| JUDO BIOMECHANICS |
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Certain phenomena of nature exist that have been observed and applied scientifically to the Judo; this is not nothing new, the founders and students of the Martial Arts have been doing it by generations, and for several centuries; observing and imitating the movements of some animals, and some natural phenomena. But in these modern times in which some martial disciplines of the Gendai Budo as the case of the Judo, that discipline has become sport, and Olympic also, these foundations take the present time in the development from new methodologies of education and training. The important in this perspective, is to look for applications that optimizen the yield in the competitions; that it contributes to elevate the effectiveness of perfomance but without losing the aesthetic one; optimizing the movements and the elements of these for each Waza of the Judo; so that the biomechanics of the Judo is the ergonomic result of all the process of preparation and training.
a) MOVEMENT OF THE WAVES
The movement of the waves has several interesting moments in its mechanics of the behavior of waters by wind drift, as they are to retire, to take speed and to form the mass of the wave; soon to cross a distance, advancing revolving; soon the wave that generates a centripeta force in its interior, soon bursts and expands its force, finally it is scattered to come to retire and again to be contracted in another cyclical work of his flow and ebb tide.
There are some techniques in Judo that describe very well this phenomenon, like in some Katas; and for example in the Ukemi, Daki Wakare, or some Sutemi Wazas like Tomoenage and Sumi Gaeshi; and basically in the work of Newaza, in which the body is coiled and rolled frequently, to defend themselves or to neutralize; contracting a force and soon expanding it to apply algun Osaekomi Waza, Kansetsu Waza, or Shime Waza; also resembling the displacement and the constrictora attitude of the ofidios.
When we tried sends, in the phase of Kake, often we bent downwards, being nauseated to us, coiling to us, inclining to us; and we concentrated a centripeta force that finishes sending to Uke, whose body simultaneously follows the sequence of a added force centrifugal, that in good account is the expansion of its body or mass.
b) MOVEMENT Of THE WIND
The Aeolian force is powerful, she serves to push the candles of the ships; in order to generate energia and mechanical work like in the mills; also to move and to transport sands of the deserts; many hills and mountains acquire capricious forms to the being eroded by the wind.
The wind follows capricious directions in the space, linear, circular, or winding; we also know that there are tremendous forces that concentrate in those called phenomena tornados, hurricanes, that are great masses of wind and water. The displacement of the wind, like the internal currents of waters, presents/displays flexibility, and changes of direction with impressive maneuverability.
In Judo we used that principle of maneuverability and alteration of directionality of the Wazas; asi like in the displacements or Shintai, the Taisabaki, and the angles of the Happo not kuzushi. Applying circular to circular movements, semi, short turns, small jumps.
For example, if we applied to a Osoto gari with an oblique directionality, of the later one straight of Uke, and this one makes resistance, we can then enrutar or to modify the direction of our vector forces more towards the right or more towards the left of Uke, so that Uke loses its balance.
It is important to know the sense and the angle the Happo not kuzushi of each technique and its variants; this facilitates the attack, and it allows to know us in fractions of second, when to change and that new directional sense we can adopt when we failed an attack, this is called amendment and capitalization of the error.
To walk and to move on tatami, are in Randori or in Shiai, an art is everything that is due to learn from the beginnings of judoka, and to stay practicing contínuamente; this one is a chapter within the Judo that generally happens almost inadvertent in the training.
To walk with elasticity sinuosity, and maneuverability, allows to create vacios, to shorten distances, to take advantage of hesitations, to open angles, to make feints, to practice combinations.
There are registries of which remarkable competitors like M. Kimura 7th Dan, and And Kanemitsu 9th Dan, passed long time training in the complexities of the Tai sabaki and the Suri ashi; of the Shisei (positions) and the Shintai, to give to more consistency and versatility to its attacks.
The Shintai or displacement, implies to move with respect to the rival, and the position or location of one same one also, taking into account the opening from the base from the feet from the rival, and the continuous modification of the Tandem or point of balance of its body.
In the displacement mobiliza you to the rival of two ways, using their hands, are for hauling, pushing or to exert traction on; that is, it is the point of modification of the scene. The use and sensitivity of the wrists are essential, because they are like the radar that perceives the intentions of the rival, and in them the power resides to commence an effective offensive.
In the other case, you are the point of modification of the scene, because its body is the one that will move to create the spaces, the angles, the distances, and the opportunities to attack.
Using the own weight of its body to haul or to push, helping with shoulders and hips; and concentrating its power in the zone of the low back; not necessarily it is necessary to use the force of the arms in Kuzushi and Tsukuri, but rather in Kake.
As shizentai will give to the keys of the bases of defense and mobility us of the Tandem of the rival, and of how it loads his weight in his legs alternatively, it is horizontally or vertically.
The Taisabaki will say the form to us in that it parks or it moves his feet the rival, is aligned, or the one ahead and other atras. There is judokas that has very rigid displacements, and its defensive system is based on the resistance, have a wide, stable base, but it lasts, of little mobility; opposing a great force which will create more friction.
A good Taisabaki allows to cut the advance of the rival, to anticipate itself opportunely to an intention to attack; and it contributes to the best application of the diverse forms of takes hold or Kumikata.
The movement of the wind remembers us that a flexible displacement, articulated well, fluid, and stable, are able to modify the scene of a combat, enriching the attack, and giving to more stability and coordination to the defense. It is necessary to attack like the wind, that feels like its action, but it is not possible to be seen.
c) MOVEMENT OF SPHERICAL BODIES
It counts the tradition that near Nakasaki a doctor lived and called philosopher Shirobei Akyama, who observed in a willow the behavior of the branches when these were loaded of snow, the branches cedian to the weight of the snow; when the snow caia, the branches recovered their normal position. But late, the doctor created the school Yoshin-ryu or heart of the Willow, and that had many followers.
In falls or the Ukemis, the movement to coil themselves and to rotate the person on its same axial axis avoids to him to be damaged, and simultaneously allows to assume a new and advantageous position.
The spherical bodies roll, do not fall, because its displacement is to circulate around the same morphology of the body, and allows to annul the resistance of the surface or the air.
This it is the principle of the Ukemis, to roll sequentially to avoid to strike itself turning aside the force of inertia and turning it into centripetal in the same rolling body of Uke.
Of the same form, when Tori makes contact with enemy and it is reconciled to the body of Uke to send it this one, it does bending, curving the body, of a concave way in order to generate a centrifugal force in Uke, forcing to the body of Uke to adopt a convex position, and to that this one leaves dismissed towards the Tatami, by application of the impulse and of its own weight of Uke that becomes a added centrifugal force.
In Judo east mechanical principle of the nonresistance is applied or Yawara smoothness ri, when a mass greater F1 moves against another F2, does not take its weight, speed and force; and by the characteristic differences, the first F1 will devastate to second, if é sta F2 tries to resist to him; but if however, the second F2 yielded and it let it pass, it would not happen anything and it could recover his normal position, the first F1, will fail in its assignment.
The system of defense in Judo must be trained in this sense, to my students I teach to them to avoid and to elude the attacks, to block but times to resist, specially in similar weights; the best thing is to use the members, parts and the body, like a movable and unattainable target. For example Sumi Otoshi and Uki Otoshi, asi like the line of the Sukashi and the Gaeshi; they are technical very good of defense to disturb or to neutralize an attack.
d) MOVEMENT OF THE STARS
We are studying the scientific principles that are applied to the system of the Judo, and between the wonders of the Astrophisic, we can contemplate astonished the Earth rotation around the Sun; this it is the transfering movement; as well, we also observed of which the Earth turns on its own axis, in an inclined position or diagonal, which is called tumbling.
The transfering movement gives origin to the stations, this eliptico movement lasts 365 days, giving origin to the summer stations, otono, winter, and spring.
The tumbling lasts 24 hours, and originates the days and the nights, it carries out the Earth turning on his own axis.
When we executed some of the tecnicas of Nage Waza of the Judo, we are simply applying those two gravitational principles, the one of rotation and the one of transfering.
Like asi. Let us say for example Ippon Seoi Nage, once taken Uke and applied the correct Kuzushi, Tori comes to transfer it of its original position that we will call x1, in where is sustained Uke; to another new position that we will call x2, but where this time Uke it was thrown of backs on the Tatami by effect of the caida one.
That process of displacement, in which it is applied sequentially the passages of Kuzushi, Tsukuri and Kake, is what movement of transfering of Uke is called, being displaced from a place to another one, and of a position to another different one, and in elliptical form.
From another side, when Tori enters, and it takes to Uke on his backs, adopting both bodies concave-convex position, and turning Tori between 180 and 270 degrees to send it quickly to Uke, and giving in addition a directional sense to his head and to its shoulders; ahi is being applied the tumbling of Tori.
Uke this one sharp by Tori, but is turning as well around Tori. Being applied also the same sequence of Kuzushi, Tsukuri, and Kake. He is interesting and surprising simultaneously, of how certain cientificos principles can be related and be applied to the Judo to elevate the effectiveness of perfomance in the attack and the defense, asi as in the tactics and strategy of a combat.
We also observed, that during the Kake de Tori, and the more horizontal rotational angular displacement is applied to him, and whatever the more vertical rotational inclination have, the effect of sends will be of the more efficiency.
So that. Because the race or distance that will move the body of Tori will be longer, and therefore there will be more time so that the speed increases its force. This means, that a body can acquire more explosion or forcefulness at more speed and distances; and in the case of Uke, its weight in inertia, will help to obtain a greater effect.
The dimension that the distance has and the speed that is applied Tori to its body, in the phase of Kake, will influence in the increase of effectiveness of yield of waza made. For that reason he is advisable to train to the athlete in the turns, rotations, inclinations as much in the attack, as in the defense, and in which the head plays the most important roll of sense of direction of the applied technique, the head guide to the body in the correct sense to follow.
Many think that the controlled or intelligent force that is applied in a Waza, must be located in the phase of the Kuzushi and the Tsukuri; in other words, the explosion or forcefulness of an attack loads it in these two phases. But he is not asi, the search of the Kuzushi can become by feints or combinations, or creating opportunities by effect of an intelligent displacement, game of shoulders and hips; and the Tsukuri, that is the symmetrical connection of both bodies, must rather characterize by its speed and coordination; leaving to the Maxima power for the Kake, phase in which it will be applied to the traction for the handle and the suitable strongpoint.
For that reason, in the measurement in which we give but importance to these principles in its application to the Judo, our productivity and training in diverse the techniques will be increased for our satisfaction, perfomance and perfection.
e) HARDNESS AND DUCTILITY OF THE BODIES
Firmness and flexibility are two characteristics in the work of the Judo, and we essentially appreciated it in the work to process a defensive system, with suitable guards, opportune displacements, opportune reactions and reflections, changes of tactics and strategies in the defense.
As we appreciated the difference between applying to the hardness and rigidéz of movements; or in another sense, the plasticity, mobility and flexibility to defend themselves and to attack; changing from a state to another one quickly as they require the circumstances in the scene attack-defense.
To the hardness of the body the resistance, the blockade is accompanied; however, the flexibility works with avoids, the cedimiento, and neutralización;y is made desbalanceando the opponent, immediately to enrutar contrataque effective; taking advantage of its own weight, power, and speed of its insolvent attack.
Hardness and ductility mean that, as a body trained and submissive money changers and demanding strategic conditions in a combat or training is amalgamated and responded in behavior efficiency.
Here plays in addition a significant roll, the factors of speed, reaction of movement, adaptation, change, and decision.
A body can be very hard, and can will be moved in spite of its resistance, by another body of greater weight and force.
Like responding to this situation with effectiveness, becoming more duro, but resistant; or yielding, being flexible and taking advantage of the enemy force opposing force and making him lose its balance.
The feints, simulations, and deceit movements require ductility for intempestivo and surprise the change that make lose the balance on the contrary.
In the structure of Judo, each technique has the following mechanical elements that must be coordinated and interrelate to reach effectiveness high performances, to which we will call mechanical factors of the Waza:
a) TIME: A little while or opportunity to attack or to defend, that we will call time. Before or despues of that point, will be outside time; a Waza must be applied with exactitude so that the Kuzushi works with the minimum dose of effort.
b) ANGLE: An angle or vertex towards where it is applied to the ability and intelligent or controlled force. Each Waza has a successful angle of attack, outside that opening, was needed more force.
c) DISTANCE: A distance or space that to cross of the bodies, or displacement of these before taking contact during the Kuzushi and the Kake. It is necessary to create spaces and opportune distances before entering successfully.
d) RESISTANCE: An opposition that to win; in weight, mass, friction and force that resistance will oppose; and to which there will be to persuade it to be mistaken, to move according to our convenience, and using our body and abilities, the weight this related directly to the friction of this one, that is, the difficulty to make change it of position or state.
e) FLEXIBILITY and ADAPTABILITY: A flexibility and adaptability that to apply, moving the body and the members elastically, molding it to the changing circumstances of the combat; asi like a contact and harmonic connection of bodies in the Tsukuri.
g) SPEED: Certain speed that to apply, to shorten distances, to move, to close the step, to anticipate themselves, to move, to cut entrances, to promise to be, to send, or to surprise the rival.
h) EXPLOSION: Certain explosion or force that to use, but of intelligent way, controlled; and if it is necessary, that it never replaces the talent, and the method.
i) DIRECTION: A direction that to choose, and a sense that to follow, is in circle or linearly when moving Shintai; or rotating the body towards inside in centripetal form in 45, 90, 180, or 360 degrees for the Kake; until the rival falls by effect to print a centripetal-centrifugal force.
Remembering that, to greater angle more effort than to add, and more ability for desbalance or application of the Kuzushi are needed. And vice versa, to smaller angle of attack, minor requires itself effort.
Therefore, some times the attacks in closed angles could be more advantageous.
j) REACTIONS: teaching to the body to acquire reflections conditional and expresses, without the mind acts. With coordinated changes, happening of voluntary movements to automátizados movements, with speed of reaction and speed of suitable movements.
So that the body autoprograme to act itself without the aid of the thinking or volitiva decision.
These components would be part of the work or task to previously consider in the application of each technique, taking into account the principles already mentioned, to which the ergonomicidad is applied, in order to optimize the tecnicas of the Judo. The work for its better study and analysis is subdivided in:
Now let us see the mechanical factors of the movements of a Waza:
a) HANDLE: in the intelligent use of the body like counterbalance, or handle to desbalancear, to raise, to neutralize and to contratacar with effectiveness asi, exists several types of handle like: by traction; by tug; by rise; by push, inclination.
For example, in Seoinage, the handle will be given by the perpendicular inclined traction of the trunk of Tori downwards, and his it takes hold of hands that the effect assures handle.
b) STRONGPOINT: in the understandable thing of which the handle must have a complement for its mechanics to move the body, and this one is the strongpoint of the handle.
A handle needs a strongpoint to move the mass, that in Judo can be in rest or movement.
For example in Seoinage, the strongpoint will be in the hip of Tori and the place of contact in Uke, that podria to be its thigh or femoral zone.
c) TAKES HOLD: in the movement of a Waza it must have takes hold of algun type, to exert traction or pressure, to push, to raise, or to haul, and that assures the application the handle.
d) INCLINATION and TURN: the movements require certain plasticity in their route or way, that occurs in the inclination or arqueamiento of the body, and that accompanies by the direction and sense of the head.
e) BODY: the human body is the main component of the movement and the elements of the movement; in the Waza they take part the body, its parts, and their members. The movements can be clumsy or rythmical, inept or effective, robust or aesthetic. That depends on the resources of the individual, its ability to use them, and of its talent to make them artistic. The abilities and skills can be acquired, but the talents and the art are born in each one.
f) ECONOMIZATION and EFFICIENCY: these are factors also of high importance in the Judo, are many ways to win; but the best way is with saving of energia and effectiveness of perfomance.
The athletes must study their movements of the work in each Waza, to perfect them in terms of skill, saving of energy, intelligent force, and suitable method.
g) BALANCE: the movements in a technique must be had with balance and coordination in the body that attacks, and with balance and stability in that is defended.
h) AUTOMATIZATION: the movements in Judo must so reach an optimization level that the gestures, attitudes and techniques must appear by conditional effect of reflections, to the point that decisions get to be involuntary and automaticas.
To all these factors they add the tenacity, the reflections, the security, adaptation, recovery, serenity, neatness, nobility, experience, knowledge, the art, talent, plasticity, and beauty that each human being has as virtue or talent for practices it of this beautiful discipline.
And all these aspects establish the differences and quality levels between judocas. The idea is to apply minimo energy effort and to obtain maximo result in quality and amount; with recreation, satisfacion and mutual cooperation.
Teacher Jigoro Kano was without a doubt a man equipped with talents for the Martial Arts, but also poseia virtues like: sabiduria, knowledge, culture, teaching, discipulado, modestia, humility, perseverancia, vision, patience and service.
Because what we analyzed now like a sistémico body of knowledge of a sport discipline, in its art and science; it leaves us more surprised when observing that in each technique of the Judo they are operating certain modern concepts of systems, in structure and operative processes of the techniques of the Judo and the biomechanics of the body, in harmonic and interrelated form.
Perhaps not formulated before as a body of theory, standardized, with terminology, possible to experiment; but that is been always ahi since Kano founded the Judo; and that soon the teacher Kyuzo Mifune exposed with singular pedagogy through his inlikely Judo.
This demonstrates specially in the Kano teacher who its knowledge of the Martial Arts of epoca was remarkable, of the Jujitsu, and the Fisica Education like an average one to obtain the fisica health, armonia mental and animica.
Its capacity of analisis and sintesis, as like futurist his vision, I take it to formulate the eclectica conception of a Martial Art that locked up several principles based on the laws of the cosmos and the nature, to which I call Judo to him, " the way of the smoothness ".
Filosofia of the Judo as a form to live harmonically. Judo, science and art of unbalance.
