MARTIAL ARTS COLLEGE OF CLAYTON
MACC
JUDO
BOOK ONE
– 6TH KYU REQUIREMENTS –
YELLOW BELT
Theodore Angelo Povinelli
Korean Judo Association
Certification No. 1542
1
MARTIAL ARTS COLLEGE OF CLAYTON
MACC PRESS
“MACC JUDO BOOK ONE” 3rd EDITION
COPYRIGHT JULY 2009
6348 S. ROSEBURY, CLAYTON MISSOURI 63105
UNITED STATES OF AMERICA
2
ACKNOWLEDGEMENTS
I WOULD LIKE TO THANK SUSAN GARVERICK, JUDOKA SANKYU,
FOR ALL HER HELP IN CREATING BOOK ONE OF JUDO FOR
ADULTS.
SUSAN GARVERICK
THEODORE ANGELO POVINELLI
AUGUST 2009
3
“There is nothing so strong as gentleness;
and nothing so gentle as true strength.”
Frances de Sales
4
MACC JUDO BOOK ONE
– 6TH KYU REQUIREMENTS –
YELLOW BELT
STUDENT
START DATE
TEST DATE
INSTRUCTOR
5
TABLE OF CONTENTS
SECTION 1:
INFORMATION
HISTORY OF JUDO
9
PRINCIPLE OF JUDO
9
ETTIQUETTE OF JUDO
9
PRINCIPLES OF MACC
10
HUMILITY
10
RESPECT
10
DISCIPLINE
10
HOW TO TIE YOUR BELT
SECTION 2:
11
TERMINOLOGY
JAPANESE TERMINOLOGY
12
JAPANESE COUNTING
13
SECTION 3:
TECHNIQUES
UKEMI WAZA
14
BACK FALL
14
SIDE FALL
15
CHUGARI
16
UKI OTOSHI
CHUGARI
17
6
TABLE OF CONTENTS (CONTINUED)
HAPPONO KUZUSHI
18
TAI SABAKI
19
JIGO TAI POSITION
20
OSAE KOMI WAZA
21
KESA GATAME
21
ESCAPE TECHNIQUES
21
SECTION 4:
NAGE WAZA
IKKYO NO WAZA (GROUP #1)
22
O SOTO GARI
22
O GOSHI
23
DE ASHI HARAI
24
SEOI NAGE
25
-
MOROTE
25
-
IPPON
26
O UCHI GARI
27
UKI GOSHI
28
SASAE TSURI KOMI ASHI
29
HIZA GURUMA
30
IPPON SEOI OTOSHI
31
7
TABLE OF CONTENTS (CONTINUED)
SECTION 5:
EXERCISE TRAINING
EXERCISE DESCRIPTION
32
EXERCISE CHART
36
SECTION 6:
COURSE PROGRESSION
PROGRESSION CHART EXPLANATION
37
REQUIREMENTS FOR YELLOW BELT
37
CLASS CHART
38
1 - 31+
6TH KYU EXAM SHEET
____________________________________69
8
SECTION
1:
INFORMATION
HISTORY OF JUDO
JUDO WAS CREATED IN JAPAN IN 1882 BY KANO JIGORO FROM HIS EARLY
TRAINING IN JUJUTSU. JUDO MEANS “THE GENTLE WAY”.
PRINCIPLE OF JUDO
JUDO IS BASED ON THE PRINCIPLE OF MAXIMUM EFFICIENCY AND
MINIMUM ENERGY. BY OFF BALANCING A PERSON, AND THEN APPLYING
LEVERAGE AT A POINT BELOW HIS CENTER OF GRAVITY, WE CAN
OVERCOME HIM WITH MINIMAL EFFORT.
ETTIQUETE OF JUDO
WE SHOW GRATITUDE AND RESPECT TO EACH OTHER BY BOWING WHEN
WE PRACTICE. WE ARE THANKING EACH OTHER FOR PROVIDING THE
OPPORTUNITY TO IMPROVE OURSELVES.
WE NEED TO KEEP OUR UNIFORMS CLEAN AND IN GOOD REPAIR.
MUST KEEP OUR NAILS TRIMMED TO AVOID INJURY.
WE
WHITE PIGMENT IS THE ABSENSE OF ALL COLOR. WE WEAR A WHITE
UNIFORM TO SYMBOLIZE THE ABSENSE OF KNOWLEDGE AND TO SHOW
WE ARE WILLING AND READY TO LEARN.
9
PRINCIPLES OF MACC
AS WE PRACTICE JUDO, WE SHOULD DEVELOP THE FOLLOWING THREE
PRINCIPLES TO HELP US LEARN MORE EFFICIENTLY AND EFFECTIVELY.
HUMILITY
HUMILITY ALLOWS US TO ENTER THE LEARNING PROCESS WITH AN OPEN
MIND. IT IS ONLY BY ACCEPTING THAT WE DO NOT HAVE THE
KNOWLEDGE WE ARE SEEKING, THAT WE CAN THEN BEGIN TO LEARN THE
NEW CONCEPTS WHICH JUDO OFFERS.
RESPECT
IT IS VITALLY IMPORTANT THAT WE SHOW DIGNITY AND EQUALITY TO
EACH OTHER WHILE IN THE DOJO TRAINING, AND OUTSIDE WHERE WE
LIVE. INSIDE THE DOJO WE WANT ALL STUDENTS TO FEEL WELCOME
AND AT EASE; NOT NERVOUS OR SCARED. THAT WAY ALL CAN PRACTICE
THE JUDO TECHNIQUES FREELY WITHOUT RESERVE. TO PRACTICE THIS
WAY HELPS PREVENT INJURIES TO EACH OTHER THAT NERVOUSNESS
AND FEAR CAN CAUSE.
OUTSIDE THE DOJO IT IS EQUALLY IMPORTANT TO SHOW RESPECT TO
OTHERS BECAUSE IT FRAMES OUR TEMPERMANT AND ALLOWS US TO ACT
RATIONALLY TO EVENTS HAPPENING AROUND US, UNDISTRACTED BY
MISGUIDED FEELINGS OF SUPERIORITY. RESPECT ALLOWS US TO FOCUS
ON WHAT IS REALLY HAPPENING BY GIVING US TIME TO REFLECT DURING
THE RESTRAINT IN OUR ATTITUDE TOWARD OTHERS.
DISCIPLINE
MOST IMPORTANT IS THE DISCIPLINE THAT WE DEVELOP AND DEMAND OF
OURSELVES. IT IS THE MOTIVATION TO PUSH OURSELVES THROUGH THE
OBSTACLES AND DISCOMFORTS OF PRACTICE IN THE COURSE OF
LEARNING SO THAT WE CAN BECOME BETTER HUMAN BEINGS FROM THE
UNDERSTANDING OF OUR BODIES. THIS IS WHAT JUDO TEACHES.
HOW TO TIE YOUR BELT
10





PLACE THE CENTER OF THE BELT ON YOUR STOMACH.
TAKE BOTH ENDS AND WRAP THEM AROUND YOUR BACK SO THEY
CROSS AND THEN BRING BOTH ENDS BACK IN FRONT OF YOU.
TAKE ONE OF THE ENDS AND PUT IT UNDERNEATH BOTH LAYERS
AND PULL IT THROUGH.
TAKE THAT SAME END AND WRAP IT AROUND THE OTHER END (THE
END ON TOP STAYS ON TOP), THEN PUT IT THROUGH THE HOLE
CREATED AND PULL YOUR BELT TIGHT.
THIS SHOULD CREATE A SQUARE KNOT WITH BOTH ENDS HANGING
TO THE SIDES. IF THE ENDS ARE HANGING UP AND DOWN INSTEAD
OF TO THE SIDES, YOU MADE A MISTAKE.
SECTION
2:
TERMINOLOGY
11
JAPANESE TERMINOLOGY
KYOSKEI
ATTENTION
REI
BOW
TORI
THROWER
UKE
FALLER
SENSEI
TEACHER
DOJO
SCHOOL (PLACE OF ENLIGHTENMENT)
MATE
STOP
HAJIME
BEGIN
JUDOKA
JUDO STUDENT
JUDO GI
UNIFORM
OSAI KOMI HOLD
TOKETA
HOLD BROKEN
NAGE
THROW
TAI SABAKI BODY MOVEMENT
UKEMI
FALL
CHUGARI
TUMBLING
JIGO TAI
LOWER BODY STANCE
JAPANESE COUNTING
12
ICHI
ONE
NI
TWO
SAN
THREE
SHI
FOUR
GO
FIVE
ROKU
SIX
SHICHI
SEVEN
HACHI
EIGHT
KYUU
NINE
JUU
TEN
13
SECTION
3:
UKEMI WAZA
TECHNIQUES
(FALLING TECHNIQUE)
BACK FALL







SIT ON THE FLOOR WITH YOUR LEGS OUT STRAIGHT.
CROSS YOUR ARMS IN FRONT OF YOUR CHEST.
TUCK YOUR CHIN INTO YOUR CHEST.
ROLL YOUR BODY BACKWARD LIKE A WHEEL WHILE BRINGING YOUR
LEGS UPWARD INTO THE AIR.
AS THE LOWER PART OF YOUR BACK BEGINS TO TOUCH THE FLOOR,
WHIP YOUR ARMS APART AND SLAP THE FLOOR NEXT TO YOUR HIPS
WITH THE PALMS OF YOUR HANDS KEEPING THE FINGERS HELD
TOGETHER.
COMPLETE THE ROLL ALONG YOUR UPPER BACK, THEN BRING YOUR
LEGS BACK DOWN TO THE FLOOR SITTING BACK UP IN THE
BEGINNING POSITION.
TO PERFORM A BACK FALL FROM A STANDING POSTION, CROSS
YOUR ARMS ACROSS YOUR BODY THEN SQUAT DOWN AND LEAN
BACKWARDS UNTIL YOU ARE PERFORMING A BACK FALL AS ABOVE.
14
SIDE FALL







LIE ON YOUR RIGHT SIDE WITH YOUR RIGHT LEG OUT STRAIGHT
AND YOUR LEFT LEG BENT.
YOUR LEFT FOOT SHOULD BE FLAT ON THE GROUND ABOUT
TWELVE INCHES AWAY FROM YOUR HIP AND YOUR LEFT KNEE
SHOULD POINT STRAIGHT UP IN THE AIR.
PLACE YOUR LEFT HAND ON YOUR STOMACH AND RELAX YOUR LEFT
ARM.
LIFT YOUR RIGHT ARM UP HIGH AND THEN BRING IT RAPIDLY
DOWNWARD, HITTING THE FLOOR WITH YOUR RIGHT HAND PALM
ABOUT SIX INCHES AWAY FROM THE SIDE OF YOUR BODY.
KEEP YOUR FINGERS TOGETHER WHEN YOU SLAP THE FLOOR AND
HIT HARD ENOUGH TO ABSORB THE BRUNT OF THE FALL WITH
YOUR RIGHT ARM.
WHEN YOU ARE BEING THROWN, THE SIDE OF THE BODY, LEGS,
ARM, AND HAND SHOULD ALL HIT THE FLOOR AT THE SAME TIME.
TO SWTICH SIDES, LIFT YOUR HIPS UP HIGH IN THE AIR TO
SIMULATE FALLING, THEN LAND IN THE SAME POSITION, BUT ON
THE OTHER SIDE.
15
CHUGARI










(TUMBLING)
STEP FORWARD WITH YOUR RIGHT FOOT, KEEPING YOUR LEGS
APART.
TURN YOUR RIGHT HAND TO THE INSIDE OF YOUR BODY WITH THE
FINGERS POINTING BACWARD THROUGH YOUR LEGS AND PLACE
THE PALM ON THE FLOOR.
PLACE YOUR LEFT HAND NEXT TO YOUR RIGHT HAND WITH THE
FINGERS POINTING FORWARD.
BEND BOTH YOUR KNEES AS IF PREPARING TO RUN A RACE.
TURN YOUR HEAD TO THE LEFT AND TOUCH YOUR LEFT EAR TO
YOUR LEFT SHOULDER.
PUSH OFF YOUR BACK LEFT FOOT TO PROPEL YOURSELF FORWARD.
AS YOU ROLL FORWARD, THE GROUND SHOULD MAKE MOMENTARY
POINT CONTACT STARTING WITH YOUR RIGHT WRIST, THEN RIGHT
ARM, THEN RIGHT SHOULDER, THEN THE UPPER RIGHT BACK, THEN
DIAGONALLY ACROSS YOUR BACK TO THE LOWER LEFT SIDE, AND
FINALLY ACROSS YOUR LEFT LEG.
AS YOU LAND ON THE LEFT SIDE OF YOUR BODY, SLAP YOUR LEFT
ARM TO ABSORB THE IMPACT AND BRING YOURSELF TO A HALT.
DONE CORRECTLY, YOUR BODY SHOULD ROLL ACROSS THE FLOOR
WITH MINIMAL CONTACT; ROLLING LIKE A TIRE ON THE GROUND.
TO TUMBLE ON THE LEFT SIDE, REPEAT THE PROCESS, BUT ON THE
OTHER SIDE.
16
UKI OTOSHI CHUGARI







(TUMBLING WITH PARTNER)
FACING YOUR UKE, GRAB HIS RIGHT SLEEVE WITH YOUR LEFT
HAND.
PULL HIS SLEEVE FORCING HIM TO STEP FORWARD WITH HIS RIGHT
FOOT, WHILE YOU STEP BACK WITH YOUR LEFT FOOT. WHEN
PULLING YOUR UKE’S SLEEVE, MAKE SURE YOU KEEP YOUR ELBOW
UP.
PUSH FIRMLY ON HIS SLEEVE FORCING YOUR UKE TO STEP
BACKWARD WITH HIS RIGHT FOOT AS YOU STEP FORWARD WITH
YOUR LEFT FOOT.
REPEAT THIS PUSHING AND PULLING FOOT MOVEMENT A COUPLE
TIMES.
AS YOU PULL YOUR UKE FORWARD, BRING YOUR LEFT LEG AROUND
BEHIND YOU UNTIL IT IS AT YOUR SIDE AND GO DOWN ONTO YOUR
KNEE.
PULL THE UKE’S SLEEVE AROUND IN A CIRCULAR MOTION, HELPING
THEM TO DO A CHUGARI.
AS THE UKE DOES A CHUGARI AND LANDS IN A SIDE FALL POSITION,
CONTINUE PULLING THEIR SLEEVE IN A CIRCULAR MOTION UNTIL
YOU ARE HOLDING THEIR ARM INTO THE AIR TO SUPPORT THE FALL.
17
HAPPONO KUZUSHI (EIGHT-WAYS-OF-OFF-BALANCING)
1
WITH YOUR UKE STANDING STRAIGHT,
PULL FORWARD
2
WITH YOUR UKE STANDING STRAIGHT,
PUSH BACKWARD
3
WITH YOUR UKE STANDING STRAIGHT,
PUSH/PULL TO THE RIGHT
4
WITH YOUR UKE STANDING STRAIGHT,
PUSH/PULL TO THE LEFT
5
WITH THE UKE’S LEFT FOOT FORWARD,
PULL TO THE FRONT RIGHT CORNER
6
WITH THE UKE’S LEFT FOOT FORWARD,
PUSH TO THE REAR LEFT CORNER
7
WITH THE UKE’S RIGHT FOOT FORWARD,
PULL TO THE FRONT LEFT CORNER
8
WITH THE UKE’S RIGHT FOOT FORWARD,
PUSH TO THE REAR RIGHT CORNER
18
TAI SABAKI






(BODY MOVEMENT)
STAND STRAIGHT WITH YOU RIGHT ARM OUT.
IMAGINE GRABBING YOUR OPPONENT’S SLEEVE AND PULL YOUR
RIGHT ARM TOWARDS YOU WHILE YOU STEP FORWARD WITH YOUR
LEFT FOOT AND BRING YOUR LEFT ARM UP LIKE YOU ARE WRAPPING
IT AROUND YOUR OPPONENT’S ARM AND GRABBING HIS SLEEVE.
PIVOT AROUND SO YOU ARE FACING 180 DEGREES FROM WHERE
YOU STARTED AND BEND YOUR KNEES WHILE KEEPING YOUR BACK
STRAIGHT.
SPRING UP WITH YOUR LEGS WHILE YOU BEND DOWN AND PULL
YOUR ARMS ACROSS YOUR BODY TO YOUR RIGHT
STAND BACK UP AND REACH OUT WITH YOUR LEFT ARM TO START
THE MOTION AGAIN ON THE OTHER SIDE.
THIS MOTION IS SIMULATING IPPON SEOI NAGE AND IS GREAT FOR
PRACTICING AT HOME.
19
JIGO TAI







(LOWER BODY STANCE)
JIGO TAI IS THE FINAL POSITION FOR MOST OF THE THROWS.
JIGO TAI POSITIONING IS IMPORTANT FOR TWO REASONS:
1. TO HELP THE UKE LAND SAFELY
2. TO ENSURE COMPLETE CONTROL OF THE THROW BY THE
TORI
YOUR OPPONENT IS FALLING THROUGH THE AIR AND IS ABOUT TO
LAND ON THE GROUND.
SPREAD YOUR LEGS FAR APART AND BEND YOUR KNEES SO YOUR
WEIGHT SINKS DOWN. (THIS IS TO ENSURE YOUR OPPONENT
CANNOT PULL YOU DOWN ONTO THE GROUND).
HOLD YOUR OPPONENT’S ARM WITH BOTH HANDS AND PULL UP ON
THE ARM SO YOU ARE HOLDING IT IN FRONT OF YOUR CHEST.
KEEP YOUR BACK STRAIGHT AND LOOK STRAIGHT AHEAD – DO NOT
LOOK AT YOUR OPPONENT!
THIS SHOULD BE A FIRM BUT RELAXED POSITION.
20
OSAE KOMI WAZA
(HOLDING TECHNIQUE)
KESA GATAME







(SCARF HOLD)
WITH YOUR OPPONENT ON HIS BACK, SIT IN A KNEELING POSITION
NEXT TO HIS RIGHT SIDE.
GRAB HIS RIGHT ARM AND PUT IT UNDER YOUR LEFT ARMPIT
LOCKING IT DOWN TIGHTLY TO YOUR LEFT SIDE CHEST.
ENTWINE YOUR FINGERS INTO HIS RIGHT SLEEVE, WRAPPING THE
CLOTH INTO YOUR HAND AS YOU CURL YOUR FINGERS TO MAKE A
TIGHT FIST.
PUT YOUR RIGHT ARM UNDER HIS HEAD AND AROUND HIS NECK.
TURN YOUR BODY TO THE LEFT SO YOUR BACK IS TO YOUR
OPPONENT AND SIT DOWN SO YOUR RIGHT LEG IS IN FRONT OF YOU
AND YOUR LEFT LEG IS OUT BEHIND YOU. DO NOT CROSS YOUR
LEGS.
PLACE THE RIGHT SIDE OF YOUR BODY ON HIS RIGHT SIDE AND
KEEP YOUR HEAD DOWN WHILE YOU PULL UP FIRMLY ON HIS NECK
WITH YOUR RIGHT ARM TO LOCK THE BODIES IN PLACE.
MIRROR THIS ACTION TO HOLD ON THE LEFT SIDE.
ESCAPE TECHNIQUES FROM KESA GATAME
21
1. COLLAR GRAB-LEG THRUST
2. BACK SHOULDERROLL
3. LEG HOOK AROUND THIGH
 INNER PULL OUT
 OUTSIDE ROLL OVER
4. BODY SEPARATION SITUP
5. UPPER BODY SPRING
6. KNEE WEDGE ROLLOVER
SECTION
4:
NAGE WAZA
22
GOKYO NO WAZA
THROWS)
IKKYO NO WAZA
(FIVE SETS OF 8
(GROUP #1)
O SOTO GARI







(MAJOR OUTER REAP)
FACING YOUR UKE, GRAB HIS RIGHT SLEEVE WITH YOUR LEFT
HAND AND HIS LEFT COLLAR WITH YOUR RIGHT HAND.
PULL OUTWARD AND PUSH TOWARD HIS BACK RIGHT CORNER.
AS YOU APPLY THIS KUZUSHI, STEP FORWARD WITH YOUR LEFT
FOOT PLACING IT NEXT TO HIS RIGHT FOOT, LEAVING A GAP
BETWEEN YOUR INNER LEFT THIGH AND HIS OUTER RIGHT THIGH.
DRIVE YOUR RIGHT SHOULDER INTO HIS RIGHT SHOULDER MAKING
FIRM CONTACT TO LOCK THE BODIES TOGETHER.
SWING YOUR RIGHT LEG THROUGH THE GAP AND LIFT YOUR LEG UP
HIGH.
REAP THE LEG DOWNWARD SO YOUR TOES BRUSH THE GROUND IN
BETWEEN HIS FEET AND REAP HIS LEG HIGH.
AS YOUR UKE IS FALLING, RELEASE HIS COLLAR AND ASSUME A
JIGO TAI POSTURE TO SUPPORT YOUR UKE AS HE LANDS.
23
O GOSHI








(MAJOR HIP)
FACING YOUR UKE, GRAB HIS RIGHT SLEEVE WITH YOUR LEFT
HAND AND HIS LEFT COLLAR WITH YOU RIGHT HAND.
PULL HIS SLEEVE TO OFF-BALANCE HIM TOWARD HIS FORWARD
DIRECTION.
STEP YOUR FOOT ACROSS YOUR FRONT AND PLACE YOUR RIGHT
FOOT IN BETWEEN YOU AND YOUR OPPONENT WHILE YOU SLIDE
YOUR RIGHT ARM AROUND HIS BACK.
PIVOT YOUR LEFT FOOT AROUND SO IT IS NEXT TO YOUR RIGHT
FOOT.
TURN YOUR FEET SO YOUR HEELS ARE CLOSE TOGETHER AND
YOUR BACK IS TO YOUR OPPONENT. BEND YOUR KNEES SO YOUR
BELT IS BELOW YOUR UKE’S BELT. KEEP YOUR BACK VERTICAL AND
YOUR LEGS AKIMBO AT 90©.
THE UKE’S BODY SHOULD BE TILTED FORWARD AND THE TORI’S
HIPS SHOULD BE DIRECTLY BELOW THE UKE’S FRONT ABDOMINAL
SECTION.
CONTINUE PULLING THE LEFT ARM WHILE TURNING YOUR BODY
AND SHOULDERS TO YOUR LEFT. LOCK THE BODIES TOGETHER AND
SPRING YOUR HIPS UP USING YOUR LEGS AS THE UKE COLLAPSES
ON YOUR BACK.
AS THE UKE IS THROWN, RELEASE YOUR RIGHT ARM FROM HIS
BACK, SLIDE YOUR RIGHT FOOT AWAY FROM YOUR LEFT FOOT, AND
ASSUME A JIGO TAI POSTURE TO SUPPORT THE UKE’S FALL.
24
DE ASHI HARAI








(FORWARD FOOT SWEEP)
FACING YOUR UKE, GRAB HIS LEFT SLEEVE WITH YOUR RIGHT
HAND AND HIS RIGHT COLLAR WITH YOUR LEFT HAND.
PULL HIS SLEEVE FORCING HIM TO STEP FORWARD WITH HIS LEFT
FOOT, WHILE YOU STEP BACK WITH YOUR RIGHT FOOT.
PUSH FIRMLY ON HIS LEFT SLEEVE FORCING YOUR UKE TO STEP
BACKWARD WITH HIS LEFT FOOT AS YOU STEP FORWARD WITH
YOUR RIGHT FOOT.
REPEAT THIS PUSHING AND PULLING FOOT MOVEMENT A COUPLE
TIMES.
AS YOU PUSH YOUR UKE BACKWARD, JUST AS HE IS SHIFTING HIS
WEIGHT FROM THE FRONT FOOT TO THE BACK FOOT, BRING YOUR
RIGHT LEG AROUND SO THE OUTER EDGE OF YOUR FOOT IS
BRUSHING THE FLOOR.
ENGAGE THE UKE’S LEFT FOOT BELOW THE ANKLE WITH THE ARCH
OF YOUR FOOT AS YOU SWEEP HIS FOOT AND LEG IN AN UPWARD
DIRECTION.
USE YOUR HANDS TO TWIST HIS SLEEVE AND COLLAR LIKE TURNING
THE STEERING WHEEL OF A CAR TO THE YOUR RIGHT.
AS THE UKE IS THROWN, RELEASE YOUR RIGHT ARM FROM HIS
COLLAR AND ASSUME A JIGO TAI POSTURE TO SUPPORT THE UKE’S
FALL.
25
SEOI NAGE
(SHOULDER)
--MOROTE





(TWO ARM)
FACING YOUR UKE, GRAB HIS RIGHT SLEEVE WITH YOUR LEFT
HAND AND HIS LEFT COLLAR WITH YOUR RIGHT HAND.
PULL YOUR UKE’S RIGHT SLEEVE FORWARD WITH YOUR LEFT HAND
TILTING HIS BODY OFF BALANCE.
STEP YOUR FOOT ACROSS YOUR FRONT AND PLACE YOUR RIGHT
FOOT IN BETWEEN YOU AND YOUR OPPONENT WHILE YOU WHILE
YOU DUCK YOUR RIGHT ELBOW UNDER HIS RIGHT ARM.
PIVOT YOUR LEFT FOOT AROUND SO IT IS NEXT TO YOUR RIGHT
FOOT.
TURN YOUR FEET SO YOUR HEELS ARE CLOSE TOGETHER AND
YOUR BACK IS TO YOUR OPPONENT. BEND YOUR KNEES SO YOUR
BELT IS BELOW YOUR UKE’S BELT. KEEP YOUR BACK VERTICAL AND
YOUR LEGS AKIMBO AT 90©.
26



THE UKE’S BODY SHOULD BE TILTED FORWARD AND THE TORI’S
HIPS SHOULD BE DIRECTLY BELOW THE UKE’S FRONT ABDOMINAL
SECTION.
CONTINUE PULLING THE LEFT ARM WHILE TURNING YOUR BODY
AND SHOULDERS TO YOUR LEFT. LOCK THE BODIES TOGETHER AND
SPRING YOUR HIPS UP USING YOUR LEGS AS THE UKE COLLAPSES
ON YOUR BACK.
AS THE UKE IS THROWN, RELEASE YOUR RIGHT ARM FROM HIS
COLLAR AND ASSUME A JIGO TAI POSTURE TO SUPPORT THE UKE’S
FALL.
-- IPPON


(ONE ARM)
FACING YOUR UKE, GRAB HIS RIGHT SLEEVE WITH YOUR LEFT
HAND AND HIS LEFT COLLAR WITH YOUR RIGHT HAND.
PULL YOUR UKE’S RIGHT SLEEVE FORWARD WITH YOUR LEFT HAND
TILTING HIS BODY OFF BALANCE.
27






STEP YOUR FOOT ACROSS YOUR FRONT AND PLACE YOUR RIGHT
FOOT IN BETWEEN YOU AND YOUR OPPONENT WHILE YOU TAKE
YOUR RIGHT ARM AND WRAP IT UNDERNEATH YOUR OPPONENT’S
ARM AND GRAB HIS RIGHT SLEEVE.
PIVOT YOUR LEFT FOOT AROUND SO IT IS NEXT TO YOUR RIGHT
FOOT.
TURN YOUR FEET SO YOUR HEELS ARE CLOSE TOGETHER AND
YOUR BACK IS TO YOUR OPPONENT. BEND YOUR KNEES SO YOUR
BELT IS BELOW YOUR UKE’S BELT. KEEP YOUR BACK VERTICAL AND
YOUR LEGS AKIMBO AT 90©.
THE UKE’S BODY SHOULD BE TILTED FORWARD AND THE TORI’S
HIPS SHOULD BE DIRECTLY BELOW THE UKE’S FRONT ABDOMINAL
SECTION.
CONTINUE PULLING THE LEFT ARM WHILE TURNING YOUR BODY
AND SHOULDERS TO YOUR LEFT. LOCK THE BODIES TOGETHER AND
SPRING YOUR HIPS UP USING YOUR LEGS AS THE UKE COLLAPSES
ON YOUR BACK.
AS THE UKE IS THROWN, RELEASE YOUR RIGHT ARM FROM HIS
SLEEVE AND ASSUME A JIGO TAI POSTURE TO SUPPORT THE UKE’S
FALL.
28
O UCHI GARI








(MAJOR INNER REAP)
HAVE YOUR UKE STAND WITH HIS LEFT FOOT FORWARD.
FACING YOUR UKE, GRAB HIS RIGHT SLEEVE WITH YOUR LEFT
HAND AND HIS LEFT COLLAR WITH YOUR RIGHT HAND.
STEP IN TOWARD THE UKE WITH YOUR LEFT FOOT.
LIFT UPWARD AND PUSH ON HIS RIGHT SLEEVE TOWARD HIS BACK
LEFT FOOT CORNER. DRIVE THE RIGHT SIDE OF YOUR BODY INTO
HIS CHEST AS YOU PULL HIS COLLAR DOWN AND INTO YOU WITH
YOUR RIGHT HAND. THIS IS A CIRCULAR TURNING ACTION TO OFFBALANCE YOUR OPPONENT TO THE REAR LEFT CORNER WHILE
LOCKING THE BODIES TOGETHER.
BRING YOUR RIGHT LEG FORWARD BETWEEN HIS LEGS WITH YOUR
RIGHT KNEE BENT AND YOUR RIGHT FOOT POINTED STRAIGHT.
BRUSH YOUR TOES ON THE FLOOR AS YOU BRING YOUR RIGHT LEG
AROUND AND BEHIND HIS LEFT LEG. PULL YOUR RIGHT LEG BACK
IN A REAPING ACTION TO LIFT UP YOUR UKE’S LEFT LEG.
CONTINUE THE KUZUSHI AND THROW YOUR UKE TO THE GROUND.
AS YOU FEEL THE WEIGHT OF YOUR UKE FALLING, RELEASE THE
COLLAR WITH YOUR RIGHT HAND, BRING YOUR RIGHT FOOT
FORWARD TO THE FLOOR, AND STEP FORWARD OVER YOUR UKE’S
RIGHT LEG INTO A LEFT SIDE JIGO-TAI STANCE TO SUPPORT THE
FALL.
29
UKI GOSHI









(FLOATING HIP)
FACING YOUR UKE, GRAB HIS RIGHT SLEEVE WITH YOUR LEFT
HAND. AND HIS LEFT COLLAR WITH YOUR RIGHT HAND.
PULL HIS SLEEVE TO OFF-BALANCE HIM TOWARD HIS FORWARD
DIRECTION.
STEP YOUR FOOT ACROSS YOUR FRONT AND PLACE YOUR RIGHT
FOOT IN BETWEEN YOU AND YOUR OPPONENT WHILE YOU SLIDE
YOUR RIGHT ARM AROUND HIS LOWER BACK.
PIVOT YOUR LEFT FOOT AROUND SO IT IS NEXT TO YOUR RIGHT
FOOT.
TURN YOUR FEET SO YOUR HEELS ARE CLOSE TOGETHER AND
YOUR BACK IS TO YOUR OPPONENT. BEND YOUR KNEES SO YOUR
BELT IS BELOW YOUR UKE’S BELT. KEEP YOUR BACK VERTICAL AND
YOUR LEGS AKIMBO AT 90©.
THE UKE’S BODY SHOULD BE TILTED FORWARD AND THE TORI’S
HIPS SHOULD BE DIRECTLY BELOW THE UKE’S FRONT ABDOMINAL
SECTION.
CONTINUE PULLING THE LEFT ARM WHILE TURNING YOUR BODY
AND SHOULDERS TO YOUR LEFT. LOCK THE BODIES TOGETHER AND
DIP YOUR HIPS SLIGHTLY TO RIDE YOUR UKE ON TOP OF THEM.
ONCE THE UKE IS RIDING ON YOUR HIPS, WHIRL HIM AROUND YOUR
TORSO TO THE FRONT OF YOUR BODY USING A CIRCULAR ARM
MOTION.
AS THE UKE IS THROWN, RELEASE YOUR RIGHT ARM FROM HIS
SLEEVE AND ASSUME A JIGO TAI POSTURE TO SUPPORT THE UKE’S
FALL.
30
SASAE TSURIKOMI ASHI






(PROPPING ANKLE LIFT-PULL)
FACING YOUR UKE, GRAB HIS RIGHT SLEEVE WITH YOUR LEFT
HAND AND HIS LEFT COLLAR WITH YOUR RIGHT HAND.
PULL HIS SLEEVE FORCING HIM TO STEP FORWARD WITH HIS RIGHT
FOOT, WHILE YOU STEP BACK WITH YOUR LEFT FOOT.
PUSH FIRMLY ON HIS RIGHT SLEEVE FORCING YOUR UKE TO STEP
BACKWARD WITH HIS RIGHT FOOT AS YOU STEP FORWARD WITH
YOUR LEFT FOOT.
REPEAT THIS PUSHING AND PULLING FOOT MOVEMENT A COUPLE
TIMES.
AS YOU ARE PULLING THE UKE FORWARD, TURN YOUR RIGHT HEEL
SO YOUR TOES ARE FACING TOWARD YOUR LEFT FOOT.
LET YOUR BODY TURN AS WELL SO YOUR CHEST IS FACING YOUR
UKE’S LEFT SIDE. AS HE PASSES BY YOU, TURN YOUR LEFT FOOT ON
EDGE AND PROP YOUR ARCH ON THE FRONT PART OF HIS RIGHT
ANKLE.
31



THIS WILL ABRUPTLY HALT THE UKE’S FORWARD PROGRESS AND
CAUSE HIM TO FALL FORWARD AS IF EXECUTING A CHUGARI ON HIS
RIGHT SIDE.
CONTINUE THE PULLING KUZUSHI ACTION WITH THE SLEEVE AND
COLLAR. AS HE STARTS THE TUMBLE, QUICKLY PULL HIS RIGHT
SLEEVE IN A CIRCULAR MOTION AND PUSH UP AND FORWARD ON
HIS COLLAR WITH YOUR RIGHT HAND. THIS ACTION IS SIMILAR TO
TURNING A WHEEL.
AS THE UKE IS THROWN, RELEASE YOUR RIGHT ARM FROM HIS
COLLAR AND ASSUME A JIGO TAI POSTURE TO SUPPORT THE UKE’S
FALL.
HIZA GURUMA


(KNEE WHEEL)
FACING YOUR UKE, GRAB HIS RIGHT SLEEVE WITH YOUR LEFT
HAND AND HIS LEFT COLLAR WITH YOUR RIGHT HAND.
PULL HIS SLEEVE FORCING HIM TO STEP FORWARD WITH HIS RIGHT
FOOT, WHILE YOU STEP BACK WITH YOUR LEFT FOOT.
32







PUSH FIRMLY ON HIS RIGHT SLEEVE FORCING YOUR UKE TO STEP
BACKWARD WITH HIS RIGHT FOOT AS YOU STEP FORWARD WITH
YOUR LEFT FOOT.
REPEAT THIS PUSHING AND PULLING FOOT MOVEMENT A COUPLE
TIMES.
AS YOU ARE PULLING THE UKE FORWARD, TURN YOUR RIGHT HEEL
SO YOUR TOES ARE FACING TOWARD YOUR LEFT FOOT.
LET YOUR BODY TURN AS WELL SO YOUR CHEST IS FACING YOUR
UKE’S LEFT SIDE. AS HE PASSES BY YOU, TURN YOUR LEFT FOOT ON
EDGE AND PROP YOUR ARCH ON THE FRONT OF HIS RIGHT LEG
DIRECTLY BELOW HIS KNEE.
THIS WILL ABRUPTLY HALT THE UKE’S FORWARD PROGRESS AND
CAUSE HIM TO FALL FORWARD AS IF EXECUTING A CHUGARI ON HIS
RIGHT SIDE.
CONTINUE THE PULLING KUZUSHI ACTION WITH THE SLEEVE AND
COLLAR. AS HE STARTS THE TUMBLE, QUICKLY PULL HIS RIGHT
SLEEVE IN A CIRCULAR MOTION AND PUSH UP AND FORWARD ON
HIS COLLAR WITH YOUR RIGHT HAND. THIS ACTION IS SIMILAR TO
TURNING A WHEEL.
AS THE UKE IS THROWN, RELEASE YOUR RIGHT ARM FROM HIS
COLLAR AND ASSUME A JIGO TAI POSTURE TO SUPPORT THE UKE’S
FALL.
33
IPPON SEOI OTOSHI








(ONE ARM SHOULDER DROP)
FACING YOUR UKE, GRAB HIS RIGHT SLEEVE WITH YOUR LEFT
HAND AND HIS LEFT COLLAR WITH YOUR RIGHT HAND.
PULL YOUR UKE’S RIGHT SLEEVE FORWARD WITH YOUR LEFT HAND
TILTING HIS BODY OFF BALANCE.
STEP YOUR FOOT ACROSS YOUR FRONT AND PLACE YOUR RIGHT
FOOT IN BETWEEN YOU AND YOUR OPPONENT WHILE YOU TAKE
YOUR RIGHT ARM AND WRAP IT UNDERNEATH YOUR OPPONENT’S
ARM AND GRAB HIS RIGHT SLEEVE.
PIVOT YOUR LEFT FOOT AROUND AND GO DOWN ONTO YOUR LEFT
KNEE.
GO DOWN ONTO YOUR RIGHT KNEE AND TURN YOUR FEET SO YOUR
HEELS ARE CLOSE TO EACH OTHER AND YOUR BACK IS TO YOUR
OPPONENT. YOUR KNEE SHOULD BE WIDELY SEPARATED.
KEEP HIS SHOULDER LOCKED TIGHTLY TO YOURS, PULLING HIM
DOWN ONTO YOUR BACK. THEN SIT YOUR HIPS DOWN ON YOUR
LEGS WITH YOUR BACK VERTICAL.
CONTINUE PULLING WITH YOUR LEFT ARM, TWISTING TO YOUR LEFT
SIDE.
BRING YOUR RIGHT SHOULDER DOWNWARD TO THE FLOOR,
PLACING YOUR RIGHT ELBOW BETWEEN YOUR LEGS. TURN YOUR
HEAD TO THE LEFT AND AVOID HITTING IT ON THE FLOOR. AS YOUR
RIGHT SHOULDER TOUCHES THE FLOOR, BUMP YOUR UKE UPWARD
WITH YOUR LOWER BACKSIDE AND HIPS THROWING HIM TO THE
FLOOR IN FRONT OF YOU.
34
SECTION
5: EXERCISE TRAINING
EXERCISE DESCRIPTION
JUMPING JACKS

STAND WITH YOUR FEET TOGETHER AND YOUR ARMS AT YOUR
SIDES.
35



JUMP UP STRAIGHT AND SPREAD YOUR FEET ABOUT SHOULDER
WITH APART AS YOU LAND ON THE GROUND. CLAP YOUR HANDS
OVER YOUR HEAD.
IMMEDIATELY JUMP BACK UP INTO THE AIR AND BRING YOUR FEET
BACK TOGETHER AND YOUR ARMS BACK DOWN TO YOUR SIDES AS
YOU LAND.
REPEAT THIS MOTION BRISKLY JUMPING HIGHER AND HIGHER INTO
THE AIR AS YOUR BODY WARMS UP.
PUSHUPS (REGULAR)





POSITION YOUR BODY ON THE PALMS OF YOUR HANDS AND ON THE
BALLS OF YOUR FEET FACING THE FLOOR WITH YOUR BODY
STRAIGHT AND PARALLEL TO THE FLOOR.
DO NOT ARCH YOUR HIPS UP NOR SAG YOUR HIPS TOWARD THE
GROUND.
YOUR HANDS SHOULD BE ABOUT SHOULDER WIDTH APART AND
YOUR FINGERS SHOULD POINT FORWARD PARALLEL TO YOUR BODY
DIRECTION.
BEND YOUR ELBOWS UNTIL YOUR CHEST ALMOST TOUCHES THE
GROUND AND THEN PUSH YOURSELF BACK UP INTO THE STARTING
POSTION.
KEEP YOUR BODY STRAIGHT THE ENTIRE TIME AND KEEP YOUR
HEAD UP SO YOU ARE LOOKING FORWARD.
BICYCLE THRUSTS

LAY ON YOUR BACK WITH YOUR HANDS BEHIND YOUR HEAD AND
YOUR HEAD LIFTED OFF THE GROUND.
36


BRING YOUR RIGHT KNEE UP SO IT IS TOUCHING YOUR RIGHT
ELBOW AND COMPLETELY EXTEND OUT YOUR LEFT LEG STRAIGHT
IN FRONT OF YOU.
WHILE YOU EXTEND YOUR RIGHT LEG OUT COMPLETELY, PULL
BACK YOUR LEFT LEG UNTIL YOUR LEFT KNEE TOUCHES YOUR LEFT
ELBOW.
PUSHUPS (MODIFIED)




SPREAD YOUR LEGS APART AND PLACE YOUR HANDS ON THE
GROUND ABOUT A SHOULDER-WIDTH APART.
PUSH YOUR BODY BACKWARDS, THEN BEND YOUR ELBOWS AND DIP
YOUR BODY FORWARD SO YOUR CHEST ALMOST TOUCHES THE
GROUND.
CONTINUE FORWARD AND THEN PUSH UP WITH YOUR ARMS SO
YOUR HIPS ARE ALMOST TOUCHING THE GROUND, AND YOUR HEAD
IS UP HIGH.
BRING YOUR HIPS UP AND PUSH YOURSELF BACK TO THE INITIAL
POSITION.
SITUPS



HAVE YOUR PARTNER HOLD YOUR FEET DOWN WITH THEIR LEGS
WHILE YOU SIT WITH YOUR KNEES BENT AND YOUR ARMS ACROSS
YOUR CHEST
LOWER YOUR BODY UNTIL YOUR LOWER BACK TOUCHES THE
GROUND.
USE YOUR ABDOMINAL MUSCLES TO SIT BACK UP.
37
STRETCHING



SIT ON THE GROUND AND SPREAD YOUR LEGS APART.
STRETCH WITH BOTH HANDS TOWARD YOUR RIGHT FOOT, TOWARD
YOUR LEFT FOOT, AND TO THE CENTER.
STRETCH AS FAR DOWN AS YOU CAN.
LEGS OVER HEAD




LAY ON YOUR BACK WITH YOUR HANDS ON YOUR STOMACH AND
YOUR FEET A COUPLE INCHES OFF THE GROUND.
USING YOUR ABDOMINAL MUSCLES, LIFT YOUR LEGS OVER YOUR
BODY UNTIL YOUR TOES TOUCH THE GROUND BEHIND YOUR HEAD.
YOUR LEGS SHOULD STAY TOGETHER THE ENTIRE TIME.
THEN BRING YOUR LEGS BACK TO THE STARTING POSITION
JUMPING (SIDE-TO-SIDE)


HAVE YOUR PARTNER SIT ON THE GROUND WITH HIS LEGS
EXTEDED STRAIGHT IN FRONT OF THEM.
STAND ON ONE SIDE OF HIS LEGS AND THEN WHILE KEEPING YOUR
FEET TOGETHER, JUMP UNTIL YOU ARE ON THE OTHER SIDE OF HIS
LEGS.
38


THEN JUMP BACK TO THE ORIGIONAL POSITION.
TO MAKE IT EASIER, YOU CAN PUT YOUR OUTSIDE FOOT FORWARD
SLIGHTLY EVERY TIME YOU JUMP.
JUMPING (SCISSOR)




HAVE YOUR PARTNER SIT ON THE GROUND WITH HIS LEGS SPREAD
APART IN FRONT OF HIM.
START BY STANDING WITH YOUR FEET TOGETHER IN BETWEEN HIS
LEGS.
WHILE YOU JUMP STRAIGHT UP AND SPREAD YOUR FEET SO YOU
LAND WITH YOUR FEET APART, YOUR PARTNER SHOULD PULL HIS
LEGS TOGETHER SO THAT HIS LEGS ARE NEXT TO EACH OTHER
BEFORE YOU LAND.
WHILE YOU JUMP STRAIGHT UP AND BRING YOUR LEGS BACK
TOGETHER TO LAND YOUR PARTNER SHOULD SPREAD HIS LEGS
APART AGAIN.
MOUNTAIN CLIMBS (DOUBLE)



STAND UP AND PLACE YOUR HANDS ON THE GROUND IN FRONT OF
YOU SHOULDER-WIDTH APART.
KEEPING YOUR HANDS WHERE THEY ARE, JUMP UP WITH BOTH
LEGS AND MOVE YOUR FEET UNTIL THEY LAND RIGHT BEHIND
YOUR WRISTS.
THEN JUMP BACK TO YOUR ORIGINAL POSITION.
39
ALTERNATIVELY, MOUNTAIN CILMBS CAN BE DONE ALTERNATING THE
LEFT AND RIGHT FOOT FOREWARD (SINGLE MOUNTAIN CLIMBS).
40
EXERCISE REQUIREMENTS
No. REQ
JUMPING JACKS
10
PUSHUPS (REGULAR)
10
BICYCLE THRUSTS
10
PUSHUPS (MODIFIED)
10
SITUPS
10
10deg
STRETCHING
MOUNTAIN CLIMB (DOUBLE)
10
LEGS OVER HEAD
10
JUMPING (SCISSORS)
10
JUMPING (SIDE-TO-SIDE)
10
41
SECTION
6: COURSE PROGRESSION
PROGRESSION CHART EXPLANATION
THE FOLLOWING CHARTS ARE DESIGNED AND PROVIDED FOR THE
STUDENT TO TRACK COURSEWORK CLASS BY CLASS. IT IS IMPORTANT
FOR THE STUDENT TO KEEP UP-TO-DATE IN ORDER TO BALANCE
TRAINING AMONG ALL THE VARIOUS TECHNICAL REQUIREMENTS.
EACH THROW HAS A MINIMUM NUMBER OF REPETITIONS REQUIRED FOR
PROFICIENCY, AND THE STUDENT SHOULD NOT CONSIDER TESTING FOR
PROMOTION UNTIL EACH TECHNIQUE HAS BEEN PRACTICED THIS
MINIMUM NUMBER OF TIMES.
THE CHARTS ARE NUMBERED 1 THROUGH 30 FOR THE MINIMUM AMOUNT
OF CLASSES REQUIRED BEFORE THE PROMOTION TEST. AN ADDITIONAL
31+ CHART IS INCLUDED SHOULD EXTRA CLASSTIME BE NEEDED FOR
FURTHER PREPARATION FOR THE PROMOTION EXAM.
REQUIREMENTS FOR YELLOW BELT
100 EACH THROW RIGHT SIDE
100 EACH THROW LEFT SIDE
42
CLASS
1
TECHNIQUES
IKKYO NO
WAZA
(GROUP #1)
DAILY
TOTAL
# THROWS
# THROWS
# MINUTES
# MINUTES
O SOTO GARI
O GOSHI
DE ASHI HARAI
SEOI NAGE - MOROTE
- IPPON
O UCHI GARI
UKI GOSHI
SASAE TSURI KOMI
ASHI
HIZA GARUMA
IPPON SEOI OTOSHI
UKI OTOSHI
RANDORI
RANDORI
NE WAZA
OSAI KOMI
43
CLASS
2
TECHNIQUES
IKKYO NO
WAZA
(GROUP #1)
DAILY
TOTAL
# THROWS
# THROWS
# MINUTES
# MINUTES
O SOTO GARI
O GOSHI
DE ASHI HARAI
SEOI NAGE - MOROTE
- IPPON
O UCHI GARI
UKI GOSHI
SASAE TSURI KOMI
ASHI
HIZA GARUMA
IPPON SEOI OTOSHI
UKI OTOSHI
RANDORI
CLASS
RANDORI
NE WAZA
OSAI KOMI
3
44
O SOTO GARI
O GOSHI
TECHNIQUES
DE ASHI HARAI
SEOI NAGE - MOROTE
- IPPON
IKKYO NO
WAZA
O UCHI GARI
(GROUP #1)
UKI GOSHI
SASAE TSURI KOMI
ASHI
HIZA GARUMA
IPPON SEOI OTOSHI
# THROWS
# THROWS
DAILY
TOTAL
# THROWS
# THROWS
# MINUTES
# MINUTES
UKI OTOSHI
RANDORI
CLASS
RANDORI
NE WAZA
OSAI KOMI
4
45
O SOTO GARI
O GOSHI
DE ASHI HARAI
SEOI NAGE - MOROTE
TECHNIQUES
- IPPON
IKKYO NO
WAZA
O UCHI GARI
(GROUP #1)
UKI GOSHI
SOTOTSURI
GARI KOMI
SASAE
IKKYO NO O
ASHI
O
GOSHI
WAZA
HIZA GARUMA
IPPON SEOI OTOSHI
DAILY
TOTAL
# THROWS
# THROWS
# MINUTES
# MINUTES
UKI OTOSHI
RANDORI
CLASS
RANDORI
NE WAZA
OSAI KOMI
5
46
(GROUP #1)
DE ASHI HARAI
SEOI NAGE - MOROTE
- IPPON
O UCHI GARI
UKI GOSHI
SASAE TSURI KOMI
ASHI
HIZA GARUMA
IPPON SEOI OTOSHI
UKI OTOSHI
# MINUTES
RANDORI
RANDORI
NE WAZA
OSAI KOMI
47
# MINUTES
CLASS
6
TECHNIQUES
IKKYO NO
WAZA
(GROUP #1)
DAILY
TOTAL
# THROWS
# THROWS
# MINUTES
# MINUTES
O SOTO GARI
O GOSHI
DE ASHI HARAI
SEOI NAGE - MOROTE
- IPPON
O UCHI GARI
UKI GOSHI
SASAE TSURI KOMI
ASHI
HIZA GARUMA
IPPON SEOI OTOSHI
UKI OTOSHI
RANDORI
CLASS
RANDORI
NE WAZA
OSAI KOMI
7
48
O SOTO GARI
O GOSHI
TECHNIQUES
DE ASHI HARAI
SEOI NAGE - MOROTE
- IPPON
IKKYO NO
WAZA
O UCHI GARI
(GROUP #1)
UKI GOSHI
SASAE TSURI KOMI
ASHI
HIZA GARUMA
IPPON SEOI OTOSHI
# THROWS
# THROWS
DAILY
TOTAL
# THROWS
# THROWS
# MINUTES
# MINUTES
UKI OTOSHI
RANDORI
CLASS
RANDORI
NE WAZA
OSAI KOMI
8
49
O SOTO GARI
O GOSHI
DE ASHI HARAI
SEOI NAGE - MOROTE
TECHNIQUES
- IPPON
IKKYO NO
WAZA
O UCHI GARI
(GROUP #1)
UKI GOSHI
SOTOTSURI
GARI KOMI
SASAE
IKKYO NO O
ASHI
O
GOSHI
WAZA
HIZA GARUMA
IPPON SEOI OTOSHI
DAILY
TOTAL
# THROWS
# THROWS
# MINUTES
# MINUTES
UKI OTOSHI
RANDORI
CLASS
RANDORI
NE WAZA
OSAI KOMI
9
50
(GROUP #1)
DE ASHI HARAI
SEOI NAGE - MOROTE
- IPPON
O UCHI GARI
TECHNIQUES
UKI GOSHI
SASAE TSURI KOMI
ASHI
HIZA
GARUMA
O
SOTO
GARI
IKKYO NO IPPON
SEOI OTOSHI
O GOSHI
WAZA
DE ASHI HARAI
(GROUP #1)
UKI OTOSHI
SEOI
NAGE - MOROTE
RANDORI
CLASS
RANDORI
NE WAZA
OSAI KOMI
10
51
DAILY
TOTAL
# THROWS
# THROWS
# MINUTES
# MINUTES
- IPPON
O UCHI GARI
UKI GOSHI
SASAE TSURI KOMI
TECHNIQUES
ASHI
HIZA GARUMA
IPPON SEOI OTOSHI
O SOTO GARI
UKI
OTOSHI
O GOSHI
IKKYO NO DE ASHI HARAI
WAZA
SEOI NAGE - MOROTE
(GROUP #1)
RANDORI
- IPPON
NEUCHI
WAZA
O
GARI
RANDORI
OSAI KOMI
CLASS
11
52
DAILY
TOTAL
# THROWS
# THROWS
# MINUTES
# MINUTES
UKI GOSHI
SASAE TSURI KOMI
ASHI
HIZA GARUMA
TECHNIQUES
IPPON SEOI OTOSHI
IKKYO NO
WAZA
RANDORI
(GROUP #1)
CLASS
UKI OTOSHI
O SOTO GARI
O GOSHI
RANDORI
DE ASHI HARAI
NE WAZA
SEOI
NAGE - MOROTE
OSAI KOMI - IPPON
O UCHI GARI
12
53
DAILY
TOTAL
# THROWS
# THROWS
# MINUTES
# MINUTES
UKI GOSHI
SASAE TSURI KOMI
ASHI
HIZA GARUMA
TECHNIQUES
IPPON SEOI OTOSHI
IKKYO NO
WAZA
RANDORI
(GROUP #1)
CLASS
UKI OTOSHI
O SOTO GARI
O GOSHI
RANDORI
DE ASHI HARAI
NE WAZA
SEOI
NAGE - MOROTE
OSAI KOMI - IPPON
O UCHI GARI
13
54
DAILY
TOTAL
# THROWS
# THROWS
# MINUTES
# MINUTES
UKI GOSHI
SASAE TSURI KOMI
ASHI
HIZA GARUMA
IPPON SEOI OTOSHI
UKI OTOSHI
# MINUTES
RANDORI
RANDORI
NE WAZA
OSAI KOMI
55
# MINUTES
CLASS
14
TECHNIQUES
IKKYO NO
WAZA
(GROUP #1)
DAILY
TOTAL
# THROWS
# THROWS
# MINUTES
# MINUTES
O SOTO GARI
O GOSHI
DE ASHI HARAI
SEOI NAGE - MOROTE
- IPPON
O UCHI GARI
UKI GOSHI
SASAE TSURI KOMI
ASHI
HIZA GARUMA
IPPON SEOI OTOSHI
UKI OTOSHI
RANDORI
RANDORI
NE WAZA
OSAI KOMI
56
CLASS
15
TECHNIQUES
IKKYO NO
WAZA
(GROUP #1)
DAILY
TOTAL
# THROWS
# THROWS
# MINUTES
# MINUTES
O SOTO GARI
O GOSHI
DE ASHI HARAI
SEOI NAGE - MOROTE
- IPPON
O UCHI GARI
UKI GOSHI
SASAE TSURI KOMI
ASHI
HIZA GARUMA
IPPON SEOI OTOSHI
UKI OTOSHI
RANDORI
RANDORI
NE WAZA
OSAI KOMI
57
CLASS
16
TECHNIQUES
IKKYO NO
WAZA
(GROUP #1)
DAILY
TOTAL
# THROWS
# THROWS
# MINUTES
# MINUTES
O SOTO GARI
O GOSHI
DE ASHI HARAI
SEOI NAGE - MOROTE
- IPPON
O UCHI GARI
UKI GOSHI
SASAE TSURI KOMI
ASHI
HIZA GARUMA
IPPON SEOI OTOSHI
UKI OTOSHI
RANDORI
RANDORI
NE WAZA
OSAI KOMI
58
CLASS
17
TECHNIQUES
IKKYO NO
WAZA
(GROUP #1)
DAILY
TOTAL
# THROWS
# THROWS
# MINUTES
# MINUTES
O SOTO GARI
O GOSHI
DE ASHI HARAI
SEOI NAGE - MOROTE
- IPPON
O UCHI GARI
UKI GOSHI
SASAE TSURI KOMI
ASHI
HIZA GARUMA
IPPON SEOI OTOSHI
UKI OTOSHI
RANDORI
RANDORI
NE WAZA
OSAI KOMI
59
CLASS
18
TECHNIQUES
IKKYO NO
WAZA
(GROUP #1)
DAILY
TOTAL
# THROWS
# THROWS
# MINUTES
# MINUTES
O SOTO GARI
O GOSHI
DE ASHI HARAI
SEOI NAGE - MOROTE
- IPPON
O UCHI GARI
UKI GOSHI
SASAE TSURI KOMI
ASHI
HIZA GARUMA
IPPON SEOI OTOSHI
UKI OTOSHI
RANDORI
RANDORI
NE WAZA
OSAI KOMI
60
CLASS
19
TECHNIQUES
IKKYO NO
WAZA
(GROUP #1)
DAILY
TOTAL
# THROWS
# THROWS
# MINUTES
# MINUTES
O SOTO GARI
O GOSHI
DE ASHI HARAI
SEOI NAGE - MOROTE
- IPPON
O UCHI GARI
UKI GOSHI
SASAE TSURI KOMI
ASHI
HIZA GARUMA
IPPON SEOI OTOSHI
UKI OTOSHI
RANDORI
RANDORI
NE WAZA
OSAI KOMI
61
CLASS
20
TECHNIQUES
IKKYO NO
WAZA
(GROUP #1)
DAILY
TOTAL
# THROWS
# THROWS
# MINUTES
# MINUTES
O SOTO GARI
O GOSHI
DE ASHI HARAI
SEOI NAGE - MOROTE
- IPPON
O UCHI GARI
UKI GOSHI
SASAE TSURI KOMI
ASHI
HIZA GARUMA
IPPON SEOI OTOSHI
UKI OTOSHI
RANDORI
RANDORI
NE WAZA
OSAI KOMI
62
CLASS
21
TECHNIQUES
IKKYO NO
WAZA
(GROUP #1)
DAILY
TOTAL
# THROWS
# THROWS
# MINUTES
# MINUTES
O SOTO GARI
O GOSHI
DE ASHI HARAI
SEOI NAGE - MOROTE
- IPPON
O UCHI GARI
UKI GOSHI
SASAE TSURI KOMI
ASHI
HIZA GARUMA
IPPON SEOI OTOSHI
UKI OTOSHI
RANDORI
RANDORI
NE WAZA
OSAI KOMI
63
CLASS
22
TECHNIQUES
IKKYO NO
WAZA
(GROUP #1)
DAILY
TOTAL
# THROWS
# THROWS
# MINUTES
# MINUTES
O SOTO GARI
O GOSHI
DE ASHI HARAI
SEOI NAGE - MOROTE
- IPPON
O UCHI GARI
UKI GOSHI
SASAE TSURI KOMI
ASHI
HIZA GARUMA
IPPON SEOI OTOSHI
UKI OTOSHI
RANDORI
RANDORI
NE WAZA
OSAI KOMI
64
CLASS
23
TECHNIQUES
IKKYO NO
WAZA
(GROUP #1)
DAILY
TOTAL
# THROWS
# THROWS
# MINUTES
# MINUTES
O SOTO GARI
O GOSHI
DE ASHI HARAI
SEOI NAGE - MOROTE
- IPPON
O UCHI GARI
UKI GOSHI
SASAE TSURI KOMI
ASHI
HIZA GARUMA
IPPON SEOI OTOSHI
UKI OTOSHI
RANDORI
RANDORI
NE WAZA
OSAI KOMI
65
CLASS
24
TECHNIQUES
IKKYO NO
WAZA
(GROUP #1)
DAILY
TOTAL
# THROWS
# THROWS
# MINUTES
# MINUTES
O SOTO GARI
O GOSHI
DE ASHI HARAI
SEOI NAGE - MOROTE
- IPPON
O UCHI GARI
UKI GOSHI
SASAE TSURI KOMI
ASHI
HIZA GARUMA
IPPON SEOI OTOSHI
UKI OTOSHI
RANDORI
RANDORI
NE WAZA
OSAI KOMI
66
CLASS
25
TECHNIQUES
IKKYO NO
WAZA
(GROUP #1)
DAILY
TOTAL
# THROWS
# THROWS
# MINUTES
# MINUTES
O SOTO GARI
O GOSHI
DE ASHI HARAI
SEOI NAGE - MOROTE
- IPPON
O UCHI GARI
UKI GOSHI
SASAE TSURI KOMI
ASHI
HIZA GARUMA
IPPON SEOI OTOSHI
UKI OTOSHI
RANDORI
RANDORI
NE WAZA
OSAI KOMI
67
CLASS
26
TECHNIQUES
IKKYO NO
WAZA
(GROUP #1)
DAILY
TOTAL
# THROWS
# THROWS
# MINUTES
# MINUTES
O SOTO GARI
O GOSHI
DE ASHI HARAI
SEOI NAGE - MOROTE
- IPPON
O UCHI GARI
UKI GOSHI
SASAE TSURI KOMI
ASHI
HIZA GARUMA
IPPON SEOI OTOSHI
UKI OTOSHI
RANDORI
RANDORI
NE WAZA
OSAI KOMI
68
CLASS
27
TECHNIQUES
IKKYO NO
WAZA
(GROUP #1)
DAILY
TOTAL
# THROWS
# THROWS
# MINUTES
# MINUTES
O SOTO GARI
O GOSHI
DE ASHI HARAI
SEOI NAGE - MOROTE
- IPPON
O UCHI GARI
UKI GOSHI
SASAE TSURI KOMI
ASHI
HIZA GARUMA
IPPON SEOI OTOSHI
UKI OTOSHI
RANDORI
RANDORI
NE WAZA
OSAI KOMI
69
CLASS
28
TECHNIQUES
IKKYO NO
WAZA
(GROUP #1)
DAILY
TOTAL
# THROWS
# THROWS
# MINUTES
# MINUTES
O SOTO GARI
O GOSHI
DE ASHI HARAI
SEOI NAGE - MOROTE
- IPPON
O UCHI GARI
UKI GOSHI
SASAE TSURI KOMI
ASHI
HIZA GARUMA
IPPON SEOI OTOSHI
UKI OTOSHI
RANDORI
RANDORI
NE WAZA
OSAI KOMI
70
CLASS
29
TECHNIQUES
IKKYO NO
WAZA
(GROUP #1)
DAILY
TOTAL
# THROWS
# THROWS
# MINUTES
# MINUTES
O SOTO GARI
O GOSHI
DE ASHI HARAI
SEOI NAGE - MOROTE
- IPPON
O UCHI GARI
UKI GOSHI
SASAE TSURI KOMI
ASHI
HIZA GARUMA
IPPON SEOI OTOSHI
UKI OTOSHI
RANDORI
RANDORI
NE WAZA
OSAI KOMI
71
CLASS
30
TECHNIQUES
IKKYO NO
WAZA
(GROUP #1)
DAILY
TOTAL
# THROWS
# THROWS
# MINUTES
# MINUTES
O SOTO GARI
O GOSHI
DE ASHI HARAI
SEOI NAGE - MOROTE
- IPPON
O UCHI GARI
UKI GOSHI
SASAE TSURI KOMI
ASHI
HIZA GARUMA
IPPON SEOI OTOSHI
UKI OTOSHI
RANDORI
RANDORI
NE WAZA
OSAI KOMI
72
ADDITIONAL CLASSES
31 +
TECHNIQUES
IKKYO NO
WAZA
(GROUP #1)
DAILY
TOTAL
# THROWS
# THROWS
# MINUTES
# MINUTES
O SOTO GARI
O GOSHI
DE ASHI HARAI
SEOI NAGE - MOROTE
- IPPON
O UCHI GARI
UKI GOSHI
SASAE TSURI KOMI
ASHI
HIZA GARUMA
IPPON SEOI OTOSHI
UKI OTOSHI
RANDORI
RANDORI
NE WAZA
OSAI KOMI
73
6TH KYU EXAM SHEET
TERMINOLOGY
REI
KYOSKEI
SENSEI
DOJO
TORI
UKE
MATE
HAJIME
JUDOKA
JUDOGI
OSAI KOMI
TOKETA
NAGE
TAI SABAKI
UKEMI
CHUGARI
JIGO TAI
ICHI
NI
SAN
SHI
GO
ROKU
NANA
HACHI
KYUU
JUU
Score
EXERCISE
JUMPING JACKS
PUSH UPS (REGULAR)
BICYCLE THRUSTS
PUSH UPS (MODIFIED)
SITUPS
STRETCHING
MOUNTAIN CLIMBS
LEGS OVER HEAD
JUMPING (SCISSORS)
JUMPING (SIDE-TOSIDE)
No.Req
10
10
10
10
10
10
10
10
10
10
UKEMI
SIDE
BACK
CHUGARI
10
10
10
NAGE WAZA
O GOSHI
O SOTO GARI
IPPON SEOI NAGE
MOROTE SEOI NAGE
UKI GOSHI
DE ASHI HARAI
O UCHI GARI
HIZA GURUMA
SASEA TSURI KOMI
ASHI
IPPON SEOI OTOSHI
5/5
5/5
5/5
5/5
5/5
5/5
5/5
5/5
5/5
5/5
OSAI KOMI
KESA GATAME
ESCAPE TECHIQUES
INSTRUCTOR
SIGNATURE
DATE
74
3/3
7
Score