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 HANE GOSHI : 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 Judo founder Master Jigoro Kano. Hane Goshi is the 5th hip Master Jigoro Kano throw 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- Harai Goshi, Ushiro Goshi, Uchimata, and Obi Otoshi. 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 Uki Goshi or Tsurikomi Goshi, 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 O Goshi 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 Tai Sabaki (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 Ura Nage … 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.