How Long Does It Take to Complete the Jan de Jong Jujutsu Grading System to Sandan?

The recent series of posts have explored the development of the Jan de Jong (JDJ) jujutsu grading system.

JDJ had three grading systems at his school, the Jan de Jong Self Defence School (JDJSDS): jujutsu, aikido, and pencak silat. For the sake of not repeating for the sake of technical specificity, the following will refer to JDJ's jujutsu grading system as JDJ's grading system.

Within those posts, we saw that the technical grades within the JDJ grading system finish at sandan (3rd dan). All higher grades are honorary. 

The idea that the technical grades in JDJ's grading system finish at sandan is based on JDJ's reported experience with his original instructors, the Saito brothers. The narrative is that the technical grades finish at sandan in the Tsutsumi Hozan Ryu grading system that the Saito brothers taught, and that JDJ completed them and was awarded sandan by the Saito brothers in 1939 (Jan de Jong: the man, his school and his ju jitsu system, Jan de Jong Self Defence School, 1997 (JDJ book)).

The adult technical grades in JDJ's final grading system commence with 9th kyu (of the mon system) and finish with sandan. From nikyu (2nd kyu) to sandan, there are multiple parts to the gradings, as the recent series of posts explain and explore.

The total number of gradings and their individual parts from 9th kyu to sandan is 46. Forty-six gradings for an adult to complete the technical grades in JDJ's grading system. 

JDJ recognised that his grading system was far more extensive and comprehensive than any other going around and wanted to acknowledge the efforts of his successful students by including a list of the parts of the gradings on their certificates. I pointed out that the list would only be included on the back of the certificate, which nobody would see, and that in and out of the martial arts, a black belt is perceived as being a black belt no matter the grading system from which it came from. 

A relatively common question that is asked is: how long does it take to get a black belt in JDJ's grading system? The commonly conceived wisdom is 10 years. Where did that number come from?

This post explores the question of, how long does it take to complete the technical grades in JDJ's grading system and to subsequently be awarded sandan?

There are five people who have completed the technical grades in JDJ's grading system and been awarded sandan by JDJ (and those five are also the only ones to have completed nidan (2nd dan) under JDJ): Peter Clarke, Robert Hymas, Paul Connolly, Greg Palmer, and myself, however, there is also JDJ under the Saito brothers.

According to the JDJ book, JDJ commenced training in 1928 and was awarded sandan in 1939 = 12 years. He started training at the age of seven, which makes him 18-19 when he was awarded sandan under the Saito brothers. That timeline raises many questions, which thankfully are beyond the scope of this post.

The following training commencement dates are taken from the JDJ book. The date of the awarding of sandan is taken from Greg Palmer's records:

What can be made of those numbers?

You will recall from a previous post that the original JDJ grading system was the kyu system. The shodan grading was developed so that JDJ could have some black belt instructors accompany him to Europe to advance his European teaching ambitions. I don't know the date of the introduction of the shodan grading(s), but it has to have been in the very late 70s.

Clarke and Hymas were awarded shodan in 1981, Connolly in 1982, and Palmer in 1984. The latter two's numbers are distorted because there was no shodan to grade during their earlier years. Hymas' numbers are distorted because he was working full-time as an instructor at the JDJSDS at that time.

Clarke's numbers would probably be the most representative of the first four given that he commenced training not long before the shodan gradings were introduced and he didn't work full-time at the JDJSDS. What makes his achievement even more remarkable is the fact that he was a partner in a leading law firm in the city at the time, and as such was time poor, however, he and Hymas (and possibly Connolly) did the shodan shinken shobu no kata as a demonstration whereas all those that followed had to perform it in true reflex fashion (see this post regarding this issue).

In addition, none of the first four had to go through the mon grades as those grades were introduced when they were instructors (who then went on to teach the mon grades that they had not undertaken). 

So, I might be the most indicative of the five sandans that were graded under JDJ given that I went through the mon system and shodan shinken no kata reflex style, and the nidan and sandan gradings were developed before I was a qualifying candidate. 

My Shodan

I commenced training on the third Wednesday in April 1983 in Ian Lloyd's class and was awarded shodan in February 1993 - a little shy of 10 years. That would appear to support the commonly conceived wisdom of a minimum of 10 years to be awarded shodan. Or does it?

When I commenced training, I started off by attending two lessons a day, six days a week, and engaging in a lot of extra training (see this post). That is 12+ hours a week, 48+ hours a month, and based on a 45-week year, 540+ hours a year. Most people start off, and often continue with, one or two lessons a week and maybe a little extra training. That is 1-2+ hours a week, 4-8+ hours a month, and based on a 45-week year, 45-90+ hours a year. 

A ludicrous calculation based on the above, but if we say that it takes 540 hours training a year to be awarded shodan in 10 years, then the average person training 90 hours a year can expect to be awarded shodan in 60 years. :)

There were other factors in my 10-year shodan qualification. 

During that time, I engaged in what was then an Australian rite of passage in backpacking in Europe for a year. I also completed the Chartered Accountants 'professional year,' which was actually 18 months, where candidates do not see the light of day for that period of time, and completed the Securities Institute of Australia graduate diploma in which I was awarded State Dux, which was another 18-month commitment. That had to have slowed down my progress to shodan.

What is obvious is that I, along with the other four sandans, am not an indicative example of the time it takes to be awarded shodan in the JDJ jujutsu grading system.

My Nidan

I was awarded nidan in December 1998, five years after I was awarded shodan. I had to reflect on those years as training and undergoing the nidan grades does not stand out in my memory. As it turns out, I was a little busy at the time.

Did I train for nidan for those five years with the same intensity as described above?  No, however, I was working full-time as an instructor at the JDJSDS from mid-90s to 2000. 

To counter that, I also engaged in the UWA (University of Western Australia) Master of Business Administration (MBA), an elite, time-intensive, business course, in the mid-90s. I worked full-time while studying the MBA full-time (nobody does that), and at that time it was an 18-month course rather than the 12-month course as most MBAs are these days. And now that I remember it, I also lived and worked in London for between nine months and a year shortly after grading shodan.

Completing the nine parts of the nidan grading would probably have taken me more like two years or more likely less. 

I had to go back over the nidan gradings to remember them as I said above, they do not stand out in my memory. In doing so, I remember that I did those grades with Greg Palmer. 

Greg had a long-held ambition/dream to complete JDJ's grading system. He initially started training with Clarke, Hymas, and Connolly, however, they quickly left him behind because they were in a race to the finish line. Greg approached me to help him realise his ambition/dream. I had no ambition to be awarded shodan, let alone nidan and sandan, but Greg being Greg would not allow me to help him in realising his ambition/dream unless I graded too. 

Looking back on the records, Greg had already graded nidan by the time we started working on my nidan. I had to be graded nidan before Greg would consider training for sandan, in Greg's eyes. In all honesty, I was happy to remain shodan but would still train with Greg for him to realise his ambition/dream, and I said/argued as much. Nonetheless, Greg taught me what needed to be taught to be awarded nidan before we started preparing for sandan.

The nidan grading and its component parts are discussed in this linked post. The following are comments on some of those parts.

Part 2 Ju Jitsu no Jitsuen: 'Arrange a demonstration using up to eight lower grades to show some aspect of jujutsu. Twenty minutes of explanation type demonstration and ten minutes of fast action are required to be shown.' Given that this grading is intended to examine a candidate's knowledge and ability to arrange a demonstration that informs the public what jujutsu is and in particular what Jan de Jong jujutsu is, I convinced JDJ to judge me on a 'real' demonstration that I had arranged for an open day at Wesley College.

How long did it take to prepare? Not long. If you know your stuff, know your students, and choose skilled and trained students, it doesn't require much training at all. By that stage, I had been part of and organised more demonstrations locally, nationally, and internationally than I can remember.

Part 3 Shinken Shobu no Kata: 'Reflex grading.' You will recall from the above 'nine parts' link that the number of attack-defence combination in nidan was reduced from 140 in shodan to 52 in nidan. Given that I was highly trained and highly proficient, and the attack-defence combinations are all just variations on a theme from previous gradings, not a lot of training was required to master the attack-defence combinations in this grading. 

Part 7 Shiai: 'Free fight with tanto vs tanto.' A group of us attempted this grading together. If I recall, the group included myself, Debbie Clarke, Ian Lloyd, and Hans de Jong. Maybe John Martyr.

How long does it take to train this grading? Given that knife fighting was not taught at the JDJSDS and given that no instructions were provided as to what is sought and graded in this grading, as long or as short as the candidate wants. My training consisted of a little training with the fellow candidates in order to determine their abilities and tactics, and then to devise tactics to defeat them. I didn't train those tactics, however, I successfully employed them.

Part 8 Jutsuri no Kata: 'Oral examination conducted with at least two other candidates, discussing the technical aspects on any technique selected by Shihan Jan de Jong.' No 'training' necessary in order to attempt this grading. No 'training' necessary in my case given that my mentor was Greg Palmer, who JDJ acknowledged as having the best technical knowledge of the techniques and tactics taught at the JDJSDS, and because of my natural and learned analytical nature and capabilities.

Part 9 Ju Jitsu Rekishi: 'Candidates are required to submit an essay with no less than 3000 words on a topic to be approved by Shihan Jan de Jong.' JDJ credited me with this part of the grading based on the international franchise proposal that I had prepared for him after accompanying him to Jakarta, Indonesia to meet with a Chinese-Indonesian entrepreneur who was prepared to fully fund the start-up. A lost opportunity if ever there was one.

I imagine that JDJ would have likewise credited Clarke with this part of the grading given his many contributions to JDJ's efforts over the years, including developing the AJJA dan grading system and their competition format, and providing a comprehensive explanation of both for AJJA consumption. Greg could have been credited with this part of the grading for his development ken no michi grading that was introduced by JDJ into his ikkyu grading. It would be interesting to know what Hymas and Connolly did to satisfy the requirements of this part of the nidan grading.

My Sandan

I completed nidan in December 1998 and sandan in May 2000, approximately 16 months to successfully complete 12 gradings - the fastest ever (Clarke 8yrs, Hymas and Connolly 7yrs, Palmer 4yrs).

The above linked '12 gradings' post explores and discusses the parts that make up the sandan grading. The following are some comments on some of those parts.

Part 1 Kime no Kata: 'Explain the theory and answer questions on demonstrated techniques.' The demonstrated techniques are simply variations on a theme, so no real training is required, and if anyone is going to successfully answer theory questions raised on those techniques, it was Greg and myself. In fact, I explained in the sandan post that Greg was disappointed when JDJ didn't ask us any questions and confronted him about it. JDJ said he knew that we knew the theory about the techniques.

Part 2 Ju Jitsu no Jitsuen: 'Arrange a ten-minute demonstration on a topic given by Shihan Jan de Jong using only yudansha. Twenty minutes preparation time will be allowed.' No training possible for this grading.

I cannot remember what my topic was, however, I do remember that JDJ and some others being kind enough to suggest that my demonstration was the best presented out of all five sandans. If memory serves, Connolly's subject was 'ground techniques.' I would suggest that JDJ was taking the opportunity to explore 'ground techniques' at the time as this was about the time of the emergence of so-called Brazilian jiu-jitsu and their emphasis on 'ground techniques.' We have techniques to defend while on the ground, however, it cannot be said that we teach 'ground techniques' as it came to be understood.

Even though I had the likes of Clarke, Hymas, and Greg included in my demonstration, Connolly was not included, the difficult part was in catering for their limitations as they were not the most athletic of jujutsuka.

Part 3 Taisabaki no Kata: 'Prepare a kata to show the different variations of the body movements.' In reality, no training is required. It should be expected at this level that the required kata could be developed on the spot let alone using a similar/the same format as the previous grading.

Part 4 Sutemi no Kata and Taoshiwaza no Kata: demonstrate 20 sacrifice throws and 20 takedown techniques and answer theory questions thereon. The training for the sacrifice throws only needed to be brushed up because they had been taught and trained throughout the grading/training experience, beginning with tomoe nage in 6th kyu, yellow belt.

There were new takedown techniques included in the grading, although technically 25 percent are throws based on my biomechanical distinction between throws and takedowns in my as yet unpublished The Science Behind All Fighting Techniques, but again, most are simply variations on a theme. It is interesting that a JDJ ryuha has omitted this part of this part of this part of their syllabus, probably because the head of that ryuha did not grade beyond shodan and was unfamiliar with the techniques and their variations.

Part 5 Kodachi no Kata: 'Demonstration of kodachi (wakizashi) techniques against katana.' The techniques are relatively simple so not a lot of training is required to be grading-ready.

Part 6 Hojo Jutsu: 'Demonstrate use of rope to tie up an opponent.' As explained in a previous post, the demonstration is not from an attack but simply tying up (gift wrapping) a compliant uke. Greg had studied and taught these techniques to Clarke, Hymas, and Connolly before they graded this part of the sandan grading without him, however, I too was a beneficiary of Greg's knowledge and expertise in this regard. Much to Greg's and my surprise, I quickly mastered the techniques. I'm not the most 'handy' of people.

Part 7 Taiho Jutsu: 'Demonstrate various arresting techniques from standing and sitting positions.' The techniques are variations on a theme and there are only six of them. Enough said.

Part 8 Toshu Kakuto Jutsu: 'Demonstrate searching and hand cuffing techniques.' As explained in the previous post on the nidan grading, these techniques are taken straight from Col. Rex Applegate's Kill or Get Killed, and they are not complicated.

Part 11 Shiai: 'Free fight with tanbo vs tanto.' As with all the shiai gradings in the JDJ jujutsu grading system, there is no training of fighting with the weapons used, very little training re tactics, and no information provided as to what is being graded. Consequently, no real training is required to successfully complete this part of the grading. 

Part 12 Ju Jitsu Keikaku: '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.' JDJ credited me with this part with the writing of the JDJ book. There are numerous contributions that Clarke and Palmer could be credited with to satisfy the requirements of this part of the grading (see above), and again, it would be interesting to know what Hymas and Connolly did to satisfy the requirements of this part of the grading.

Historical Records

With regards to the comments for nidan part 9 and sandan part 12, all of the essays and projects required in the dan grades (including shodan) would have been included in JDJ's records. Those records were inherited by Margaret de Jong (JDJ's wife), Maggie de Jong (JDJ's daughter), and presumably Paul Connolly (Maggie's eventual husband). It would appear that no use has been made of those records to date, not publicly at least. Have those efforts and records been consigned to oblivion? If so, that would be a shame.

Comments

How long does it take to complete the technical grades of the Jan de Jong grading system? I have been asked that question and this post explored the issue in order to provide an answer. 

It would be interesting to ask the same question of the other three living graduates who graded sandan under JDJ and who now are responsible for technical aspect of separate JDJ ryuha (in two out of the three cases, not necessarily being the principal of the school). What would their answer be? What is their answer in their modified/changed grading systems of their JDJ ryuha?

The above exploration suggests that it is difficult, if not impossible, to provide an authoritative answer to the question as to how long it takes to get sandan in the JDJ grading system. What I can say, based on the above exploration, and a great deal of resultant reflection, is that most of the work to undertake nidan and sandan is done in grading shodan in the JDJ jujutsu grading system. The work to complete shodan commences in ikkyu, which is the original instructor's grading.

The above graph has been used in a number of previous posts. It shows the number of attack-defence combinations in the shinken shobu no kata gradings from rokkyu to sandan. It could also be representative of the degree of difficulty for each grading level, which is reflected in the amount of time required to successfully complete those grades. In such a case, the ikkyu level would rise significantly as it was the original instructor's grade. What this illustrates is that ikkyu and shodan are the top of the mountain in JDJ's grading system, and it's all downhill after that. This then begs the question: why were there not more nidans and sandans in JDJ's school?

There is another aspect of the above exploration with regards to what is required to grade sandan, if not ikkyu and  shodan itself, in the JDJ grading system, and that is intelligence. Proficiency alone is not enough.

This exploration also makes me think: is shodan reflective of the 'level' of the likes of John Copley, Ian Lloyd, Tony Chiffings, Debbie Clarke, Hans de Jong, Darryl Cook, Justin Palandri, Steve Moller? Is ikkyu reflective of the 'level' of the likes of Robert Kirby, Vass D'Esterre (deceased), Peter Canavan, Warwick 'Zak' Jaggard, John Polton, Emma Glasson (nee Wouts), Gerald Wouts, Keith 'Keef' Hickey, Dave Palmer, Rodney Miller? All were instructors for JDJ at one time or another. Technically, under the JDJ grading system, yes, but is that an accurate reflection of their abilities, knowledge, and understanding, in particular when you consider what the nidan and sandan grades contribute to the yudansha's abilities, knowledge, understanding, and teaching abilities, and of course when the JDJ grading system is compared to that of many/most other martial arts grading systems.

This series continues with either an exploration of how to improve JDJ's grading system, which would involve significantly reducing the time to grade dan grades and become instructors without sacrificing standards, in fact, while increasing standards, or, comparing historic grading sheets that have come into my possessionto the final grading sheets within the JDJ grading system. 

  

The Development of the Jan de Jong Jujutsu Grading System 5.0: Sandan Part 1

The final technical grading in the Jan de Jong (JDJ) jujutsu grading system is sandan.

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 Saito brothers, was sandan.

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.

Left to right: Peter Clarke, JDJ, Robert Hymas, and Paul Connolly.

Standing and not standing, Greg Palmer and me respectively.

There are some other 'students' that have been graded sandan, and higher, in the JDJ tradition through a JDJ ryuha, however, that grading system is compromised in relation to JDJ's grading system because the head of that ryuha did not grade above shodan under JDJ. Consequently, their nidan and sandan grades contain less and are different to that taught by JDJ. And even in that ryuha's shodan grading, there are mistakes.

You will recall from previous posts that Clarke, Hymas, and Connelly were the first through the nidan and sandan gradings because they were to be JDJ's legacy. 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 nidan and sandan gradings that he had developed and to change (improve) upon them. 

This post will be done in two parts because the sandan grading contains 12 parts, whereas shodan and nidan were long enough with nine parts.

You will recall from previous posts that the structure of the dan grades was set with JDJ's initial grading system, the kyu grades, with ikkyu being the instructor grade. 

Note: There is no shinken shobu no kata part in sandan. This is the only grading in JDJ's grading system that does not contain a reflex/shinken shobu no kata part to the grading.

The grading requirements and description of the different parts are taken from Jan de Jong: the man, his his school and his ju jitsu system (Jan de Jong Self Defence School, 1997 (p.52)).

Part 1 Kime no Kata

'Explain the theory and answer questions on demonstrated defences.'

You will recall from previous posts that kime no kata 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).

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.

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.

I would have liked to have heard any questions that he asked of Clarke, Hymas, and Connolly, and their answers.

Part 2 Ju Jitsu no Jitsuen

'Arrange a 10 minute demonstration on a topic given by Shihan Jan de Jong using only yudansha. Twenty minutes preparation time will be allowed.'

This part follows on from the ju jitsu no jitsuen part in the nidan grading.

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 yudansha 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.

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.

Part 3 Taisabaki no Kata

'Prepare a kata to show the different variations of the body movements.'

The five body-movements are the five main body-movements (taisabaki) taught by Yoseikan Budo (YB).

I did a bit of 'teach the teacher' in this grading. You will recall from a previous post:

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.

Part 4 Sutemiwaza no Kata and Taoshiwaza no Kata

Sutemiwaza no Kata: 'Demonstration and full explanation of the theory of 20 different sacrifice throws and their variations.'

Taoshiwaza no Kata: 'Demonstration and full explanation of the theory of 20 different takedown techniques and their variation.'

This part of the grading is pure YB. 

You will recall from a previous post that I obtained a copy of Minoro Mochizuki's book, Nihonden Jujutsu, from Jan-Erik Karlsson while assisting JDJ teaching for him in Sweden. I gave a copy of that book to JDJ.

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 sandan grading - taken straight from Mochizuki's book.

The abovementioned JDJ ryuha does not include the taoshiwaza no kata section in their sandan grading. I would suggest that it is because the principal of that ryuha did not learn or grade this part of the grading. On the other hand, the YB sutemiwaza had been taught and trained ad nauseum within the Jan de Jong Self Defence School (JDJSDS).

A joint element of this grading is the theory behind the techniques. What is the first theory question that should be asked?

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?

As I discuss in my as yet unpublished book, The Science Behind All Fighting Techniques, 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.

There is one technique in the takedown section of this part of the grading: oshi otoshi. 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.

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.

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.

After JDJ passed away, and when YouTube came online, I finally saw oshi otoshi 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.

JDJ did not know how to perform oshi otoshi. It looked similar to other techniques, but it wasn't that technique, and in this instance, it did not work. It was ineffective. 

A similar situation can be found in JDJ's shodan shinken shobu no kata grading with te nage. 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. 

When I was assisting two prospective yudansha for the abovementioned ryuha to prepare for their shinken shobu no kata grading, I again encountered JDJ's te nage and its teaching by the instructors of the ryuha. 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 te nage should be aikido's ikkyo or nikyo. It is a great technique, when performed correctly, and one that I could perform even in my physical condition.

Part 5 Kodachi no Kata

'Demonstration of kodachi (wakizashi) techniques against katana.'

The kata is taken straight from Michael Finn's Kendo-no-Kata (1986). No deviations whatsoever, and the order is the same.

Part 6 Hojo Jutsu

'Demonstrate use of rope to tie up an opponent.'

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 uke before the tying up commenced. They just stood there. It was like a demonstration of wrapping a gift.

Next Post

The next post will discuss the final six parts to the sandan grading.

The Development of the JDJ Jujutsu Grading System 3.8: 7th Kyu

The final grade in the mon system is 7th kyu, red belt. 

The titles of the below sections are taken from the grading sheets in Jan de Jong: the man, his school and his jujutsu system (Jan de Jong Self Defence School, 1997).

Breakfalls (Ukemi)

Bridgefall, and backwards flat, sideways flat, forwards roll, sideways roll separately over an obstacle. 

The bridge fall, aka o mae ukemi, is the same as in the previous grading.

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 ukemi comes from judo and there is no need for a sideways roll from judo techniques.

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.

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.  

For progression, the o mae ukemi could have been performed over an obstacle in this grading. There is a 'trick' to performing o mae ukemi over an obstacle. 

The trick to performing o mae ukemi over an obstacle, I discovered by observing John Poulton  (ikkyu) in the instructors class way back when. John Poulton is front left, beard, in this photo taken from the JDJSDS Yearbook 1986 - Hakusho. He was performing o mae ukemi 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. :)

There is a lot of history in that photograph. Do the current JDJ ryuha 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.

Wakai no Kata

You will recall from the 'Historic Ikkyu Part 1' post that JDJ developed wakai no kata to replace Yoseikan Budo's (YB) happoken and sanbogeri. He then moved the kata to nikyu and included it in 7th kyu, the last of the mon grades before the kyu system. Happoken taught blocking and striking skills and sanbogeri taught kicking skills. JDJ's wakai no kata is designed to teach blocking, striking, and kicking skills.

The issue of using a block in conjunction with an evasive body-movement (EBM) that was discussed in a previous post is present in this kata.

Last year I saw a JDJ ryuha yudansha demonstrate this kata while teaching it to their students. I would fail that performance if a grading candidate presented it for their 7th kyu grading, let alone a yudansha that has supposedly performed it in two gradings. 

JDJ's wakai no kata includes pencak silat's depok and sempok 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. 

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.

Then of course there was the issue that the kicks were poorly executed, wafting upwards rather than 'shooting' in and out, and the timing 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 depok and sempok stances. 

These issues were also common with the performances within the Jan de Jong Self Defence School (JDJSDS), including that of most of the instructors.

The abovementioned JDJ ryuha refers to this stance as a 'cross stance' (kosa dachi). That is a reference to a Japanese karate stance which is 'similar' to the pencak silat depok and sempok except that karate does not realise or understand the potential of this stance.

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 kata which included a Shotokan kata where this stance is performed. He explained that this stance is entirely useless but that it was a 'secret' of the kata because it was part of a turning move when executing what the JDJ tradition knows as hachi mawashi (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.

Throwing Techniques (Nage Waza)

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.

Body Movements (Taisabaki)

'Defender's choice of attack, using any block.' 

The issue of 'blocks' and the demonstration of these body-movements as defences has been discussed in previous posts.

All five of YB's basic body-movements are included in this section, along with dodging (kawashi).

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.

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 kyu and dan grades where this dodging body-movement is used in a defence.

Unbalancing (Kuzushi)

Normal single wrist grip - Normal and same side unbalancing

Reverse single wrist grip - Reverse and same side unbalancing

Same side single wrist grip - Normal and same side unbalancing

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?

In his later years, JDJ was teaching this lesson and referred to kuzushi and hazushi for the two types of unbalancing. Hazushi means disengagement or release according to the glossary in Jan de Jong: the man, his school and his jujutsu system (Jan de Jong Self Defence School, 1997). 

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 mon 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. 

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 mon system?

Locking Techniques (Kansetsu Waza)

'Two attackers defender's choice of attack.' 

The issue of the appropriateness of this stress element in these early gradings has been discussed in numerous pervious posts in this series.

The three kansetsu waza in this grading are arm entanglement (ude garami), side wrist lock (yoko tekubi hishigi), and wrist hand throw (tekubi te nage). The latter two are known by different names in aikido. This completes the nine basic kansetsu waza taught within the JDJ tradition.

Basic Blocks and Attacks (Uke and Atemi)

Three punches and one kick - four basic karate-style blocks. 

There is no unbalancing - blocking section as included in 9th kyu. 

These blocks are often taught in conjunction with an EBM. As has continually been questioned in numerous posts, e.g., The Mon System and Blocking Techniques, 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.

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 free fighting gradings of ikkyu and the dan grades.

Reflex (Shinken Shobu no Kata)

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.

All of the defences have been demonstrated in this or previous gradings, as they should be.

There is a 'stick-overhead attack.' 

Last year, I observed a number of classes of a JDJ ryuha where this same attack was used in the lessons. It would appear that uke did not know how to hit a person with a stick. If they made contact with tori, it would be with the butt of the stick held in the hand of uke. 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. 

This was also a common fault in the JDJSDS.

The lesson to be learned here is to teach the students how to attack properly first, and then teach the defence.

This was something lacking in the JDJSDS as well.

The Development of the JDJ Jujutsu Grading System Part 3.7: 8th Kyu

Okay, back on track.

The previous post (before the last post) looked at the first grading in the mon system for adults - 9th kyu. This post looks at the second grading in that system - 8th kyu, red and white belt.

Btw, if you're looking for quality belts and gi for your students at reasonable prices, see Ray Hana's Martial Arts Superstore.

Breakfalls (Ukemi)

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.

The new introduction is bridgefall, also referred to by Jan de Jong (JDJ) as o mae ukemi (major front breakfall). This technique was the subject of a 2010 post in which a video of the technique is posted.

Just as with sideways roll, this technique would appear to be relatively unique to JDJ's teachings, following a Google search and personal experience. 

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 o mae ukemi. 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 o mae ukemi to land safely from the execution of the technique. He had never heard of it or seen it before.

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.

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.

Basic Blocks and Attacks (Uke and Atemi)

Front roundhouse kick, back side drive kick, and front side drive kick. Solo demonstrations. No blocks are included in this section.

A useful inclusion/replacement in this section could be Yoseikan Budo's (YB) sambo geri or yonbo (?) geri. These are exercise or kata 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 kata teaches.

Last year I was assisting ikkyu graded jujutsuka in the JDJ tradition and introduced sambo geri to them. They could not perform the kata/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.

You will recall from the previous post, sambo geri was included in the ikkyu 'Basics' grading which then became the nikyu kime no kata/revision grading. Sambo geri was replaced by JDJ's wakai no kata which is included in the next grading, 7th kyu (part of the mon system), red belt.

Happoken no Kata

As has been stated before in numerous posts, this is a straight-up YB kata. JDJ changed the stances used in the kata which led to questions about the first block. Why is the middle block used when the taisbaki, evasive body-movement, has taken care of the injurious contact with body problem (see post 3.4)?

Last year, I saw a JDJ ryuha yudansha teaching this kata. They clearly had no understanding of the kata. The kata has four different strikes and four different blocks. The aforementioned yudansha was using basically the same striking technique for three of the four strikes.

Said yudansha also had no concept of the timing of the kata. 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 kata and kambangan (pencak silat kata) 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 kata and kambangan were broken down into their constituent parts and trained separately before being put back together again for the complete kata/kambangan. In this way the timing was corrected and the techniques improved.

Another issue is that happoken no kata is only taught and trained as a grading requirement. Once completed, it is hardly, if ever, trained again. Should happoken no kata be examined at the end of the kyu system, ikkyu, to see if the candidate has improved their technique and understanding?

Body Movements (Taisabaki)

'Defender's choice of attack, using any block'

The issue of 'blocks' has been covered in a number of previous emails.

Flowing with front snap kick, entering, entering rotation, major entering rotation, sliding. The first three taisabaki were demonstrated in the previous grading. A progression with the flowing technique is the inclusion of a front snap kick. The final two taisabaki are new inclusions and complete the YB basic taisabaki.

Unbalancing (Kuzushi)

Normal single grip on sleeve (low) - Normal unbalancing - atemi

Normal single grip on sleeve (high) - Reverse unbalancing - atemi

Front both wrists grip - Same side unbalancing - atemi

Rear single wrist grip and strangle - Rear unbalancing - atemi

Normal, same side, reverse, and rear unbalancing are the basic unbalancing techniques from hand grips taught by YB.

Why is atemi included with each unbalancing? What is being examined in this unbalancing section? This is a classic example of a lack of understanding re the YB division of a defence into phases. The stance and positioning when executing the atemi 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 atemi.

Locking Techniques (Kansetsu Waza)

'Two attackers, defender's choice of attack'

The inappropriateness of this stress grading to demonstrate the learned kansetsu waza has been discussed in a previous post.

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 kansetsu waza taught by JDJ jujutsu (and YB). 

Basic Blocks and Attacks (Uke and Atemi)

Different moving attack with flowing-brushing block-punch, entering-brushing block-punch, entering-double block-punch, flowing-brushing block-punch.

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.

Reflex (Shinken Shobu no Kata)

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.

The final defence is agains a stick - overhead attack. Last year I observed a JDJ ryuha 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. 

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 ineffective against a real attack that is intended to do harm.

The Development of the Jan de Jong Jujutsu Grading System Part 3.6: 9th Kyu (First Adult Grading in Mon System)

The beginning of the mon system for adults is 9th kyu, brown and white belt. This post will look at the 9th kyu grading.

You will recall from a previous post 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 Jan de Jong: the man, his school and his ju jitsu system (Jan de Jong Self Defence School, 1995).

Breakfalls (Ukemi)

Six types of ukemi are demonstrated: (1) forwards, backwards, and sideways rolls, and (2) forwards, backwards, and sideways flats.

1. All of the ukemi, except for sideways roll, are taught in judo (see point 5 below). Most jujutsu schools take their ukemi from judo.

2. Sideways roll is unique 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).

I found a 'sideways roll' included in the door-stopper of a book by Marc Tedeschi, Hapkido: Traditions, Philosophy, Technique (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.

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).

I did find a similar roll in Kreighbaum and Barthels (1996), Biomechanics: A Qualitative Approach for Studying Human Movement. Apparently this type of sideways roll is taught in volleyball.

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.

5. Kaiten ukemi (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 Principles of Jujutsu (1997) and Eddie Ferrie in Ju-Jitsu: Classical and Modern (1990):

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. (Ferrie 1990, 33)

Judo teaches to walk away (not face the attacker) with kaiten ukemi. It has been suggested that this reflects the lack of combative focus in judo teachings. Do rather than jutsu. The same suggestion has been raised with respect to aikido when kaiten ukemi is taught in the same fashion.

JDJ included the 'judo' approach to kaiten ukemi in the instructors class. Why not include the judo approach in the mon grades? If nothing else, it increases the tactical options for students when regaining one's feet from a kaiten ukemi.

One of the exercises I use when teaching kaiten ukemi involves a person pushing another who executes the kaiten ukemi 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 kaiten ukemi. 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.

Greg Palmer and Peter Templeman (two JDJ yudansha instructors) told of how they did not sustain injuries when coming off a motorcycle at speed because of their kaiten ukemi training. The told of mae kaiten ukemi, ushiro kaiten ukemi, ushiro kaiten ukemi, yoko kaiten ukemi, etc. Only one mae kaiten ukemi - why? Because if the only way you've been taught kaiten ukemi is the 'jujutsu way', it rules out mae kaiten ukemi after any initial use as the person will always be facing the direction from which the fall commenced.

The secret for teaching the jujutsu and judo kaiten ukemi ways? Either a figure-4 or parallel leg arrangement. It's as simple as that. And don't forget where the performer looks.

Basic Blocks and Attacks (Uke and Atemi)

The four blocks are karate style blocks demonstrated solo (high, middle x 2, low: see a previous post).

The two attacks are front snap kick and punch with step. 

I recently saw a video prepared for student instruction where the JDJ ryuha yudansha 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):

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 ad nauseum in an attempt to replicate them. If the images are of poor technique, they will work hard to produce poor technique.

Body Movements (Taisabaki)

'Defender's choice of attack, using any block'

The issue of 'any block' was discussed in the previous two posts.

Unbalancing (Kuzushi)

Normal single wrist grip - Normal unbalancing

Same side single wrist grip - Same side unbalancing 

Reverse single wrist grip - Reverse unbalancing

Rear both wrists grip - Rear unbalancing

Front both wrists grip - same side unbalancing

The first four attacks and unbalancings are pure Yoseikan Budo (YB).

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.

Unbalancing (Kuzushi) - Blocking (Uke)

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.

Note that the above demonstrated blocks, karate style blocks, are not included in the unbalancing use of blocks in this section of the grading.

It is also worth noting that the required brushing block against a downwards hit in no way, ever, unbalances an opponent. Ever! (see previous post)

Locking Techniques (Kansetsu Waza)

'Two attackers, defender's choice of attack'

This is the first grading for an adult, and they are being expected to defend using a specified kansetsu waza against two attackers. It is their first grading. The inappropriateness of this stress element in this and in all of the mon grades was discussed in a previous post. 

Reflex (Shinken Shobu no Kata)

Shinken shobu no kata is explained and discussed in this post. This grading and training method is another unique aspect of JDJ's teaching and should be appreciated and shared as such (Marketing 101: differentiate the product).

This is an adult's first grading; is there any need for this (or any other) stress element? Maybe it's to acclimatise the student to shinken shobu no kata gradings given that this is the principal form of grading from the kyu 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?

#1 Normal single grip on the sleeve (low) - Body set arm breaking.

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 taisabaki, kuzushi, waza phases of a technique that the grading seems to be based upon to bring the phases together in a defence?! A systems thinking approach.

#3 High punch - Atemi - body set arm breaking.

The use of atemi to unbalance an opponent, in the kuzushi 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?

#5 Front snap kick - Brushing block - punch.

I would teach a grading candidate to use an 'empty block', 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 evasive body-movement and a decisive punch?

Comment

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.