Jigaro Kano, A Short History of the Father of Judo

Wow. A 5 star rating...

This article is pretty good but makes it sound like judo had no ground techniques until the contest with the Fusen Ryu. In fact it was always a part of judo training. The judo kata of pins, chokes and joint (elbow and knee) locks was created some 15 years before the Fusen ryu contest. Kano also loved kata and created most of the Kodokan judo katas which he saw as an essential part of judo training, although it should not take as much training time as randori.

There is a lot more information about Jigoro Kano, early judo, the Kodokan, and the rank system on the Judo Information Site at http://judoinfo.com/history.htm.

Another article about Kano and the relationship to Aikido:

http://www.aikidojournal.com/?id=2138

Most biographies of Morihei Ueshiba, O’Sensei, contain a reference to the October 1930 visit of Jigoro Kano, the founder of Kodokan Judo, to Ueshiba’s temporary dojo in Mejirodai to view a demonstration of Aiki-Budo. All accounts reflect Ueshiba’s demonstration significantly impressed Kano and resulted in his commenting at the conclusion, “This is my ideal budo.” The visit resulted in Kano assigning two of his valued students, Jiro Takeda, a seasoned Judoka, and Minoru Mochizuki, a rising star of the Kodokan and a protégé of Kano, to study with O’Sensei.1

While numerous references to the demonstration exist, no documentation is available regarding the specific techniques demonstrated or the conversation that transpired between Kano and Ueshiba. What did Kano observe that caused him to characterize Ueshiba’s art as “ideal budo” and assign two representatives of the Kodokan to be students of Ueshiba? “What did he see?”

Likewise, in reading the biographies and autobiographies of some of O’Sensei’s most notable deshi (direct students), such as Minoru Mochizuki, Rinjiro Shirata, Gozo Shioda, Kenji Tomiki, and Shoji Nishio, it is clear these men, all outstanding budoka who actively trained in Judo, saw something in Aikido which caused them to pursue it - some exclusively. The question is, “What did they see?”

To begin to answer the question, one needs to look back to a period nearly fifty years before the October 1930 meeting.

Kano’s Vision for Kodokan Judo

Jigoro Kano founded Kodokan Judo in 1882, melding techniques from a variety of jujitsu schools, primarily the Kito Ryu and the Tenshin Shin’yo Ryu. The technical body of Kodokan Judo contains nage-waza (throwing techniques), katame-waza (grappling techniques), and atemi-waza (striking techniques). Included in katame-waza are shime-waza (strangling or choking techniques), kansetsu-waza (joint locking techniques), and osaekomi-waza (pinning techniques). Kano systematically arranged and taught the techniques using a curriculum based upon the educational theories of that era. The Kodokan employed kata (programmed attack and defense), the basis of training in all koryu (classical, pre-Meiji Restoration arts) jujutsu schools, combined with the randori (unscripted, random attack and defense) of the Kito Ryu, to develop combative skills.2

Distinguishing Kano’s Kodokan Judo from the earlier jujitsu schools was the inclusion of ethical principles and the use of scientific analysis. Kano saw Kodokan Judo as a way to preserve traditional Japanese combative arts as a form of physical education, and a vehicle for intellectual and moral training. Kodokan Judo was to be a balance of physical education, philosophy, self-defense, and sport, whose ultimate goal was improvement of society through the spiritual and physical perfection of the individual.3

Kano believed in order for Kodokan Judo to be relevant in the modern world, it had to maintain combative integrity and serve as a vehicle for improving the individual and society.4

Kano designed Kodokan Judo to conform to two overarching principles -Mutual Welfare and Benefit (Jita-Kyoei), and Maximum-Efficiency through the Optimal Utilization of Energy (Seiryoku Zen’yo).5

Kano intended the purpose of training in Kodokan Judo to be the development of shobu-ho (expert technical combative skills), rentai-ho (a physically sound body) and shushin-ho (mental cultivation of moral standards)6 and defined the objectives of Judo to be self-perfection, both physically and mentally, and contribution to the welfare and benefit of society.7

Kazuzo Kudo, Kodokan Judo Ninth Dan and a deshi of Kano, provides the following description of the purpose of Judo as stated by Kano and admonishes, “Anyone who intends to follow the way of Judo must above all instill this teaching into his heart.”

Judo is the path to the most effective use of both physical and spiritual strength. By training you in attacks and defenses it refines your body and your soul and helps you make the spiritual essence of Judo a part of your very being. In this way, you are able to perfect yourself and contribute something of value to the world. This is the final goal of Judo.8

While Kano and some of the senior exponents of Kodokan Judo are credited with the creation of techniques, they drew the techniques from the curriculum of earlier jujutsu ryu, principally the Kito Ryu and Tenshin Shin’yo Ryu. What Kano and his senior students did do was scientifically analyze and modify the existing techniques to make them more efficient in application and less dangerous for the uke (the receiver of the technique).9

In analyzing technique, Kano recognized for a technique to be successful, three elements had to be present: kuzushi, tsukuri and kake. Kano defined kuzushi as uke being in a state of disequilibrium relative to tori (performer of the technique). Tsukuri, according to Kano, was the ability of tori to place him or herself in the proper position to apply the technique. Kano defined kake as the actual implementation of the technique by tori. Kano believed superior technique contained the three elements blending seamlessly and strived to incorporate the blend in the techniques of Kodokan Judo.10

Kano appears to have considered Kuzushi to be the core of Kodokan Judo as an art. Kuzushi to Kano was the manifestation of Ju no Ri - the principle of flexibility, also explained as overcoming through gentleness or yielding (Ju yoku go o sei suru).11

Kano’s concept of Ju no Ri, was based upon the Taoist precept, “reversing is the movement of the Tao,” also described by the statement “the most yielding things in the world overcome the most unyielding.” Kano combined Ju no Ri with the interplay of forces as defined by the precept of in-yo (yin and yang, hardness and softness, negative and positive, receptiveness and resistance), and used the following to explain his concept of Kuzushi founded on Ju no Ri.


When the opponent comes, welcome him; when he goes, send him on his way. (Kureba mukae, sareba okuru)

Five plus five is ten; two plus eight is ten. (Go-go ju, ni-hachi ju) If the enemy pushes with five units of strength, pull with five units of strength; the result is ten units. If the enemy pulls with eight units of strength, push with two units of strength; the result will be ten units.

What then does this ‘gentleness’ or ‘giving way’ really mean?...Let us say that the strength of a man standing in front of me is represented by ten units, whereas my strength, less than his, is represented by seven units. Now, if he pushed me with all his force I would surely be pushed back or thrown down, even if I used all my strength against him. But if instead of opposing him I were to give way to his strength by withdrawing my body just as much as he had pushed, taking care at the same time to keep my balance, then he would naturally lean forward and thus lose his balance. In this new position, he may become so weak, not in his actual physical strength, but because of his awkward position, as to have his strength represented for the moment by only three units instead of his normal ten. But meanwhile, I, by keeping my balance, retain my full strength, as originally represented by seven units. Here, then I am, momentarily, in a superior position, and I can defeat my opponent by using only half of my strength, that is half of my seven units, or three and one-half, against his three. This leaves one-half of my strength available for any [other] purpose. If I had greater strength than my opponent, I could of course push him back. But even if I wished to, and had the power to do so, it would still be better [more efficient] for me first to give way, because by so doing, I should have greatly saved my energy and exhausted my opponent’s.12


In 1887, Kano completed the Itsutsu no Kata (Form of Five) and included it as part of the Official Kata of Kodokan Judo. Kano believed the study and practice of the Itsutsu no Kata would substantially improve the technical ability of judoka (judo practitioners).13

The Itsutsu no Kata consists of five techniques that flow from one to another. The kata superficially demonstrates forces of nature, which Kano often ascribed as being the underlying principles of Kodokan Judo. However, a closer examination of the movements of the Itsutsu no Kata reveal it as Kano’s okuden (teachings fully explained to and intended solely for the use of senior initiates) on kuzushi. The techniques demonstrate the use of Ju (applied flexibility) and the efficient use of power to create kuzushi. The applied principles of kuzushi demonstrated in the kata include overcoming opposition through the application of scientifically applied force, disrupting an attack by evasion combined with the use of one’s energy, employment of horizontal and vertical circular movement in conjunction with gravity to overcome an attacking force, and the effect of the unexpected on an attack.14

Kano realized Ju no Ri could not be applied in every situation, for example to break an opponent’s grip or launch a preemptive strike, and included the use of superior, direct force in Kodokan Judo, provided the use was in keeping with the principle of maximum efficiency through the optimal use of energy.15

Kano envisioned Kodokan Judo as a means to preserve a Japanese cultural treasure, jujutsu, through the application of scientific analysis, educational theory, and the incorporation of ethical principles. Kano believed Kodokan Judo would transform jujutsu from a purely physical art of attack and defense, which he saw to be of little or no value in the modern world, into a means for personal development, both physically and spiritually, and a vehicle for improvement of humanity. Kano in the final analysis viewed Kodokan Judo as Japan’s cultural gift to the world.16

The State Of Judo In 1930

By 1930, Kano had seen Kodokan Judo grow from its humble beginnings in a twelve-tatami (approximately 12’ X 18’) room and nine students in 1882 to a Japanese cultural treasure practiced throughout the world.17

In 1886, Kodokan Judo became the official jujutsu of the Tokyo Metropolitan Police. There are several accounts of the tournament held by the Tokyo Metropolitan Police to identify the school that would provide jujutsu instructors to the agency. The tournament was effectively a “no holds barred” competition, with each match lasting until one of the competitors acknowledged defeat, was unable to continue, or stopped by the officials. All accounts agree the Kodokan prevailed, winning all but two matches in the fifteen-match competition, establishing Kodokan Judo as the preeminent jujutsu school.18

In 1911, the Ministry of Education incorporated Kodokan Judo into the national physical education curriculum.19

In the 1920’s, Kano established the Kobudo Kenkyukai, the Classical Martial Arts Research Association, at the Kodokan to provide instruction in traditional Japanese martial arts in an attempt to preserve these arts for future generations. Kano used the Kobudo Kenkyukai to host outstanding exponents of other martial arts as guest lecturers and provide an opportunity for the senior members of the Kodokan to evaluate their waza and incorporate elements of the arts into Kodokan Judo.20 Among those guest lecturers were Okinawan karate master Gichin Funakoshi, the father of Japanese Karate and founder of the Shotokan,21 and Takaji Shimizu, Soke (the hereditary head of a martial arts tradition) of Shindo Muso Ryu Jodo.22

As an aside, Kano envisioned the incorporation of weapons training as a permanent aspect of Kodokan Judo, and believed the principles of Maximum Efficiency and Mutual Welfare and Benefit applicable to weapons training.23

Finally, Kano was moving forward with the construction of a new Kodokan dojo, the establishment of an international governing body for Kodokan Judo, and the acceptance of Judo as an international sport by the International Olympic Committee, with its incorporation into the Olympic Games.24

Despite the achievements and growth, Kano expressed concerns that Kodokan Judo would devolve into a purely physical exercise, losing its philosophy and its value for the overall development of the individual and society.

Kano recognized that many of the individuals practicing Kodokan Judo focused solely on the competitive aspect and showed no interest in it as a means of moral and intellectual development. When discussing Kodokan Judo, Kano would explain shiai (competitive matches) as one aspect of Judo intended to determine one’s technical strength at a point in time.

Kano feared the emphasis on winning would result in changes in technique, which would prove disadvantageous when one is required to fight in earnest. Kano observed the emphasis upon competition caused a shift from a natural posture, which facilitated relaxation and freedom of movement, to one in which one tenses the body, lowers the hips, spreads the legs, and inclines the head forward. He saw the postural modifications as promoting the use of strength - force against force - at the expense of skill. These modifications, while advantageous in grappling competition, made one susceptible to strikes to vital areas of the body and were in conflict with the efficient use of energy.25

What Did Kano See In Ueshiba’s Aiki Budo?

No detailed description of the October 1930 Aiki Budo demonstration presented by Ueshiba for Kano and his associates is available. However, existing documentation of Ueshiba’s Aiki Budo is sufficient to evaluate it using Kano's vision of Kodokan Judo. (Documentation in English of O’Sensei’s Aiki Budo includes two books, BUDO RENSHU (1933) and BUDO (1938); a short-subject film, BUDO (1935); and the autobiographies, biographies, and interviews of O’Sensei’s pre-World War II era students.)

Based upon the short-subject film BUDO, Ueshiba would have presented a vigorous, well-organized demonstration, displaying the techniques of Aiki Budo in a logical progression. The techniques would have flowed from suwari waza (both tori and uke seated) to hanmi handachi (tori seated and uke standing) to tachi waza (both tori and uke standing), with attacks escalating from various grips, to strikes, ending with weapons. The responses to the attacks would have included nage waza, kansetsu waza, osaekomi waza, and atemi waza.

Kano would have analyzed the techniques demonstrated by Ueshiba using his concept of the three elements of technique: kuzushi, tsukuri and kake, evaluating the presence and efficiency of application of each element, as well as observing the blending of the elements. Kano would then have considered how Aiki Budo conformed to the principles of Mutual Welfare and Benefit, and Maximum-Efficiency through the Optimal Utilization of Energy. Kano would factor all of these points in reaching a conclusion as to its value in modern society - did Aiki Budo possess combative integrity and the ability to serve as a means to improve the individual and society?

Kano would have observed Ueshiba controlling each encounter, employing as appropriate the three traditional martial initiatives, sen, go-no-sen, and sen-sen-no-sen. Sen is forestalling one’s adversary by beginning a technique against them while they are preparing their attack. In go-no-sen, one attacks as the opponent is partway through their attack, catching them unprepared. In sen-sen-no-sen, viewed as the superior initiative, one faces an adversary who is about to attack and masters them by anticipating their state of mind and intention, leaving no opening, thus frustrating their aggression and seizing control. An example of go-no-sen is tori moving from the line of uke’s attack and allowing the attack to pass before initiating a response technique. Tori’s blending into uke’s overhead strike performing an irimi nage (entering throw) simultaneous to uke launching the strike is an example of go-no-sen. While tori initiating a thrust to uke’s face to draw a response, preempting an attack, is representative of sen.26

Ueshiba’s use of hips and legs to create kuzushi and generate power within techniques would have impressed Kano as he considered the coordinated use of the hips and feet for those purposes an innovative aspect of Kodokan Judo.27

Kano would have noted that the majority of Ueshiba’s techniques apply force by pushing or employing gravity to unbalance uke, while the majority of Kodokan Judo techniques apply force by pulling or drawing uke to tori. The method of application of force in Ueshiba’s Aiki Budo would be mechanically more efficient than that employed in Kodokan Judo.

Kano would have also observed that Ueshiba turns when uke pushes, and enters when uke pulls. The entering, or entering and turning, allow him to connect to uke, using blending and the power of his body moving as a unit to unbalance and down uke. The effect is a seamless blending of kuzushi, tsukuri and kake.28 Therefore, the movements of Ueshiba were in keeping with the principles of kuzushi as defined by Kano.

Kano would have observed Ueshiba always moving in a relaxed, upright natural posture, with most techniques executed from shikaku (the dead angle of uke’s attack). This is totally in keeping with Kano’s view of tsukuri in the context of a martial art. In his autobiography, Kano states the following concerning Kodokan Judo practiced as a martial art.


When one studies Kodokan Judo as a martial art, one should move freely, lightly and swiftly, employing a relaxed, natural posture when approaching an opponent to avoid atemi, strikes and kicks, and should move to the opponents right when gripping the opponents right arm. By doing this the left arm of uke will be free, but will not be in a good position to attack. Similarly, uke’s left leg will be too far away to kick effectively, while uke’s right leg will be too close to effectively kick.29

Kano would have taken notice of the emphasis placed by Ueshiba in blending with uke’s attack and the use of non-resistance to lead uke into a state of disequilibrium. The skill level represented in the melding of kuzushi and tsukuri in the techniques of Ueshiba stood in stark contrast to the increased use of strength against strength at the expense of skill that Kano observed in Kodokan Judo contests.

Ueshiba’s actions would have conformed to the concept of kobo-itchi (attack and defense are one), that is attack and defense are two sides of the same coin with the situation determining whether the action is viewed as an attack or a defense. Kano viewed the concept of kobo-itchi to be the basis of action within Kodokan Judo.30

Kano would observe that Ueshiba used gravity to affect kake, while Kodokan Judo employed muscular strength, with the exception of sutemi waza (sacrifice throws) which employs gravity. The expenditure of energy by Ueshiba decreases as the technique progresses, while the techniques of Kodokan Judo usually require an increasing expenditure of energy.

While the extent of Kano’s familiarity with the techniques of Daito Ryu Aikijujutsu, the art from which Ueshiba derived a majority of the technical basis of his Aikido, is unknown. However, Kano was conversant with the techniques of Yoshin Ryu Jujutsu. Yoshin Ryu, which has a number of waza that appear similar to Daito Ryu Aikijujutsu31, was one of the two koryu that formed the technical basis of Tenshin Shin’yo Ryu, the first jujutsu Kano studied. Additionally, Yoshin Ryu was Kodokan Judo’s primary rival.32 Kano would have recognized that Ueshiba had modified techniques from the original, koryu forms to reduce the risk of injury to uke and improve the mechanical efficiency of the technique. An example would be Ueshiba folding back uke’s arm in shiho nage, substantially reducing the potential for injury to the limb, as opposed to Daito Ryu and Yoshin Ryu, which keeps the limb extended, relying upon tori relaxing the grip to avoid injuring uke.

Kano would have also taken notice that Aiki Budo employs the same body movements whether tori was applying empty hand techniques or wielding weapons. This would be in keeping with Kano vision of the universality of Maximum Efficiency and his expressed intention to incorporate weapons training in Kodokan Judo.33

Knowing Ueshiba was never reticent in explaining his vision of Aikido and its purpose, there is a high probability Ueshiba and Kano discussed the principles and objectives of their respective arts. If that did occur, Kano would have seen that Ueshiba also saw his art as a vehicle for personal and spiritual development, a means of forging both the body and spirit, a vehicle for improving society, and a means to bring harmony to the world - a way of peace. Both Kano and Ueshiba believed in the need to include an ethical system in their art that included concern for the wellbeing of others. Kano and Ueshiba saw regular, rigorous training as the means to mastery, and skill in kuzushi the key. Likewise, both saw the need to maintain combative integrity in their art, and for their art to be of value in the world, the guiding principles of the art must be applicable within and outside the dojo.

The only point of divergence in their respective visions was competition. Kano included competition in Kodokan Judo to provide a way of measuring one’s relative skill and intended it to be one element of training. Ueshiba adamantly opposed any competition, believing the element of competition to be divisive and counter to his vision of his art as the path of harmony. Ueshiba believed that both tori and uke should actively work together to perfect their technical skills and there should be no winner or loser. Ueshiba believed each person, whether in the role of tori or uke, should take an active role in training and each should benefit from their respective efforts.

Unfortunately, no one will ever know with certainty what impressed Kano in Ueshiba’s demonstration, absent the uncovering of written comments. However, based upon a letter from Kano to Ueshiba, dated October 28, 1930, it is known that Kano was most appreciative of the opportunity to observe Ueshiba’s art and that he committed two individuals, who he personally valued as martial artist, to study with Ueshiba.34

So, what did Kano see? Kano, the nineteenth century man of science in the tradition of Thomas Huxley, saw in Ueshiba’s Aiki Budo - the work in progress of a man of limited formal education, operating on intuition and spirituality - a reflection of the principles, training methodology, application and objectives, which Kano had envisioned for Kodokan Judo. Particularly intriguing is Kano’s description of Ueshiba’s Aiki Budo as “my ideal budo,” as the formal name of Kano’s art, which appears on all yudansha (black belt) certificates issued by the Kodokan, is Nippon Den Kodokan Judo, which implies “the best budo of Japan.”35


Postscript

In 1956, Kodokan Judo added an eight, and perhaps final, kata, Kodokan Goshin Jutsu, to the Official Kata of Kodokan Judo. A committee composed of twenty-five senior Kodokan Judo yudansha, chaired by Sumiyuki Kotani (Kodokan Judo Judan, Tenth Dan, and deshi of O’Sensei), developed the Kodokan Goshin Jutsu over a period of three years. Kenji Tomiki (Kodokan Judo Hachidan, Eighth Dan, and Aikido Hachidan and deshi of O’Sensei) served as a special technical adviser to the committee and author of an instructional book on the kata, Goshin Jutsu, published in 1958. As one would expect, an examination of Kodokan Goshin Jutsu reveals the dominant influence of Aikido in the formulation of the kata.36

In the preface to Tomiki’s book on the Kodokan Goshin Jutsu, Risei Kano, then president of the Kodokan, made the following comment.

"Kano Shihan made every effort possible to complete Judo as a modern physical education, but could not yet systematize the self-defense aspect of Judo which is contained in the classical Jujutsu even though he did study it deeply. The fact he was very much concerned about the self-defense aspect of Judo is clearly seen from the fact that he sent some of his students to Sensei Ueshiba to study Aiki-Jujutsu ….”37

The comment of Risei Kano confirms the impact of O’Sensei and his art, Aikido, on Jigoro Kano.

Found another thread by BigRod about Kano and the Kodokan, for cross reference:

http://www.fightingarts.com/ubbthreads/showflat.php/Cat/0/Number/15812125/an/0/page/2#15812125