HANE GOSHI Analysis and technical applications

By Pascal DUPRÉ – IMAF Switzerland Applicant for the title of “ Renshi ” Kokusai Budoin IMAF

Copyright IMAF (Suisse) – Version of October 8, 2011 : definition and aims

Hane Goshi (Haneru : to spring up, to leap, to jump inside, and Koshi: hip) is a hip technique [Koshi Waza] integrated into the Gokyo no Waza deve- lopped by founder Master Jigoro Kano. Hane Goshi is the 5th hip

Master Jigoro Kano of the ten movements that compose the Gokyo. The following paper aims to explore and (again) emphasize the importance of the technique of Hane Goshi. It is at once an ancient technique and a modern one, and can be adapted to various situations. It is a great technique.

HANE GOSHI : history and origins ring the creation of Kodokan Judo, but is derived, wit- hout a doubt, from the traditional Ju-Jutsu which Master Beginning from 1895, this hip technique was part of the Jigoro Kano practiced. Moreover, we find it demonstra- syllabus of techniques of the Gokyo no Waza in the Dai ted in the work of Mr. K. Higashi and Mr. I. Hancock Sankyo, along with the techniques of Okuri Ashi Barai, entitled “ The Kano Jujitsu ” under technique 33 (a tech- , , Uchimata, and . nique which is furthermore unnamed). With the help of his first students, Master Kano drew from this ancestral According to Master K. Watanabe1, 6th Dan, the crea- knowledge of these forms, and then refined them so that tion of Hane Goshi should be attri- they conformed to his needs. buted to Master K. Iizuka, 10th Dan Even if the exact origns of the technique are not com- (1875–1958) : “ The return of Hane pletely clear, it still seems that Hane Goshi must please the spirit of its Goshi had its devotees in the past. first inventor, Master Iizuka. ” But Master H. Courtine4, 10th Dan in an article published in 19572 and (1930– ) states that “ it is a great entitled, “ I remember… by Mas- technique which was widely prac- ter Iisuka”, he denies this claim : ticed in the past, but which is cur- “ Isogai Hajime, 10th Dan (1871– rently less so ; the reason for this is Master K. Iizuka 1947), the inventor of the Hane simple : its execution necessitates a Goshi, had a very strong body. ” Mas- very academic style of Judo, and in ter K. Iisuka then specifies, with regards to this tech- Master H. Courtine competition, this is less and less the nique : “ The Hane Goshi of this time was not as tech- case. ” nical as that of today. This throw consisted of pulling the adversary strongly towards oneself and to throw him while giving a blow from the hip and raising one leg. ” HANE GOSHI : understanding the Master M. Yoda, 8th Dan, proposes another source in technique an article published in 19563 entitled, My Hane Goshi : “ his throw, the 5th of the 3rd Kyo, is attributed to Mas- In the list of ways to perform throws compiled by Master ter Suzuki, one of Master Kano’s students. ” He also T. Kawakami, 8th Dan, we find : adds in this same article : “ Its basis is either or , whether one does not engage the hip • Hiki-Otosu (making one’s opponent fall by lowe- (principle of Uki Goshi) or whether one does (principle ring), of from whence Tsurikomi Goshi is derived). ” • Hane-Ageru (making one’s opponent jump through a movement of the leg and hip), Thus, this technique seems to have been formalized du- • Tsuri-Komu (pulling one’s opponent near oneself as 1 Judo Kodokan Magazine, Vol. XI – No 1, Jan. 1961 if fishing), and finally, 2 Judo Kodokan Magazine, Vol. III – 15 May 1957 3 Judo Kodokan Magazine, Vol. VII - No 2, 15 March 1956 4 Henri Courtine, Judo et Jiu-Jitsu, 1977, Éd. Denoël – 2 – • Okuri-Komu (throwing while accompanying the your opponent by pushing one of his legs upwards with opponent). your corresponding leg bent. ” Here, the basic principles of Hane Goshi are revealed. We will see in the present analysis that Hane Goshi can associate different combinations of these different ways According to the previously cited Master Yoda, “ At the of throwing. same time as you leap under your opponent’s abdomen, throwing your body (and only slightly bent, toes skim- Let us now explore the different forms of Hane Goshi. ming the ground), you brush away his right leg with your We will start with its fundamentals, followed by its va- right calf as ping both bodies in close contact, your trunk riants (Kuzure), and finally address its counter-attacks inclines toward the ground at the same time as your leg (Kaeshi). rising (in the extension of your trunk, as in letter T) and your opponent falls forward …The whole movement is As we have seen in the discussion about its history and to be done with your whole body, bending your right origins, it is evident that this technique is adapted from leg away, lowering yourself to the maximum under your Uki Goshi, Master Kano’s favorite technique. opponent’s belly and keeping close contact between both In the text written by Master T. Daigo5, 10th Dan bodies until the end of the fall. ” (1926– ), we discover : “ The impor- 8 th tance of ‘bending back’ is explained Master Mikinosuke Kawaishi , 10 Dan (1899–1969), in Hane Goshi Renshuho (Sakko, proposes the following point of view : “ the torso and the published by Kodokan Bunkakai ; bent right leg of Tori stay in exten- March 1926 issue). …To practice sion during the entire throw. Tori’s this technique, prepare by throwing right leg and hip form a sort of plat- with Uki Goshi first. Uki Goshi is form on which Uke topples over ... the key to understanding the action But the important thing is the way of bending back. ” This notion of Master T. Daigo Tori rotates with respect to the Tori’s body position is difficult to understand and espe- attack from his own right leg and cially difficult to put into practice, because Tori obvious- his hip. ” This is very close to Uki ly risks being thrown backwards. This point is evoked Goshi in form, especially as Master by Master S. Nagaoka (1876–1952) and Master K. Sa- Kawaishi insists that : “ Tori, taking mura (1880–1964), both 10th Dan6, with reference to advantage of Uke’s loss of balance, Uki Goshi : “ Tsukuri : In order to perfome Tsukuri, one bends forward in a single, united must employ (turning movement) quickly movement, and using his right leg, Master M. Kawaishi and decisively. One must take small steps, for if one aims upwards for Uke’s leg while strides out the movement will be slow and without effect. bending his left leg. ” It can be countered (Ura Waza) for example by Ushiro Goshi or … it is easy to throw him with the Let us study more in depth a point which I consider to movement of the hands and the twisting of the body ”. be of utmost importance. Master Kawaishi and Mas- ter Shinzo Takagaki9 suggest bending the supporting leg rather than extending it. Numerous other experts Let us now specifically address Hane Goshi. We will would say that Tori’s left leg throws Uke upwards just draw from the perspectives of different Judo masters as a spring releases. Master Ichiro Abe10 tells us the from different eras to help us. following : “ by extending their left leg, Tori raises the In 19607, the technical Commission of the Kodokan opponent with their hip, the right leg following and am- proposed a very detailed technical explanation of this plifying this action. ” movement : “ Principles : By breaking the opponent’s Master T. Inogai11, 8th Dan (1908–1978), specifies : “ at balance so that he tips forward or to his right front cor- the moment where I throw the opponent backwards and ner (or left), you slide under his body comes into close upwards, foot extended, I turn towards the left and pin contact with the lower part of the opponent’s abdomen. 8 Ma Méthode de Judo, M. Kawaishi, Éd. Cedam By using a swinging movement of the hips, you throw 9 Shizo Takagaki & Harold E. Sharp, The Techniques Of Judo, Éd Tuttle 5 Toshiro Daigo, Kodokan Judo : throwing techniques, 2005, Kodansha Publishing, 1957 International 10 Ichiro Abe, Judo By Ichiro Abe, Presses Universitaires de Bruxelles, Éd. 6 Judo Kodokan Magazine, Vol. XXI, Spring 1951 Chiron, 1969 7 Judo Kodokan Magazine, Vol. X, No 5, 15 November 1960 11 Judo pratique, T. Inogai- R. Habersetzer , Éd. Amphora , 2002 – 3 – Uke against me as much as possible while straightening • the planning of knocking Uke’s body off balance, my supporting leg. ” with the hips as the rotation point.

Master Kuyzo Mifune12, 10th Dan Certain instructors insist on this (1883–1965) and cofounder of notion of contact with the hips, Kokusai Budoin, IMAF in 1952, including Master Michel Novo- explains : “Quickly raise your hips vitch14, 6th Dan, who highlights the (by projecting energy from straigh- principle of kinetic energy involved : tening your left knee) and throw “ It is the energy of a bowling ball him. ” striking a pin, of a swinging pendu- lum, it is the impact of a stone that 13 Master Jigoro Kano suggests to has been thrown or of an arrow that us : “ You break your opponent’s ba- Master M. Novovitch Master K. Mifune has been shot … ” It is a more per- lance to his right front corner, pull cussive approach to the movement. He is not alone in him to your right hip, and throw him with an upward promoting this way of performing the movement, since springing action of your right hip and leg combined with Master Henri Courtine explains in concluding his expla- a downward pull by both hands. ” nation of the technique : “ It is necessary to perfectly syn- chronize the movement of the right foot, the movement This way of making Uke “ jump ” thanks to the supporting of ‘percussion’, and the knocking over of the chest. ” leg’s movement of extension, reminds us of the purpose of the technique Hane-Ageru. In this specific case, if one Master T. Inogai reminds us that : “the right leg is more wishes to keep Uke off balance, the movement of hand- or less bent. It was even more so in the older forms of the hip-leg must be executed at the same time, otherwise the technique where Tori hits the inside of Uke, their calf at rotation point formed by Tori’s hips will be transformed the level of the knee. ” into a “ stopping point ”. Uke risks keeping his feet on the ground, stuck as he is at the level of his hips by this sudden jolt and bent forward by the movement of Tori’s This way of executing the movement was described by hands. Uke and Tori are not able to move further due to Master Iizuka in the historical background which intro- the contradicting direction of the two forces. duces the analysis of the present paper. For it to be a Koshi Waza, the most important notion is Thus, we have here two different ways of considering that the hips must be used, both those of Uke and those Kake : one in which Tori’s supporting leg is extended ; of Tori. the other, where it is bent. In my opinion, the action of In an article, Master Kenshiro Abe15, 8th Dan, reminds bending the supporting leg for Kake, rather than exten- us of the foundations of Nage Waza. ding it, throws Uke much more efficiently. This results He insists on the following point : from the fact that Uke must not go up before coming “ In such techniques as those of the back down. The movement of throwing is more direct waist, the center of gravity of one going downwards from a higher point, rather than origi- is put upon the body of the other nating from a lower point, going upwards, and then re- who executes the technique. In this turning back down. However, extending the supporting case the latter should see to it that leg is possible when the body of Uke has already started the two centers of gravity are found, falling. Through the action of this leg, as well as the action otherwise his force is dispersed and of Tori’s hands and body, Uke will be thrown with even is not used effectively. Moreover, more force, and even more surely towards the ground ; in the distance between the two cen- fact, this supporting leg pushes Uke downwards. Master Kenshiro Abe ters of gravity should be as small as One finds, in these different technical forms, the funda- possible, so that the effect of friction may be produced. ” mental notions which allow for the correct execution of Hane Goshi : In Master Jigoro Kano’s book, in the description of Hane Goshi, we still find “ unbalancing Uke on the front right, • the action of sliding under the partner, Tori brings him against his right hip and action plans for 12 K. Mifune, The Canon Of Judo By K. Mifune, Éd. Kodansha International, 2004 ISBN-10 4-7700-2979-9, 224 p. 14 M. Novovitch, Judo Zero Gravity , Éd Pupliday-Multidia 2003 13 J. Kano, Judo Kodokan, Éd. Kodansha, 1956 15 K. Abe, Judo Kodokan Magazine, Spring 1951 – 4 – a spring up his right hip and his right leg, associated with HANE GOSHI : technical a downward pull with both hands. ” opportunities At this stage of the analysis, we identified only two ways to project. Let us now study the situations which favor the execu- tion of Hane Goshi. Let us come back to this very idea of the hands and the actions they execute : the movements that Tori’s hands Uke will be in Shizen Tai, in Migi Shizen Tai, or Hidari perform can vary according to the advice of different Shizen Tai, or even in a defensive position, slightly bent experts, and depending on the moment of Tsukuri, forwards. Tori will be able to adapt himself to Uke’s body Kuzushi, and Kake. position, i.e., by extending his stride backwards so as to enter underneath Uke’s body. This particular manner of Master Ishiro Abe declares that “ by execution could remind one of . pulling their left hand towards the For example, when one performs a larger Tai Sabaki armpit and through the lifting ac- with the left foot while being careful not to find himself tion of their the right hand towards unbalanced backwards (i.e., Tori must always keep their the right front corner, Tori brings balance in a forward direction, even if he performs a Tai the right side of Uke’s chest into Sabaki). This could also remind one of Harai Tsurikomi contact with their own (Migi Shi- Ashi when one executes a direct attack on Uke’s right leg zen Tai position). ” (Migi Shizen Tai). During this action, one must “ open Master Ishiro Abe the door ” for Uke by performing a bodily rotation from This manner of “ pulling - pushing ” right to left so as not to hit his leg. with the hands is without a doubt greatly inspired by Tsuri Komi Goshi. I would also like to suggest a way of attacking that I am personally fond of, and which I call “ passing ” your op- Master Inogai adds : “ I lift Uke by pulling with the left ponent. Starting from a basic hold in the right natural hand (with about 70% force) and lifting with the right posture, at the moment where Uke steps back or moves hand (about 30% force), the right arm folded, elbow his right foot to the side, step, or “ pass ” quickly in front under the armpit of the opponent to create a sort of le- of him and continue advancing (Ayumi Ashi) while ver arm. ” Master Inogai is amongst those that favor the keeping Uke’s weight on his right foot. Through Tori’s action of Tsurite. advancing movement, Uke finds himself swept forward through a pivoting motion around this pressure point. It However, in an article written by the technical Com- is then easy to execute the technique while being careful mission of the Kodokan16, a warning is mentioned : “ If not to stop in front of Uke, but rather to practice Hane the action of my left hand is too strong, in Migi Hane Goshi by “passing” your opponent without stopping. Goshi (to the right) this has for consequence to restore the opponent’s balance by its reaction. ” It is understood Tori can also attack the Uke’s right leg on his transfer that making Uke’s right foot step forward must be done “ in circle ”, as in the execution of in the Nage in such a way that he is invited, rather than forced, to no Kata. move forward, so as to not provoke an opposing reaction in him. Master Shinzo Takagaki provides us with further inte- resting details : “ If the balance of your opponent is on Master Kano does not insist much on Kuzushi in his the center or lower part of his body, it will be difficult to paper on the technique ; nevertheless, he does express a lift him with the power from your hip and leg. You must piece of essential information which is that of “ ...[asso- shift his balance to the upper part of his body by pulling ciation] with a pulling downwards of the two hands. ” him toward his front side. ” This notion is of great importance. This clearly signifies that Tori must not find himself on the same trajectory that Uke takes toward the ground. If he did not respect The techniques presented in the photographs on the this, the joint movement of his two hands would be im- following pages are executed by : possible. In the end, this suggests that Tori’s movement Tori : Pascal Dupré is undeniably to throw Uke downwards in the most di- rect manner possible. Uke : Adrien Beck

16 Judo Kodokan Magazine, Vol. X, No 5, 15 November 1960 – 5 – Throw performed as Uke steps backwards

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– 6 – Throw, Uke in Shizen Tai position

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– 7 – Throw, Uke in Migi Shizen Tai position

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– 8 – Throw executed by “ passing ” the partner

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– 9 – Throw executed in “ circle ”

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– 10 – HANE GOSHI : counter-attacks and combination attacks

According to the basic principles of Judo, the practice of counter-attacks should respect the notion of non-oppo- sition. Tori will exploit Uke’s body position in order to produce the best counter possible.

The counter-attack can be practically done in Sen no Sen, or in Go no Sen. Again, the most important principle – which will charac- terize the counter-attack – is not to interrupt the initial movement, but to prolong it and to direct it in one’s own favor. For example, in the Go no Sen no Kata17, Sasae Tsuri Komi Ashi is proposed as a counter when one is attacked with Hane Goshi at the moment where Uke seeks to get out of his movement and regain his balance (Go no Sen). In a similar way, one can also follow up with Ushiro Goshi or at the moment where the attacking opponent attempts to return to his starting position. It is also possible to go around the opponent’s back and counter-attack his supporting leg with , or , for example.

With regards to combination attacks, the effenciency of such techniques is guaranteed only when one follows Uke’s defensive movements – his body position as well as the energy he puts into his movements. Thus, after taking note of such criteria, Tori can follow up with O Uchi Gari, , or even .

Old Kodokan

17 Kata not identified by the Kodokan, founded in 1910 by the Masters of Waseda University (Tokyo), which studied Master Kawaishi from 1919 to 1923 – 11 – Counter-attack Ushiro Goshi

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– 12 – Counter-attack Utsuri Goshi

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– 13 – Counter-attack Kosoto Gake

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– 14 – Counter-attack Tani Otoshi

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– 15 – Combination attack O Uchi Gari

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– 16 – Combination attack Hane Makikomi

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– 17 – Combination attack Koshi Guruma

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– 18 – HANE GOSHI : concluding remarks I strive to practice a “ fluid ” and jolt-free Judo. This al- lows the participant to be in contact with what a mo- Personally, I practice Hane Goshi very carefully, because vement should be : one that continues on and does not despite several decades of Judo practice, I have only just lapse into inertia. This also allows oneself to preserve begun to understand its subtleties. the body so as to be able to practice this type of Judo I am aware that explaining a movement, transcribing it, as long as possible. Each time movement stops, inertia is difficult and limiting. Only through contact with an takes over and one must start over again ; however, if one instructor can one begin to understand all the nuances keeps movement going, transitioning to another action of a technique ; the same naturally applies to the general becomes easier. One finds this notion in the practice of practice of Judo itself. Tachi Waza (standing techniques) just as in Ne Waza (ground techniques). As for me, I prefer to practice Hane Goshi similarly to Uki Goshi, which relies on the action of “ Hikite ”, rather With regard to this analysis, one discovers that Hane than Hane Goshi in the the “ Tsurite ” manner, where Goshi is a technique of particular interest. First of all, the use of a certain level of force is required. this movement – whose probable origin is Uki Goshi –, brings us into contact with the fundamental work of Earlier, I mentioned Hane Goshi in the “ passing ” man- Koshi Waza. Next, Hane Goshi presents several va- ner, because this technique corresponds well with my riants, in Uke’s actions just as in those of Tori’s. It is a current vision of Judo. I believe that this way of executing movement which can be adapted to the different builds the technique should be part of a time continuum – just of participants. If it is executed unsuccessfully, Tori can as a walker that continues along a given path. The se- transition into another technique. conds which follow without stopping resemble the prac- For all of these reasons, it is unfortunate that this won- tice of Hane Goshi in the “ passing ” manner. As for the derful technique, which one could mistake as belonging form which consists of prolonging Uke’s step backwards, to a past era, is not taught and practiced more. It is part one must employ a great sensitivity of movement ; this is of those techniques which are not easily accessible, but moreover the case with all reaping and sweeping tech- which allow, through their practice, to reach the heart of niques. It is for this reason that this form is very dear to the fundamentals of Judo. me. Pascal Dupré, August 2011 Hane Goshi, as I see it, is inscribed in a curve which seeks to avoid a broken line at all costs ; I try my utmost Acknowledgements not to hit against my partner, but rather to “ accelerate ” I respectfully thank my Judo instructors, in chronological his movements : order : Norbert Jacob, Master Pascal Krieger, Master • acceleration of his own movement without allowing Igor Correa, Master Kazuhiro Mikami, Master Christian him to escape from this very acceleration, Demarre, Master Jacques Le Berre, Master Mitsuhiro • acceleration of his body’s movement by my at- Kondo, as well as all those who have passed on to me the tack, through the usage of my own body – himself Art and the passion of Judo. launched into space – and through the joint action of my hands. I would also like to warmly thank my partners and students and most particularly Robert, Adrien, Christophe, In this respect, I insist on the fact that “ throwing into Rodolphe – without them, practicing Judo would have space ” is a controlled action. It must be controlled so as been impossible. I thank Robert Rapin, Branch Director to protect the partner (Uke) so that he can always find IMAF-Switzerland (cf. www.imaf-ch.org) and President the path of the fall (Ukemi) safely and with complete of the IMAF association of Switzerland, for : his unfailing confidence. Tori always stays in control of the action. support, the graphic design, desktop publishing and for his Harmony between the two partners is the first and fo- photos. remost condition for correctly practicing Judo. Neither winner nor loser, the two participants study and practice All of my gratitude to Master Pascal Krieger, 10th Dan together and, thanks to one another, manage to find ful- Shodo, for his calligraphy “ Hane Goshi ”. fillment in mutual benefit and respect (Jita Kyoe). Many thanks also to Richard Toth for his contribution to the production of this document.

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