Shogun World Elite Martial Arts

What is Ju-Jitsu

A Brief History

Structured Syllabus

"Budo Mind and Body: Training Secrets of the Japanese" by Nicklaus SuinoRetrieved from http://en.wikipedia.org/wiki/Jujutsu

Self Defence & Bullying

Ju-jutsu,(also spelled: Jujitsu, Jiu Jitsu) is from the Japanese, jujutsu meaning "flexible/gentle/yielding/compliant Art". There is a wide range of spellings used in English for this Japanese martial art. In the native Japanese, jujutsu is written in kanji (Japanese ideograms), but the romanization of the Japanese word into the English language has been performed several times using several different systems.

ETYMOLOGY

Ju-jutsu, the current standard spelling, is derived using the Hepburn romanization system. Before the first half of the 20th century, however, jiu-jitsu and then jujitsu were preferred. Since this corresponded to a period of time when Japanese martial arts first became widely known of in the West, these earlier spellings are still common in many places, though the romanization of the second kanji as jitsu is unfaithful to the Japanese pronunciation.

The word ju-jutsu itself means approximately "gentle skill," and in Japan is a broad term that also includes judo, aikido, and perhaps a few other martial arts. The ju in judo and jujutsu means softness, suppleness or flexibility. But sometimes it was the exact opposite.

HISTORY OF JU-JUTSU
ORIGINS

Fighting forms have existed in Japan for at least a millennium. The first references to such unarmed combat arts or systems can be found in the earliest purported historical records of Japan, the Kojiki (Record of Ancient Matters) and the Nihon Shoki (Chronicles of Japan), which relate the mythological creation of the country and the establishment of the Imperial family. Other glimpses can be found in the older records and pictures depicting sumai (or sumo) no sechie, a rite of the Imperial Court in Nara and Kyoto performed for purposes of divination and to help ensure a bountiful harvest.

Reportedly, a warrior Nomi no Sekuni of Izumo who defeated and killed Tajima no Kehaya in Shimane prefecture while in the presence of Emperor Suinin. Descriptions of the techniques used during this encounter included striking, throwing, restraining and weaponry. These systems of unarmed combat began to be known as Nihon koryu jujutsu (japanese old-style jujutsu), among other related terms, during the Muromachi period (1333-1573), according to densho (transmission scrolls) of the various ryuha (martial traditions) and historical records.

Most of these were battlefield-based systems to be practiced as companion arts to the more common and vital weapon systems. These fighting arts actually used many different names. Kogusoku, yawara, kumiuchi, and hakuda are just a few, but all of these systems fall under the general description of Sengoku jujutsu. These grappling systems were only one component of the Samurai's training, whereas an unarmed or lightly armed warrior could hope to defend himself against a heavily armed and armored enemy on the battlefield. Ideally, the samurai would be armed and would not need to rely on such techniques.

JAPAN'S FEUDAL PERIOD

During Japan's feudal period, sparring in dojos sometimes led to serious injury or fatalities. This form of training was discouraged during the Meiji revolution. The Japanese government sanctioned Jigaro Kano to reform Ju Jutsu schools to ensure that training bouts did not lead to fatalities. The resulting system was coined Jiu Do (The flexible way). Many samurai viewed Jiu Do as a dilution of a pure combat art. These Samurai who would not accept Kano's Jiu-Do emigrated to Europe and started teaching Ju Jutsu to westerners.

Thus Ju-Jutsu became established in the west as Jiu-Do was taking hold in Japan. The essential difference between Ju-Jutsu and Ju-Do is that those who practice Ju-Jutsu do not accept the dilution of the Jutsu's devised by Kano, and prefer instead to maintain traditional training methods that served centuries of Samurai. This form of martial arts can trace its roots back to the early unarmed styles that were popular among the samurai. Early martial arts were often categorized narrowly; kenjutsu for sword-fencing, naginata-jutsu for the glaive, and jujutsu for unarmed. There were many styles of ju-jutsu with different areas of emphasis such as purely empty-hand fighting; in others it was a system of unarmed methods of dealing with an enemy who was armed. Jujutsu, much like Karate and Kung-Fu, is a very general term and is not limited to only one fixed set of techniques. Ju-Jutsu is the father art of judo, aiki-Jutsu (now aikido) and karate-jutsu (now called karatedo). Other systems owe their roots to Ju jutsu including Hapkido (a Korean martial art), which has similarities with modern Ju jutsu.

DEVELOPMENT

In later times, other koryu developed into systems more familiar to the practitioners of Nihon jujutsu commonly seen today. These are correctly classified as Edo jujutsu (founded during the edo period): systems generally designed to deal with opponents neither wearing armor nor in a battlefield environment. For this reason, most systems of Edo jujutsu include extensive use of atemi waza (vital-striking technique). These tactics would be of little use against an armored opponent on a battlefield. They would, however, be quite valuable to anyone confronting an enemy or opponent during peacetime dressed in normal street attire. Occasionally, inconspicuous weapons such as tanto (daggers) or tessen (iron fans) were included in the curriculum of Edo ju-jutsu.

Another seldom seen historical aside is a series of techniques originally included in both Sengoku and Edo jujutsu systems. Referred to as hojo waza (hojojutsu, nawa jutsu, hayanawa and others), it involves the use of a hojo cord, (sometimes the sageo or tasuke) to restrain or strangle an attacker. These techniques have for the most part faded from use in modern times, but Tokyo police units still train in their use today and continue to carry a hojo cord in addition to handcuffs. The very old Takenouchi Ryu and Katabami Ryu is one of the better-recognized systems that continue extensive training in hojo waza.

Many other legitimate Nihon jujutsu ryu exist but are not considered koryu (ancient traditions). These are called either Gendai jujutsu or modern jujutsu.

Modern jujutsu traditions were founded after or towards the end of the Tokugawa period (1603-1868). During this period more than 2000 schools (ryu) of jujutsu existed. Various traditional ryu and ryuha that are commonly thought of as koryu jujutsu actually diverged from gendai jujutsu. Although modern in formation, gendai jujutsu systems have direct historical links to ancient traditions and are correctly referred to as traditional martial systems or ryu. Their curriculum reflects an obvious bias towards Edo jujutsu systems as opposed to the Sengoku jujutsu systems. The improbability of confronting an armor-clad attacker is the reason for this bias.

DESCRIPTION

Japanese jujutsu systems place more emphasis on throwing, immobilizing and pinning, joint-locking, and strangling techniques compared with the empty-handed fighting arts of neighboring China and Korea. atemiwaza (striking techniques) are of secondary importance in most older Japanese systems, as Samurai body armour protected against most striking techniques. The Chinese quanfa/ch'uan-fa (kenpo or kempo) emphasize punching, striking, and kicking more. However, the Chinese art of chin-na has been rumored to be the foundation for Japanese jujutsu and holds many of the same principles.

It is generally felt that the Japanese systems of hakuda, kenpo, and shubaku display some degree of Chinese influence in their particular emphasis on atemiwaza, while systems that are derived from a more purely Japanese source do not show any special preference for such techniques, but will use them as and when they fit into their systems. It is important to realise that schools developed their systems over time to incorparate other facits which may have been lacking in their system. This process is ongoing in all martial art systems. Jujutsu is a learned skill or practice. It may take a student more than 20 years to mature as an exponent of the art. Ju Jutsu practitioners use every conceivable technique to win in combat. In Ju Jutsu, practitioners train in the use of many potentially fatal moves. However, because students train in a non competitive environment, risk is minimised. Students are taught all necessary break falling skills to allow them to routinely practice otherwise fatal throws.

MODERN JU JUTSU

In the modern world, Ju Jutsuka learn defences against simultated full contact attacks. Ju Jutsuka also study the application of strategies against multiple attackers.

Those who enjoy more pugilism have adopted the phrase 'Sport Ju Jutsu' and 'Brazilian Ju Jitsu' in order to distinguish themselves from practitioners of Ju-Do and Ju Jutsu.

'Sport Ju Jutsu' and Brazilian Ju Jitsu are another divergence of Ju Jutsu from art to sport. Sport Ju Jitsu has rules which confine the available strategies to win. Therefore one can consider it diluted Ju Jutsu but in a way divergent from that of Ju-Do.

Ju Jutsu maintains the instruction of dangerous techniques, such as throwing a person from a standing position while having an arm in a jointlock. These can result in serious injuries. However, there is an emphasis on co operative training that prevents fatal injury, and allows the pupil to learn the full breadth of a techniques dynamic (from static learning to dynamic combat) in a progressive fashion.

TECHNICAL CHARACTERISTICS COMMON TO ALL SCHOOLS

Although there is some diversity in the actual look and techniques of the various traditional jujutsu systems, there are significant technical similarities:

Students learn traditional jujutsu primarily by observation and imitation as patterned by the ryu's kata (prearranged forms).

Most kata emphasize joint-locking techniques, that is threatening a joint's integrity by placing pressure on it in a direction contrary to its normal function, or take-down or throwing techniques, or a combination of take-downs and joint-locks.

Sometimes atemi (strikes) are targeted to some vulnerable area of the body will be used to help create kuzushi (the art of breaking balance) or otherwise set-up the opponent for a lock, take-down or throw.

In ju jutsu either force meets force directly (hard style), or force of an attack is used to facilitate a defensive counter attack (soft style). In general, there is great emphasis placed on maintaining the attackers flow of momentum (which follows from the art's name, in which ju connotes pliability and suppleness.

Movements tend to emphasize circularity, and capitalize on an attacker's momentum and openings in order to place a joint in a compromised position or to break balance as preparation for a take-down or throw.

The defender's own body is pospresenting as few openings or weaknesses of its own.itioned so as to take optimal advantage of the attacker's weaknesses while simultaneously.

Weapons training was the primary goal of samurai training. ko-ryu (weapons school) is the study of Samurai fighting using weapons. Systems of ko-ryu use kata as an instructional method but also students practice cutting techniques in isolation. Weapons might include, for example, the roku shaku bo (long staff), hanbo (short staff), katana (long sword), wakizashi or kodachi (short sword), tanto (knife), and jutte/jitte (short one hook truncheon, also known as "power of ten hands" weapon: ju=ten, te=hand), some of the main repertoire of traditional weaponry.

DERIVATIVES AND SCHOOLS OF JU JUTSU

Because jujutsu is both so encompassing it has become the foundation for a variety of styles and derivations today. As each instructor incorporated new techniques and tactics to what was taught to him originally, he could codify and create his own ryu or school. Some of these schools modified the source material so much that they no longer considered themselves a breed of jujutsu.

Circa 1600 AD there were over 2000 ryu (schools) of Ju Jutsu in Japan and there were common features that are characterised of most of them. The technical characteristics varied from school to school. Many of the generalizations noted above do not hold true for some schools of Ju Jutsu.

Some schools went on to diverge into present day Karate, and Aiki styles. The last Japanese divergence occurred in 1905 where a number of Ju Jutsu schools joined the Kodokan. The syllabi of those schools was unified under Jigaro Kano to form Jiu-do (or Judo).

Modern judo is the classic example of a 'Sport' which was derived from jujutsu but is today distinct. Another layer removed, some popular arts had instructors who studied one of these jujutsu-derivatives and made their own derivative succeed in competition. This creates an extensive family of martial arts and sports which can trace their lineage to jujutsu in some part. Brazilian jiu-jitsu has dominated the TV grappling competitions, as the rules of such competions favours that style of grappling, and Brazilian Jiu-jitsu has furthered modern grappling onto new levels.

The way an opponent is dealt with is also dependent on the philosophy of the teacher with regard to combat. This translates also in different styles or schools of jujutsu. Because in jujutsu every conceivable technique, including biting, hairpulling, eyegouging etc. is allowed (unlike for instance judo, which does not place emphasis on punching or kicking tactics, or karate, which does not heavily emphasize grappling and throwing) practitioners have an unlimited choice of techniques.

But there are reasons for these differences in the above martial arts. Karate at first glance may not seem to use many throws or techniques outside of strikes, but if one looks closely at kata, they are there. Anytime the Karate-ka makes a 90-180 degree turn in a kata, a throw is present. The technique is hidden, but once the student is ready, he will be taught the application if the teacher is aware. Because of the hidden nature of the technique in kata, much has been lost through the years.

There are also a number of relatively new martial systems identifying themselves as jujutsu. Some old schools of Japanese Ju Jutsu are:

Sosuishitsu-ryu
Hontai Yoshin Ryu
Araki Ryu Kogusoku
Daito Ryu Aiki Jujutsu
Takenouchi Ryu
Sekiguchi Shinshin Ryu
Shin No Shindo Ryu
Takeuchi Ryu
Tatsumi Ryu
Tenjin Shinyo-ryu
Yagyu Shingan Ryu
Yoshin Ryu

More are listed here http://www.geocities.com/hotsprings/6065/

JUDO AND JUJUTSU

Jujutsu training could be, at times, lethal and it was not uncommon for samurai to die in the dojo. Judo came about because the Japanese government required the dissolution of the Samurai class. It was no longer considered suitable for martial arts training in modern Japan to result in fatalities, so Jigaro Kano was commissioned to devise an alternative training system. Kano Jigoro, devised a system without many of the dangerous techniques known to result in serious training injuries. Judo was the result of many systems of Jujutsu combined. Those systems whose instructors were not in favour of Kano's emalgumation moved their systems abroad. Jujutsu is not for sport, but for practical use in the Samurai world (which ended circa 1890). Techniques like hairpulling and eye poking are not considered conventionally acceptable to use in sport, thus are not included in Judo. Also, trachea chokes and many wrist and elbow locks are absent from Judo's canon.

A Judo technique starts with effecting a grip of your opponent followed by off-balancing an opponent, fitting into the space created, and then applying the technique. In contrast, kuzushi (the art of breaking balance) is attained in Jujutsu by blocking, parrying or defecting an opponents attack in order to create the space required to apply a thowing technique. In both systems, kuzushi is essential in order to use as little energy as possible during a fight. Jujutsu differs from Judo in a number of ways. In some circumstances, Jujutsuka generate kuzushi by striking one's opponent along his weak line. Other methods of generating kuzushi include grabbing, twisting, or poking areas of the body known as atemi points or pressure points (areas of the body where nerves venture close to the surface of the skin).

'HARD' AND 'SOFT' SYSTEMS

Some teachers will favour so called 'Hard systems' that emphasize a more abrasive approach to blocking and countering, while others will prefer taking a 'soft approach' in which the attack of the tori (attacker) will be blocked by parries and deflections from which a counter defense is employed. More enlightened systems employ both strategies depending on the situation to which a technique is adapted to at any given time.

'Brazilian Jiu Jitsu', another divergence of Ju jutsu developed a system that has become popular with exponents of modern martial sporting contests. It differs from Ju Jutsu in that the exponent will try to block an attack in order to quickly attain a clinch. From the clinch, a takedown is employed in order to divert the contest to a wrestling match. Ground work is useful in sporting competitions, where due to rules, most fights end up on the ground. Many other systems of fighting have been generated to fit these sporting contests, and as a result they have been termed mixed martial arts (MMA).

MODERN VERSIONS OF JU JUTSU

If a Japanese based martial system is formulated in modern times (post Tokugawa) but is only partially influenced by traditional Nihon jujutsu, it may be correctly referred to as goshin (self defense) jujutsu. Goshin jujutsu is usually formulated outside Japan and may include influences from other martial traditions. The Brazilian Gracie jiu jitsu system, and all Brazilian jujutsu in general, although derived originally from Judo have evolved independently for many years, and could be considered examples of Goshin Jujutsu. After the transplantation of traditional Japanese ju jutsu to the west, many of these more traditional styles underwent a process of adaptation at the hands of western practitioners, molding the arts of ju jutsu to suit western culture in its myriad varieties. There are today many distinctly westernized styles of ju jutsu, a few of which stick to the roots and basics of ancient Ju Jutsu, but many of which do not.

HERITAGE AND PHILOSOPHY

All Japanese jujutsu have cultural indicators which help give a sense of the traditional character of a school. The more traditionally Japanese and the less Westernized the school, the more you will see:

The type of keikogi or training suit worn, which is usually plain white, often with a dark hakama (the most colorful uniform might be plain black or the traditional blue of quilted keikogi; you are not likely to see stars and stripes or camouflage uniforms).

Lack of ostentatious display, with an attempt to achieve or express the sense of rustic simplicity (expressed in such concepts as wabi-sabi in Japanese) common in many of Japan's traditional arts.

The use of the traditional (e.g., Shoden, Chuden, Okuden, and menkyo kaiden levels) ranking system, perhaps as a parallel track to the more contemporary and increasingly common dan-i (kyu/dan) ranking.

There is the lack of tournament trophies, long-term contracts, tags and emblems, rows of badges or any other superficial distractions.

Japanese culture and religion have become intertwined into the martial arts. Zen, Budhism, Shintoism, Daoism, and Confusionist philoshophy co-exist in Japan; people generally mix and match to suit. Ju Jitsu (translating as "the gentle art") expresses the philosophy of yielding to an opponent's force rather than trying to oppose force with force. To manipulate an opponent's attack using his force and direction, allows Ju Jitsuka to control the balance of their opponent and hence prevent the opponent from resisting the counter attack.The Japanese characterised states of mind that a warrior should be able to adopt in combat to facilitate victory.

These include: an all-encompassing awareness, zanshin (literally "remaining spirit"), in which the practitioner is ready for anything, at any time; the spontaneity of mushin (literally "no mind") which allows immediate action without conscious thought; and a state of equanimity or imperturbability known as fudoshin (literally "immovable mind").

JAPANESE PHILOSOPHY AND THE EFFECT ON JU JUTSU

The philosophy underlying Japanese culture pervades deeply into the martial arts in the context of personal values and combat strategies. The elements of Hara, Haragei and Zazen impact more upon personal perspective of a Ju Jutsuka than they do on technique. That said, controlling breathing during combat carries advantage.

HARAGEI

SAAAA! SO DESU NE. Such is the essence of HARA-thinking. Mr. Matsumoto, an ASAHI journalist, endeavored to explain why the Japanese think as they do, why HARAGEI works, the two types of HARAGEI, and its probable future.

In one of his article for the ASAHI, Mr. Matsumoto suggested that HARAGEI is the product of a farming culture where farmers are expected to group themselves together to "group think," "group feel," "group behave," for a mutually shared goal. Climate and the religious traditions of Japan, especially Zen, have played their part in shaping this characteristic mode of expression. On the latter point, Mr. Matsumoto once wrote:

HARAGEI and ZEN mix well, for ZEN training begins with a rejection of intellection... including logic, reason, and any art of conceptualization or even verbalism. The more eloquent or more articulate you are, the further you tend of get away from the truth.

The school system has also left its mark. Japanese students are not encouraged to analyze things, much less to think on their own. They are supposed to feel. And this is at the heart of the matter. HARAGEI involves the communication of feelings and requires a good deal of sensitivity and intuition. This is perhaps best done when drunk, when the reason is paralyzed. But, drunk or sober, the goal is to merge on an emotional level to achieve an identity of feeling.

The Japanese are particularly adept at this because they are a cohesive and homogenous society. In a playful, but astute analogy, Matsumoto likened Japanese society to NATTO, a fermented soybean cake. Plucking at an actual NATTO cake, he explained that, just as each bean is welded to the whole by a sticky, tasteless paste, so, in Japan, the individual is bound by social connections to family, company, financial world, and government. All are interlinked. All are one. Conformity, and communication, are assured by these bonds and by the common assumptions held by all Japanese. Borrowing a term from anthropology, Mr. Matsumoto asserted that a high context culture, such as Japan's, doesn't need why questions and because answers. Empathy is all.

In his discussion, Mr. Matsumoto distinguished between two types of HARAGEISTS: the KABUKI type "who talks a lot but says little" and the NOH type "who talks little but says a lot." Passing quickly over the KABUKI type, he offered Prime Minister Masayoshi Ohira as an example of the NOH type. Ohira, "the slow ball of Japanese politics," is a typical HARAGEIST because he is inarticulate, expressionless (like a NOH mask), able to accommodate diverse points of view, vague and noncommittal.

HARAGEISTS, by nature, refuse to be pinned down, to answer YES or NO, to dichotomize and polarize. The reason is not deliberately to obfuscate, but rather to avoid delineating differences, to diminish debate, and to promote harmony.

America, and indeed the West in general, has a "why/because" culture. Debate, definition, distinction, and delineation are encouraged. But, not so in Japan. Japanese prefer the vague, the imprecise, the unspecified, the elliptical. (The essence of life is not YES or NO, but YES and NO.) Illustrations abound even in everyday conversations. The simple word WAKARIMASHITA can, in the mouth of a Japanese, take on a vast range of connotation. It can signify, " I understand," " I agree," "I hear you," "Forget it," or "The case is closed."

This characteristic of Japanese communication, perplexing--if not aggravating--to foreigners, is the beauty of HARAGEI. It allows the listener to fill in the blank, to provide his or her own interpretation. "It gives the opportunity to others to think on their own, or feel on their own, more precisely.

Westerners would be well advised to develop the sensitivity needed for this kind of communication. Business people (and news-people too) tend to get bogged down in facts and figures. They should become more aware of the unspoken aspects of communication. Japanese on the other hand, should pay more attention to cultivating the rational faculty, while, at the same time, preserving their skill at HARA-language. Japan and the West are different, and it is important to understand these differences in order to go beyond them to unity and harmony. In this endeavor, HARAGEI may be able to play an important part.

Many thanks to http://members.aol.com/sokogakuen/haragei.html

ZAZEN

Good posture is valued highly especially in Aiki and Karate systems, and in modern times often to the detriment of developing Bunkai. However, posture is often over emphasized to the expense of learning the small details which make techniques work. Hence this is a good example of western thought lacking Haragei. Ki is an important facet of Ju Jutsu technique. Being able to control one's centre of gravity coupled with the desire to refine technique to remove unnecessary movements are skills that separate good performers from poor performers. Often, the young prefer to emphasize physical training. Chikara is the cultivation of physical prowess, and is also an important facet in martial arts training, especially if you lack development of technique. When physique declines with age, those who have cultivated the development of Ki tend to be able to continue training and even improve technique and skill. Those who fail to develop Ki, and prefer to use more strength in the application of technique tend to lose performance ability with age.

Together, these states of mind prepare the Ju Jutsu Ka's psyche for combat, allowing him the utmost potential for reaction. Such effectiveness and the technical competence and mental mastery on which it stands, however, is possible only after a considerable period of serious and devoted training. In ancient Japan, Ju jutsu training dominated Samurai life and students would mature quickly.

These various characteristics or components, taken together, largely describe the principal elements of traditional Japanese jujutsu. If most or all of these characteristics are not noticeable in a so-called jujutsu system, then the legitimacy of the system as bona fide Nihon jujutsu would be highly suspect. This is not to say that the system or school in question does not offer a good training program or effective techniques. It simply suggests that such a system may be more accurately labeled with some other term.

If successful, personal experiences and insights (often gained on the battlefield) help individuals to establish particular "styles," "schools," or "traditions" - in Japanese, the bujutsu ryu-ha.

APPLICATIONS
MILITARY UNARMED COMBAT

Jujutsu techniques have been the basis for many military unarmed combat techniques (including British/US/Russian special forces and SO1 police units) for many years.

LAW ENFORCEMENT

Over time, Gendai jujutsu has been embraced by law enforcement officials worldwide and continues to be the foundation for many specialized systems used by police. Perhaps the most famous of these specialized police systems is the Keisatsujutsu (police art) Taiho jutsu (arresting art) system formulated and employed by the Tokyo Police Department.

SPORT

There are no rules in Ju Jutsu, and hence it is not considered a sport. A "sport" must have rules to protect the safety of competitors. Ju Jutsu was utilised by the Japanese Samurai class whose only goal in combat was to survive or die honourably. Ju Jutsu (Jitsu) refers to the combat systems practiced in their original forms pre Jigaro Kano.