae, Uke – Jodan Kamae<br /></b></div><div>JDJ's <i>tekubi te nage</i> is aikido's <i>shiho nage</i>. </div><div><br /></div><div>In the YB <i>ken-ken</i> and <i>tai-tai</i> sequences, <i>tori</i> move to the inside of <i>uke</i>. In the HDJSDS/JDJSDS <i>tai-tai</i> sequence, <i>tori</i> move to the inside of <i>uke</i> but in the <i>ken-ken</i> sequence they move to the outside of <i>uke</i>. 'What's going on here?'</div><div><br /></div><div>The YB sequences demonstrate the similarities between the armed and unarmed techniques by moving the same way. What is the JDJ sequence demonstrating?</div><div><br /></div><div>Did JDJ deliberately change the <i>ken-ken</i> sequence? If so, why? Maybe it was a tactical decision. Maybe he considered <i>tori</i> moving to the inside and turning their back on <i>uke</i> was not tactically the best move and thus changed to moving on the outside instead. But doesn't that negate the similarities demonstration purpose of the <i>kata</i>?</div><div><br /></div><div>Is there a need to change the <i>ken-ken</i> sequence back to the original? Or should we, instead of focusing on similarities, also be considering differences. Differences between <i>ken</i> and <i>tai</i> techniques. Differences between JDJ and YB techniques. Not just identifying the differences but exploring possible explanations for those differences. Exploring answers to the 'What's going on here?' question that may give rise to insights that provide a new and better understanding.</div><div><br /></div><div>Btw, I identified this difference when I was being taught the <i>kata</i> for my grading and raised the issue with my instructors, the senior instructors in the JDJSDS. I received no answers, and so I did what I was taught for the sole purpose of passing the grading.</div><div><br /></div><div>The same issue regarding the dramatic flourish with the sword when finishing the technique in the HDJSDS video is present in this demonstration. It's training to miss the target.</div><div><br /></div><div><b>Finish Here</b></div><div>I'll finish here as to complete a full analysis would entail an even lengthier post where a lot of the same ideas emerge. Many of the same issues arise in the analysis of the remaining two sequences. </div><div><br /></div><div>For instance, in the final sequence, there was an error in the teaching of the <i>ken-ken</i> sequence that was discussed in this <a href="https://schoolofjandejong.blogspot.com/2023/11/ken-tai-ichi-no-kata-example.html" target="_blank">post</a>. There is also a difference in the <i>tai-tai</i> sequence between (a) the HDJSDS/JDJSDS and YB <i>tai-tai</i> technique, and (b) the <i>ken-ken</i> and <i>tai-tai</i> techniques in the JDJ demonstration.</div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWpOCNiq4KvonCwaO17_kcI_SChuwQ0_oYRTMlJa1eogV7t8oQ2P5V86CtKHfIc6hov8zp4IT-j58e0HTK_UjnH0Etyx_sc7PI61MlXmyYVehVzabcuhi9jrdvQrlS0aJH-GXfeYaHo2ekPLDBcUNB3GFaho9d5vXjBdnyNgjzSHGMFqcDnXfrC7AZeOQ/s1600/mukaedaoshi%20gp%20jfc.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1600" data-original-width="1292" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWpOCNiq4KvonCwaO17_kcI_SChuwQ0_oYRTMlJa1eogV7t8oQ2P5V86CtKHfIc6hov8zp4IT-j58e0HTK_UjnH0Etyx_sc7PI61MlXmyYVehVzabcuhi9jrdvQrlS0aJH-GXfeYaHo2ekPLDBcUNB3GFaho9d5vXjBdnyNgjzSHGMFqcDnXfrC7AZeOQ/s320/mukaedaoshi%20gp%20jfc.jpg" width="258" /></a></div><br />The effectiveness of the YB <i>tai-tai</i> technique is questionable. The technique should probably cause <i>uke</i>'s back to arch 'limbo' style as <i>tori</i>'s hand is driven down and behind <i>tori</i> thus lifting <i>uke</i>'s head with the crook of their elbow. JDJ would have no 'truck' with that technique. </div><div><br /></div><div>For JDJ, there was only one way to perform <i>mukae daoshi</i> (known in aikido as <i>irimi nage</i>), and that was for <i>tori</i> to project their hand-arm upward, never downward. What this means is that JDJ's <i>mukae daoshi</i> relies 100% on the momentum of <i>uke</i>, which is facilitated by <i>tori</i>'s unbalancing technique. The unbalancing is around the corner in the <i>tai-tai</i> case for this technique but is not required in the <i>ken-ken</i> case. </div><div><br /></div><div>Through the above analysis, the reader should now be able analyse the <i>kata</i> using the identification of similarities and differences as the base of that analysis. They should also be encouraged to question teachings when 'What's going on here?' or 'That can't be right' reactions are experienced, if they are experienced that is. The reader should now be aware of the tendencies to shoehorn answers when possessing no insights and real understanding of their own. </div><div><br /></div><div><b>What to Do?</b></div><div>What should be done? Should the JDJ <i>kata</i> be changed to reflect the original YB <i>kata</i>? Should the errors in the JDJ and YB <i>kata</i> be corrected? Should the <i>kata</i> be eliminated from the grading system as it seems to serve no useful function*? After all, JDJ's grading system is overly burdensome and overly cumbersome as has previously been explained. Would the student be better or worse off if the <i>kata</i> was not included in the grading system?</div><div><br /></div><div>Here's the thing though. If the errors are eliminated; if the differences are eliminated; then so is the opportunity of gaining insights and a new and better understanding. There are numerous lessons that a study of the JDJ <i>kata</i> can teach, but the most important lessons are in the apparent faults and flaws, the differences. Those differences include those between different interpretations, different martial arts of the same genre, and different martial arts.</div><div>_______________________________________</div><div><br /></div><div>*In a previous post, I speculated over the purpose of JDJ's inclusion of this <i>kata</i> in his <i>shodan</i> grading. One of the reasons may have been/probably was to be able to demonstrate some weapon techniques when teaching in Europe. You will <a href="https://schoolofjandejong.blogspot.com/2023/11/the-development-of-jdj-jujutsu-grading_29.html" target="_blank">recall</a> that the sole purpose for developing the <i>shodan</i> grading was so that JDJ could have black belt instructors accompany him on his teaching tours in Europe.</div><div><br /></div><div>JDJ shared with me that there were no, or very little, weapon techniques being taught in jujutsu in Europe before he began teaching in Europe. After that, there started to appear more and more weapon techniques being taught, particularly in World Ju Jitsu Federation affiliated schools as it was those schools that he primarily taught for.</div><div><br /></div><div>Marketing 101 - differentiate the product. Everyone taught a hip throw, but nobody taught sword techniques. Jujutsu is supposed to be the product of the samurai, whose primary weapon was the sword. The link to the past, the link to the warrior tradition were sword techniques. And there was the supposed lesson of demonstrating the similarities between sword and unarmed techniques in these warrior arts, suggesting a deriving origin of the unarmed techniques. As a marketing tool, it was genius as the target audience had not been exposed to YB. </div><div> </div></div>John Coleshttp://www.blogger.com/profile/14634192254115557179noreply@blogger.com4tag:blogger.com,1999:blog-2538432015657849810.post-80528607443802322762023-12-22T23:46:00.000-08:002023-12-22T23:46:43.445-08:00The Development of the JDJ Jujutsu Grading System Part 2.4: Shodan (Part 4.2: Ken Tai Ichi no Kata)The <a href="https://schoolofjandejong.blogspot.com/2023/12/the-development-of-jdj-jujutsu-grading.html" target="_blank">post</a> before last looked at Part 4 of the Jan de Jong (JDJ) jujutsu <i>shodan</i> grading. That Part includes <i>suwari waza no kata</i> and <i>ken tai ichi no kata</i>. The aforementioned post looked at <i>suwari waza no kata</i> (which is part of Kodokan Judo’s <i>kime no kata</i>). The previous <a href="https://schoolofjandejong.blogspot.com/2023/12/the-development-of-jdj-jujutsu-grading_21.html" target="_blank">post</a> began looking at <i>ken tai ichi no kata</i>. That post focused on the purpose of the <i>kata</i> and <i>kata</i> in general in JDJ’s jujutsu grading system. This post begins to look at the specific attack-defence sequences in the <i>kata</i> and the lessons that can be learned from their study. <br /><br /><b>Background <br /></b>‘Previously’ ... <br /><br />The name <i>ken tai ichi no kata</i> has been translated as, ‘form of sword and body as one.’ <br /><br />The description of this <i>kata</i> in <i>Jan de Jong: The man, his school, and his ju jitsu system</i> is: ‘Demonstration of katana and the unarmed applications’ (Jan de Jong Self Defence School, 1997, p. 50). <br /><br />The <i>kata</i> as taught within the JDJ jujutsu <i>shodan</i> grading consists of five sword v. sword and five unarmed v. unarmed attack-defence sequences. <br /><br />The grading sheet reads: <br /><br />1. Yoko Tekubi Hishigi: Tori – Seigan Kamae, Uke – Seigan Kamae <br />2. Ude Kujiki: Tori – Seigan Kamae, Uke – Gedan Kamae <br />3. Tekubi Te Nage: Tori – Seigan Kamae – Gedan Kamae, Uke – Jodan Kamae <br />4. Ude Hiji Nage: Tori – Hasso Kamae, Uke – Hasso Kamae <br />5. Ura Tai Otoshi: Tori – Gedan Kamae, Uke – Gedan Kamae <br /><br />The first phrase represents the unarmed technique that is being demonstrated. The <i>tori</i> and <i>uke kamae</i> description refer to the ‘combat engagement posture’ (see Donn Dreager) for the sword attack-defence sequence. <br /><br /><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgkUOVrnxlaNrZFGwKbjVqMnjXBzZ9A5wUo8NiUHpaFcljAImVn_sRc3bh9E0HxUz6OhJpVCzl1M7OLvaSfISxway2hMYjQnk9bGj3bBEABlHlWCYcyQiz3pgCR0R8eFuE2gVydLnDV7SFG9g31LKGXkKsQcJ4ARLAaqX_btcNa4MI5bNbt_P_PnAKi6L8" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="136" data-original-width="372" height="117" src="https://blogger.googleusercontent.com/img/a/AVvXsEgkUOVrnxlaNrZFGwKbjVqMnjXBzZ9A5wUo8NiUHpaFcljAImVn_sRc3bh9E0HxUz6OhJpVCzl1M7OLvaSfISxway2hMYjQnk9bGj3bBEABlHlWCYcyQiz3pgCR0R8eFuE2gVydLnDV7SFG9g31LKGXkKsQcJ4ARLAaqX_btcNa4MI5bNbt_P_PnAKi6L8" width="320" /></a></div><br />An example of the JDJ <i>kata</i> was posted on <a href="https://www.youtube.com/watch?v=FtFcR4HpNs4" target="_blank">YouTube</a> by the Hans de Jong Self Defence School (HDJSDS), a JDJ <i>ryuha</i>. <br /><br />We saw in the <a href="https://schoolofjandejong.blogspot.com/2023/11/ken-tai-ichi-no-kata-example.html" target="_blank">post</a> titled ‘Ken Tai Ichi no Kata Example’ that <i>ken tai ichi no kata</i> is a Yoseikan Budo (YB) <i>kata</i>. An example of the YB <i>kata</i> was posted on <a href="https://www.youtube.com/watch?v=bOKjf8WhOBw&t=1803s" target="_blank">YouTube</a> as part of a larger video taken from the Yoseikan Sogo Budo DVD set by Minoru Mochizuki, the founder of YB. The <i>ken tai ichi no kata</i> is located at the 22:40 mark in the aforementioned YouTube video. <br /><br />The YB <i>kata</i> consists of five sword v. sword, five unarmed v. sword, and five unarmed v. unarmed attack-defence sequences. The subtitles on that video refer to these sequences as <i>ken</i> (sword) and <i>tai</i> (unarmed), thus: <i>ken-ken</i>, <i>tai-ken</i>, and <i>tai-tai</i>. Those are the terms that will be used in this post. <br /><br />JDJ did not include the <i>tai-ken</i> sequence in his <i>ken tai ichi no kata</i> (see above). Interestingly, when looking for video examples to assist the readers of this post, I came across a <a href="https://www.youtube.com/watch?v=7L6k1kz83rs" target="_blank">YouTube</a> video of Mochizuki demonstrating this <i>kata</i> in which he also does not include the <i>tai-ken</i> sequence. 'What's going on here?' <br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjT8ukCh81Wb6UM4TtCyJcIHxo2_NXE7VNBXS3W6FJbnngHAP-J0eADf18MFUj_IoNOecA5XNW3-6k0DYEw7bzD3M5ugrzZcljpwGJTGpAbFT_K1AyJo8V9VWs7Uc9hsgDyj1pMPJ_cbzptIoA52UcGLIJhJud8nu9xcFxTMCY1SqNVStr6twziMth4reU" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" data-original-height="144" data-original-width="95" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEjT8ukCh81Wb6UM4TtCyJcIHxo2_NXE7VNBXS3W6FJbnngHAP-J0eADf18MFUj_IoNOecA5XNW3-6k0DYEw7bzD3M5ugrzZcljpwGJTGpAbFT_K1AyJo8V9VWs7Uc9hsgDyj1pMPJ_cbzptIoA52UcGLIJhJud8nu9xcFxTMCY1SqNVStr6twziMth4reU" width="158" /></a></div><br />‘What’s going on here?’ is how cognitive psychologist Gary Klein operationalises the curiosity path to gaining insight that can lead to a new and better understanding. It is a new understanding because it did not exist before, and it is a better understanding because it is more accurate, more comprehensive, and more useful than the one that existed before. <br /><br />The ‘What’s going on here?’ reaction does not contain the insight, but it can start the person on the road to gaining the insight if they go looking for an answer to their question. This can never happen if teachings are never questioned. <br /><br />JDJ had a different attack-defence order to that of the <i>kata</i> demonstrated in the YB videos: <br /><br />JDJ's #1 = YB's #2 <br />JDJ's #2 = YB's #1 <br />JDJ's #3 = YB's #5 <br />JDJ's #4 = YB's #4 <br />JDJ's #5 = YB's #3 <br /><br />This ordering is provided for those that want to visually compare like-with-like as I discuss the <i>kata</i> in JDJ's system and that of YB. <br /><br /><b>Core of All Learning <br /></b>In <i>Classroom Instruction That Works: Research Based Strategies for Increasing Student Achievement</i>, Marzano, Pickering, and Pollock (2001) explain that the ‘core of all learning’ is the identification of similarities and differences. They go on to explain that the four proven highly effective ways of identifying similarities and differences are classification, comparison, creating metaphors, and creating analogies. I devote a chapter in my book on the science behind all fighting techniques to this subject providing examples within the martial arts of the use of these ways of identifying similarities and differences to teach techniques.<br /><br />Identifying similarities and differences provides the opportunity for gaining insights that can lead to a new and better understanding (see above). It behoves all teachers and learners to understand and apply this concept. Teachers will be better teachers and learners will be better learners, in addition, learners will not be as reliant on their teachers being good teachers. <br /><br />The core of all learning – the identification of similarities and differences – will be used here when studying the <i>ken tai ichi no kata</i> attack-defence sequences and which can provide insights that lead to a new and better understanding not only of the <i>kata</i> itself but of principles in general. <br /><br /><b>Comparing Tori Kamae <br /></b>‘What is the difference between the <i>kamae</i> of <i>tori</i> in the first <i>ken-ken</i> defence and that of the other four?’ That is a question that I posed/pose to those learning this <i>kata</i>. <br /><br />Answer: the <i>tori kamae</i> in the first <i>ken-ken</i> defence is <i>seigan no kamae</i> (see image below) which is totally defensive. The tip of the blade is pointed at <i>uke</i>’s throat or eyes and if <i>uke</i> attacks straight down the line they will be impaled on <i>tori</i>’s sword if <i>tori</i> does not move. <br /><br /> <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgU_3wOBBtJ0wvTpPblV-3Z5-VJMJyJT11IaCEHvJmJiqZcSIOfR04pJ92h0696b0BTCwifpVP-ZOB8ByEw-qNPdHAygfnZMY66cYE47dHpjzu-Yo7RtQshCwSPH07Fl9nEWHonbySlrm3Y6QajNuiUNxzmLLhn7MVy6SvLdMkINfvGfDjlEKjr5kZulEU" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="350" data-original-width="351" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEgU_3wOBBtJ0wvTpPblV-3Z5-VJMJyJT11IaCEHvJmJiqZcSIOfR04pJ92h0696b0BTCwifpVP-ZOB8ByEw-qNPdHAygfnZMY66cYE47dHpjzu-Yo7RtQshCwSPH07Fl9nEWHonbySlrm3Y6QajNuiUNxzmLLhn7MVy6SvLdMkINfvGfDjlEKjr5kZulEU" width="241" /></a></div><br />In the other four <i>kamae</i> of <i>tori</i>, they are not <i>seigan no kamae</i> and invite an attack. It is a genuine invitation as <i>tori</i> is providing a genuine opening, however, they are also setting up with an attacking <i>kamae</i> of their own. If <i>uke</i> is good enough, their attack may prove successful as the opening is a genuine opening. <br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEg2ntnIIgP2nMkkyuJnim0aUI8djceSDoHRJP0PJ1bTmhXmZZBTiqaLmEZPy4RgK_2-2cp9Jlu032fRJ8AO2U1p5khCq4vhLtyIqHollVlBCra5kDByaJXplMsDVoPHBORDBKCo66R7-NAv5Ai1n_g0aZdYdn210FM6eEYjoYOU9OSelB2_z3T3PeDDwRc" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" data-original-height="194" data-original-width="260" height="239" src="https://blogger.googleusercontent.com/img/a/AVvXsEg2ntnIIgP2nMkkyuJnim0aUI8djceSDoHRJP0PJ1bTmhXmZZBTiqaLmEZPy4RgK_2-2cp9Jlu032fRJ8AO2U1p5khCq4vhLtyIqHollVlBCra5kDByaJXplMsDVoPHBORDBKCo66R7-NAv5Ai1n_g0aZdYdn210FM6eEYjoYOU9OSelB2_z3T3PeDDwRc" width="320" /></a></div><br />This comparison (identification of similarities and differences) provides a strategic lesson which is not forthcoming for those that simply train what they are taught without question in order to pass a grading. Ditto for those that teach what they are taught without question because it is part of the curriculum. No, or very little, insight is achieved in those circumstances. <br /><br /><b>Tori Kamae #2 <br /></b>Another path to insight is contradictions. Klein explains that, ‘Contradictions are different from curiosity insights. Curiosities make us wonder what’s going on, whereas contradictions make us doubt— "That can’t be right."' (2013, p.61).<br /><br />When researching this post and attending to the detail, I noticed that the JDJ grading sheet for the <i>ken tai ichi no kata</i> grading included <i>seigan no kamae</i> for both #1 and #2 <i>ken-ken</i> sequences. ‘That can’t be right.’ It isn’t. <br /><br />I studied the Jan de Jong Self Defence School (JDJSDS) representative HDJSDS video (see above) and found that <i>tori</i> in that video did in fact assume <i>seigan no kamae</i> and <i>uke</i> attacked down the line thus risking being impaled on <i>tori</i>’s sword if <i>tori</i> did not execute a block/deflection or an evasive body-movement (see future post about the 'dog's breakfast' that is the blocking sections in the <i>mon</i> gradings). ‘That can’t be right.’ It isn’t. <br /><br />I studied the YB video and found that <i>tori</i> assumed <i>seigan no kamae</i> before lowering to <i>gedan no kamae</i> to invite at overhead attack. That is how it was taught in the JDJSDS, although that is not how it is described on the grading sheet. <br /><b><br /></b>While misremembering an attack can be forgiven (also see JDJ <a href="https://schoolofjandejong.blogspot.com/2023/11/ken-tai-ichi-no-kata-example.html" target="_blank">misremembering</a> the attack for the final <i>ken-ken</i> sequence). While not providing an accurate description on the grading sheet can be forgiven. While being misled by an incomplete instruction on the grading sheet can be forgiven. What cannot be forgiven is the teaching and/or performing techniques, defence and/or attack, that are clearly flawed. It shows an astonishing lack of understanding ... or indifference.</div><div><br /></div><div><b>Insight Applied</b></div><div>The insight gained from the above analysis applies to the <i>te nage</i> defence from <i>ryo te dori</i> in the <i>shinken shobu no kata</i> grading in <i>shodan</i> (JDJ misinterpreted/did not understand the aikido/YB technique)<i>.</i> It applies to the <i>irimi uke, te gatame ude kujuki</i> defence from <i>jodan tsuki</i> in the 5th <i>kyu</i> grading (see previous). It applies to the <i>oshi otoshi</i> technique in the <i>taoshi waza no kata</i> grading in <i>sandan </i>(JDJ did not understand the YB technique taken from a single hand-drawn image from Mochizuki's book; see future post re <i>sandan</i> grading). It applies to the belt drop, back fist defence from rear body-hold over elbows in the HDJSDS <i>shinken shobu no kata</i> grading in their <i>shodan </i>(misremembered the attack taught in the JDJ grading). </div><div><br /></div><div><b>Next Post</b></div><div>These posts are long; longer than intended. I will be trying to break them up into more 'bitesize' portions. The next post(s) will commence analysing each of the individual attack-defence and which will include a comparison with those taught by YB from whence they were appropriated.</div><div><br /></div><div>PS: It would appear that this is part of my JDJ martial arts legacy. I doubt that I'll ever teach again, so, I am sharing some of my unique insights and understanding through these posts. </div><div><br /></div>John Coleshttp://www.blogger.com/profile/14634192254115557179noreply@blogger.com3tag:blogger.com,1999:blog-2538432015657849810.post-47051428049874798222023-12-21T07:27:00.000-08:002023-12-21T07:27:36.269-08:00The Development of the JDJ Jujutsu Grading System Part 2.3: Shodan (Part 4.1: Ken Tai Ichi no Kata)<p>The previous <a href="https://schoolofjandejong.blogspot.com/2023/12/the-development-of-jdj-jujutsu-grading.html" target="_blank">post</a> looked at Part 4 of the Jan de Jong (JDJ) jujutsu <i>shodan</i> grading. That part includes <i>suwari waza no kata</i> and <i>ken tai ichi no kata</i>. The previous post looked at <i>suwari waza no kata</i> (which is part of Kodokan Judo’s <i>kime no kata</i>). This post looks at <i>ken tai ichi no kata</i>.</p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><o:p></o:p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">The name <i>ken tai ichi no kata</i> has been translated as, ‘form of sword and body as one.’</p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><o:p></o:p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">The description of this <i>kata</i> in <i>Jan de Jong: The man, his school, and his ju jitsu system</i> is: ‘Demonstration of <i>katana</i> and the unarmed applications’ (Jan de Jong Self Defence School, 1997, p. 50). </p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">This <i>kata</i> as taught within the JDJ jujutsu <i>shodan</i> grading consists of five sword v. sword and five unarmed v. unarmed attack-defence sequences. </p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">The grading sheet reads:</p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><o:p></o:p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">1. Yoko Tekubi Hishigi: Tori – Seigan Kamae, Uke – Seigan Kamae</p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><o:p></o:p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">2. Ude Kujiki: Tori – Seigan Kamae, Uke – Gedan Kamae<o:p></o:p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">3. Tekubi Te Nage: Tori – Seigan Kamae – Gedan Kamae, Uke – Jodan Kamae<o:p></o:p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">4. Ude Hiji Nage: Tori – Hasso Kamae, Uke – Hasso Kamae<o:p></o:p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">5. Ura Tai Otoshi: Tori – Gedan Kamae, Uke – Gedan Kamae<o:p></o:p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">The first phrase represents the unarmed technique that is being demonstrated. The <i>tori</i> and <i>uke kamae</i> description refer to the ‘combat engagement posture’ (see Donn Dreager) for the sword attack-defence sequence.</p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjKu0Wx3c534r3YtIFEpLcNOtq5JubqizoJS6kYxTpgnN4cKHJAKw4ZxJzVx1JFN5hcVW9LjeqykarL4vIifhbIuuvdTc9qHWoSdwZ8pJ4NeiExHHqpZ72xHSsE3Tu--U1yiUvxPo3hhH7D6dxffiSy-NzIfLM3Jag9tGYm4U5XGGa5i_kiHTeQXx94G3U" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="136" data-original-width="372" height="117" src="https://blogger.googleusercontent.com/img/a/AVvXsEjKu0Wx3c534r3YtIFEpLcNOtq5JubqizoJS6kYxTpgnN4cKHJAKw4ZxJzVx1JFN5hcVW9LjeqykarL4vIifhbIuuvdTc9qHWoSdwZ8pJ4NeiExHHqpZ72xHSsE3Tu--U1yiUvxPo3hhH7D6dxffiSy-NzIfLM3Jag9tGYm4U5XGGa5i_kiHTeQXx94G3U" width="320" /></a></div><br /><b>Video Examples</b><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">An example of the JDJ <i>kata</i> was posted on <a href="https://www.youtube.com/watch?v=FtFcR4HpNs4" target="_blank">YouTube</a> by the Hans de Jong Self Defence School, a JDJ <i>ryuha</i>.<o:p></o:p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEj8zAcFTiKLTfINTHntU4dzOTY-0ScTGu-FsfNfjAOND4exOP2EVtE-CdZpYVtONIVfdVK8xxkOVshLHCD-mTe1VkSvoROf13VTufIkQH6YTc3nQWVOPGvVzGK22mlzkmkon0YttCvG4vpGuKWdg2wkP2kmNMWXxALFnEO8M1Fq5bSNP2LoGCkGwpL_VVM" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" data-original-height="234" data-original-width="166" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEj8zAcFTiKLTfINTHntU4dzOTY-0ScTGu-FsfNfjAOND4exOP2EVtE-CdZpYVtONIVfdVK8xxkOVshLHCD-mTe1VkSvoROf13VTufIkQH6YTc3nQWVOPGvVzGK22mlzkmkon0YttCvG4vpGuKWdg2wkP2kmNMWXxALFnEO8M1Fq5bSNP2LoGCkGwpL_VVM" width="170" /></a></div>We saw in the <a href="https://schoolofjandejong.blogspot.com/2023/11/ken-tai-ichi-no-kata-example.html" target="_blank">post</a> titled ‘Ken Tai Ichi no Kata Example’ that <i>ken tai ichi no kata</i> is a Yoseikan Budo (YB) <i>kata</i>. An example of the YB <i>kata</i> was posted on <a href="https://www.youtube.com/watch?v=bOKjf8WhOBw&t=1803s" target="_blank">YouTube</a> as part of a larger video taken from the <a href="https://schoolofjandejong.blogspot.com/2023/11/ken-tai-ichi-no-kata-example.html" target="_blank">Yoseikan Sogo Budo DVD</a> set by Minoru Mochizuki, the founder of YB. <div><br /></div><div>The acquisition of these two DVDs by myself was the second step in my developing an understanding of just how much of JDJ’s jujutsu and aikido teachings were taken from YB. </div><div><br /></div><div>The <i>ken tai ichi no kata</i> is located at the 22:40 mark in the abovementioned YouTube video. </div><div><br /></div><div>The YB <i>kata</i> consists of five sword v. sword, five unarmed v. sword, and five unarmed v. unarmed attack-defence sequences. <p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><o:p></o:p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><o:p>JDJ did not include the unarmed v. sword attack-defence sequence in his <i>ken tai ichi no kata </i>(see above). </o:p>Interestingly, when looking for video examples to assist the readers of this post, I came across a <a href="https://www.youtube.com/watch?v=7L6k1kz83rs" target="_blank">YouTube</a> video of Mochizuki demonstrating this <i>kata </i>in which he does not include the unarmed v. sword attack-defence sequence. <a href="https://schoolofjandejong.blogspot.com/2023/11/the-development-of-jdj-jujutsu-grading.html" target="_blank">'What's going on here?'</a></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><o:p></o:p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><o:p><b>Attack-Defence Order</b></o:p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><o:p>JDJ had a different attack-defence order to that of the <i>kata</i> demonstrated in the YB videos:</o:p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><o:p>JDJ's #1 = YB's #2</o:p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><o:p>JDJ's #2 = YB's #1</o:p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><o:p>JDJ's #3 = YB's #5</o:p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><o:p>JDJ's #4 = YB's #4</o:p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><o:p>JDJ's #5 = YB's #3</o:p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><o:p>This ordering is provided for those that want to visually compare like-with-like as I discuss the <i>kata</i> in JDJ's system and that of YB.</o:p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b>Purpose</b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">What is the purpose of this <i>kata</i>? What are the lessons to be learned from this <i>kata</i>? What benefits are the students supposed to derive from learning this <i>kata</i>, other than progression in the grading system?<o:p></o:p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">I suggested in a previous <a href="https://schoolofjandejong.blogspot.com/2023/11/ken-tai-ichi-no-kata-example.html" target="_blank">post</a>, based on what my instructors told me, that it was to demonstrate the similarities between sword and unarmed techniques. Why? What is the point?</p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><o:p></o:p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">A comment that I received to a post on Facebook that provided a link to my latest blog posts suggested that the three different parts of the YB <i>kata</i> represent <i>kenjutsu</i>, jujutsu, aikido: <i>kenjutsu</i> – sword v. sword, jujutsu – unarmed v. sword, and aikido – unarmed v. unarmed. Now <i>that</i> is a very interesting proposition, and one that I had never heard before.</p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><o:p></o:p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">The commentary on the above linked YB <i>ken tai ichi no kata</i> video explains that: </p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><i>The founder of Aikido Ueshiba, used to tell his followers that the principles of Aiki-jutsu came from those of Kenjutsu. But how the techniques were modified from Ken (saber) to Tai (empty hand) is not known precisely. ... Mochizuki acquired Kendo and Koryu-kenpo before learning Aiki-jutsu therefore he could figure out the technical relations between Kenjutsu and Taijutsu (Jujutsu). These kata represent his completed work out of many years of training and simple techniques that define the transition process from Ken to Tai. </i></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><i>Ken tai ichi no kata</i> in this instance would appear to suggest that Mochizuki is attempting to demonstrate the evolution from <i>ken-ken</i> to <i>tai-tai</i>, <i>kenjutsu</i> to aikido, and that he found the missing link: <i>tai-ken</i>, jujutsu.</p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">Why would JDJ not include the 'missing link', jujutsu, in his <i>ken tai ichi no kata</i> in his <u><i>jujutsu</i></u> shodan grading?</p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">Then, of course, the abovementioned premise has to be questioned. Did the principles of <i>aiki-jutsu</i> come from those of <i>kenjutsu</i>, or is it some attempt to link the <i>tai</i> with the samurai <i>ken</i> for some sense of superiority and credibility? And what does that have to do with JDJ's jujutsu?</p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">Even if it is meaningless, the argument might be made that the <i>kata</i> is included in YB due to tradition because Mochizuki developed and taught the <i>kata</i>, however, can the same argument be made for the jujutsu taught by JDJ?</p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b>Eliminating Tai v. Ken</b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">There are some possible reasons that might explain why JDJ eliminated the <i>tai</i> v. <i>ken</i> element of this <i>kata</i>. </p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">JDJ was above all else, for the most part*, a practical man. He was all about practical, effective techniques, for the most part*. When you see the <i>tai</i> v. <i>ken</i> element demonstrated in the above YB video, the <i>kamae</i> (<i>tenchi no kamae</i> (Guard of Heaven and Earth)) assumed by <i>tori</i> is, well, to be diplomatic, it does not look good. It doesn't look good and is clearly impractical in defending against an opponent armed with a sword. To the best of my knowledge, this <i>kamae</i> is <u><i>only</i></u> assumed in this <i>kata</i> in YB teachings and is not assumed anywhere else, even against other weapons. Would any instructor in the JDJ or YB tradition teach a practitioner to assume that <i>kamae</i> against an opponent armed with a sword or any other weapon, or even unarmed? If not, what is the point in teaching it?</p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><o:p></o:p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">Another Facebook comment suggested that the <i>tai</i> v. <i>ken</i> element was included in the <i>kata</i> in the JDJ aikido grading system. If so, why would he not include it in the <i>kata</i> in his jujutsu <i>shodan</i> grading? Was it because he was looking to make his aikido look more Yoseikan? Was it because he was just trying to populate his <i>shodan</i> grading given that the <i>ikkyu</i> grading was designed as a one-off, ultimate, instructor's grading?</p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">A Facebook comment that was received, but which unfortunately I cannot locate, was that JDJ explained to a highly ranked <i>aikidoka</i> in his school that the original YB <i>kata</i> which included the three phases took two hours to perform. JDJ was more action oriented (not very patient) and may not have included the <i>tai</i> v. <i>ken</i> attack-defence sequence in order to reduce the time spent performing, and grading, the entire YB <i>kata</i>.</p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">*The 'for the most part' will be discussed when the <i>te nage</i> (hand throw)/<i>robuse</i> (rowing throw) defence from <i>ryo te dori</i> (two hand grab) is discussed in a future post. </p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b>Kata</b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">In line with the above action orientation of JDJ comment; a senior JDJ jujutsu instructor suggested that JDJ was not a fan of <i>kata</i> full stop. Why not? It was suggested that it was because <i>kata</i> was a major form of training under his original instructors, the <a href="https://schoolofjandejong.blogspot.com/2011/08/jan-de-jong-pt-2-pre-war-years.html" target="_blank">Saito</a> brothers, and he was 'sick of it.' If that is true, it raises a raft of questions (besides the question as to whether this is an example of '<a href="https://schoolofjandejong.blogspot.com/2023/12/the-development-of-jdj-jujutsu-grading.html" target="_blank">shoehorning</a>'). Why are there no Tsutsumi Hozan Ryu <i>kata</i> in his grading system? Why did JDJ have to go looking to other Japanese martial art traditions in order to find <i>kata</i> to include in his grading system? Why did he include <i>kata</i> in his grading system at all?</p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">There is <i>happoken no kata</i> in 8th <i>kyu</i> (part of the <i>mon</i> system; see future post). <i>Happoken no kata</i> is another YB <i>kata</i> which JDJ included in his grading system to teach and train striking and blocking techniques - a practical training purpose. </p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">JDJ developed <i>wakai no kata</i> which he included in 7th <i>kyu</i> (part of the <i>mon</i> system: see future post) for the same practical purpose (also see <a href="https://schoolofjandejong.blogspot.com/2023/11/the-development-of-jdj-jujutsu-grading.html" target="_blank">2nd <i>kyu</i></a>). </p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">The newly added revision grading in 2nd <i>kyu</i> included <i><a href="https://schoolofjandejong.blogspot.com/2023/11/the-development-of-jdj-jujutsu-grading.html" target="_blank">itsitsu no kata</a></i>, another YB <i>kata</i>. It is a YB <i>kata</i> teaching the five basic <i>taisabaki</i> (evasive body-movements) of YB. This <i>kata</i> supported the <i>taisabaki</i> taught within the newly introduced <i>mon</i> system, which is largely based on YB teachings, as we will see in a future post.</p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">What is the purpose of <i>ken tai ichi no kata</i>, and <i>suwari waza no kata</i> in the JDJ jujutsu grading system? Were they included in <i>shodan</i> simply to 'pad out' the grading given that <i>ikkyu</i> was designed to be a one-off instructor grading, as speculated upon in the previous <a href="https://schoolofjandejong.blogspot.com/2023/11/the-development-of-jdj-jujutsu-grading.html" target="_blank">post</a>? Was it to introduce some 'traditional' teachings into his practically oriented system that was his <i>kyu</i> system?</p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b>Kata - Rokkyu to Sankyu</b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">Speaking of the introduction of <i>kata</i> into the JDJ grading system, at the end of the 6th-3rd <i>kyu </i>gradings, there is a <i>kata</i> section: 'Examined on technical analysis and kata presentation. Refer to page 55' (<i>Jan de Jong: the man, his school and his ju jitsu system</i>, 1997).</p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">Page 55: <b>Kata - Rokkyu to Sankyu</b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">'[JDJ] supported the AJJA by introducing the competition kata (refer page 18) into his grading system.'</p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEi-6RxSv5pmhZGCI7kssY3IFvSK2dRcJS-Nu1IquwUwu0nLx4QFCZuxEhsbJiY3R3KFt-peBsei4N2yPEBBf4HwMZfhEjHuteVE39E0A4yDsXr6PH1vepOjof2KPyFkUB1XtzguknQffqOil0iiVpx0xi6bDldWbmat0phmEhUFj9pfbB_o6eSA7QnrsBw" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="100" data-original-width="100" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEi-6RxSv5pmhZGCI7kssY3IFvSK2dRcJS-Nu1IquwUwu0nLx4QFCZuxEhsbJiY3R3KFt-peBsei4N2yPEBBf4HwMZfhEjHuteVE39E0A4yDsXr6PH1vepOjof2KPyFkUB1XtzguknQffqOil0iiVpx0xi6bDldWbmat0phmEhUFj9pfbB_o6eSA7QnrsBw" width="240" /></a></div><br />Page 18: <b>Australian Ju Jitsu Association</b><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><i>The Australian Ju Jitsu Association (AJJA) was founded in Brisbane in 1985 with the aim of:</i></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><i>... providing activity for the affiliated state ju jitsu associations on both an instructional and competitive basis;</i></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><i>organising and participating in both national and international seminars and competitions ...</i></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><i>[JDJ] and his instructors have made significant contributions to the AJJA. In 1987 [JDJ] was invited to fill the positions of President and National Coach which he accepted and held unopposed ever since.</i></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><i>In an effort to achieve the aims of the organisation the AJJA executive approached [JDJ] for his advice concerning the development of some form of competition. He advised that a kata competition rather than any form of free fighting would be the preferred option as it encourages good technique whilst introducing the desired competitive element. The kata competition he subsequently developed was adopted by the AJJA and has been used as the national competition ever since.</i></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">Page 55 continued:</p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><i>The techniques are quite advanced and after several years use, he concluded that they imposed an additional hurdle for his students who are already engaged in a very challenging grading system. However, he had observed the students were receiving benefits from training kata. The solution he devised was to keep the kata format in the gradings but allow the students to choose the techniques.</i></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><i>Students are required to demonstrate five techniques in Rokkyu and Gokyu and ten techniques in Yonkyu and Sankyu. The aim of these kata is to gain the benefits of the disciplines of kata training, and to gain experience in demonstrating ju jitsu techniques.</i></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><i>Students select the techniques themselves from any previous grade, including their current grade. No atemi techniques are to be selected and locking to finish is required. Atemi to finish can be used once in the first two grades and twice in the next two grades but only when a lock is not appropriate.</i></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">Now that was a stroll down memory lane :).</p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">I was the sole author of the book which was fact-checked <i>ad nauseam</i> by JDJ at my instance because it was representing/promoting him and his school both internally and externally.</p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhyAoWqZiYCbApFUNlC3KadNP4w8eZuHhLTNMVTZpvyvSX_qK8LsgaXnh8A1zzR7jOeLgeUSz8UmjoFc8SDoD3pcMeDLsy9cwd4-WywrREeH5OfVkfZ4gCvUoPw_1WW4GVSJ8A37f4yWG72pzLhkn0jsvxZNzUiBptKfxz5eCVC6NAFjL1lrX3BWJ000Cs" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="3507" data-original-width="2480" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEhyAoWqZiYCbApFUNlC3KadNP4w8eZuHhLTNMVTZpvyvSX_qK8LsgaXnh8A1zzR7jOeLgeUSz8UmjoFc8SDoD3pcMeDLsy9cwd4-WywrREeH5OfVkfZ4gCvUoPw_1WW4GVSJ8A37f4yWG72pzLhkn0jsvxZNzUiBptKfxz5eCVC6NAFjL1lrX3BWJ000Cs" width="170" /></a></div><br />Page 2: <b>Acknowledgements</b><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><i>This book has been researched, written and edited by John Coles B.Comm., ACA, MBA, one of [JDJ's] senior instructors, to whom thanks are due for the considerable time and effort he has spent in fact-finding and writing this eagerly awaited book.</i></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><i>The contributions of Robert Hymas, Maggie de Jong, Greg Palmer, Paul Connelly, Peter Clarke, Debbie Clarke and Hans de Jong, all of whom are also instructors of [JDJSDS], are acknowledged and appreciated.</i></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">The other instructors' contributions primarily consisted of 'signing-off' on the content, however, Peter Clarke did provide some background on the contributions to the AJJA as he was responsible for those contributions on behalf of JDJ.</p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">The <i>Jan de Jong: the man, his school and his ju jitsu system</i> book was written primarily to promote JDJ and his teachings, thus, certain license was taken with the content. For instance, the reference to JDJ concluding that the <i>kata</i> imposed an additional hurdle for his students who are already engaged in a very challenging grading system - that was 100% me, and the reference to the 'challenging' grading system is reference to an over cumbersome and over burdensome grading system as I have described the JDJ jujutsu grading system in a previous <a href="https://schoolofjandejong.blogspot.com/2023/11/who-was-best-teacher-at-jdjsds-revisited.html" target="_blank">post</a>. </p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">JDJ included the <i>kata</i> in his grading system for one reason, and one reason only - to support the AJJA <i>kata</i> competition that Peter Clarke had developed on his behalf (see above), even though no JDJ students participated in the competition, there was no competition in the JDJSDS, the AJJA quickly abandoned the concept, and JDJ resigned and removed his school from the AJJA, yet JDJ retained the gradings. Why? </p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">JDJ is a 'set and forget' sort of fellow, not prone to reflection, as I explained in a previous <a href="https://schoolofjandejong.blogspot.com/2023/12/inflated-timelines-of-jdj-jujutsu.html" target="_blank">post</a>. I lobbied for the removal of these <i>kata</i> gradings from the grading system altogether for the reasons explained above. I lobbied for a number of years for the benefit of the students. A concession was that as described above, however, the reasoning was a concession on my behalf. JDJ did not see any benefits in <i>kata</i> training but was reluctant to change what had been introduced in the past because he was a set-and-forget sort of person. </p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">Why didn't the other instructors lobby likewise for the benefit of the students? Was it a matter of teaching what is taught without question? </p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">My lobbying was successful, although in all honesty I did not remember that the compromise was included in the grading system. And I don't remember if I was eventually 100% successful and the entire idea was given the kibosh. I don't know if the <i>kata</i> gradings are included in the JDJ <i>ryuha</i> grading systems in whatever form.</p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b>'Those that cannot learn from history are doomed to repeat it.' </b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">I do know of one JDJ <i>ryuha</i> that has reinstated the original AJJA competition <i>kata</i> within their <i>kyu</i> grading system as per JDJ's original introduction. While it has been introduced with the intent of introducing <i>kata</i> training in the grading system given their association with karate, I'm hoping that an understanding of the development and change of this aspect of JDJ's grading system might make them rethink the re-introduction of an element in the grading system that simply increases the burden on the student which far outweighs any benefits that they may receive.</p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b>Next Post</b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;">These posts are lengthy, and apparently these days, reading anything beyond a few sentences is not popular (modern attention span of a brick). I was going to include a review of the attack-defence sequences in this post, however, it quickly turned out that a general discussion of the <i>kata</i> and <i>kata</i> in general in the JDJ grading system was already producing a lengthy post. The next post will consider the attack-defence sequences in detail and the lessons that can be learned from such an analysis. </p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><br /></p></div>John Coleshttp://www.blogger.com/profile/14634192254115557179noreply@blogger.com0tag:blogger.com,1999:blog-2538432015657849810.post-55451892633030125222023-12-14T22:45:00.000-08:002023-12-14T22:45:53.280-08:00The Development of the JDJ Jujutsu Grading System Part 2.2: Shodan (Part 4: Suwari Waza no Kata and Ken Tai Ichi no Kata)This post continues on from the <a href="https://schoolofjandejong.blogspot.com/2023/11/the-development-of-jdj-jujutsu-grading_29.html" target="_blank">post</a> before the last post and looks at part 4 of the <i>shodan</i> grading in Jan de Jong's (JDJ) jujutsu grading system. <br /><br />Note: The description for each Part is reproduced from <i>Jan de Jong: the man, his school and his ju jitsu system</i> (Jan de Jong Self Defence School, 1997). <br /><br /><b>Part 4: Suwari waza no kata and ken tai ichi no kata <br />Suwari waza no kata <br /></b>‘Demonstration from <i>seiza</i> postion.’ <br /><br /><i>Suwari waza no kata</i> is a kneeling <i>kata</i> consisting of five specified attack-defence combinations. <br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEi6NV-etOGnbcrAkkhu3citA3z4h7D4eDHC1YoAWeddGPxaghsUZHGxmAdzmeg5xByHkJTlbWFOp6P_nnnsKyUjZV-hE2wn9E65_UtccE2LuDj9ITLGu36Xx917wEN_0Xe9VPj6AlX_QZ450uGf8A2UP-rgpT_7sCeTMCmsv7Eynm1Ir71kNo4LXU1nd9s" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="275" data-original-width="183" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEi6NV-etOGnbcrAkkhu3citA3z4h7D4eDHC1YoAWeddGPxaghsUZHGxmAdzmeg5xByHkJTlbWFOp6P_nnnsKyUjZV-hE2wn9E65_UtccE2LuDj9ITLGu36Xx917wEN_0Xe9VPj6AlX_QZ450uGf8A2UP-rgpT_7sCeTMCmsv7Eynm1Ir71kNo4LXU1nd9s=w213-h320" width="213" /></a></div><div><br /></div><div>Every year in the instructors class, JDJ would go over this <i>kata</i> and the final defence would be debated. The attack is a ‘bear hug’ from behind and the defence is a shoulder throw. The debate centred around which leg to throw back when performing the defence. This debate was never definitively resolved. <div><br /></div><div>The answer to that question was contained in a book for sale in the Jan de Jong Martial Arts Supplies store at the front of the building – in <i>Kodokan Judo</i>, authored by Jigoro Kano, founder of Kodokan Judo, and published in 1986 (first published in 1955).<div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEg4bH3qVAAw7t8o_g7WSJNV-my8PV598gD-WBN3G35KPj0hQRn-JRBO1oS0-0qQIbfBfn3ukmJbdrdLg_xY2gMSOvPz0n-mSRYzfemw-zJyrUedUP_q5KjSM9tXiZ6m1KuMbdnPE-w2RkHcchFnLfkaKudnaGRzWmefSwjN7GIGXb2s8LJE4HiL7eD8xaQ" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="212" data-original-width="150" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEg4bH3qVAAw7t8o_g7WSJNV-my8PV598gD-WBN3G35KPj0hQRn-JRBO1oS0-0qQIbfBfn3ukmJbdrdLg_xY2gMSOvPz0n-mSRYzfemw-zJyrUedUP_q5KjSM9tXiZ6m1KuMbdnPE-w2RkHcchFnLfkaKudnaGRzWmefSwjN7GIGXb2s8LJE4HiL7eD8xaQ" width="170" /></a></div><br />JDJ’s <i>suwari waza no kata</i> is Kodokan Judo’s <i><a href="https://www.youtube.com/watch?v=eN1Z8qKNfW8" target="_blank">kime no kata</a></i>, or part thereof, without JDJ acknowledging the source of his <i>suwari waza no kata</i>. That is a theme that was a feature of JDJ’s teachings. The following is the description of <i>kime no kata</i> from <i>Kodokan Judo</i>: <br /><br /><i>Kime no Kata is also known as Shinken Shobu no Kata (Combat Forms) and is designed to teach the fundamentals of attack and defence in an actual combat situation, as both names imply. Its twenty techniques, which include strikes at vital spots, are all applicable in real-life situations, but are banned in randori. They are divided into two groups, idori, where the basic position is kneeling, and tachiai, where techniques are executed in a standing position.</i> (Kano, 1986, <i>Kodokan Judo</i>, p. 146) <br /><br />Note: See this <a href="https://schoolofjandejong.blogspot.com/2023/11/the-development-of-jdj-jujutsu-grading.html" target="_blank">post</a> for a discussion on JDJ's use of the term <i>shinken shobu no kata</i>.<br /><br />JDJ only included the first five technique from the <i>idori</i> group in his <i>suwari waza no kata</i>. Why only the first five? Why introduce this <i>kata</i> at all? Was it, in whole or in part, to ‘pad out’ or ‘beef up’ his <i>shodan</i> grading given that <i><a href="https://schoolofjandejong.blogspot.com/2023/11/the-development-of-jdj-jujutsu-grading.html" target="_blank">ikkyu</a></i> was the previous instructor grading and it was a comprehensive instructor grading in itself? </div><div><br /></div><div>Was it to introduce some traditional Japanese teachings, e.g. <i>kata</i>, into his teachings (there were no <i>kata</i> in his <i>kyu</i> grades)?</div><div><br /></div><div>Why not acknowledge the source of the <i>kata</i>?</div><div><br /></div><div>Why didn’t any of the instructors know that JDJ’s <i>suwari waza no kata</i> was a part of Kodokan Judo’s <i>kime no kata</i>? It is because in the Jan de Jong Self Defence School (JDJSDS), JDJ was considered to be the ‘fount of all knowledge’ and nobody looked outside of his teachings. To be fair, his knowledge was extensive and mostly accurate, so why would anyone look outside of his teachings. And remember, these were the days before the internet and YouTube.<br /><br />When I found the source of JDJ’s <i>suwari waza no kata</i> and brought it to the attention of a senior instructor, their explanation was that it was probably an example of what Tsutsumi Hozan Ryu* (THR) had contributed to Kodokan judo. That is an example of what I have come to describe as ‘shoehorning’ – forcing something to fit where it may not naturally fit or belong.</div><div><br />*THR being the style of jujutsu that JDJ supposedly taught or supposedly was taught, and THR supposedly having contributed to the teachings of Kano in Kodokan judo.<br /><br /><b>Ken tai ichi no kata <br /></b>‘Demonstration of <i>katana</i> defences and the unarmed application.’ <br /><br />We saw in the 'ken tai ichi no kata example' <a href="https://schoolofjandejong.blogspot.com/2023/11/ken-tai-ichi-no-kata-example.html" target="_blank">post</a> that <i>ken tai ichi no kata</i> is a <i>kata</i> taken straight from Yoseikan Budo without the source being acknowledged (see above). The same questions that are raised in connection with the inclusion of <i>suwari waza no kata</i> from Kodokan Judo (see above), in JDJ’s <i>shodan</i> grading are applicable to the <i>ken tai ichi no kata</i> as well. <br /><br /><i>Ken tai ichi no kata</i> will be discussed in further detail in the next post dedicated to JDJ’s adoption of the <i>kata</i>, or part thereof, and what can be learned from that adoption.</div></div></div><div><br /></div><div><b>Postscript</b></div><div>The abovementioned <i>Kodokan Judo</i> is a book to be studied and not just read, however, it can only be truly appreciated if one has an understanding of (bio)mechanical force. </div><div><br /></div><div>In my as yet unpublished book on the science behind all fighting techniques, I devote a chapter to the subject of force as it applies to fighting techniques. I explain that forces are what makes all fighting techniques work, or not, and that the concept of mechanical force is easy for the layperson to understand and apply. Kano's <i>Kodokan Judo</i> is a classic example of that in his descriptions of the techniques being taught. Those descriptions are succinct and focus on what makes the techniques work. And this without Kano having an understanding of mechanical force. Instead, he was a <a href="https://schoolofjandejong.blogspot.com/2023/11/who-was-best-teacher-as-jan-de-jong.html" target="_blank">qualified teacher</a> who knew how to teach and so he knew what to focus on when teaching techniques.</div><div><br /></div><div>An understanding of mechanical force should make for better martial arts teachers, particularly those teaching grappling techniques/arts. It should also make for better martial arts students, particularly those studying grappling techniques/arts. The students would know what to look for when a technique is demonstrated/taught, and they would not be so dependent on their teacher's teaching abilities. For many martial arts teachers however, that might/would be seen as a threat by those teachers.</div>John Coleshttp://www.blogger.com/profile/14634192254115557179noreply@blogger.com0tag:blogger.com,1999:blog-2538432015657849810.post-90146526444448491462023-12-12T21:54:00.000-08:002023-12-12T21:54:57.080-08:00Inflated Timelines of JDJ Jujutsu Rank/Certificate Promotion & JDJ Endangered Species<p>This post will interrupt the current series of posts about the
development of the Jan de Jong (JDJ) jujutsu grading system as it is very pertinent
to the discussion.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">The following was recently posted on Facebook by Aikido
Sangenkai (<i>The Aikido Sangenkai is a non-profit martial arts dojo
(school) affiliated with the Aikikai Foundation in Tokyo Japan. We
are located in Honolulu, Hawaii on the island of Oahu </i>(<a href="https://www.aikidosangenkai.org/about.html">https://www.aikidosangenkai.org/about.html</a>).)</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">The abovementioned Facebook post has attracted a great deal of attention
with most of it being supportive based on personal experience. </p><p class="MsoNormal">Note: I have not
confirmed the information detail.<o:p></o:p></p>
<p class="MsoNormal"><o:p></o:p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEh3F6MoDIXwmPq_vcVsPnsbO1uH7vKkNebuknwnmbr-ajDjWivSirc4Rd7798h0r_O9aIWaJd9aB5DfigdgGamIOUYZkICqHPld_dkbLVPmDLYMbG3366IJ6IJlUHmw2o-7CX9N8Z1QX0hdq7I1hSWZwyqrCEf_6pxgJ8nweJIF5cWaSOsdbfuKWuFXqUg" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="794" data-original-width="862" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEh3F6MoDIXwmPq_vcVsPnsbO1uH7vKkNebuknwnmbr-ajDjWivSirc4Rd7798h0r_O9aIWaJd9aB5DfigdgGamIOUYZkICqHPld_dkbLVPmDLYMbG3366IJ6IJlUHmw2o-7CX9N8Z1QX0hdq7I1hSWZwyqrCEf_6pxgJ8nweJIF5cWaSOsdbfuKWuFXqUg" width="261" /></a></div><br /><i>Minoru Mochizuki's sho-dan certificate in Judo from
Jigoro Kano, 1927.</i><p></p>
<p class="MsoNormal"><i>He would begin training with Morihei Ueshiba three years
later, in 1930, still a relatively junior student in Judo. One year after that,
in 1931, he would open his own Yoseikan Dojo in Shizuoka. One year after that,
in 1932, he would be awarded the two highest level Daito-ryu scrolls being
given at the time, "Goshinyo no te" and "Hiden ogi no
koto", after 2 years of training in Daito-ryu under Morihei Ueshiba and 7
years total of training in grappling arts. His fellow Daito-ryu student, Takuma
Hisa, would be awarded the highest certification in Daito-ryu, the Menkyo
Kaiden after around 6 years of training (3 with Morihei Ueshiba and 3 with
Sokaku Takeda). <o:p></o:p></i></p>
<p class="MsoNormal"><i>This is in line with a comment by Ellis Amdur on e-Budo:<o:p></o:p></i></p>
<p class="MsoNormal"><i>"Records indicate menkyo kaiden in 5-7 years in the
Meiji period. It is my belief and experience that koryu training takes far too
long, because many teachers, greedy for power and status, withhold information
or drag out the teaching."<o:p></o:p></i></p>
<p class="MsoNormal"><i>This underlines the inflated timelines of modern day
rank/certificate promotion, where such advancements normally take 30 or 40
years, or more.<o:p></o:p></i></p>
<p class="MsoNormal">Many, including myself, would suggest that the Jan de Jong (JDJ)
jujutsu experience would bear out Amdur’s belief and experience in terms of
<i>koryu</i> training taking far too long and the inflated timelines of modern-day
rank/certificate promotion, however, the reason for doing so in the JDJ jujutsu
case is not as Amdur suggests (see below).<o:p></o:p></p>
<p class="MsoNormal">How long does it take to get a black belt in jujutsu at the
Jan de Jong Self Defence School (JDJSDS)? It was said that it takes at least 10
years. How did that number come about?<o:p></o:p></p>
<p class="MsoNormal">Peter Clarke and Robert Hymas are two of the only three that JDJ <a href="https://schoolofjandejong.blogspot.com/2023/11/who-was-best-teacher-as-jan-de-jong.html" target="_blank">awarded <i>rokudan</i></a>. He did so shortly before he passed away in April 2003.</p><p class="MsoNormal">Clarke commenced training in 1971 (source: Jan de Jong
Self Defence School, <i>Jan de Jong: the man, his school, and his ju jutsu system</i>,
1997) and was one of the first three to be awarded <i>shodan</i> (the 'first wave') in 1981 (source: Greg
Palmer). That is 11 years, however, you will remember from a previous <a href="https://schoolofjandejong.blogspot.com/2023/11/the-development-of-jdj-jujutsu-grading_29.html" target="_blank">post</a> that
there were only gradings up to <i>ikkyu</i> until the late 70s when JDJ developed the
<i>shodan</i> gradings so that he could have black belt instructors accompany him
teaching in Europe. If there were <i>shodan</i> grading attached to the <i>kyu</i>
system, would Clarke have graded <i>shodan</i> in less than 10 years?<o:p></o:p></p>
<p class="MsoNormal">Hymas commenced training in 1975 (source: see above)
and was one of the first three to be awarded <i>shodan</i> in 1981 (source: see
above). That is seven years. That is the fastest ever to be awarded <i>shodan </i>in the JDJ system, and
it was also under the abovementioned limitation, however, Hymas also worked as
a full-time instructor from 1978 to 1988 (source: abovementioned book) and he
did not go through the <i>mon</i> system which was introduced in 1978 (source:
abovementioned book).<o:p></o:p></p>
<p class="MsoNormal">That is something that has only come to light when
researching these posts; my instructors (which included <u>all</u> instructors teaching at the JDJSDS in 1983) never went through the <i>mon</i> system. They
teach it but they never went through it as it was introduced after they were
already higher graded. This will become relevant when the introduction and
interpretation of the <i>mon</i> system is explored in a future post.<o:p></o:p></p>
<p class="MsoNormal">I am the first <i>shodan</i> to have gone through the <i>mon</i> system. I
was on track to at least match Hymas’ feat in terms of shortest time to be
awarded <i>shodan</i>, and that was with going through the <i>mon</i> system and not being a
full-time instructor as Hymas was, but I did have an insane training regime as
I explained in a <a href="https://schoolofjandejong.blogspot.com/2023/11/who-was-best-teacher-at-jdjsds-revisited.html" target="_blank">previous post</a>. I was awarded <i>shodan</i> after nine years and that
was with going through the <i>mon</i> system, spending a year backpacking through
Western Europe, then a rite of passage for Australians, and engaging in the
intense ‘professional year’ of the Institute of Chartered Accountants. During
that time, I also obtained a Graduate Diploma in Applied Finance and Investment
in which I was awarded state dux and second in Australia. I don’t say those
things to aggrandise myself but to show there were other demands on my time,
including working full-time, that impacted on my training and progression.<o:p></o:p></p>
<p class="MsoNormal">Do I or Clarke or Hymas serve as a measure of how long it
takes to be awarded <i>shodan</i> in the JDJ jujutsu grading system? How long does it take the average person to be awarded <i>shodan</i> in the JDJSDS under the regime that includes <i>mon</i> and <i>shodan</i> gradings?<o:p></o:p></p>
<p class="MsoNormal">There are a number of JDJ <i>jujutsuka</i> who commenced training
around the same time that I did but were awarded <i>shodan</i> by the principal of one
of JDJ’s <i>ryuha</i> after JDJ passed away in 2003. That is 20 years to be awarded
<i>shodan</i>. <o:p></o:p></p>
<p class="MsoNormal">There are many factors that contribute to the length of time
to be awarded <i>shodan </i>in the JDJ tradition, however, it is safe to say, as Amdur argues above, that
it takes far too long in the JDJ jujutsu grading system.</p><p class="MsoNormal">I have come to refer to JDJ's teachings and therefore his <i>ryuha</i> that have been established after his passing as 'endangered.' If JDJ's teachings are to survive, the issue of the grading system and its dysfunction needs to be addressed. Part of that dysfunction is the training taking far too long and the inflated timelines of modern-day rank/certificate promotion. That dysfunction is the product of the development of the JDJ jujutsu grading system. Problem solving 101: identify the problem and its root causes. That is the purpose of this series of posts.</p><p class="MsoNormal">A final word: there are many <i>ikkyu</i> within the late JDJ
tradition that are deserving of a black belt - <i>shodan</i>, <i>nidan</i>, even <i>sandan -</i> because they had the expertise and knowledge the equivalent or better
of most within the jujutsu world, but they are denied a black belt because of
the grading system that they were engaged in.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal"><i>This is often credited to intensity of training, or to
intensity of contact, but when we actually examine the records of how much many
people trained, and how much contact they had with their instructors, that's
really not the case. In many cases the practitioners were working, and training
no more than many people do in modern times, or actually had limited contact
with their instructors - as little or less than modern practitioners.</i></p>
<p class="MsoNormal"><i>Note here that Jigoro Kano himself founded the Kodokan in
1882, at the age of 22, in the same year that he graduated from university -
after only 5 years of training in jujutsu. <o:p></o:p></i></p>
<p class="MsoNormal">This detailed information is verified. Kano developed his
own system which went on to become known as Kodokan Judo. But here’s the thing,
Kano was an ‘educator,’ aka a <a href="https://schoolofjandejong.blogspot.com/2023/11/who-was-best-teacher-as-jan-de-jong.html" target="_blank">trained teacher</a>. <o:p></o:p></p>
<p class="MsoNormal"><i>In his professional life, Kanō was an educator. Important
postings included serving as director of primary education for the Ministry of
Education (</i><i><span lang="EN-US" style="font-family: "MS Gothic"; mso-bidi-font-family: "MS Gothic";">文部省</span>, Monbushō) from 1898 to 1901, and as president of Tokyo
Higher Normal School from 1900 until 1920.[4] He played a key role in making
judo and kendo part of the Japanese public school programs of the 1910s.<o:p></o:p></i></p>
<p class="MsoNormal">Kano developed a martial arts tradition that became a global
phenomenon. Nobody ever accused Kano of being a highly proficient exponent,
however, he was able to develop a true martial arts ‘system’ because he was a qualified
teacher. He had insights into the techniques that nobody else possessed because
he was a qualified teacher. Yoseikan budo is the product of Kano’s approach to
teaching because Mochizuki was an acolyte of Kano’s. This issue will be further
explored in the post regarding the introduction of the <i>mon</i> system.<o:p></o:p></p>
<p class="MsoNormal"><i>There are many reasons behind the timelines or the
awarding of certifications in modern times, but the primary reasons that come
to mind are:<o:p></o:p></i></p>
<p class="MsoNormal"><i>- Power and control within an organization. <o:p></o:p></i></p>
<p class="MsoNormal"><i>- Student retention (which is related to the above, power
and control). <o:p></o:p></i></p>
<p class="MsoNormal"><i>- Financial reasons - the constant income stream
generated by stretching promotions over a period of years with greatly inflated
pricing (which is also related to student retention). <o:p></o:p></i></p>
<p class="MsoNormal"><i>- Poor instructional ability, often associated with poor
or incomplete transmission of information (this is particularly a problem in
modern Aikido). <o:p></o:p></i></p>
<p class="MsoNormal"><i>- Deliberate withholding of information, or delays in
delivery of information, which is also related to the above, power and control.
<o:p></o:p></i></p>
<p class="MsoNormal">Those reasons have been attributed to JDJ in relation to his
not providing the possibility of a <i>shodan</i> grading until the late 70s when he
needed black belt instructors to accompany him when teaching in Europe (see above). Those
reasons were speculated upon by high ranked students and instructors within the
JDJSDS and are still proposed now.<o:p></o:p></p>
<p class="MsoNormal">Again, NO! JDJ <i>did</i> develop the <a href="https://schoolofjandejong.blogspot.com/2023/11/the-development-of-jdj-jujutsu-grading.html" target="_blank"><i>kyu</i> grading system</a> to support
a business, his sole source of income that went on to provide a very comfortable
lifestyle, however, he <i>did not</i> withhold a <i>shodan</i> grading for any of the
abovementioned reasons. As proposed in a previous post (see previous link) in this series, JDJ did
not have a <i>shodan</i> grading because he did not have a <i>shodan</i> grading and did not
need a <i>shodan</i> grading at that stage. There were no ulterior motives.<o:p></o:p></p>
<p class="MsoNormal"><b>Rationalising the Jujutsu Grading System</b></p><p class="MsoNormal">Why didn't JDJ rationalise his jujutsu grading system? He kept on tacking on 'bits' based on his personal needs at the time, but why didn't he then step back and rationalise his jujutsu grading system?</p><p class="MsoNormal">JDJ was not big on reflection. That was possibly/probably due of his WWII experience where it was all here-and-now and based on personal survival. Don't look forward, don't look back. Another way of saying this is 'set and forget.' One example of this was the introduction of the <i>kata</i> in the <i>kyu</i> grading system. </p>
<p class="MsoNormal"></p><div class="separator" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEh6vAPVFx4sCozgwjYyPxKQIz01yZX39iUTSEqYHzQBW1Wd1Pl8OJEwyaI1OGdsWnOWjHa7cHkxaLtIZaqbxd8cqx9do4jJgmeBD1RrCADs1HymnJ5j-gLZvM3swxLibTH4vvlMu5P8F08iLIgV7eiUto8bPd1qMVknhdzIaD2sbItDNFOnnR6WbkI_i1k" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="100" data-original-width="100" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEh6vAPVFx4sCozgwjYyPxKQIz01yZX39iUTSEqYHzQBW1Wd1Pl8OJEwyaI1OGdsWnOWjHa7cHkxaLtIZaqbxd8cqx9do4jJgmeBD1RrCADs1HymnJ5j-gLZvM3swxLibTH4vvlMu5P8F08iLIgV7eiUto8bPd1qMVknhdzIaD2sbItDNFOnnR6WbkI_i1k" width="240" /></a></div><o:p><br />JDJ was involved with the Australian Ju Jitsu Association (AJJA). They wanted a 'competition' format because competition was considered to be important, or at least something that was in demand. JDJ was not a fan of competition as a form of training, which will become the subject of a future post on his introduction of 'free fighting' gradings in his jujutsu grading system. JDJ develop a series of <i>kata</i> that were to be basis for a competition format. In order to support the AJJA, JDJ introduced those <i>kata</i> in the <i>kyu</i> grades of his grading system.</o:p><p></p><p class="MsoNormal"><o:p>Even when JDJ left the AJJA, he continued with the <i>kata</i> being part of the <i>kyu</i> grades. I argued long and hard for their removal. My argument was based on multiple points, one of which was that the grading system was already <a href="https://schoolofjandejong.blogspot.com/2023/11/who-was-best-teacher-at-jdjsds-revisited.html" target="_blank">overly cumbersome and overly burdensome</a>. Why add more to it just to support the AJJA competition format even when none of JDJ's students competed and JDJ had left the AJJA - set and forget.</o:p></p><p class="MsoNormal">I did include in my argument that if JDJ wanted to introduce a <i>kata</i> element into the <i>kyu</i> grades, then all he needed to do was pick five or six of the attack-defence combinations in the <i><a href="https://schoolofjandejong.blogspot.com/2023/11/the-development-of-jdj-jujutsu-grading.html" target="_blank">shinken shobu no kata</a></i> grading to be performed in a <i>kata</i> format. The only extra training involved would then be the <i>kata</i> format. </p><p class="MsoNormal"><o:p>I was a relatively junior instructor at the time, but I was arguing on behalf of the students. Why waste time training additional things that have no benefit for the students. Eventually, JDJ succumbed to my advocacy and the <i>kata</i> gradings were removed from the JDJ jujutsu grading system. If it were not for me, those <i>kata</i> would probably still be included in the JDJ jujutsu grading system that is used by the majority of the JDJ <i>ryuha</i> that were established after JDJ passed away. Why? Could it be that the common ethos of the JDJ instructors, with the exception of myself, was teaching what was taught without question?</o:p></p><div><o:p><br /></o:p></div>John Coleshttp://www.blogger.com/profile/14634192254115557179noreply@blogger.com0tag:blogger.com,1999:blog-2538432015657849810.post-43692421205975142382023-11-29T20:51:00.000-08:002023-11-29T20:51:36.852-08:00The Development of the JDJ Jujutsu Grading System Part 2.1: ShodanAs they say on some American TV shows, 'Previously' ... <br /><br />Credentials: I am one of only five who have completed the Jan de Jong (JDJ) jujutsu grading system and to be awarded (3rd dan) by JDJ. I am also the only one to have studied the JDJ jujutsu grading system indepth.<br /><div><br /></div><div>You will recall from the <a href="http://schoolofjandejong.blogspot.com/2023/11/the-development-of-jdj-jujutsu-grading.html" target="_blank">previous post</a> that I considered the Jan de Jong (JDJ) jujutsu grading system to be disjointed, overly cumbersome, and overly burdensome, and with an over emphasis on producing instructors which contributed to the aforementioned problems. I also attributed these problems to the development of the grading system. <br /><br />In the previous post I provided a summary of the development process of the grading system: it was developed by JDJ who had relatively little, if any, experience with grading systems, and it was developed piecemeal to meet JDJ's personal needs at the time. <br /><br />An understanding of this development process enables one to understand the cause of these problems and thereby provides the opportunity to implement improvements that can build on JDJ's original work (stand on the <a href="https://schoolofjandejong.blogspot.com/2023/11/the-development-of-jdj-jujutsu-grading.html" target="_blank">shoulders of giants/version 2.0</a>). And when I say ‘build,’ I mean ‘streamlining’ his grading system, which means to make it more efficient and effective by eliminating unnecessary steps, reducing complexity, and optimising elements. <br /><br />I identified four distinct stages in the development of the JDJ jujutsu grading system: the <i>kyu</i> system, <i>shodan</i>, the <i>mon</i> system, and <i>nidan</i> and <i>sandan</i>. This previous post looked at the development of the <i>kyu</i> system. This post looks at the development of the <i>shodan</i> grading(s). <br /><br />The <i>shodan</i> grading consists of nine parts, thus, this post will be divided into x parts due to the length of the discussion. <br /><br /><b>SHODAN <br /></b>JDJ left Europe in 1946 after WWII. He returned in 1978 for a holiday with his then family and while there he 'checked out' the jujutsu scene: <br /><br /><i>Jan de Jong returned to Europe with his family for a holiday in 1978. While he was there he took the opportunity to make contact with various jujutsu instructors. The European jujutsu community were quick to embrace and court him. He was appointed the Australian representative for the World Ju Jitsu Federation (WJJF) the same year. </i><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiVS1FyK2bwOO8KqyD98APsYGyQDqf3va2Os9wv4_6Ya6V5mH0nUh1IxSy5MrAf4PbjyqvNsOvjFa3jqewp3Tt7SF07sPFSTpLL7VP3Jf7mjsVbd9DOHsngChX4p31FX1vUKEdzF69DyQ-LJ3Vkj3OGWmLm5bcCPdm_5bQWHGJB3uzc0n8jiRz3dbwLuB0" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" data-original-height="183" data-original-width="275" height="213" src="https://blogger.googleusercontent.com/img/a/AVvXsEiVS1FyK2bwOO8KqyD98APsYGyQDqf3va2Os9wv4_6Ya6V5mH0nUh1IxSy5MrAf4PbjyqvNsOvjFa3jqewp3Tt7SF07sPFSTpLL7VP3Jf7mjsVbd9DOHsngChX4p31FX1vUKEdzF69DyQ-LJ3Vkj3OGWmLm5bcCPdm_5bQWHGJB3uzc0n8jiRz3dbwLuB0" width="320" /></a></div><br />JDJ noted that all of the instructors in Europe were black belts, and he had none. He had black & white belt instructors who had engaged in a unique grading system that was designed to produce high quality instructors (see <a href="https://schoolofjandejong.blogspot.com/2023/11/the-development-of-jdj-jujutsu-grading.html" target="_blank">previous post</a>), but no black belt instructors, so he developed the <i>shodan</i> grading for the <i><u>sole</u></i> purpose of producing black belt instructors that could accompany him to Europe where he was starting to make a name for himself. <br /><br />The first teaching tour of Europe was in 1982 in which JDJ was accompanied by Peter Clarke, Debbie Clarke, Robert Hymas, Paul Connelly, John Copley, and Mike Simpson (Jan de Jong Self Defence School, 1997, <i>Jan de Jong: the man, his school, and his ju jitsu system</i>). Peter Clarke, Robert Hymas, and John Copley graded <i>shodan</i> in 1981 and, Debbie Clarke and Paul Connelly graded <i>shodan</i> in 1982 (source: Greg Palmer). The tour was a triumph and JDJ’s reputation was established in Europe. <br /><br />Even though JDJ needed black belt instructors for the purpose of accompanying him to teach in Europe, he did not make the <i>shodan</i> grading easy. He didn’t compromise standards. In fact, he made it harder than <i>ikkyu</i>, but he had also set the precedent for instructor grades with his original <i>ikkyu</i> grading (see previous post). <br /><br />You will recall from the previous post that <i>ikkyu</i> consists of seven gradings: revision, practical, <i>ken no michi</i> (sword basics), history and terminology, theory, teaching, and first aid certificate. <br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVOohHy52eaHNW6G4W7FcYwt_5zfrCXHfaGSYe8ug4XFs1g9Dn0iSyTKvegQJOnnlDE6G5I5BdSw5KC3Fp5WLEizFcFYvQqoh2GrJbwoRhCR_utYNjnEbCMhYTuT7CSx7PDrkeplbdS6QcDHiQkoRTZFEZgsVW4UMG8dqChnYyCxoVEdtiiBAgpjQxHAQ/s3507/jdj%20thank%20you%20for%20all%20your%20help.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3507" data-original-width="2480" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVOohHy52eaHNW6G4W7FcYwt_5zfrCXHfaGSYe8ug4XFs1g9Dn0iSyTKvegQJOnnlDE6G5I5BdSw5KC3Fp5WLEizFcFYvQqoh2GrJbwoRhCR_utYNjnEbCMhYTuT7CSx7PDrkeplbdS6QcDHiQkoRTZFEZgsVW4UMG8dqChnYyCxoVEdtiiBAgpjQxHAQ/s320/jdj%20thank%20you%20for%20all%20your%20help.jpg" width="226" /></a></div><br />The <i>shodan</i> grading consists of nine gradings: revision, practical x 2, <i>suwari waza no kata</i> and <i>kentai ichi no kata</i>, <i>shiai</i>, theory and terminology, history, teaching, and examining. The following will look at each of these parts and will start with the description of the part contained in <i>Jan de Jong: the man, his school, and his ju jitsu system</i> (Jan de Jong Self Defence School, 1997, p. 50). <br /><br />It should be noted that JDJ did a remarkable job of developing gradings that were designed to produce high quality instructors, even by today’s standards. And remember, his <i>ikkyu</i> instructor grading (see previous post) was developed in the 1950s or 1960s, and by someone without any formal training as a teacher. It is a remarkable job by anyone’s standard, but it can only be appreciated through the reflection and study of the development of his grading system. <br /><br /><b>Part 1: Kime no Kata (Revision) <br /></b>‘Candidates to demonstrate the appropriate <i>kansetsuwaza</i>, <i>taoshiwaza</i>, and <i>nagewaza</i> using the most suitable <i>kuzushi</i>.’ <br /><br />You will recall from the previous post that the <i>ikkyu</i> revision is a true revision grading in that it examines the performance of techniques selected from <i>rokkyu</i> to <i>nikyu</i>. The <i>shodan</i> revision grading is a very different beast. It is more a revision of principle or theory. <br /><br />The <i>shodan</i> revision grading consists of five sections. The five sections are: <i>kansetsu waza</i> (joint-locking techniques), <i>taoshi waza</i> (takedown techniques), <i>nage waza</i> (throwing techniques), <i>kansetsu waza</i>, and <i>taoshi waza</i>. <br /><br />The first section requires the demonstration of five different unspecified joint-locking techniques from five different specified handgrips. The emphasis on handgrips and the five different types of handgrips is taken straight from Yoseikan budo (see previous post and future post on the <i>mon</i> system). <br /><br />The second section required the same but with takedown techniques. Here we encounter our first problem. What is a takedown technique? Here I will paraphrase Hans Selye, father of the stress concept, when he said, ‘everybody knows what stress is, but nobody really knows’: everybody knows what a takedown technique is, but nobody really knows. ... I do. <br /><br />In my <i>The Science Behind All Fighting Techniques</i>, I demonstrate that there is no real understanding of the differences between takedown techniques and throwing techniques in the martial arts literature (or practice). I then provide a definitive, biomechanically based, definition that distinguishes between takedown techniques and throwing techniques. However, when I was engaging in the <i>shodan</i> grading, there was no such definition and distinction and so it made it very difficult to select techniques to include in the second section of this grading. <br /><br />In retrospect, how dumb were we all. JDJ had provided three takedown techniques in the fifth part of this grading. The three takedown techniques in that part of the grading were joint-locking techniques. Nobody included joint-locking techniques in the second section of this grading requiring the demonstration of takedown techniques. But this also shows that JDJ had a developing understanding of the theory behind martial arts techniques. <br /><br />The third section involves demonstrating five different unspecified throwing techniques for three different types of throwing techniques. The types are: <i>te waza</i> (hand techniques), <i>koshi waza</i> (hip techniques), and <i>ashi waza</i> (leg techniques). That classification is taken straight from Kodokan Judo. See the previous post for an explanation why classification is a proven effective attribute of the 'core of all learning.'<br /><br />The fourth section consists of three specified joint-locking techniques to be applied against five unspecified attacks. The fifth section consists of three specified takedown techniques to be applied against five unspecified attacks. The takedown techniques are joint-locking techniques. <br /><br />In my <i>The Science Behind All Fighting Techniques</i>, I explain that the definition of joint-locking techniques does not include their tactical use. One of the many uses that joint-locking techniques are employed for is as a takedown technique. JDJ was demonstrating that understanding to some degree in the fifth section of this part of the shodan grading.<div><div class="separator" style="clear: both; text-align: center;"><br /></div><b>Parts 2 and 3: Shinken Shobu no Kata (Practical) <br /></b>‘Section A reflex examination’ and ‘Section B reflex examination.’ <br /><br />The reflex examination/<i>shinken shobu no kata</i> format of examinations was explained in the previous post. <br /><br />The original practical/<i>shinken shobu no kata</i> grading was one grading consisting of 140 attack-defence combinations. This differed in terms of progression from the <i>ikkyu</i> practical grade in that the <i>ikkyu</i> contained 57 attack-defence combinations whereas the <i>shodan</i> grading contained 140 attack-defence combinations. That is an increase of <i>146%</i>. <br /><br /> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgntP7TMlqat4DkIEOeql839-jGOYT7TT3oMiPQfWX0xwxw-4EC3dGe9HMqCtDOKzeCY6zOFXiygH62eVs1nwm-t4X0_tgYZDh_Gzer75WVESCoK7BzCHLt4kt2z7w_9kbCnDXD9OYNsqBD-4TU1j6w-voPlbV8hMw_ZuaAXqTWJjoekly0JKLGO1Aqcpg/s859/ssnk%20analysis.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="464" data-original-width="859" height="173" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgntP7TMlqat4DkIEOeql839-jGOYT7TT3oMiPQfWX0xwxw-4EC3dGe9HMqCtDOKzeCY6zOFXiygH62eVs1nwm-t4X0_tgYZDh_Gzer75WVESCoK7BzCHLt4kt2z7w_9kbCnDXD9OYNsqBD-4TU1j6w-voPlbV8hMw_ZuaAXqTWJjoekly0JKLGO1Aqcpg/s320/ssnk%20analysis.jpg" width="320" /></a><br /><br />A previous post illustrated (see above) that the practical/<i>shinken shobu no kata</i> grades in the <i>kyu</i> system contained 30, 30, 30, 40, 45, and then 57 attack-defence combinations. This jumped to 140 attack-defence combinations in shodan, a 146% increase. That would appear to be an excessive increase, particularly given that the <i>nidan</i> and <i>sandan</i> practical grades contain 52 and 57 attack-defence combinations respectively. <br /><br />The ‘senior instructors’ (Peter Clarke, Robert Hymas, and Paul Connelly; see the <a href="https://schoolofjandejong.blogspot.com/2023/11/who-was-best-teacher-as-jan-de-jong.html" target="_blank">first post</a> in this series) performed the <i>shodan shinken shobu no kata</i> in a <i>kata</i> format; specified defences against specified defences in a specific order (see previous post). The next 'cab off the ranks’ was Debbie Clarke. As the story goes, she was the first to be required to perform the 140 defences in true <i>shinken shobu no kata</i> fashion; randomly at the instruction of the examiner without knowledge of the examiner's instructed attack (see previous post). After the grading taking several hours, the other male candidates cancelled their grading and went away to train it in a reflex fashion. <br /><br />Having seen how unwieldly the 140 defence <i>shinken shobu no kata</i> grading was when performed in a true ‘reflex’ fashion (see previous post), JDJ decided to divide the grading into two relatively equal parts. He also tended not to grade it in a true reflex fashion, instead the first attack from a section was performed in a true reflex fashion but then that would be followed by the other attacks in that same section.</div><div><br /></div><div>As they say on some American TV shows, 'To be continued.'</div></div>John Coleshttp://www.blogger.com/profile/14634192254115557179noreply@blogger.com0tag:blogger.com,1999:blog-2538432015657849810.post-78206482545848939182023-11-26T04:04:00.000-08:002023-12-20T19:25:46.021-08:00The Development of the JDJ Jujutsu Grading System Part 1: The Kyu SystemThe following is a comment to my first post referred to in the <a href="https://schoolofjandejong.blogspot.com/2023/11/who-was-best-teacher-at-jdjsds-revisited.html" target="_blank">third post</a> of this series: <br /><br /><i>I appreciated the input of all the teachers at JdJ they each had a different perspective/approach. Where I think problems lie is the assumption that every student wants to become an instructor and so have a perfect understanding of the theory and practice. To my mind this has meant that the grading system has become very unwieldy and overly long. <br /></i><br />That commentor makes a good point, however, their comment focuses on the backend of the Jan de Jong (JDJ) jujutsu grading system; there are also issues with the rest of the grading system which contributes to the entire grading system being 'very unwieldly and overly long.' <br /><br />The way I describe it is that the grading system is disjointed, overly cumbersome, and overly burdensome, but I do agree with the above commentor that the focus on producing instructors at the backend of the grading system has contributed significantly to those problems. All of these issues and more can be understood with an understanding of the development of the grading system. <br /><br />The way I see it is that the JDJ jujutsu grading system is version 1.0. A 2.0 version is needed: '2.0, adjective, used postpositively to describe a new and improved version or example of something or someone.' <br /><br />Why is a 2.0 version needed? Because without it, the JDJ tradition will die. The knowledge and understanding within the grading system that JDJ developed/accumulated over his lifetime will be lost. JDJ's life’s work will be lost. The grading system contains 'faults' (for want of a better word), however, within those faults lies the opportunity for insights that can lead to a new and better understanding that extends far beyond the JDJ grading system, and those insights too will be lost. <br /><br />In order understand technically why a version 2.0 is needed, and in order to develop a version 2.0, one needs to understand how version 1.0 was developed. Knowing how version 1.0 was developed provides insights that help to understand what needs to be improved and why. <br /><br />Don't get me wrong, JDJ did an amazing job with 1.0, particularly given what he had to work with at the time (see below). There are unique innovations within his grading system that would benefit many other martial arts grading systems (and the Australian Army as Major Greg Mawkes MBE (retired) explains below). There are also 'faults.' <br /><br />I have said to others that the grading system was a 'first attempt' (1.0) in need of study and modification. To the best of my knowledge, I am the only person to have performed an indepth study of the JDJ jujutsu grading system, the results of which are being shared in this and future posts. <br /><br />Looking back at past posts in this blog, I can see that they were explorations building up to this comprehensive view (see my learning process in the <a href="https://schoolofjandejong.blogspot.com/2023/11/post-series-faults-insights-that-lead.html" target="_blank">fourth post</a> of this series). <br /><br />A summary of the development process of the grading system is that it was developed by JDJ who had relatively little, if any, experience with grading systems, and it was developed piecemeal to meet JDJ's personal needs at the time. <br /><br />There are four distinct stages in the development of the JDJ jujutsu grading system: the <i>kyu</i> system, <i>shodan</i>, the <i>mon</i> system, and <i>nidan</i> and <i>sandan</i>. This post will look at the <i>kyu</i> system. The other stages will be looked at in the following posts. <br /><br /><b>THE KYU SYSTEM <br /></b>JDJ emigrated to Perth, Western Australia in 1952, and the way he described it was that he initially worked as a labourer before starting to teach some of his work colleagues at lunch or after work when they found out that he knew some martial arts. His teaching proved popular and he saw a business opportunity that could become his sole source of income, but first he needed a grading system. That is how the <i>kyu</i> system came to be. <br /><br />The current <i>kyu</i> system consists of six grades: <i>rokkyu</i> (6th <i>kyu</i>, yellow), <i>gokyu</i> (5th <i>kyu</i>, blue), <i>yonkyu</i> (4th <i>kyu</i>, green), <i>sankyu</i> (3rd <i>kyu</i>, orange), <i>nikyu</i> (2nd <i>kyu</i>, purple), <i>ikkyu</i> (1st <i>kyu</i>, black & white), but it wasn't always like that. <br /><br /><b>History <br /></b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlySuT8YVX03WOH2aWyujzl1wrTK90LF8IFU4kaFnVRkivX9dKbkkVSbYQLKk3RQSQOrp4jAJO1Sl35y558jZm4Ppc0z96_9WucsrtZES2dr4iVm9k2laMThviS4e9WxgdH4tEfoDhHu59dc3CVfLfLDaHMvNbRFWbHUMNSf2uaKJG3NmIbHJpw2JiNuc/s1652/membership%20card%201958.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1204" data-original-width="1652" height="233" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlySuT8YVX03WOH2aWyujzl1wrTK90LF8IFU4kaFnVRkivX9dKbkkVSbYQLKk3RQSQOrp4jAJO1Sl35y558jZm4Ppc0z96_9WucsrtZES2dr4iVm9k2laMThviS4e9WxgdH4tEfoDhHu59dc3CVfLfLDaHMvNbRFWbHUMNSf2uaKJG3NmIbHJpw2JiNuc/s320/membership%20card%201958.jpg" width="320" /></a></div>JDJ's original <i>kyu</i> system (mid-1950s) consisted of <a href="https://schoolofjandejong.blogspot.com/2011/10/jan-de-jong-pt-17-kyu-grades-coloured.html" target="_blank">seven grades</a>. It reflected the 'ranking system' included in Tsutsumi Masao and Higashi Katsukuma's Die Selbstverteidigung (Jiu-Jitsu): nebst einem Anhange über Kuatsu (Wissenschaft der Wiederbelebung Verunglückter): mit 72 Abbildungen nach dem Leben (Self-defense (Jiu-Jitsu): along with an appendix on Kuatsu (science of resuscitation of casualties): with 72 illustrations based on life) published in Germany in 1906: <br /><br /><i>Ranking of student <br />The performance of the students is divided into seven gradations, which I make recognizable by the different colors of their belts. <br /><br />Red is the color for the beginners. <br />Yellow for the students of the sixth rank <br />White for the students of the fifth rank <br />Green for the students of the fourth rank <br />Orange for the students of the third rank <br />Crimson for the students of the second rank <br />Black and white for the students of the first rank <br /></i><br />(Translation by Google) <br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjGzITcM1d4pgKX-JQKRxCQWvk7eX7ruPrweu1xw3GjLGYrheehrK8QXijHwKO75n6LCbFPY8O7yoljMWR0w9uC3i-aDjoCWMgAMjuGnoVnki-RyCXF1CQoFB7r7NKPqlzVfsJdmoQrbfmKAdGxHtniOjm0465LqNbPkyTgIQA9aGoOsQDWTKMqxEiIJ4s" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" data-original-height="554" data-original-width="362" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEjGzITcM1d4pgKX-JQKRxCQWvk7eX7ruPrweu1xw3GjLGYrheehrK8QXijHwKO75n6LCbFPY8O7yoljMWR0w9uC3i-aDjoCWMgAMjuGnoVnki-RyCXF1CQoFB7r7NKPqlzVfsJdmoQrbfmKAdGxHtniOjm0465LqNbPkyTgIQA9aGoOsQDWTKMqxEiIJ4s" width="157" /></a></div><div>JDJ owned a copy of Tsutsumi and Higashi's book, which he prized and kept separately in a display cabinet in his study.</div><div><br />JDJ told of how he was considered by the Netherlands-Dutch to be 'affected' by the sun, having been brought up in Indonesia, when he would first collect his suitcase of martial arts books before heading to a bomb shelter during WWII air raids. JDJ said that he acquired Tsutsumi and Higashi's book while living in Holland during that time. Books were to become a big part of JDJ's professional development. <br /><br />Even though one of the authors of the abovementioned book is credited as being Tsutsumi, and recognition is provided in the book of training under a master of Tsutsumi, there is no explicit claim that the book is about <a href="https://de.wikipedia.org/wiki/Jiu_Jitsu" target="_blank">Tsutsumi Hozan Ryu jujutsu</a> (THR). And there are no details of the content of the ranks in Tsutsumi and Higashi's book. <br /><br />A difference between the Tsutsumi and Higashi's ranking system and JDJ's original <i>kyu</i> grading system is that red belt was not a 'beginners' grade in the latter. It was an actual grading that required successful completion before being awarded a red belt. <br /><br />Warwick 'Zak' Jaggard commenced training with JDJ in 1963 and was graded <i>ikkyu</i> in 1974 before teaching full-time for JDJ in 1975. I had the good fortune of living with Zak and his family in the early 90s when I was living and working in London. Zak confirmed that the grading system he engaged in consisted of six grades, with red belt not being included. Thus, between the mid-1950s and 1963, JDJ appears to have excised the red belt grading from his grading system. <br /><br />White belt was the third rank in the Tsutsumi and Higashi ranking system and in JDJ's original <i>kyu</i> grading system, and was retained as the second grade in JDJ's modified <i>kyu</i> grading system. In the current grading system, it is now blue belt, which is a change since Zak engaged in the grading system. <br /><br />White belt is universally recognised as a beginner's rank and comes from Kodokan Judo. Jigoro Kano, founder of Kodokan Judo, introduced the <i>kyu-dan</i> system with white and black belts being used respectively to distinguish between the two. <br /><br />There has been speculation as to where the coloured belts for the <i>kyu</i> grades came from, which I discuss in the above linked <a href="https://schoolofjandejong.blogspot.com/2011/10/jan-de-jong-pt-17-kyu-grades-coloured.html" target="_blank">post</a>: 'This is an important issue as the conceived wisdom is that the coloured belt <i>kyu </i>grading system (in judo) did not originate until the <a href="https://www.ijf.org/history/judo-culture/2250" target="_blank">1930s</a>, albeit in the UK and/or France.' Remember, the Tsutsumi and Higashi ranking system was included in a book published in 1906. <br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwqDk8NraqicIJ3KeWL6MCG5dYsOKZwrnkjlz4t30bCBcSQh4irOoztS2zQd6VfDVv6BpB0CzqlsFwsSVFEhEjOXDBdNa301V7hm3sv7A57jrX7qxKM4pPAlf2SZmmqPX29vt-sar_RALyyaWrqRpPUIPplKoFmrN_0mgfcfDc4gPAAw3pKlBjhAvGigA/s3507/jdj%20thank%20you%20for%20all%20your%20help.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3507" data-original-width="2480" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwqDk8NraqicIJ3KeWL6MCG5dYsOKZwrnkjlz4t30bCBcSQh4irOoztS2zQd6VfDVv6BpB0CzqlsFwsSVFEhEjOXDBdNa301V7hm3sv7A57jrX7qxKM4pPAlf2SZmmqPX29vt-sar_RALyyaWrqRpPUIPplKoFmrN_0mgfcfDc4gPAAw3pKlBjhAvGigA/s320/jdj%20thank%20you%20for%20all%20your%20help.jpg" width="226" /></a></div><br />Did JDJ change the belt from white to blue and reserve the white belt for beginners when he received more exposure to <i>kyu</i> coloured belt systems, in particular the Kodokan Judo system? It has to be remembered that he was located in the most isolated capital in the world and martial arts, even by his own admission, was not a big thing in Australia then, let alone in Perth: ‘Looking back at my own early years in Australia (1952-1963), self defence was considered a rather peculiar and odd thing to do’ (JDJ: Jan de Jong Self Defence School, 1997, <i>Jan de Jong: the man, his school, and his ju jitsu system</i>, p. 3). There was no internet, no videos or DVDs; there were only books, and JDJ was an avid collector of martial arts books. <br /><br />It should also be noted that in the Kodokan Judo grading system, black & white belt was reserved for female <i>dan</i> grades and is not included in any other grading system to the best of my knowledge. Before my first trip accompanying JDJ to Europe, Peter Clarke (see below) warned me that I would be questioned about my black & white belt. Sure enough, before I left the change room for the first time, I was asked what grade my black & white belt represented. <br /><br />In all of the 'studies' that have attempted to establish the origins of the <i>kyu</i> coloured belt system, not one has referred to Tsutsumi and Higashi's ranking system, the first mentioned <i>kyu</i> coloured belt system (see above). The one where white belt is not for beginners and black & white belt is for males, and possibly females. 'What's going on here?', which is how Klein operationalises the curiosity path to insight (see <a href="https://schoolofjandejong.blogspot.com/2023/11/the-development-of-jdj-jujutsu-grading.html" target="_blank">third post</a>). <br /><br />The question is, are JDJ's <i>kyu</i> grades those of Tsutsumi and Higashi which may or may not be THR grades, or did JDJ simply appropriate the ranking structure from the Tsutsumi and Higashi book to develop a grading system? If so, what did he populate those grades with? Was it the teachings of his original instructors, the Saito brothers, or not? If not, where did they come from. <br /><br /><b>Shinken Shobu no Kata <br /></b>The <i>kyu</i> gradings in JDJ's grading system are referred to, for the most part (see <i>nikyu</i> and <i>ikkyu</i> below), as <i>shinken shobu no kata</i> (<i>kata</i> of real fighting) or 'reflex grades.' <br /><br /><i>Shinken shobu no kata</i> is the name of a <i>kata</i> in Kodokan Judo that was renamed <i>kime no kata</i>. JDJ gradings are not Kodokan Judo's <i>shinken shobu no kata/kime no kata</i>.<br /><br />A <i>kata</i> consists of prescribed defences against prescribed attacks performed in a strict order. Is JDJ's <i>shinken shobu no kata</i> a <i>kata</i>? <br /><br />JDJ's <i>shinken shobu no kata</i> consists of prescribed defences against prescribed attacks, however, they are performed randomly at the instruction of the examiner without the grading candidate seeing the instruction. This is the 'reflex' element in the grading because the grading candidate does not know what attack is coming and must act reflexively, which is the purpose of this training method. <br /><br />Major Greg Mawkes MBE (retired) had this to say about the reflex method of training when writing about his involvement with JDJ in updating the Army's capability for unarmed combat training: <b>'The reflex method of training and testing is particularly appropriate to the instinctive reactions that must be developed in unarmed combat exponents'</b> (Jan de Jong Self Defence School, 1997, <i>Jan de Jong: The man, his school, and his ju jitsu system</i>, p. 23). <br /><br />The question was raised above: is JDJ's <i>shinken shobu no kata</i> a <i>kata</i>? The vast majority of those familiar with JDJ's <i>shinken shobu no kata</i> would say no, however, it's not as simple as that. <br /><br />I used the <i>kata</i> training method to prepare students for JDJ's <i>shinken shobu no kata</i> gradings to great effect. This training method produced superior results in my student's grading performances, which was acknowledged by JDJ, the performances not the training method given that he was unaware of it. <br /><br />JDJ's use of the <i>shinken shobu no kata</i>/reflex method for gradings has to be commended. It is UNIQUE to the JDJ tradition and should be promoted as such. I have found only one other method that even closely resembles it, and that is 'one-step sparring' in one of Mas Oyama's books on Kyokushin karate. <br /><br />In marketing terms, being unique is a 'point of differentiation' with all other 'products' (marketing 101 - differentiate the product), however, if one is to promote the <i>shinken shobu no kata</i> as being a unique point of differentiation, one must understand that it is unique and why it is a superior training method. To date, with the sole exception of myself, that has not been the case in the JDJ tradition. <br /><br />For those that will 'turn their noses up' at the reference to 'marketing,' the same differentiate-the-product concept applies in relation to fighting methods. Points of differentiation determines what is considered to be superior fighting methods. <br /><br />Btw, the <i>shinken shobu no kata</i> method described above is for use in gradings, however, it is also a very versatile training tool as well. For instance, the instructor can limit the defence to one technique with different attacks signalled by the instructor, and one attack but different defences. Another innovation that is included in JDJ's teachings. <br /><br />There is of course the question - where did JDJ get this unique form of training and grading from? That is a question that remains unanswered, however, in asking that question it provides insights that can lead to a new and better understanding (see <a href="https://schoolofjandejong.blogspot.com/2023/11/who-was-best-teacher-at-jdjsds-revisited.html" target="_blank">third post</a>). </div><div><br /></div><div>One of those insights is that JDJ did not reveal the sources of his teachings (see <a href="https://schoolofjandejong.blogspot.com/2023/11/ken-tai-ichi-no-kata-example.html" target="_blank">previous post</a>). Understanding the sources of JDJ’s teachings can lead to new insights that can lead to a new and better understanding, as you will see, and which will help in pursuit of grading system 2.0, if in fact one wants to see further by 'standing on the shoulders of giants' (see <a href="https://schoolofjandejong.blogspot.com/2023/11/ken-tai-ichi-no-kata-example.html" target="_blank">previous post</a>).</div><div><br /><b>Classification <br /></b>JDJ is also to be commended on classifying the defences in his <i>shinken shobu no kata</i> grades by the type of attack. Most other grading systems that I have seen simply include a list of techniques to be demonstrated. <br /><br />You will recall from the <a href="https://schoolofjandejong.blogspot.com/2023/11/who-was-best-teacher-at-jdjsds-revisited.html" target="_blank">third post</a> that the 'core of all learning' is the identification of similarities and differences. One of the proven highly effective ways of identifying similarities and differences is classification. Classification is often thought of as an administrative exercise and treated with disdain within the martial arts community. Lakoff (1) warns against such a dismissive attitude. He suggests that there is nothing more basic to our thought, perception, action, and speech than classification and that without the ability to classify we could not function at all, either in the physical world or in our social and intellectual lives. <br /><br />(1) G. Lakoff, 1987, <i>Women, fire, and dangerous things: What categories reveal about the mind</i>, Chicago, University of Chicago Press. <br /><br />The above is taken from a chapter in my book that is tentatively titled, <i>The Science Behind All Fighting Techniques</i>. <br /><br /><b>Tricks and Progression <br /></b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEh_aosM4B6-473PAhE6_7PvXxIi-th1d7lzfZaZZO19noTcOAUvqq9LOqhp_tlBGsD8OOG26TvEMAv2sdwZHYzRWOeT3uPCMaAy26zR15A6pGdTY2z03Pa_WcsG0c3T2tG8etgwqS22PkTl0dgQvXNx0MHxZlP7Gge7eDXZ3ZpMPEKxdp6XzScged3UPjA" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" data-original-height="180" data-original-width="280" height="206" src="https://blogger.googleusercontent.com/img/a/AVvXsEh_aosM4B6-473PAhE6_7PvXxIi-th1d7lzfZaZZO19noTcOAUvqq9LOqhp_tlBGsD8OOG26TvEMAv2sdwZHYzRWOeT3uPCMaAy26zR15A6pGdTY2z03Pa_WcsG0c3T2tG8etgwqS22PkTl0dgQvXNx0MHxZlP7Gge7eDXZ3ZpMPEKxdp6XzScged3UPjA" width="320" /></a></div>In the <i>Complete Kano Jiu-Jitsu</i>, Hancock and Higashi (1905) label all of the techniques included in that book as 'tricks.' This is what many jujutsu, and even many martial arts, systems are based on - a series of 'tricks.' The 'tricks' are taught separately and independently with no connection between them being recognised/understood (connection being one of the paths to insight that Klein identified (see <a href="https://schoolofjandejong.blogspot.com/2023/11/who-was-best-teacher-at-jdjsds-revisited.html" target="_blank">third post</a>)). <br /><br />JDJ has been described as a 'collector of techniques.' That is fair enough, but there is more to it than that. <br /><br />While JDJ did not include an analytical element to his teachings at this stage, to which he admits when discussing the introduction of the <i>mon</i> system in a later interview (see future post on the <i>mon</i> system), there was some progression in his <i>kyu</i> grades. This progression is seen in that each grading increasing the number of attack-defence combinations in each of the <i>kyu</i> grades, as has been illustrated in a series of <a href="https://schoolofjandejong.blogspot.com/2022/09/jan-de-jong-jujutsu-grading-system_13.html" target="_blank">posts</a>. <br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtz3OvWojqFEEcduDKk_KCUWOj_-d-XHmsa_sw8Nn5m4-8uPmDCxekLv7LHO77_HdQTY_sS3-Px1Rx_PTyMvnOOrSoxSdSEhiRqw4IrUUusKJBqUROgXxCg8HNDwibzWqHqSq2y47fuobmaRXK2OE3P2Kvt5p5qY7Tp8ozdIym3789vQcpQUL_qfUlMy0/s3376/jdj%20wwii%20stomach%20throw.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="2504" data-original-width="3376" height="237" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtz3OvWojqFEEcduDKk_KCUWOj_-d-XHmsa_sw8Nn5m4-8uPmDCxekLv7LHO77_HdQTY_sS3-Px1Rx_PTyMvnOOrSoxSdSEhiRqw4IrUUusKJBqUROgXxCg8HNDwibzWqHqSq2y47fuobmaRXK2OE3P2Kvt5p5qY7Tp8ozdIym3789vQcpQUL_qfUlMy0/s320/jdj%20wwii%20stomach%20throw.jpg" width="320" /></a></div><br />Another, and more important example of progression contained in the kyu grades is the <i>tomoe nage</i> (stomach throw) defence from <i>kubi-tsukami shime</i> (neck seizing strangulation attack). In the first grading, <i>uke</i> is 'thrown away,' when performing the defence. That never happens again even though the same defence from the same attack is included in a number of other gradings. <br /><br />In 4th <i>kyu</i>, the same attack-defence combination but this time <i>tori</i> rolls up and applies <i>ashi-gatame ude-kujuki</i> (leg-set arm-breaking; it should have been described as <i>hiza-gatame ude-kujuki</i> (knee-set arm-breaking to be consistent now that I am studying it). In 2nd <i>kyu</i>, there are four defences when <i>uke</i> resists the <i>hiza-gatame ude-kujuki</i>. <br /><br />Teach a basic technique, then teach a more 'controlling' technique, and then teach 'what if" = progression. This can be seen in a number of attack-defence combination in the <i>kyu</i> grades. A really well thought out progression in the grading system by JDJ, but one that is not recognised or appreciated due to the attitude of teaching and doing without question (see <a href="https://schoolofjandejong.blogspot.com/2023/11/post-series-faults-insights-that-lead.html" target="_blank">fourth post</a>). Teaching and learning tricks. <br /><br /><b>Nikyu (2nd kyu) Purple Belt <br /></b>The current <i>nikyu</i> consists of two gradings: revision (<i>kime no kata</i>) and practical (<i>shinken shobu no kata</i>). Yeah, I know, I see the issue with the two Japanese names as well (see above), moving on. Zak (see above) confirmed that there was only the practical grading in his time, which means the revision grading had to have been introduced post-1974. <br /><br />Here is where a timeline helps: <br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigVTs7iNc23sRmi4ehszm0HKWV8l2cmPvM_JXslWHFv987Nn0HqLlZ9g1t5xeXbAK3vJNqCisu6PnBdWmb21yH4E-OGALDa3YhZ5be-wRqzo1Veymb6Yjy-cns2Wfe7me2C_OGlpEPjNMAqDQ0CNz830-a_xFlaBXtMaeFs_qoeWpoDOzK4v2qUKAIkfs/s91/mochizuki.BMP" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="91" data-original-width="90" height="91" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigVTs7iNc23sRmi4ehszm0HKWV8l2cmPvM_JXslWHFv987Nn0HqLlZ9g1t5xeXbAK3vJNqCisu6PnBdWmb21yH4E-OGALDa3YhZ5be-wRqzo1Veymb6Yjy-cns2Wfe7me2C_OGlpEPjNMAqDQ0CNz830-a_xFlaBXtMaeFs_qoeWpoDOzK4v2qUKAIkfs/s1600/mochizuki.BMP" width="90" /></a></div>1969. JDJ travelled to Japan to train under Minoru Mochizuki, founder of Yoseikan budo, for a brief period. <br /><br />1974. JDJ asked Mochizuki to send an instructor to Perth, which he did in the person of <a href="https://schoolofjandejong.blogspot.com/2019/08/jan-de-jong-pt-7-yoshiaki-unno.html" target="_blank">Yoshiaki Unno</a>. Hans de Jong explains in an interview for <i>Blitz</i> magazine that he and his father trained with Unno for two hours, six days a week, for two years. After that, Unno left to establish his own school. <br /><br />1978. The <i>mon</i> grades were introduced into JDJ's jujutsu grading system. Those gradings are primarily based on Yoseikan teachings, as will be explained in a future post. <br /><br />The revision grading in <i>nikyu</i> is comprised of <i>ukemi</i>, <i>kuzushi</i>, <i>kansetsu-waza</i>, i<i>tsitsu no kata</i>, and <i>wakai no kata</i> sections. The first three elements are based on the <i>mon</i> grades which are primarily based on Yoseikan teachings. <i>Itsitsu no kata</i> <i>is</i> a Yoseikan <i>kata</i>. It is designed to teach the five basic <i>taisabaki</i> ((evasive) body-movements) taught by Yoseikan. JDJ never shared the source of this <i>kata</i> (see <a href="https://schoolofjandejong.blogspot.com/2023/11/ken-tai-ichi-no-kata-example.html" target="_blank">previous post</a>). <i>Wakai no kata</i> is a <i>kata</i> that JDJ developed to improve his student's punching and kicking skills, possibly after Unno found them wanting. It is included in the now red belt which is part of the <i>mon</i> system even though it is referred to as 7th <i>kyu</i> (see future post regarding the <i>mon</i> system). <br /><br />The question is, is this revision grading revising the <i>kyu</i> grades? This leads to another question, what do the <i>kyu</i> grades have in common with the <i>mon</i> grades, if anything? <br /><br /><b>Ikkyu (1st kyu) Black & White Belt <br /></b>The original <i>ikkyu</i> grading, according to Zak (see above), was comprised of reflex, teaching, theory, terminology, philosophy, and history gradings. This is pre-1974. <br /><br />The current <i>ikkyu</i> grading includes the above gradings, although the philosophy section is subsumed into the history section, and three more gradings: <i>ken no michi</i> (sword basics), <i>kime no kata</i> (revision), and first aid. <br /><br />The <i>ken no michi</i> grading was developed by Greg Palmer to teach the basics of sword work before attempting the sword gradings in the <i>dan</i> grades. As I explained in the first and third posts of this series, Greg was a professional teacher and he understood teaching principles, including progression. It makes sense to teach and examine the basics before teaching and examining the basics in action. Greg successfully lobbied for it to be included in the grading system so as to prepare the students for the sword gradings in the <i>dan</i> grades. It was a rare instance where someone other than JDJ contributed to JDJ's grading system. </div><div><br />The <i>ikkyu kime no kata</i> does revise the <i>kyu</i> grades, unlike the <i>nikyu</i> revision grading (see above). The grading requires the grading candidate to demonstrate techniques from <i>rokkyu</i> to <i>nikyu</i> (see above) in a <i>kata</i> format. <br /><br />Why the two types of revision gradings? Why did JDJ decide to include a revision grading in these two gradings post-1974? When did JDJ introduce the revision gradings into these two gradings? Is the answer to those questions got to do with <i>ikkyu</i> being principally an instructor grading and the timing of the introduction of the <i>mon</i> system which is based on Yoseikan teachings? Did JDJ come to consider <i>nikyu</i> as an assistant instructor (<i>sempai</i>) grading of sorts? When JDJ developed and introduced the <i>shodan</i> grading (see next post), <i>ikkyu</i> came to seen as producing <i>sempai</i> and therefore the <i>ikkyu</i> gradings <i>sempai</i> gradings. <br /><br />The first aid element involves obtaining a first aid certificate from an accredited organisation such as St John Ambulance Association. This is an extremely responsible requirement for instructors that JDJ introduced post-1974. <br /><br /><b>Ikkyu is an Instructor Grading <br /></b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjeciK0lPkzcgLpjnmJnoE0lAmrt-2uFevUYhAnkrxC0b_phQJXE7XP3O4T1GQxE0rAN2VaIfgTjb5G9nHJfsCkjUKYv_unJUHOq_bCWNcCFPF7FLOBIEoV-SP53kwGBOPszjZLvfoBclXb1RdwG6Tg_AwCLf-rlipPmUkaa-TbgHtC0l50PS8sESRO8d8" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" data-original-height="960" data-original-width="748" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEjeciK0lPkzcgLpjnmJnoE0lAmrt-2uFevUYhAnkrxC0b_phQJXE7XP3O4T1GQxE0rAN2VaIfgTjb5G9nHJfsCkjUKYv_unJUHOq_bCWNcCFPF7FLOBIEoV-SP53kwGBOPszjZLvfoBclXb1RdwG6Tg_AwCLf-rlipPmUkaa-TbgHtC0l50PS8sESRO8d8" width="187" /></a></div>One of JDJ's senior instructors used to say that <i>ikkyu</i> was a 'fighter's grading' whereas <i>shodan</i> was an instructors grading. That instructor (a) had a focus on 'warrior' culture, and (b) could not have been more wrong. Any reading of the <i>ikkyu</i> syllabus would see that it is primarily designed to produce instructors. It has to be remembered that at this time there were no <i>dan</i> grades and no <i>dan</i> grading system, and all of the instructors were graded <i>ikkyu</i>.</div><div><br />The inclusion of the instructor elements in the grading is yet another innovation of JDJ. It is a very rare attribute in a martial arts grading system, however, what needs to be understood is that this <i>kyu</i> grading system that JDJ developed was designed to be a <u>one-off grading system</u>. A complete system. It was not part of a greater system. There were no plans for a <i>dan</i> grading system at that time. There was no looking ahead.<br /><br />Robert Hymas, Peter Clarke, and John Copley were the first to be graded <i>shodan</i> by JDJ (1981. source: Greg Palmer). Why didn't JDJ grade anyone <i>shodan</i> before that? That is a question that was sometimes asked by senior members and instructors of the Jan de Jong Self Defence School (JDJSDS). A common answer to that question was because JDJ did not want instructors to be going out teaching on their own in competition with him. I never subscribed to that view, even way back when. I said that that view was overly cynical and gave JDJ too much credit in terms of business strategy. <br /><br />The point is, JDJ didn't need <i>yudansha</i> (black belt holders). This was in the halcyon days of the JDJSDS when people were lined up down the street to enrol in the school, and where there were 800-1000 students, all with <i>ikkyu</i> instructors. He didn't need <i>shodan</i>s, he didn't have a <i>shodan</i> grading, and there was no reason to develop one. <br /><br /><b>Next <br /></b>In the next post, the <i>shodan</i> grading will be explored as the second part of the development of the JDJ grading system story.</div>John Coleshttp://www.blogger.com/profile/14634192254115557179noreply@blogger.com1tag:blogger.com,1999:blog-2538432015657849810.post-10941548073425879732023-11-25T19:49:00.000-08:002023-11-25T19:49:37.842-08:00Ken Tai Ichi no Kata Example<i>Ken tai ichi no kata</i> is a <i>kata</i> included in part four of Jan de Jong’s jujutsu <i>shodan</i> grading. It involves the ‘[d]emonstration of <i>katana</i> techniques and the unarmed application’ (Jan de Jong Self Defence School, 1997, <i>Jan de Jong: the man, his school, and his ju jitsu system</i>, author). The <i>kata</i> is designed to demonstrate the similarities between <i>katana</i> (sword) and unarmed techniques (Why? That is a question that can and should be raised. Some other time perhaps).<br /><br />The final sword technique in the <i>kata</i> involves both <i>uke</i> and <i>tori</i> assuming <i>aigedan kamae</i> (grading sheet), or <i>gedan-no-kamae</i> (lower-level posture). <i>Kamae</i> refers to combat-engagement posture. <i>Gedan</i> means lower-level, which in this case means that the sword is pointing in the direction of <i>uke</i> but towards the ground. This combat-engagement posture is inviting an attack (a tactical lesson that should be learned from this <i>kata</i> but which is not understood or taught by most). <br /><br /> <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEg2WyrjHshumtETm6gg_xWILprSbwpxg23vwS3CVAVK1fUGhIvVbBedYreAxeLEZwQCDAQ1rM2T2mWHwAYIXPt_SoO7U83tCJOp3f5C7hbOBCru17QUW5ixjnMNYh6Pwnv319avkSI7tIMjemPfyIrisN4fcJJtGNl4zxYRZl3oC9yH_Kh82_C5riIrN4E" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="342" data-original-width="753" height="181" src="https://blogger.googleusercontent.com/img/a/AVvXsEg2WyrjHshumtETm6gg_xWILprSbwpxg23vwS3CVAVK1fUGhIvVbBedYreAxeLEZwQCDAQ1rM2T2mWHwAYIXPt_SoO7U83tCJOp3f5C7hbOBCru17QUW5ixjnMNYh6Pwnv319avkSI7tIMjemPfyIrisN4fcJJtGNl4zxYRZl3oC9yH_Kh82_C5riIrN4E=w400-h181" width="400" /></a></div><br />JDJ instructed that <i>uke</i> attacks with a downward strike while <i>tori</i> <u>does not</u> use an evasive body-movement (referred to as <i>taisabaki</i>) to avoid injurious contact with the body or to reposition themselves to attack, and <i>tori</i> raises their sword no higher than <i>uke</i>’s throat. JDJ was explicit and consistent with those instructions. <div><br /></div><div>The only problem is, if <i>uke</i> and <i>tori</i> perform the attack and defence as instructed, they both die. It ends in a mutual slaying. What’s going on here? That question is how Klein operationalises his curiosity path to insight that can lead to a new and better understanding (see <a href="https://schoolofjandejong.blogspot.com/2023/11/who-was-best-teacher-at-jdjsds-revisited.html" target="_blank">post #3</a> in this series). <br /><br />I raised this question with my instructors, and when I say instructors, I mean all of the main instructors in the JDJSDS as I trained extensively under all of them (see <a href="https://schoolofjandejong.blogspot.com/2023/11/who-was-best-teacher-at-jdjsds-revisited.html" target="_blank">post #3</a> in this series). I don’t deal well with inconsistencies (inconsistencies are one of the five paths to gaining insight according to Klein (see <a href="https://schoolofjandejong.blogspot.com/2023/11/who-was-best-teacher-at-jdjsds-revisited.html" target="_blank">post #3</a>)). I received no answer to my question from any of the aforementioned instructors. <br /><br />I raised this issue when training with another of JDJ’s instructors. He defended JDJ’s instructions, adopting the common ‘teach as you are taught without question’ approach (see previous <a href="https://schoolofjandejong.blogspot.com/2023/11/post-series-faults-insights-that-lead.html" target="_blank">post</a>). Out of frustration, I suggested a physical demonstration. <br /><br />He attacked. I defended exactly as JDJ instructed. Fortunately, he did not follow through with his attack otherwise I would have been cleaved in half, head to groin. He, on the other hand, was left a little confused when blood started to trickle down his front from the wound he sustained on his neck when he advanced onto the tip of my sword.</div><div><br />When I studied my instructors performing this defence, I found that they performed the defence by doing one of three things: (1) rely on <i>uke</i> not to follow through with their attack (compliant attacker), (2) use an evasive body-movement to avoid injurious contact with their body, and/or (3) raise their sword higher than the throat in order to deflect <i>uke</i>’s blade. But they didn’t explicitly teach either or all of those defensive moves as it would have gone against JDJ’s explicit and consistent instructions. <br /><br />It is easy to criticise (or so they say), but what did I do in my grading? In all honesty, I cannot remember. I had to have done something because I’m still here. What did I teach? I taught the ‘workarounds’, however, I also shared with my students the problems in the propagated instructions of the defence. <br /><br />Why didn’t I go to JDJ with my concerns? That is a good question, and one that I am only now asking myself. It was because I was a junior instructor and I had raised the issue with all of my instructors, the senior instructors in the school. I adopted the same attitude as I’ve recently observed in a JDJ <i>ryuha</i> (‘branch of the current’): it’s in the grading so do it as taught, faults and all. <br /><br />I now have the answer to the problem of this suicidal defence as taught, which has provided insights that led to a new and better understanding. <br /><br /><b>The Answer: Part 1 <br /></b>We were teaching for Jan-Erik Karlsson (JEK) in Sweden in the mid-90s when we had a day off. JDJ spent the time with JEK, however, I had noticed that JEK had an extensive library which included an extensive collection of martial arts books. I asked JEK if I could spend time perusing his library, to which he generously gave permission. <br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEg4sw5DxTukqeV-t7renM1DaPxCY_YP383ssrTMEph6pJzfAd3xdYjcTr5A7U4nbrKvZJDF8HrOIdQ5CcG-CggZDG8133yWTN-z7uH20EJ6YSmtcs5Kh9G_EoPeAsyU73aD2A5kCOX3DWno1fEsuGJZAJBOjzM9KTa4vY0SKfijizXhvEbGts88BG9viqw" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" data-original-height="270" data-original-width="265" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEg4sw5DxTukqeV-t7renM1DaPxCY_YP383ssrTMEph6pJzfAd3xdYjcTr5A7U4nbrKvZJDF8HrOIdQ5CcG-CggZDG8133yWTN-z7uH20EJ6YSmtcs5Kh9G_EoPeAsyU73aD2A5kCOX3DWno1fEsuGJZAJBOjzM9KTa4vY0SKfijizXhvEbGts88BG9viqw" width="236" /></a></div><br />I came across a lever-arch file with a photocopied book. One of the front pages featured a photo of Minoru Mochizuki. I recognised that photo because the first copy of <i>Fighting Arts International</i> that I purchased had a photo of Mochizuki on the front cover and the featured article was about him. At that time, we knew that JDJ had trained with Mochizuki but that was about all. <br /><br />Reading the photocopied book, or at least looking at the illustrations given that the book was in Japanese, I ... was ... gobsmacked. <br /><br />When I shared my ‘gobsmackedness’ with JDJ and JEK, the latter kindly gifted me the photocopied book (<i>Giho Nihonden Jujutsu</i> (Traditional Japanese Jujutsu)). <br /><br />You cannot understand how world-changing reading this photocopied book was at that time. Remember, this was pre-YouTube. In that book was a lot of what we were teaching. There were the <i>taisabaki</i> and the way we teach them. There were the unbalancing (<i>kuzushi</i>) techniques from hand grips that we teach. Both of these elements form a part of all of the <i>mon</i> grades at the front end of the grading system and are part of the <i>dan</i> grades at the back end. There was <i>happoken no kata</i> from 8th <i>kyu</i> and <i>itsitsu no kata</i> from 2nd kyu. There was also <i>ken tai ichi no kata</i> from <i>shodan</i>. <br /><br /> <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgv2dr0BiprB50ZgYI4AlKj8vy8Dw0Gh9zONMdJA1y_eow6sQTRM0ipymfIyQ9LOeaiLgqPumshAOcqffJOkohlMeNOUa-40OQ7YU6IL7OXP6TBK-ejDFujDAuOVwfKzBQH3VaUjKX6Wfp7o1FAwbrUu62Fm4i2OU7maRMfKA-OIHQ1g7N9Qj6z2VsSw2w" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="194" data-original-width="259" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEgv2dr0BiprB50ZgYI4AlKj8vy8Dw0Gh9zONMdJA1y_eow6sQTRM0ipymfIyQ9LOeaiLgqPumshAOcqffJOkohlMeNOUa-40OQ7YU6IL7OXP6TBK-ejDFujDAuOVwfKzBQH3VaUjKX6Wfp7o1FAwbrUu62Fm4i2OU7maRMfKA-OIHQ1g7N9Qj6z2VsSw2w" width="320" /></a></div><br />JDJ, as I came to understand, never revealed the source of his teachings. He did not reveal that he was teaching the <i>taisabaki</i>, <i>kuzushi</i> from hand grips, <i>happoken no kata</i>, <i>itsitsu no kata</i>, <i>ken tai ichi no kata</i> from Mochizuki’s Yoseikan budo. This challenged the notion, which is still strongly held and promoted by most JDJ <i>ryuha</i>, that we were learning/teaching Tsutsumi Hozan Ryu jujutsu. <br /><br />Many of the illustrations in Mochizuki’s <i>Giho Nihonden Jujutsu</i> were single hand-drawn images (see image above), so I still did not have an answer to my problem. That would come later with the purchase of two Mochizuki DVDs. <br /><br /><b>The Answer: Part 2 <br /></b>It was after JDJ passed away that I found a website selling martial arts DVDs that offered Mochizuki's <i>Yoseikan Sogo Budo</i> volumes 1 and 2. Upon purchase and viewing those DVDs, I was watching all of the above and more, and here was the answer to my question of more than 20 years. <br /><br /> <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEh56Q5QaZ7-zeelA3hTIRLaPwT8gMmkI9nU_B4iGXVZKgbGoN2sxv7o90Oq5kGbHlpozpNvdVn4BjVVNvqrMmaq4Nsh-9cU-puZ1pufZyMfWiqSlX68HoLuMGn4flsj7DA1rxxTf3sRrV4e6DosuG-KU6AE-62sVWXxXX9zwu2e2keHqSr_ICEfOSRpQzQ" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="234" data-original-width="166" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEh56Q5QaZ7-zeelA3hTIRLaPwT8gMmkI9nU_B4iGXVZKgbGoN2sxv7o90Oq5kGbHlpozpNvdVn4BjVVNvqrMmaq4Nsh-9cU-puZ1pufZyMfWiqSlX68HoLuMGn4flsj7DA1rxxTf3sRrV4e6DosuG-KU6AE-62sVWXxXX9zwu2e2keHqSr_ICEfOSRpQzQ" width="170" /></a></div><br />JDJ had ‘misremembered’ the attack. The attack was a straight thrust with the sword. JDJ’s explicit and consistent instructions were effective against a straight thrust with the sword (and it better matched the unarmed attack). The defence worked and <i>tori</i> did not die. It’s just that JDJ misremembered the attack. <br /><br />It was that simple, however, why didn’t anyone else raise this inconsistency (see above)? Why wasn’t anyone else curious (another of the five paths to insight that Klein identified; see <a href="https://schoolofjandejong.blogspot.com/2023/11/who-was-best-teacher-at-jdjsds-revisited.html" target="_blank">post #3</a>). Where was their insight and understanding? <br /><br />This was the beginning of, or part of, my journey of discovery about JDJ’s teachings that has led to a new and better understanding. <br /><br /><b>Epilogue <br /></b>After JDJ passed away in 2003, I went on to share my insights and <i>Giho Nihonden Jujutsu</i> with a couple of JDJ’s senior instructors. They had never heard of the book nor understood how much of JDJ’s teachings came from Yoseikan budo. <br /><br />Among other things, this reinforced the idea that JDJ got his teachings from a variety of sources and that he did not disclose those sources when teaching. It reinforced the idea that JDJ was considered the ‘fount of all knowledge,’ and nobody studied anything outside of his teachings (e.g., see <i>suwari waza no kata</i> in a future post). It also showed that JDJ occasionally ‘got things wrong’ and that a bit of curiosity and scepticism did not go astray.</div>John Coleshttp://www.blogger.com/profile/14634192254115557179noreply@blogger.com0