We believe firmly that Judo is a sport discipline of great world-wide notoriety; of great diffusion and acceptance. But also we are conscious that it is necessary that in their education certain principles scientific, theoretic, and methodology coexist that conform a Pedagogy of Judo.

So that the yields of the athletes are of high effectiveness of performance; but without leaving of side the spirit of optimization of the imbalance, and the Maximum efficiency with the smaller effort. Of not being so, the Judo will stop being Judo in short time.

We also see that in the Theory of the Judo, there are certain mechanisms that constitute the functional and operative part of the system; such as the techniques that are developed in the course of a methodical and sequential process of training, the same one that has certain phases or events based on the time, and that must be considered and be applied with order and effectiveness.

We must for effects to organize the work of preparation of an athlete in the course of a quantifiable chronology and measurable, it is needed to segment the work in parts. Therefore we make a division, and differentiation of quality of the events in the process of training and based on the time, like this:

CYCLE - SESSION - ROUTINE - SERIES - REPETITIONS - IT SLOWS DOWN

On these bases, we are going to speak now, of the operative or functional part of the Theory of the Judo, that is of the Process properly speaking, and that is component part with effect of functionality and quantifiable operability, pursuit, and reprogramming of goals.

As much the Mechanical factors of Waza (FMW), like the Mechanical Factors of Movements (FMM); they are the component factors of the biomechanics of the Judo; in addition to certain natural phenomena, of which we have spoken at another moment, and that also conform the Theory of the modern Judo.

Let us see then descriptive and conceptually which are the Mechanical Factors of waza or technique (FMW):

a) Connection - Tsukuri: it is the coordination, it fits, and precision in the contact of the bodies in the combat to obtain sends perfect.

b) Angle: it is the angle or opening towards where it is applied to the ability and intelligently controlled force of a technique. Remembering that, to greater angle or opening in the attack more effort than to add, and more ability for disbalance or application of the Kuzushi are needed.

And vice versa, to smaller angle of attack, minor requires itself effort, because disbalance of uke is easy to obtain it.

Therefore, some times the attacks in closed angles could be more advantageous because the body of uke has more race to be transferred in its loss of equilibrium; and Tori more race for the torsion of its body, that is, more centrifugal force than to accumulate.

c) Grapple: it is the effectiveness of takes hold, and it is not in its hardness or tenseness of the hands as it is created; but if in its firmness and flexibility, its variety; that it makes it more functional, and with a very sensitive wrist that has an effect to perceive like a radar the movements or intentions of the rival, and that knows to execute a traction effect simultaneously.

d) Balance - Harmony: they are the movements altogether, and they have a harmony and composite balance, of rate, beauty, of fluidity, and sequence.

e) Base: it is the sustenance area on which the balance of the body rests; this one can be of wide base, narrow base, horizontal base, or perpendicular base. The base moves, and the art of walking is exactly, in surely leading the modification of the base of the feet.

f) Coordination: one occurs when the sequence of the movements they are articulated, ordered, interrelated between if and prioritized; according to its necessity and the laws of biomechanics.

g) Direction - Felt: one talks about to that each waza has a linear or circular direction that to follow in the space; the sense is the effect revolving, or rotational that accompanies the direction or (Embusan) that follows the bodies in their route.

In the direction that follows the bodies when moving by effect of send, the rotation of the body of Tori goes towards inside, being contracted and turning in 45, 90, 180, or 360 degrees, and generating a centripetal force around the own axis of their body; until uke falls by effect of the centrifugal force that as well generates its own body to the lost salary its balance.

h) Unbalance - Kuzushi: it is the breaking of the balance and the endurance; by means of the artifice of it promises to be, the deceit, the intelligent energy, and the decomposition of the forces of resistance of uke.

i) Displacement - Shintai: it is that factor that allows to approach, or for moving away of the rival, is for attacking or defending themselves; an elastic displacement gives more dynamics him to the techniques; it must be smooth, surprise, safe, stable, and coordinated fluid.

j) Distance: it is the section, race or space of route; displacement of the bodies before taking contact or being reconciled; and or in the connection or it sends, uke crosses a distance.

k) Explosive Energy - Kake: it is the final phase of the launching, supplied by the necessary load of explosive force to obtain sends.

l) Balance - Tandem: it is the balance state and fairness of the body, the imbalance or breaking of this one balance produces the falls ones.

m) Flexibility: it is the elastic movement of the body and the members, molding them to the changing circumstances of the combat, avoiding, eluding, cutting the step.

n) Moment - Opportunity: it is the moment or opportunity precise to attack or to defend itself, is not before nor later, is a precision or precision to break the balance, an exact time to make the movements.

o) Reflected - Answer: it is the capacity of answer of the body to drive reflections and answers conditional, automated, and fast, without the mind acts. With coordinated changes, happening of voluntary movements to automatized movements, with speed of reaction and speed of suitable movements. So that the auto programmed body to act itself without the aid of the thinking or volatile decision.

p) Resistance Aerobic, Anaerobic: it is the muscular ability to work with or without air; oxygenation necessary of muscles to produce energy and to overcome the fatigue simultaneously, administering the fatigue.

q) Rotation - Transferring: they are the diverse movements in Judo, that can be in addition to linear, also circular and semi circular simultaneously; in where the rotation and the turn of the body and the feet extend in the effectiveness of the techniques; it has to do with the movement of transferring and rotation that also follow the stars; in the sense of the effectiveness of the movement.

These described foundations comprise to consider in the method or the mechanics of the application of each technique, taking into account the principles and foundations that already we have mentioned opportunely.

To it the tenacity is added, the mental action, the style, the security, 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.

How we operated these factors? If an athlete of the Judo, is able to identify these factors and to consciously materialize them during the accomplishment of his work of training, with complete certainty, that also will be benefited with the elevation of the indices of effectiveness from performance in its technique.

You need to know as to take hold and to have she takes hold manifold, that waza serves to him equal to combine its attack You, koshi waza, ashi waza, or sutemi waza; with the same effectiveness, without having to be changing of he takes hold.

He also needs to know as kyo is the perfect angle of attack to orchestrate each one of the techniques of the Go not waza, and as it is the perfect angle of torsion in Tsukuri-Kake so that his opponent falls and it is not disappointed on you.

The experience will indicate to him, that each technique have a little while, time or opportunity of access, outside that time you you will have to use a brute force to throw to uke; that is what those do all that do not know of the biomechanics of Judo and which in addition, they do not have talent or art to use it.

It will learn that the body has a direction to follow, and that the head gives the sense of the direction of the torso; therefore, direction and sense are the arguments of a high quality of technique also.

Also the displacements, the feints of its feet, hips, and shoulders; they give to balance to his attack and defense him. Judoka is a dancer of tatami, cannot have rigid, static displacements, because it would not be using the ends of its feet to move effectively and to make expresses changes, that already is a significant advantage.

Judoka must know how to use and to change of permanent guard of left to right and vice versa, to learn to cut to an intention or an advance; to neutralize a load of the rival; to make him get out of the step to the rival just by a slight pressure of hand in the lapel of the uke's neck.

The concept of kuzushi does not mean that to you will apply more force, will gain greater percentage of results; he is not like that, kuzushi is the art of the imbalance, the stratagem to make fall to the rival using science of the imbalance.

Indeed, the hands it is necessary to use them, to unbalance; but you can use the movements of your body to create emptiness, and to make it to uke give false steps. You must create artificial movements with your body. Also to simulate attacks, and to carry out combinations of attack to make lose the balance to its rival.

The practice of the Renraku waza has similar importance as it has uchikomi in the training. That will give to more creativity and improvisation him to its attack. And all these aspects establish the differences and quality levels between judokas.

The idea is to apply minimum energy effort and to obtain maximum result in quality and amount; with recreation, satisfaction and mutual cooperation. For it, evidently, one also requires of flexibility and adaptability in the scene of the combat, so that a scene can be modified in seconds.

Author: Professor Néstor Figueroa
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