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Judo Class by Master Kyuzo Mifune

Judo Class by Master Kyuzo Mifune


Part 1 This is Mifune Kyuzo,
a 10th Dan in Kodokan Judo. At the time of this filming, he had been
continuously training and scientifically
researching Judo with all his heart for
the past 60 years. He was known as a great master, with
an amazing ability to do things at will. This video was created to preserve
what he accomplished. Randori is a part of training used to
polish techniques. It allows you to take what you have
studied and learn how to apply techniques
while countering the opponent’ s movements. Here 10th Dan Mifune makes Randori look
effortless, rendering 8th Dan Shirai
unable to do anything against him. Truly to become this skilled, there’ s
no other way but by making a continuous
daily effort to study and train. Truly to become this skilled, there’ s
no other way but by making a conti-
nuous daily effort to study and train. Judo training begins and ends with a bow. B y bowing you pay respect to your
training partners. Through this graceful expression
your life is enriched. Make no mistake;
training in Judo is hard on the body! In order to prevent
injury it is important to warm up
the muscles and joints properly. Also in Judo you will be thrown to the
ground repeatedly so it is important to learn to fall
to the ground without injuring yourself. This is done
by using a technique called Ukemi. Kuzushi Kuzushi are ways of moving your opponent
off balance. To the front right ->to the back left To the front left ->to the back right Straight forward ->straight back wards To the left side ->to the right side These are the eight basic ways of breaking
the opponent’ s balance. Te Waza Your arms, legs and hips all need to
be working together when doing techniques. Once you are able to achieve this,
your techniques will be complete. With this in mind,
Te Waza focus on how to make best
use of your arms within techniques. Uki Otoshi Moving the opponent’ s balance to the front
right, use your hands as if on
a steering wheel. Tai Otoshi ( version 1 ) Thrust your hips into the opponent and place
your right leg across his while pulling
him over your shoulders to the ground. Tai Otoshi ( version 2) While the opponent is moving back place
your leg across his and pull him
to the ground. Yama Arashi Grabbing the opponent’ s sleeve and lapel,
move him off balance to the front
and pull him down. Seoi Nage ( v 1 ) Place the opponent on your back and throw
him over your shoulders. Seoi Nage ( v 2) Getting the opponent’ s right shoulder for
Ipponzeoi. Seoi Nage ( v3) Getting the opponent’ s left shoulder for
Ipponzeoi. Seoi Otoshi Drop to your knee and pull the opponent
straight down. Ganseki Otoshi While setting up for a choke, the opponent
moves to defend and you take advantage of his opening by placing him on your
back and then throwing him over your head. Sukui Nage Turning and coming in from the side,
pick up the opponent by the hips
and drop him over backwards. Obi Otoshi With one hand take the front of his Obi
and with the other hand, reach around from the front and
take the back of his thigh. Morote Gari Drop down low and move in wrapping
your arms around his legs from the front,
taking his thighs. Pull and lift up to drop him. Te Guruma ( v 1 ) As the opponent comes in for Oguruma
your right hand takes his thigh
and your left hand takes his hip. Pull and lift to drop him. Te Guruma ( v2) As the opponent comes in for Hanegoshi,
your left hand lifts up from underneath
on the inside of his thigh. Pull and lift to drop him. Kibisu Gaishi The opponent attacks with Okuriashi Harai
and you skillfully move out of the way. Drop to one knee and sweep out
his right side. Kata Guruma ( v 1 ) Drop down low and come into the opponent
lifting him up onto your shoulders
from underneath. Kata Guruma ( v2) With the opponent’ s balance moving to the
front left, come in from the outside neutralizing
the opponent’ s strength in his hips and
shoulders. Kata Guruma ( v3) As the opponent steps forward with
his left leg, come in from the outside
and get a hold of his leg. Pull and lift up to throw him. Sumi Otoshi This technique is commonly referred to
as Kuki Nage ( Air Throw ) and
was developed by 1 0th Dan Mifune. This technique was developed from the idea
of being able to knock the opponent over without touching him with either your legs
or your hips. While the opponent’ s balance is moving
to the back right drop y our body. Moving expertly with the work of
both arms you are able to throw
the opponent. Tama Guruma When something is dropped at our feet
we instinctively react and so 1 0th Dan Mifune creatively used
this principle to develop Tamaguruma. Throw your body to the ground
at your opponent’ s feet and with
your right hand if you push lightly on his knee he will flip
over your head. Koshi Waza All techniques require the use of arms,
legs and hips working simultaneously
to be effective. Uki Goshi As the opponent makes his move,
turn and come in with y our left side, stick your hips into him and throw him
over to the front. Koshi Guruma Wrap the back of the opponent’ s neck
with your right hand, thrust your hips in deeply and use them
as the fulcrum over which to throw him. Harai Goshi ( v 1 ) Your right hand moves
around to the opponent’ s back, turn and thrust y our hip slow into the
opponent’ s abdomen and as your right leg
sweeps up push through with your hips. Harai Goshi ( v 2) Taking the front of his Obi, turning to the
left pull your hips into the opponent
and sweep out his legs to throw. Tsurikomi Goshi ( v 1 ) In the moment that you thrust your hips
into the opponent he straightens
his spine to guard against a throw, so drop down even lower and pull him over. Tsurikomi Goshi ( v 2) Taking him under his left elbow
and lifting up from underneath, as his balance moves forward thrust
your hips in and pull him over. O Goshi Thrust in with y our right hand pull in
twisting your hips to get the opponent
on his toes. Scoop up from underneath to throw. Hane Goshi Just as he steps with the left leg,
pull your hips into him lift up
with your right leg to throw. Hane Maki Komi This is a variation of Hane Goshi. While lifting up into the opponent,
spin your body into him to knock him over. Soto Maki Komi As the opponent’ s balance moves forward
and to the right Use your right arm over top of his
to trap it and spin your body into him
to knock him over. Uchi Maki Komi Controlling the opponent’ s upper arm
roll into him. Ushiro Goshi As you drop your hips to guard against
Haraigoshi lift him up and then drop
him straight down on his back. Utsushi Goshi When the opponent comes in
with Hanegoshi, drop your hips to guard against it
and then quickly lift him up and insert
your hips to throw. Tobi Goshi As the opponent comes in for Hanegoshi
let him swing you onto his hips, then jump over his leg and slide around
to the front.
Thrust your hips into him to throw. Ushiro Guruma As the opponent moves to lift you up
from behind, drop your hips
and reverse it on him by lifting him up. Ma Sutemi Waza Ma Sutemi Waza is
throwing your body to the ground
to throw the opponent over you. Tomoe Nage While moving his balance forward, throw your body to the ground and push
with the bottom of your foot into the
opponent while pulling with both hands. Sumi Gaishi While moving his balance forward, throw your body to the ground directly
under him and put the instep of your foot
on the back of his thigh and push up. Hikikomi Gaishi While moving his balance forward,
wrap up his right arm and throw your body
to the ground directly below of him. Place the instep of your foot on the back of
his thigh and push up. Tawara Gaishi Wrap your arms around him
as if you are carrying a heav y bag of rice, hold onto the opponent and throw
your body back wards. Ura Nage ( v 1 ) When the opponent attacks
with Koshiwaza, you hold on to your left hand with your
right hand and take him over backwards
as you throw yourself to the ground. Ura Nage ( v 2) Put some strength into your stomach and
hold him up by his hips then throw him
down over your left leg Nage no Kata In order to get better at Tachi Waza,
it’ s important to train hard at Randori
and at the basic throwing waza. Uki Otoshi Seoi Nage In practicing the kata one person is
designated as the Tori or attacker,
and the other is the Uke or defender. By training this way you will naturally
come to remember the knack for throwing. Kata Guruma When your footwork, hip rotation and arm
movements are all working together, only then will you have accomplished
the wonder of Tachi Waza. Uki Goshi Harai Goshi Tsurikomi Goshi Okuri Ashi Harai Sasae Tsurikomi Ashi Uchimata Tomoe Nage Ura Nage Sumi Gaeshi Yoko Gake Yoko Guruma Uki Waza Nage Ura no Kata Uki Otoshi ->Tai Otoshi Once you get better at Judo, you will come to understand the opponent’ s
intentions as if you hold his heart
in the palm of your hand.
( as if his mind were an open book) Seoi Nage ->Yoko Guruma And then no matter what waza the opponent
moves to attack with, in that moment
you will be able to sense
what is coming and preempt him. Nage Ura Kata are techniques grouped
together by 1 0th Dan Mifune to aid in your
study of countering the opponent’ s attacks. Kata Guruma ->Sumi Gaeshi It may look as though these are merely
defensive waza, but in actuality these waza are attacks
against the opponent’ s weak points. Tai Otoshi ->Kotsuri Goshi Obi Otoshi ->Guruma Okuri Ashibarai ->Tsubame Gaeshi Kouchi Gari ->Hiza Guruma Ouchi Gari ->Tomoe Nage Sasae Tsurikomi Ashi ->Sumi Otoshi Uchimata ->Tai Otoshi Hane Goshi ->Kari Kaesu Harai Goshi ->Ushiro Goshi Han Goshi ->Utsushi Goshi Uki Goshi ->Yoko Wakare O Goshi ->Ippon Seoi Let’ s take a better look at
how he counters these techniques. Uki Otoshi ->Tai Otoshi Seoi Nage ->Yoko Guruma Kata Guruma ->Sumi Gaeshi Tai Otoshi ->Kotsuri Goshi Obi Otoshi ->O Guruma Okuri Ashi Harai ->Tsubame Gaeshi Kouchi Gari ->Hiza Guruma Ouchi Gari ->Tomoenage Sasae Tsurikomi Ashi ->Sumi Otoshi Uchi Mata ->Tai Otoshi Hane Goshi ->Kari Kaesu Harai Goshi ->Ushiro Goshi Han Goshi ->Utsushi Goshi Uki Goshi ->Yoko Wakare O Goshi ->Ippon Zeoi Katame Waza Commonly known Ne Waza or groundwork
techniques, such as pinning the opponent, applying joint locks and applying chokes are
what make up Katame Waza. In contrast with the techniques
from Take Waza, Ne Waza require a more continual movement
and for that reason they require more
energy and endurance. Even though y ou are lying underneath
the opponent while defending against
their Ne Waza, this is not a passive form of defense. Transitioning to Newaza In actuality you should be attacking without
end and then in other words your attack
becomes your defense. Katamewaza Kesagatame Pin his right hip and both shoulders down
to stop him from moving, hold his base of
neck with your right hand, and roll in his right arm with your left hand
and drop your head to lock him up. Kuzure kesagatame With your left hand, defend against the
opponent’ s right arm and control him with
your right elbow and hips. Uragesa With your left hand grab up high on his
collar and wrap your right hand under
his left armpit and squeeze to control him. Ushirogesa With your hips press into the opponents
shoulder and neck. With your left hand push down
and pin the opponent’ s left arm. Katagatame With your shoulder and neck straighten
the opponent’ s arm. Then your right arm comes around
the opponent’ s neck,
clasp your hands together and squeeze. Kami Shihogatame With both knees,
scissor the opponent’ s neck and
use your belt to control him. Kuzure kami Shihogatame Pin his right arm and control him by using
the left part of your belt to squeeze
around his jaw. Yoko Shihogatame ( version 1 ) With y our left hand grap the back of his
collar and with your right hand take
the back of his hips to control him. Yoko Shihogatame ( version 2) Attacking the opponent’ s shoulder
and base of the neck, use your left hand to take his neck
and move to the left to control him. Uragatame Take his left arm with your leg and with
your right hand take
the opponent’ s right arm and lock it. Control him by turning him face up. Tate Shihogatame ( v 1 ) Lock up both of the opponent’ s arms
and push with your chest. Tate Shihogatame ( v2) Slip your left hand in behind and grab
his belt, pin his left arm to control him. Tate Shihogatame ( v 3) Lock the opponent’ s neck with your belt
to control him. This is Mifune’ s Kakari Geiko 1 0th Dan Mifune trains every day
at the Kodokan, but occasionally he is invited various
places to lead training for large groups
of people. He starts with a demonstration
to set the standard for training. Here he uses
Harai Goshi to throw the opponent. Okuriashi Harai Hane Goshi This next young man,
who weighs 34 kan( 1 27 Kilos ) and came to
Japan to train very hard in Judo, is 3rd Dan Grille from France. O Guruma Sumi Otoshi Next up is 4th Dan Palmer from England. He came to Japan in 1 951 ( showa 26)
to study Judo and has been living and
training here ever since. Yoko Wakare Hiza Guruma And once again Hiza Guruma 4th Dan Sakumoto is 1 . 94 meters tall
and weighs 1 08 kilos. In comparison,
10th Dan Mifune weighs 48 kilos. Kata Guruma Sumi Otoshi O Guruma Tomoe Nage Next is 7th Dan Honbe. Moving on to Ne Waza. No matter if you are fighting the opponent
standing up or grappling with him
on the ground, you need to be able to move your body to
a safe place to defend against his attacks. Being able to move your body freely to get
to this safe place is called Hen ( change ) . At the same moment that you are performing
Hen you are drawing the opponent out as
he attacks. This causes his openings to quite naturally
present themselves and by being able to
change freely and take advantage of them this is called Ou. Hen and Ou are actually one and should not
be thought of as two separate things. Training year round in the Kodokan
continuously for 54 years,
1 0th Dan Mifune has never missed a day! Rei ( Bow ) That concludes the first part of this film. Part 2 The Five Forms The five forms are an expression
of the ideals of Judo. 1 – This is the idea
that it is impossible ton defeat something
when it’ s in its pure form. 2 – This is the idea
that you can win without resisting. 3 – This is the idea that when two things
turning come together, they continue turning and then naturally
separate again. 4 – This is the idea that when a big wave
rolls up onto the shoreline it draws back out washing and filtering
out everything in its path. 5 – This is the idea
that when two forceful objects hit
they will destroy each other so instead if they never meet then
they can continue to exist stress free. Training is necessary to develop proper
Tai Sabaki, through which we see the effectiveness
of economic body movement.
It is very balanced whole body movement. Accordingly using your Tai Sabaki
with the energy of the opponent’ s attack
is the key to kobo no jutsu. What is the essence of Judo? What is the very heart of Judo? Let’ s listen as 1 0th Dan Mifune answers
these questions for us. The foundations of Judo are expressed
through this ball or sphere. A sphere has never known
what it is like to fall over ( of balance) . No matter where it bounces,
its center ( of balance) is never lost. In short the sphere is something
that will never fall over. By maintaining its center of balance
it is able to produce infinite variations because there is no wasted movement
from the sphere. As a result training that has spanned
more than 60 years in Judo, 1 0th Dan Mifune discovered
that his body is like the sphere. While leading training he shows that
when pushed, turn and when pulled go
with it on an angle. This is the same idea as the non-wasting
movement of the sphere. There is an old expression
that the secrets of Budo are,
”When pulled, push. When pushed, pull. ” Using the principle of the sphere to never
lose his center of balance, 10th Dan Mifune turns
when pushed and when pulled he moves
with it on an angle. Through dedicated training, a person’ s body can become just as
capable of adapting ( its balance )
as the constantly transforming sphere. Ashi Waza When your arms, legs and hips are
all working together, your technique will most certainly be
effective against your opponent. With that movement in mind,
Ashi Waza concentrates on using the legs. De Ashi Harai Just as the opponent is about to step
on the tatami mat, use your foot behind
his ankle to sweep out his leg. Pull straight down with your left arm
to take him down. Kosoto Gake With the opponent’ s balance moving
to the front right, as you pull place the bottom of your foot
on the side of his ankle to take him down. Kosoto Gari With his balance moving backwards place
the bottom of your foot behind his ankle
and take him down. Kouchi Gari Use the back of your leg just above
the ankle to hook his leg from the inside
and take him down. Ouchi Gari Hook your leg on the back of his knee
from the inside and take him down. Osoto Gari( version1 ) Hook your leg on the back of his knee
from the outside and lift up with your leg. Osoto Gari( version2) Just in the moment that opponent lifts
the weight off of his right leg, hook the back of his knee and
take him down. Osoto Otoshi With y our right leg coming in from above,
slide it down his leg to the back of
his thigh to take him down. Osoto Guruma While doing Osoto Gari,
straighten your right leg hooking
it behind his left leg to take him down. Hiza Guruma ( v 1 ) With the opponent’ s balance moving forward
place the bottom of your foot on his knee
and pull him down. Hiza Guruma ( v 2) Just as he is taking a step,
push with the bottom of your foot into
his knee and pull him down. Ashi Guruma( v 1 ) While opening his stance to the right push
with the bottom of y our foot into
his knee and pull him down. Ashi Guruma( v 2) With his balance moving to the front left,
block his left knee. Sasae Tsurikomi Ashi( v 1 ) While opening his stance to the left take
him down by using the bottom of your foot
against his ankle and lifting up. Sasae Tsurikomi Ashi ( V2) Just as he is taking a step,
lift up with the bottom of your foot to
prevent his move. Harai Tsurikomi Ashi As his right leg is going back,
use the bottom of your foot to push
and sweep his leg. Okuri Ashi Harai As you move forward
and to the side you sweep both his legs
by using Yoko Ichimonji. Tsubame Gaeshi You evade Ashi Harai and counter
with the bottom of your foot sweeping
out his leg. Uchi Mata Jump directly in with the back of your
thigh pushing up against the opponent’ s
inner thigh. Pull straight down. O Guruma Thrust your hips into the opponent
and pull his balance over onto your hips, straighten your right leg and sweep up
to take him down. Yoko Sutemi Waza Yoko Sutemi Waza are techniques
where you throw your own body to the ground so that you can throw
your opponent off to the side. Yoko Gake( v 1 ) With his balance moving to the front right
and while you are throwing your body
to the ground, use the bottom of your foot to sweep
out his right leg. Yoko Gake ( v2) While opening his stance to the right,
throw your body to the ground and sweep
out his ankle. Yoko Wakare( v 1 ) With his balance moving to the front right,
pull and throw your body to the ground
directly underneath him to drop him. Yoko Wakare( v2) With his balance moving directly to
the front, pull and throw your body
to the ground to drop him. Ude Gaeshi From underneath the right arm,
grab up high on the lapel and as you pull
on his right wrist with y our right hand, throw your body to the ground
to drop him. Uki Waza( v 1 ) As you pull the opponent’ s balance off
to the front right, throw your body straight down
to the ground throwing the opponent
over y our shoulder. Uki Waza( v 2) Just as your body goes to the ground,
you throw the opponent over your shoulder. Tani Otoshi Pushing your opponent’ s balance back
and to the right, extend your left leg out
as you throw your body to the ground. Yoko Otoshi While moving the opponent’ s balance
to the right, throw your body down
to the ground taking him down to the side. Yoko Guruma Before the opponent can perform Koshi Waza,
throw your body to the ground
with your left leg out to prevent his move. Use both hands as if you are controlling
a steering wheel and throw him
over your shoulder. Wakare As the opponent jumps back to escape
your attack, grab hold of him and throw him over
your shoulders while throwing your body
to the ground. Shimewaza There are three basic forms of chokes.
Katate Juji Shime, Gyaku Juji Shime and Nami Juji Shime. Katate Juji Shime Gyaku Juji Shime Nami Juji Shime Ura Juji Shime Hadakajime ( Version 1 ) Hadakajime ( Version 2) Katahajime Ryotejime Sode Guruma Tsukomijime Tawarajime Hasamijime ( V 1 ) Hasamijime ( V2) Okurierijime Katatejime Kansetsuwaza Udegarami ( V 1 ) Udegarami ( V2) Udegarami ( V3) Udegarami ( V4) Jumonjigatame Ude Kujiki Udegatame Ude Kujiki ( V 1 ) Udegatame Ude Kujiki ( V2) Udegatame Ude Kujiki ( V3) Udegatame Ude Kujiki ( V4) Hizagatame Ude Kujiki Tachiai Ude Kujiki Tai gatame Ude Kujiki ( V1 ) Tai gatame Ude Kujiki ( V2) Kataosae Taigatame Ude Kujiki Aomukegata Ude Kujiki Sankakugatame Ude Kujiki ( V 1 ) Sankakugatame Ude Kujiki ( V2) Sankakugatame Ude Kujiki ( V3) Ashigarami Ashikujiki The basic body movement of
Newaza is to defend against the opponent
from moving in. There are many ways of escaping Newaza. Kesagatame no nige Katagatame no nige Okurieri Jime no nige ( version 1 ) Okurieri Jime no nige ( version 2) Jumonjigatame no nige ( v 1 ) Jumonjigatame no nige ( v2) Sankakugatame no nige Ashigarami no fusegi 1 0th Dan Mifune also puts a lot of effort
into training the children. He gives special attention to these
youngsters by showing them step by step
what to do. This eleven year old is receiving training
from 1 0th Dan Mifune and he moves
surprisingly well. From this young group of students there
will surely come many good masters. Judo for women, which was started to
provide women with higher education, is growing very fast and it’ s being used
for a wide range of things such as
basic exercise, self-defense and health. Now we see that Judo is not something
that is impossible for women. Goshin Jutsu Goshin Jutsu evolved as a way to evade
and protect against opponent’ s attacks. 1 0th Dan Mifune took the basics of
many schools of Goshin Jutsu, added
his own ideas compiled them into his art. Idori Yoko Uchi This movement is used when the strike
is coming for the temple. Tsukiage Protecting against a strike to the jaw. Ryotsukkake Protecting yourself against
two punches to the body. Hadaka Jime Defending against a choke from behind. Uchikake Defending against a strike to the
top of the head. Ketaoshi Defending against a kick to the pit
of the stomach. Oshi Fuse This movement is used
when shoved from behind. Tsukkomi Dealing with a knife thrust to the pit
of your stomach. Kirikake Escaping a downward slash from a knife. Yoko Tsuuki Defending against
a knife thrust to your side. Tachiai Uchikake Defending against a strike to the top of
your head. Tsukiage This movement is used when
there is an upward strike for y our jaw. Yokouchi Defending against a strike to the side
of the face. Ryotsukkake Kamae Defense against a two handed attack. Suigetsu Ate Movement used when the attack
is coming for the pit of the stomach. Uto Ate Defense against a strike to the middle
of the forehead. Keage, Defending against a kick. Yoko Harakeri Body movement
against a sweeping heel kick. Munetori Tsukkake Movement against a grab to the chest
and a strike to the pit of the stomach. Kotehishigi Defending against an attack
while the opponent is passing beside you. Ushiro Uwatori Evading a grab from behind. Ushiro Shitatori Movement used when grabbed below
your arms from behind. Ushiro Eritori Dealing with a situation
when your collar is grabbed from behind. Tsukkomi Dodging a knife thrust. Uetsuki Sashi Defending against a stab to the top
of the head. Shitatsuki Sashi Movement against a thrust to
the lower abdomen. Joutsuki Dodging a thrust from a Jo-staff. Joutsukikake Dealing with an attack from a Jo-staff. Nukigake Controlling the opponent as
he moves to draw the sword. Kirisage Movement against a downward cut
from a sword. 1 0th Dan Mifune preparing to face
challenges from high-level students. A match is different from training
in the fact that who ever gets
the first Ippon ( point) wins. First up is Izumiyama who is 6th Dan. He attacks with Hidari Hanegoshi
and then Seoi, and then once again
with Hanegoshi and Seoi, but it is to no avail as 1 0th Dan Mifune
expertly evades them all. That’ s Tomoenage for 1 0th Dan Mifune. Next up is Kusanagi who is 7th Dan. He is trying very hard to get Ipponzeoi
by attacking Okuriashi Harai a couple of
times. 1 0th Dan Mifune expertly evades
Hidari Osoto Makikomi and Tomoenage. That’ s Yokowakare for 10th Dan Mifune. 3rd up is Honbe who is 7th Dan. Again attacking with Koshiwaza
1 0th Dan Mifune moves lightly and deftly
evades O Guruma. That’ s Kata Guruma for 1 0th Dan Mifune. Next up is Sugata who is 7th Dan. Attacking with Hidarino Harai-goshi and
Okuriashi-harai, 1 0th Dan Mifune uses
Ukiwaza to counter. Kitabayashi, 8th Dan Small in stature, Kitabayashi attacks
with O Guruma, And then again quickly
attacks with Sasae Tsurikomi-ashi, but 10th Dan Mifune cleverly evades. That’ s Yokogake for 1 0th Dan Mifune. Shirai, 8th Dan Shirai attacks with Ashi-harai ,
Uchimata,
Hanegoshi, Harai-goshi And then attacks with a very dynamic
Tomoenage. That’ s Kata Guruma for 1 0th Dan Mifune. Ito, 8th Dan Ito attacks with Koshiwaza and Seoi
but he can’ t get 1 0th Dan Mifune. That’ s Deashi Harai. Last up is Sato, 8th Dan. He attacks
with Hiza Guruma and Ashi Harai. That’ s O Guruma for 10th Dan Mifune. The beauty of Judo is that
there is no wasted movement. In other words,
the essence of Judo pertains to
how you carry your unified heart. That concludes the second part of this film.
Translation Craig Olson The secrets of Judo
and the martial virtues of Japan.
Mifune Kyuzo as a 9th Dan It has been said that since ancient times
Japanese have been the kind of people
who respect and value Budo. Budo’ s purpose is not only for plotting
conspiracies or performing savage
techniques, but its original meaning was to train
the mind and body to master offensive and
defensive arts as natural principles of life. Budo very much developed; promoted and
refined the virtues of the noble spirit
that is commonly found in Japanese people. Judo was also founded on the principles
of this same spirit. The exquisite skill in being able to
maintain a calm and steady heart while changing to meet the needs of the
fight at hand is most definitely
an expression of the Japanese spirit. At the same time,
being skilled in martial arts prepares
you to win without fighting. Real Budo is the ability to keep
the peace without drawing your sw ord,
or letting arrows fly. With a pure heart, your actions naturally
will follow suit and that’ s why
martial artists aim to have pure hearts, because the foundations of all techniques
are found deep within the heart. Which is why there is no room
for wickedness in the heart. Making your heart like water, it is clear;
like a big tree it is dauntless and
strong, and like the forest it is serene. With your heart like this,
Shingi will develop naturally. Always keeping a unified heart is
the most important essence of Judo. Then you will perform your techniques
freely, like a cloud floating up
in the sky, and with the power of the willow tree
as it bends in accordance with the
force of the wind. Now let’ s watch and see how the best
masters in the world of Judo, 9th Dan Mifune and 6th Dan Shirai,
fare against each other. 9th Dan Mifune creates
Randori Nage Ura no Kata When the opponent has moved in to throw, there remains a momentary optimum chance
for you to expertly reverse it on him. Just when the opponent seems assured
of victory you turn the tables on him
and are victorious. This is what 9th Dan Mifune excels at. Countering Ukiotoshi with Taiotoshi As the opponent tries for Ukiotoshi,
you change it into Taiotsoshi and push
the opponent over backwards. Countering Kataguruma with Sumigaeshi When the opponent lifts you up to do
Kataguruma, quickly place your left leg
inside the opponents right leg to defend and immediately drop your body down
and roll back throwing the opponent over
your right shoulder. Countering Seoinage with Yokoguruma When the opponent moves to throw you
with Seoi Nage, use the momentum of your body falling forward to
your advantage by inserting your right leg
in between his legs and doing Yokoguruma. Countering Taiotoshi with Kotsurigosi When the opponent
pulls your body forward, jump lightly to the inside of his leg
and throw him with Kosurigoshi
just like you are fishing. Countering Obiotoshi with Oguruma Just before the opponent can turn and throw
you with Obi Otoshi you throw him to the
front with Oguruma. Countering Okuriashibarai
with Tsubamegaeshi This is the way you counter Okuriashibarai
with Tsubamegaeshi. Countering Kouchigari with Hizaguruma Using the opponent’ s back ward movement
to your advantage, you counter Kouchigari
by using Hizaguruma. Countering Ouchigari with Karigaeshi When the opponent’ s leg comes in
for Ouchigari you reverse it on him like this. Countering SasaeTsurikomi Ashi
with Sumi Otoshi As the opponent comes in to do
Tsurikomi Ashi, take his balance backward
and flip him. He falls easily. This technique is
9th Dan Mifune’ s famous Kuki Nage. Countering Uchimata with Taiotoshi A variation of Uchi Mata is just as
his right leg comes for the Uchi Mata, slide your left leg around behind
leaving him with nothing but air,
them quickly drop to the left. The important thing
here is this way of slipping your leg by his. Countering Hanegoshi with Kariotoshi The counter for Hanegoshi is
when he steps in for the throw, sweep his legs up from behind and throw
him down. Countering Haraigoshi with Ushirogoshi As the opponent thrust in with his hips,
drop your body down to defend against the
throw, and then at the same time
lift him up to throw him. Countering Hangoshi
with Yokowake Utsushi Goshi. The opponent moves away from
your Hangoshi and so use the momentum
to knock him over with Ushirogoshi. Countering Ukigoshi with Yokowake A variation of Ukigoshi is using
the momentum to your advantage,
you turn it into Yokowakare. Countering Ogoshi with Seoinage As the opponent thrusts his hips
in to throw, turn y our body to the right
to defend against it. At the same time quickly go around
to the opponent’ s front and throw with
Migi Seoi Nage. Goshinjutsu Goshinjutsu is advanced training for
superior martial artists. You will see ways of defending
and taking out attackers whether
they are empty handed or have a weapon. Yoko Uchi The opponent is kneeling in front of you
and when he moves to strike, quickly drop your body a little and strike
to the open side of his stomach and then
throw him down. Tsukiage When the opponent thrusts to your jaw,
draw back a little and then do this to take
him down. Ryotsukikake The opponent punches in with the right arm,
wrap his left arm, move your body
to the left and lock up his arm. Hadakajime The opponent uses
his right arm to choke you from behind. Suddenly you strike to his face and
with the space that is created,
throw him over your right shoulder. Then hit him hard in the face. Uchikake When the opponent is attacking from
a standing position, strike to the top of
his foot and when he flinches back, quickly hook his ankle take like this
and sweep his leg out so that he falls
face up. Keritaoshi When the opponent kicks, seize his ankle
with y our left hand and at the same time,
pull and twist from the outside. As he falls take his knee and pin him. Oshifuse When pushed from behind,
use the momentum to bend forward.
Take his dominant hand and pull him down. Tsukikomi When he thrusts in with a weapon,
turn and shift to the right so all that
he hits is air. Take his wrist, pull him down and kneel
on the back of his wrist. If done strongly
enough he will drop the weapon. As he attacks from the front with the blade,
turn and shift to the left so that the attack
just passes by. Seize his right arm under your left armpit
and lock up his arm. Yokotsuki When he attacks with a blade from the side,
move up to your knees so that all
he hits is air. Then wrap his arm from underneath
and just as he falls strike him in the face.
Then lock up his arm. Uchikake The opponent attacks and you move so that
it just passes by you. Quickly turn him,
knee him in the hip and twist his arm up. Tsukiage As he strikes for your jaw,
strike him in the pit of the stomach. Yoko Uchi When the attack swings
in at you from the side, turn and go under his right arm and choke him
with your left arm across his throat. Suigetsu Ate This is how to defend against an attack
to the pit of your stomach. Uto Ate Next the opponent comes straight
for your face and in that moment
you kick up strongly into his groin. Keriage As he moves in to kick you in the groin,
slip to the inside so that all he hits is air,
and then kick him in the groin. Munadori Tsukikake The opponent grabs your chest and moves
to punch you in the pit of the stomach.
Defend like this. Satsui Wannen As the opponent is passing by you,
he twists your arm and in that moment
you move to the right and throw him like this. Ushiro Agedori When you are grabbed from behind,
slip under his arm like this and push him
down. Ushiro Shitadori When you are grabbed from behind around
the hips,
quickly take his arm and pivot around. Then push in locking up his arm
and kick him in the face. Tsukikomi When attacked to the stomach from the front,
open your stance to the left so that all
he hits is air. Seize him with your right hand and twist.
Then take his wrist and throw him. Ue Tsukisashi When attacked to the top of the head,
first kick the groin and open up to the right. Then strike him in the face with your
right fist. Seize his dominant hand,
fold him up and take his weapon. Shita Tsukisashi He fakes an attack with the scabbard
in his right hand and when he moves
to attack with the blade in his left, seize that hand and knee him in the groin. While disabling his left hand,
move behind him, twist up,
take his weapon and push him down. Nukigake As the opponent is just about to draw
the sword, quickly move in and with
your left hand stop his right from drawing. Then strike to his face and take his sword. Tsukashita In the case where someone cuts down
at you on the street, strike them in the stomach and take
the weapon where his hand is holding it.
Close in and lock up his arms. Exquisite skill only appears
when one is truly moving freely. And this will only happen
when the miraculous work of the spirit
and the physical movement of the body come together
and work as one. It’ s obvious the admiration that other
countries have for the level of Judo
in Japan now, especially in the case of Germany. As you see up against 9th Dan Mifune,
they have sent a wrestling world hero
named Mr. Leman to Japan to study Judo. On the other hand it is like a sacred mission
that Japanese have proudly been able to
polish the spiritual and technical aspects of Japanese Budo
and have it shining out to the rest
of the world like a beacon.

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