Jan de Jong Pt 20 - Jan de Jong Self Defence School: Towards 2000

Jenny Armstrong wrote an article that was published in Blitz magazine circa 1999 titled: 'Jan de Jong Self Defence School: Towards 2000'. She provides, in my opinion, one of the best descriptions of Jan de Jong.

It is soon evident that while martial arts may be his (most-valuable) 'hobby', as he will describe it, a variety of topics hold an interest for him. He has a keen and probing mind, yet open to life's new experiences. Although in his seventies, Jan de Jong has an iron firm hand-shake and the mental engagement of a much younger person. His appearance is like that of a sturdy unquailable, colonial gentleman - wearing a button-up top in a life-essence red, his grey beard adds a distinguished frame to his face; his eyes are attentive and sharp.

Yet there is none of the pompousness that the word 'colonial' tends to evoke. Rather there is a tendency for laughter, a certain irreverence even, which makes him instantly likable.

Armstrong nailed it. She also writes that 'immediately on meeting him he is easy to talk to.' Too true. I recall a letter De Jong once showed me. It was written by a young mudansha ('one without a black belt';kyu-level practitioner) who had attended one of his seminars in Europe. The letter expressed the author's surprise and gratitude that De Jong had paid him personal attention during the seminar. De Jong paid mudansha and yudansha (black belt holder) the same amount of respect and attention.

De Jong had a way with people, but not in a manipulative or self-serving way. There wasn't a person on a grading day, the student or the guests they invited, that didn't feel special and appreciated. De Jong paid as much attention, if not more, to the guests the student had invited. The comments directed toward the student at the end of the grading were often for the benefit of the student's invited guests.

Other possible applications of jujutsu techniques fascinate him, as does any phenomena or new technique he feels may be added to jujutsu to make it stronger (he describes himself as a postage stamp collector, collecting new techniques).

De Jong's reference to himself as a 'postage stamp collector collecting new technique' can, I believe, be found in his grading system, if not the grading system itself, as I've argued in previous blogs.

Armstrong wrote of my role as uke (receiver) to De Jong's tori (taker):

His explanation of the concept is enforced by demonstrations on his (apparently) hapless instructor John Coles. Fortunately, John is aware of the techniques and seemed to know what to expect (a rather painful demonstration of a wrist-lock had earlier given me a decent appreciation for his methods and I was happy for him to demonstrate on John and not me).

Recall Armstrong's reference to 'iron firm hand-shake'. A student of De Jong's in Holland during WWII, Kees van Deijk, also remembered De Jong's grip when he wrote to me in 2004: 'I knew Jan during the years 1944-1947. The first thing that struck me was that he was rather thin, but it appears that he was a strong person, in particular his hands/fingers.'

I recall the 'hapless instructor John Coles' tapping-off before De Jong could apply the joint-locking technique he was proposing to demonstrate for the participants of his European seminar one year. De Jong was a little annoyed and asked me not to tap-off before he had applied the lock. I informed him I was tapping-off because his grip was crushing my hand. For the record, he didn't ease up on either his grip nor his expectation that I wouldn't tap-off before he'd applied the lock.

I will always remember the last time I saw De Jong. I visited him at home about three weeks before he passed away on 5 April 2003. I was shocked to see the ravages that cancer had exacted upon this once vital man. He was skin and bone. We chatted, as we often did, and the conversation turned to jujutsu, as it often did. As soon as the conversation turned to jujutsu, he propped himself up into a sitting position on the couch he had been lying on. He thrust his emaciated arm in direction and instructed me to grab it. Feeling more than a little self conscious, I grasped his forearm. No sooner had I done so than he had adroitly disengaged my grip and applied a lock. I wasn’t surprised at the skill, that was a given, even under these circumstances. What I was astonished at was the strength of the grip of this man who was quite obviously being ravaged by this horrible disease. This was still the grip that could force me to tap-off from the pain of the grip alone. This was still the grip that Armstrong referred to as, and found it sufficiently memorable to remark upon, an 'iron firm hand-shake'. This was the same grip that Van Deijk remembered from more than 50 years previous, being applied by a 'rather thin [person], but it appeared that he was a strong person, in particular his hands/fingers.' His grip, for me, has come to represent his life force. Forever strong, and unreliant upon the physical limitations of the human body.

The last thing De Jong gave me was a series of photocopied images he'd pasted together to form a series of moves. He wanted me to study and demonstrate them at the pencak silat instructor's class. The last thing he asked me to do was to bring him what I'd written on my then proposed how-to book on his jujutsu because he wanted to contribute to it. His mind was still active, and he was still working on his martial arts right up until his death. His body may not have been up to the task, but that didn't stop him.

Through writing these blogs I've had the opportunity of studying the 'school of Jan de Jong'. This study has been revealing, and it has led me to a greater appreciation of De Jong's legacy. It provided the wonderful opportunity of making contact with students from De Jong's past, like Van Deijk and Harry Hartman. This led to their generous donation of their photographs taken during those times (including De Jong as a boy scout in pre-WWII Indonesia).

Writing these blogs provided me with the opportunity of discovering a copy of the Jan de Jong: the man, his school, and his ju jitsu system booklet that I wrote for De Jong, in which he wrote: 'Thanks for all your help! Jan de Jong OAM, 9th dan'. This booklet was a self-published affair and was sold by the De Jong organisation throughout Australia and Northern Europe. The content forms the base for much of the content on the Jan de Jong Martial Arts Fitness website, albeit unattributed.

I think I'll leave the story here. However, the story will be updated from time to time I'm sure. I'll sign off the Jan de Jong story with Van Deijk's words:

Now that I'm writing (typing) I see Jan before me (often with his smile), who gave me jujutsu lessons, which formed a part of my character in my life. I will never forget him!

Jan de Jong Pt 19 - What Does a Black Belt Mean?

The photograph to the right was taken in the mid-1990s of Maggie de Jong demonstrating a hojo jutsu (rope tying art) technique on me at a seminar given by Jan de Jong in Sweden. Firstly, it was the 1990s, so both Maggie and myself have aged somewhat. Secondly, the very blond hair of mine is explained by my desire to assimilate with my very dear Swedish friends, or, maybe I was bored one day in Helsingborg and was talked into a 'dye-job' by Maggie and a very cute blonde female Swedish hair stylist. As a footnote to this story, De Jong was not happy with my new look.

What does a black belt mean? The above photograph suggests it might be useful for tying someone up. Mr Miyagi, from the classic Karate Kid (and don't dismiss that movie) explains to Daniel that, 'In Okinawa, belt mean no need rope to hold up pants.' All very practical observations, but belts are also symbolic in the martial arts. Symbolic of status, proficiency, knowledge, ... mastery?

Recall from previous blogs that Jigoro Kano, the founder of Kodokan judo, was the initiator of the black belt to signify ... something. When I was researching the development of the coloured belt system for the kyu grades, I came across these comments regarding the black belt from the International Judo Federation(IJF):

The ranking system in judo includes two types of ranks -kyu and dan grades. The dan grades are the more senior grades of judo, and are signified by the wearing of the black belt. High dan holders from 6th to 8th dan have the option of wearing a checkered red-and-white belt instead of their black belt; 9th and 10th dan holders have the option of wearing a red belt.

The kyu grades are signified by non-black belt colors. The original system of judo developed in Japan included 6 kyu ranks. In current-day judo around the world, however, each country is recognized to have its own ranking system, and its own promotion policies and criteria. ... The only common denominator across countries and organizations is that all beginners begin at white belt, and all dan holders wear a black belt. ...

While each country and organization has its own criteria and policies for the conferral of rank, there is a general consensus that the change from kyu to dan, that is, from 1st kyu to 1st dan, represents a qualitative development in the student. The student awarded the black belt has developed some degree of proficiency in the various techniques of judo. In particular, he or she will have developed one or several tokui waza [favourite technique], and will have demonstrated its effectiveness in competition against same rank opponents. More importantly, this student will have shown enough maturity, commitment, and fortitude to be a serious student of judo, having internalized some of the values and ethics of the educational system of judo. While the general public often believes that wearing a black belt means that one is an expert, in reality the awarding of the 1st degree black belt in judo signifies instead that the student is now truly ready to begin learning judo.

The acclaimed Neil Ohlenkamp expresses similar sentiments:

Professor Kano was an educator and used a hierarchy in setting learning objectives for Judo students, just as students typically pass from one grade to another in the public school system. The Judo rank system represents a progression of learning with a syllabus and a corresponding grade indicating an individual's level of proficiency. Earning a black belt is like graduating from high school or college. It indicates you have achieved a basic level of proficiency, learned the fundamental skills and can perform them in a functional manner, and you are now ready to pursue Judo on a more serious and advanced level as a professional or a person seeking an advanced degree would.

OK. According to the IJF, a student who attains a black belt is ready to begin learning judo. And according to Ohlenkamp, it indicates a basic level of proficiency and that the fundamental skills have been learnt and can be employed in a functional manner, and now the student is ready to pursue the study of judo. Does this describe the qualities of an expert that the IJF suggest the general public ascribes to the holder of a black belt?

What does a black belt mean? Is it the equivalent of a high school diploma as Ohlenkamp suggests, or is it the equivalent of an undergraduate degree? Should we be replacing the word is with should be? This also raises the question of what do higher black belts mean? Are they suppose to be the equivalent of post graduate degrees?

What does a black belt mean? Recall from previous blogs on the Jan de Jong jujutsu grading system that shodan includes practical, revision, theory, teaching, first aid, and more gradings. Is this a belt/qualification that signifies a student is ready to begin learning, or, is this a grading that is designed to produce a teacher, or an expert.

In the latter part of his life, De Jong expressed the concerned that the quality of his instructors/black belts may not be appreciated because of the different perceptions of a black belt in the world. He was toying with the idea of including the grading requirements on the black belt certificates to advertise the extensive requirements to obtain a black belt under his grading system. Unfortunately I had to rain on his parade and, while I acknowledged the merit of what he was trying to do, I had to suggest that nobody actually looks at most martial arts grading certificates.

Is this just a theoretical discussion? Absolutely not! Those who have continued teaching after De Jong's demise have assumed a responsibility for what they teach, and their grading system. THEY have to answer the question, what does a black belt mean in their grading system. Most adopt what was handed down to them from De Jong (although I suspect it was also developed by De Jong). But some, or only one that I know of, Peter Clarke of his Tsutsumi Jugo Ryu, is looking critically at the grading system he inherited. Clarke is like an ice berg. He is a powerful force of nature, but dear God in heaven he moves slowly. Not physically, because I vividly remember seeing him move so fast with a particular technique in our instructor's class that it is embedded in my memory as a slow motion, flicker frame movement. Clarke is a lawyer by profession, so everything he does is considered, but then everything he does is considered. We've discussed the disproportionate length of time it takes to get a black belt in Jan de Jong jujutsu compared to most other martial arts. At the heart of the discussion, at the heart of the solution, is, what does a black belt mean.

A logical extension of this argument which is suggested above is, what do the gradings past shodan actually mean. If, as the IJF and Ohlenkamp suggest, shodan is the beginning of one's learning experience, then it's obvious ... sort of. You should question, what is each and every grading contributing to my knowledge base or proficiency. And I don't exempt De Jong, or his instructors that have followed on to head their own schools. What does each and every grade from shodan onwards contribute to the knowledge base or proficiency of the student? I have to confront this question as I am in the position of grading the prospective sixth person to complete the Jan de Jong jujutsu grading system - Jamie Francis. We both, initially, wanted him to go through all of the gradings that I and the other four sandans went through. However, as I critically examine these gradings, I ask myself, and wonder, what is this grading adding to his knowledge base or proficiency. In turn, this causes me to reflect on the entire grading system.

This blog is intended to encourage the reader to reflect on what a black belt means to them. It's not meant to take anything away from the endeavours or achievements of those aspiring and tirelessly training towards their black belt. It's simply meant to encourage the reader to critically evaluate what their black belt means, and what other people's black belts mean, and to not ascribe any preconceived notions to those who are wearing black belts.

Jan de Jong Pt 18 - Logo

A big part of the Jan de Jong story is his logo. His logo was based on an ex libris he commissioned during WWII. An Ex libris, or bookplate, is a small graphic label or print that is glued to the inside cover of a book with the purpose of identifying its owner. The Latin phrase 'Ex libris ...', means 'the books of...', and is usually followed by the name of the owner of the book. The designer De Jong commissioned to design his ex libris was Wim Zwiers. In researching this blog, and yes, I do research these blogs, I came across this explanation of why an ex libris is made:

Ex-libris have been a constant tradition for over five hundred years. They are a challenge to an artist to produce a small graphic art work for a friend, for a customer or for himself with a special purpose: identifying the owner of a book. Pasting a beautiful ex-libris in one's books not only discourages theft and reminds borrowers that a book must be returned, but is also a way of paying tribute to the book, which despite modern communication technology remains a primary vehicle for the transmission of knowledge and a constant source of pleasure and interest. As an object of collection, ex-libris are a wonderful way of acquiring, with time and patience and without being a millionaire, a small-format art museum which reflect the artist's skills and the collector's taste.

The theme or image of De Jong's ex libris speaks volumes. It is a graphic representation of his original jujutsu instructors, and reflects his love of, and identification with, the art of jujutsu. The image is based on a photo taken of his original instructors, the Saito brothers.

Zwiers was born in 1922, and would have been in his late teens when De Jong commissioned his ex libris. He went on to become a teacher of fine arts after WWII and is a respected artist utilising many mediums. There are so many stories like this associated with De Jong. Zwiers reconnected with De Jong through an amazing coincidence. They had not had any contact with each other since WWII, but, for whatever reason, in the mid 1990s, Zwiers was visiting Perth, 'the most isolated capital in the world'. He was on a train and saw a van through the window. The van had the ex libris image he'd designed 50 years ago on it, along with a phone number. He phoned the number, and, he and De Jong were reconnected nearly 50 years after their initial meeting, and half a world apart. De Jong would always try and visit Zwiers each year he visited Europe to conduct his seminars. I had the absolute pleasure of meeting Zwiers. He showed me how he created his copper engraved ex libris. He engraves them into a copper plate, backwards, and uses a hand cranked press to print off a limited edition.

The image above of De Jong's ex libris was taken from the ex libris Harry Hartman generously sent me. The fact that the ex libris are printed in a limited edition, by necessity, tells me the esteem with which De Jong held Hartman.

Zwiers is an amazing character. He looks like your traditional grandfather, albeit your traditional Dutch grandfather. But five minutes with him will tell you he is different. He is a true artist in that he has a different view of the world, but, he doesn't have to dress or act different to advertise his different perspective. He lives in this great old house, with a basement that is built into a dyke. The art on the wall of his main living room, a two story affair without the second story, was split 50:50 between his art and those that had been gifted to him by fellow artists when his wife passed away. Those artists had drawn, painted, etc their expressions of grief for a fellow artist. Amazing! And his art ... he told me the story behind many of the pieces he'd chosen to hang on his wall, the art was incredible, but the stories even more so. Obviously, I am a fan ... and I'm proud to say that I have a piece of his work taking pride of place in my home.

De Jong used his ex libris-based logo for his school from when he first started teaching in the early 1940s until 2002. He used it on his badges, as the badge that Hartman sent me shows.








He used it on the membership cards as Hartman's membership card shows from the 1950s when De Jong first started teaching in Australia.









He used it on his badges which signified his gradings rather than belts (see previous blog).










Hartmen sent me a photo where I think that De Jong is attempting to replicate the original Saito photograph.






Given I'm a business/strategy professional, I find it interesting that the new management of the Jan de Jong Self Defence School rebranded the school with a new name and identifying logo. It is now called Jan de Jong Martial Arts Fitness and thier website explains that this change was introduced in 2002 to reflect a new direction. The new direction is not expanded upon. Possibly, the new direction is reflected in the new name, Martial Arts Fitness. De Jong was only ever interested in the practicality of what he taught; fitness only facilitated the practical. I recall De Jong questioning the idea of going to the gym to become better at what you were doing. His opinion was, do what you do, and you'll become fit doing what you do by doing what you do.

It is most definitely a coincidence that the new logo is very similar to the woolblend logo; which symbolises a blend between 50% wool and synthetics. Having said that, is this an unintentional symbol of the new direction that the new management of De Jong school has taken? A blend between self defence and fitness.

Why would you change your logo when your logo has equity? Would you consider changing the Coca Cola logo? You would, if you were persuing a new direction. Putting some distance between yourself and your origins. While De Jong was present at the 2002 meeting, I would suggest that he supported rather than initiated the new direction and the symbols thereof. I recall the many discussions I had with him concerning succession planing. I'm a business/strategy professional, so of course I talked to him about succession planning. He wasn't interested. The way he saw it, what happened after he passed, happened. He lived for the moment. As I've discussed with Hartman, that's not a perspective that is uncommon for those who have experienced war.

'Don't walk behind me, I may not lead. Don't walk in front of me, I may not follow. Just walk beside me and be my friend.' That to me was De Jong, and it reflects his perspective on succession planning. He wasn't in the game to be followed; to inflate his ego. If you ever had the privilege of talking to De Jong or his former students/instructors, you'll find friendship is the concept that most often comes up. All of the old guys I've had the privilege of speaking to, focus on the relationships, the experiences, and not the quality of the instruction. This reinforces my argument that culture is the key to a successful martial arts school.

It seems appropriate that when De Jong died, the 996 Hay Street dojo was demolished. The name of his school, and his logo/symbol, his ex libris Saito brothers logo/symbol, was replaced. He wanted those who came after him, did so uniquely. He was not in the business of creating clones or librarians; he was in the business of creating teachers of a unique school of thought. But it also seems appropriate that his son, Hans de Jong, went on to use a very similar name and the symbol/logo of his father's school. After all, Hans is probably the longest serving student of his father having commenced training with him in 1955.

Jan de Jong Pt 17 - Kyu Grades & Coloured Belts

Harry Hartman's photographs and other memorabilia arrived. It is an amazing contribution to the Jan de Jong history and the history of his school of thought. I asked Harry to review my blog with the view to confirming I'd not gotten anything wrong, and, that it didn't contain anything he was uncomfortable with. Harry emailed me and, very satisfyingly, told me he was very happy with the blog and was going to refer his family to it. Thank you Harry, and, the photographs suggest you were a very capable and enthusiastic practitioner of the art. The photograph to the right is a wonderful photo of training at Edgehill Street, Scarborough. Harry is the person at the front applying the technique to the opponent on the ground. It is interesting that the technique being applied in the standing couple to the right was very much later included in the third dan practical grading.

As I'm finding, the school of Jan de Jong is becoming a classic case study for the evolution of the Japanese martial arts in the 20th century.

The previous blog included an image of Harry's 1954-55 membership card that refers to only four gradings - red, yellow, white, and green; in that order (see right).

His 1958 membership card increased the number of gradings to red, yellow, white, green, and, orange, purple, and black and white (see right). Were these new gradings De Jong developed? Or is this an administrative thing where the additional gradings existed but were not included on the 1954 membership card?

Where this discussion becomes interesting is when the history of the coloured kyu belts is included in the analysis. Jigoro Kano, the founder of judo, is often attributed with the introduction of coloured belts to judo, and thereafter the rest of the martial arts world. Incorrect. Kano introduced the kyu/dan system in the 1880s, and he introduced the black belt for the dan grades. The white belt was used for all the kyu grades. From Neil Ohlenkamp (http://judoinfo.com/obi.htm):

Mikonosuke Kawaishi is generally regarded as the first to introduce various colored belts in Europe in 1935 when he started to teach Judo in Paris. He felt that western students would show greater progress if they had a visible system of many colored belts recognizing achievement and providing regular incentives. This system included white, yellow, orange, green, blue, and purple belts before the traditional brown and black belts.

1935! De Jong is still training with the Saito brothers in Semarang, Indonesia. He commenced training with the Saito's in 1928, so, the Saito's have been in Indonesia for a number of years prior to 1928. The Saito's and De Jong would, in all likelihood, never have been exposed to the coloured belt system ... until De Jong does a little training in Holland during the WWII years. He then becomes relatively isolated when he returns to Indonesia before he emigrates to the 'most isolated capital in the world', Perth, Western Australia in 1952. Then within a year a coloured belt kyu grading system appears.

De Jong was a voracious collector of martial arts books. He would tell the story that in the air raids on Rotterdam, Holland, during WWII, he would be considered mad because the only possessions he'd take into the air raid shelter was his suit case of martial arts books. Having said that, these books would have been very few and very limited.

This is pure conjecture, albeit based on logic and reason. De Jong may have been exposed to the kyu coloured belt system, but only superficially. He develops his own kyu coloured belt system in Australia in 1952 without a full understanding of the coloured belt system. Hence, the inclusion of the white belt mid-way through his grading system. When I say belt, I mean symbol as they didn't use belts in the 1950s. They used badges. The image to the right is of Harry's red and yellow badges. I'm not sure how white embroidery on a white badge affixed to a white uniform would have worked. I'd be interested to hear from anyone who graded white belt/badge and received a white badge just to see how it worked. Seems a little inconsidered from a purely practical point of view.

Most use white belt for the complete novice. After a bit of research, I found some actually use it for the sixth kyu belt. If so, what does one wear when starting out and before the first grading? Kawaishi's purple belt seems to be the least adopted colour. The six kyus come from Kano, and De Jong followed suit. If you adopt Kawaishi's coloured system and take out purple, you're left with white which then becomes an actual grade.

De Jong later changed his kyu grade colours to yellow, blue, green, orange, purple, and black and white. It has been suggested that Kawaishi's system went from light to dark symbolising a progression from novice to experienced. De Jong, like many others, do not appear to adopt the same progression to the same degree. I am so intrigued as to the motive behind De Jong's choice of colours. You hear so much nonsence associated with the colours of the belts these days. Much of it is 'shoe-horning'; making something fit.

Why does De Jong's jujustu system have a black and white belt? It is a black belt with a white stripe running the length of the belt. Judo used this belt for women yudansha (black belts). Is the inclusion of this belt because De Jong did not know it was used by the Kodokan only for women? A senior instructor in my time would explain that black and white signified black but without becoming an instructor. The black grades included instructor type of grades (theory grades) which turned the fighter into an instructor. Maybe it is a considered decision by De Jong, or maybe it is an example of shoe-horning by the senior instructor.

I asked Harry about the gradings he did. He provided the following response: 'At the exams the students got on the mat and did not know what attack was coming. Sometimes it was surprising and we had lots of laughs.' I haven't pressed him todate to explain further. What I'm hearing though is (a) the shinken shobu no kata (see previous blogs) method is being employed, and (b) there are no specific techniques included in these early gradings. This then starts to lend weight to the suggestion that De Jong developed the entire grading system.

When I referred to this as being a case study; there are those that need what they are teaching to be a direct transmission from the warriors of the past. They were warriors. They were not necessarily teachers. And they didn't have the benefit of modern teaching methods. Instead of suggesting otherwise, as possibly De Jong did himself at times, I think his prestige is enhanced immeasurably if the entire grading system is a product of his own design.

This is a moving feast. I'm to have dinner with an instructor who was my instructors' instructor. He's going to give me a complete set of the grading sheets that existed before my grading sheets. I'm also going to be discussing these issues with Hans de Jong as he commenced training in 1955 and would be a living history resource, albeit untapped.

Do you have a detailed history of your school or style? Has anyone actually studied your school or style, or are 'stories' passed down from generation to generation with no real study of the subject matter? I appear to be the first to do so with respect to the school of Jan de Jong.

Jan de Jong pt 16

This blog was initially established to inform the public of my work on the science behind the tactics and techniques of the martial arts, and to hopefully generate some interest in my work. For the past couple of months, that mission has deviated a little with the story of Jan de Jong and his school of thought. This blog was also a means by which to improve my writing skills: 'If you want to be a writer, you must do two things above all others: read a lot and write a lot' (Stephan King). A pleasant, albeit unintended, consequence of this blog is that a former student of De Jong's from the 1950s has contacted me and provided me with tales and photos of his time with him. He has given his kind and generous permission for me to share these with you.

Jan was a good teacher very enthusiastic, and always explaining the meaning of what he was teaching.

Harry Hartman trained with De Jong from 1954 to 1958. He emigrated to Australia from Holland in 1954, and was put in contact with De Jong by another Dutch immigrant. He returned to Holland in 1958 and lost contact with De Jong shortly thereafter. Nearly 50 years later, here he is fondly reminiscing with me about his time with De Jong. He kept photographs, his membership booklet, and various badges all these years. Harry contacted me after seeing the photo to the right that was including in a previous blog. He corrected me (thank you Harry) in that the photograph was taken at the Edgehill Street, Scarborough dojo and not the 870 Hay Street, Perth dojo. Harry is the person on the right executing the technique; De Jong is centre back.

Dear John, I met Jan deJong in 1954. He than lived at 17 Edgehill Street. We used to practice in the 'sleepout' of the house wich was a long and narrow space with a brick wall on one side and timber and hardboard on the other. Every Monday at 8pm we had class with the team of students. After lessons we were invited into the house to drink ice tea. Jan's wife used to make our suits and belts by hand and on the sewing machine. With our team we gave various demonstrations all over Perth. Some of the photographs made at City Beach were used to show between pictures in theatres like 'The Ambassadors' to promote our school. I remember the 'sleepout' in Edgehill Street where photographs were taken, came loose from the main building due to the bumps made by the students thrown on the mat. Later Jan moved to the suburb Innaloo and the school to the Swan River Rowing Club where we had plenty of space. Training nights: Mon.- Wed.- Thurs.at 8pm.

Hans de Jong started jujutsu in 1955. He told me of students being thrown over balconies and partially through walls at the 'sleepout dojo'. Not only were the uniforms and belts handmade, so was the mat, as you will see in the photographs. Harry's reference to theatres concerns advertising at cinemas between movies to promote the school (Ju-Jutsu-Kan), in provincial Perth where everything associated with the school had to be handmade by his wife. De Jong was a true trail blazer.

While Harry talks of belts, they were not used as symbols of rank. In these days, at Ju-Jutsu-Kan, they used badges. There were only four grades - red, yellow, white, and green - as Harry's grading record to the right shows. Later on, and I don't know when, the Jan de Jong jujutsu kyu system was yellow, blue, green, orange, purple, black and white, black. Then the mon system was introduced at the front end of the kyu system, with the final mon grading being red. White as an actual grade? White belt is usually used as a belt for someone who is an absolute novice and has not undergone any grades. This becomes interesting when you understand when the kyu/dan system was introduced by Jigoro Kano and when the coloured belt system was introduced for the kyu grades, often incorrectly attributed to Kano. I'll explore this issue in my next blog.

I tried to find out if De Jong was using the shinken shobu no kata format back in those days. Harry wrote that no grading sheets were available and expanded with the following:

On training sessions it went as follows. Jan asked for instance: 'what would you do if somebody attacked you diving head forward to your stomach. He than showed us what to do. We,Jan and I,entered the mat and I had to perform the attack and Jan showed step by step what to do. Then every student in turn did the attack and defence until all knew how to perform. This was the procedure of all the different throws and locks and grips. At the exams the students got on the mat and did not know what attack was coming. Sometimes it was surprising and we had lots of laughs.

Only 10 students trained at the sleepout dojo, all of them male. Females joined the class when the dojo was relocated to the Swan River Rowing Club, and the class expanded. Harry remembers the time De Jong put both feet through the floor into the river when landing in a bridefall (demonstrated in the photo to the right taken at the 'sleepout' dojo); and he remembers the subsequent discussion concerning the advisability of using mats.

Harry was 19 when he emigrated to Perth and joined De Jong's school. He lived in Rotterdam during WWII, as did De Jong, and shared some of his experiences of this terrible time with me, as did De Jong. Their first-hand stories bring a poignancy to what would otherwise be a history lesson or the setting of a movie or a novel. They both remember the 'Hunger Winter' (see blog concerning De Jong's war years) when 20,000 Dutch died from starvation and exposure in the last few months of the war. Harry wrote, 'You'll never forget'. De Jong didn't.

The photo to the right is included just because its a wonderful photo. It looks like Harry is now on the recieving end of what looks like a painful technique. Note his face is firmly planted against the wall of the sleepout dojo. Harry is generously sending me the originals of all the photos and his other memorabilia to me. Thank you Harry for sharing your tales and memorabilia with me.

Jan de Jong Pt 15 - Grades - Attracting or Weeding Out Students

I received the following comment on my blog concerning the Jan de Jong jutsu dan grades:

Interesting, and extensive. I'm most interested in the fact that you needed to develop a deeper understanding, essentially 'on your own'. This truly separates those who just go through the motions and who practice by rote. From your experiences, do you think the extensive grading systems and curriculum attracted students to study long term or did it weed out many, like you said, "by attrition". How many long term students would normally be found training? Interesting stuff.

Firstly, thank you for reading my blogs 'Journeyman'. Secondly, this comment really got me thinking.

The previous blogs demonstrate that the Jan de Jong jujutsu grading system is indeed, extensive. Black and white belt/first kyu is base camp at Everest that is the dan grades. Did the extensiveness of the grading system attract or dissuade students from studying long term? After much thought, I honestly cannot answer that question. Maybe there were those who were put off by the length of the grading system. If there were, I didn't know them. I can only share my experience with you.

I was accused of chasing gradings and chasing belts in my first few years with the Jan de Jong Self Defence School. Why not? From the time I enrolled at the Jan de school, I graded every time gradings were held; that is, every three months. As soon as I'd successfully completed one grading, I'd go to the counter, buy my new belt, and ask for the next grading sheet. As others were leaving the school that day, I'd be sitting on a bench reading my next grading.

But my focus was never on getting a particular grade or belt. My focus was on the grading I was doing. I saw the gradings as a directed form of learning. For whatever reason, when I first enrolled at the Jan de Jong Self Defence School, I attended two lessons a day, six days a week, and then did more training outside the classes. I wanted to learn and I wanted to improve. I was a real Pavlov dog in that I could see myself improving every time I stepped onto the mats, and that was like crack cocaine to me. I vividly recall the time I suddenly realised I was going to get a black belt. It never occurred to me that I would, and it definitely was not my goal. My instructors had black belts, not me.

I have a confession to make. The only reason I completed second and third dan was because Greg Palmer (pictured above), one of my instructors who was also a mentor and eventually a good friend, had a long held dream to complete the grading system. The other instructors progressing through the second and third dan grades did not include him in their journey, so, in what I still consider to be one of the best achievements in my life, I trained with him so he could realise that dream. In the process, I became only the fifth person to complete Jan de Jong's jujutsu grading system.

Numbers can be misleading. Why were there only 21 people graded shodan by De Jong? Was this a deliberate weeding out process? I'd suggest not. Part of the answer lies with the extensiveness of the system. Life and other activities compete for the years that are required to obtain a black belt from De Jong. But another factor may have been, as I have been arguing, that he had to develop his dan grades, and given his relative isolation he didn't have too much to reference to assist him.

Numbers can be misleading. It became a bit of folklore that it takes a minimum of 10 years to get a black belt in De Jong's jujutsu. Rob Hymus did it in seven. But then he was working as an instructor at the school full-time, and, this was when the shodan gradings were first introduced. I was on track to match Hymus' achievement, even though I had to grade three more grades (mon grades) than he did. I wasn't working at the school full-time but my training schedule bordered on the fanatical. Then the Australian right of passage that is backpacking through Europe and my professional career intervened. I graded shodan in just under 10 years. But the length of time others took to achieve their black belt is distorted by the fact there were no black belt gradings at that time. Others simply trained for decades without bothering to do gradings as the training at the school was never focused solely on gradings.

'Weeding out'. It has been suggested, half-joking half-not, that De Jong scheduled the jujutsu instructors class on Friday nights to test the commitment of his instructors. Friday night is socialising/drinks night in Australian working society. Other than that, there was no attempt to weed anyone out. De Jong, I would suggest, did not include gradings to deliberately lengthen the grading process. He did not have some artificially high standard to be attained in order to weed anyone out (even though some of the senior instructors did try and impose them at times; a story for another time). It is my opinion that De Jong developed a grading system that he thought provided his students with knowledge, particularly at the mon and dan levels. The challenge for the instructors now teaching is, I'd suggest, can we modify the grading system so the same knowledge and the same standard is achieved but in less time.

Returning to the original question, I don't know what influence the extensiveness of the grading system had on the long term study by students. I suspect for those who did study long term, it had no influence one way or another. The others, if there were others, I never knew them. What I do know however, is, if you study the gradings rather than merely complete them, there is a great deal of knowledge to be gained.

Jan de Jong Pt 14 - The Mon Grades

Jan de Jong introduced the mon system at the front end of his grading system in 1978. I am of the opinion that this is the pinnacle of the Jan de Jong school of thought.

In an article written by Mike Clarke for Australasian Fighting Arts in 1991, De Jong provides the following answer to Clarke's question, 'Do you think that was a good idea, to change the system to suit the students?':

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 Commandos. Shortly after I had started to 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.

So it was at this 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 then 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 the same, it was only the method of teaching them that was different. And since then things have been much better.

This answer speaks volumes for De Jong on so many levels.

Prior to the introduction of the mon grades, the first gradings were the kyu grades (see a previous blog). The kyu grades are specified defences against specified attacks, albeit graded in shinken shobu no kata format (see previous blogs). The mon gradings consist of eight grades. Students 12 years and under start at first mon, 13-15 years start at 3rd mon, and over 15 years at 9th kyu. The reference to kyu in the mon system reflects De Jong's conceptualisation that mons are for children and kyus are for adults, however, the ninth to seventh kyu grades are part of the mon system and adopt the mon format. Lets look at the final grading of the mon system, seventh kyu, as an example of this format.

Breakfalls (Ukemi Waza) - demonstrate specified breakfalls.
Wakai no Kata - demonstrate a kata De Jong designed to introduce punching, kicking, and blocking at this level.
Throwing techniques (Nage Waza) - demonstrate specified throwing techniques from specified attacks.
Bodymovements (Taisabaki) - demonstrate specified bodymovements.
Unbalancing (Kuzushi) - demonstrate specified unbalancing techniques from specified attacks.
Locking techniques (Kansetsu Waza) - demonstrate specified joint-locking or joint techniques from unspecified attacks.
Basic blocks and attacks (Uke and Atemi) - demonstrate specified blocks and punches from specified attacks.
Reflex (Shinken Shobu no Kata) - see previous blogs.

I'll speak from a jujutsu perspective, although, many of the observations are applicable to most other martial arts. A review of the jujutsu literature will quickly reveal that the art is taught as defences against attacks. As tricks, which is in fact how H. Irving Hancock and Katsukuma Higashi describe each of their defences in The Complete Kano Jiu-Jitsu.

Gerry Carr, in Biomechanics for Coaches, advises breaking down sport skills into phases. This reduces the possibility (probability) of the student being overwhelmed by the complexity and speed of the skill they are trying to learn, and makes it much easier to look for errors in their performance. He suggests that many skills can be broken down into the following four phases: (1) Preparatory movement (set up) and mental set, (2) windup, (3) force-producing movements, and (4) follow-through (or recovery).

Masatoshi Nakayama, in the classic Dynamic Karate, is a rare example of a martial artist dividing his skills into phases. When discussing the height of stances, he explains that 'the form of a particular stance is different in the ready position from its form at the time a technique is applied. The form of the stance immediately after the technique has been applied again differs from the preceding two. There is a delicate change at each stage, although the form looks almost the same.' Interestingly, for me at least, this reflects the injury science division of the injury production process by William Haddon into pre-event/pre-injury, event/injury, and post-event/post-injury phases. This is included in my book on the application of injury science and pain to the martial arts tactics and techniques.

Jigoro Kano, of course, is very well known for his division of judo throwing skills into kuzushi-tsukuri-kake, unbalancing-fitting in-execution. Tadao Otaki and Donn F. Draeger, in Judo: Formal Techniques, suggest this division is not only used for throwing techniques but also for techniques used in 'grappling situations'. However, I've never seen it used outside of throwing techniques.

What is De Jong's division of his jujutsu's skills? Based on the mon grades it is taisabaki-kuzushi-waza, bodymovement-unbalancing-technique. He had difficulty in separating the three, particularly when I discussed this division with him when writing Jan de Jong: the man, his school, and his ju jitsu system for him. But they can be divided into these three tactical components for analytical purposes (I refer to them as tactics as the technique is the end part of the tactic). Even De Jong did not fully appreciate the insights he'd achieved and the power of those insights.

We were teaching in Sweden one year and De Jong asked me what he should teach. I said bodymovments. He was very much opposed to the idea based on the grounds that the seminar participants would be bored with this 'mundane' exercise. I argued my case, and as a reflection of De Jong, he did teach bodymovements (albeit at the speed of light). At the end of the seminar we ended up with approximately ten instructors/black belt students requesting private lessons. Not in any of the techniques we'd taught, but in the bodymovements. They could see the uniqueness of this approach and the power of the division of tactics.

Another example of the utility of this approach. When living in London I attended Richard De Bordes pencak silat classes. Their pencak silat was very, very different (and highly recommended) to what I'd seen at De Jong's school. They didn't break their skills into phases of any description, however, I did. Even though they don't use the same bodymovements, nor unbalancing to any great extent, I could still apply this analytical approach to understand and study tactics taught in a relatively foreign martial art. I may not have been immediately proficient, but I knew what I was trying to do. I could practice the component parts of the tactic.

As a full-time instructor working at the Jan de Jong Self Defence School, I was engaged to teach more private lessons than any other instructor in the school. My approach in analysing and teaching techniques/tactics was taisabaki-kuzushi-waza. As Carr suggests, 'errors occurring during an early phase of a skill are bound to affect all the phases that follow. So when something goes wrong at the end of a skill, examine not only the last phase but also earlier phases to see if the root of the problem lies there.' I found that the vast majority of the corrections of a private lesson student's technique lie in the bodymovement. Fix the bodymovement and the unbalancing and technique took care of themselves. I suppose the students paid for my understanding of this methodology as much as they did in my expertise in executing these techniques.

Based on my study of the martial arts tactics and techniques, among other 'scientific' concepts and theories, for my book, I now divide the tactics of any martial art into kamae-taisabaki-kuzushi-waza, ready position-bodymovement-unbalancing-technique. This is a method of analysing the tactics, even when the tactic may not incorporate an element.

But breaking down a skill into phases is just analytical thinking. De Jong uniquely went beyond analytical thinking. Systems thinking has been described as the art of seeing the forest and the trees. According to Russell Ackoff, one of the founding fathers of the systems thinking movement, the difference between analytical and systems thinking is not that one analyses and the other doesn’t, but rather that systems thinking combines analysis with synthesis: analysis, taking things apart, and synthesis, putting things together and understanding how they work together. The fundamental assumption on which the systemic thinking concept is based is that everything is systemic. Everything interacts with (affects and is affected by) the things around it. This is not unlike the worldview adopted by many eastern philosophies.

De Jong broke his tactics down into their analytical elements in the mon grades. He would then teach exercises where the different elements were mixed. Different bodymovements were used with an unbalancing method to execute a technique. Different unbalancing methods were used with a bodymovement to execute a technique. Different techniques were executed using a bodymovement and unbalancing method. De Jong's 'thinking' evolved into systems thinking that was reflected in his mon grades.

One (nameless) instructor who now has is own school has dispensed with the mon grades. Don't throw out the baby with the bathwater. The mon grades have a degree of circularity that was influenced by Minoru Mochizuki's teachings. The kyu grades are more linear and direct, possibly reflecting the Saito brother's original approach. I would argue in favour of not going back to teaching 'tricks' but rather to embrace the systems thinking approach that De Jong adopted, even though he was unaware of it. It has to be said, the De Jong grading system is not seamless. The mon grades prepare the student for the dan grades more than they do the kyu grades. Having said that, they provide the student with the analytical and systems mindset to understand and study the 'tricks' in the kyu grades.

I've found a lot can be learnt from studing De Jong's grading system than simply studying the gradings. Even before I discovered the concept of systems thinking, I knew there was a more holistic approach being taught by De Jong. He wasn't just teaching a martial art, he was teaching a martial arts system. As Ackoff said: 'System is more than just a concept. It is an intellectual way of life, a worldview, a concept of the nature of reality and how to investigate it – a weltanschauung.'