Shooto in 1986 (!) "The Story of Shooto Vol.1 "The Technical Shooting Fight"

Kakutogi Road Presents: Sayama's Corner "The Story of Shooto Vol.11"

An Early Sketch for Shooto's Intended Octagon...
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Previous Page Translated

Do your warm-up exercises with care.

When you choose a course [for roadwork], choose by keeping in mind that concrete roads can easily hurt your knees and earth paths with their unevenness can easily sprain your ankles.

As your course, you should choose a path that you are already accustomed to run on or a path that you have sufficiently inspected while walking or jogging.

When you sprain your ankle, it can be easily caught in a joint submission. So when running with injuries, pay special attention to sprained ankles.

Breakfast should be well-balanced and plentiful:

After training, wait for the sweat to drain by being still for about ten minutes. Then you can take a shower or wipe yourself with a dry towel. In either case you need to completely wipe off your sweat.

For breakfast, instead of a refreshing Japanese style breakfast, Western breakfast with high calories and nutritional value is better.

By the way, I will introduce you here to the standard breakfast given at Gotch’s dojo:

Gotch-style oatmeal with banana and raisin with plenty of honey as the main dish; dark bread, ham and eggs (with three eggs), fresh orange juice, fried chicken, vegetable salad, various types of cheese, yogurt, milk, and so on are all placed on the table.

After eating breakfast, rest your body until noon. But don’t sleep during this time. This is because it is difficult to return the body, once loosened, back to its previous state in a short period of time.

Since you will begin full-scale training at 2:00 in the afternoon, as a rule do not eat lunch. But if you really feel the need to, eat things that would not strain your stomach like vegetable salad or noodles, fruits and so on, at least two hours prior to the start of your training.

Soft = technique, hard = body:

At 2:00 begin your training for real fights, such as sparring.

Basic physical strength training like leg exercises, pushups, exercises using barbells and so on, can be done before or after sparring but spend a while doing them.

If we compare the afternoon training to computers, 1) soft = the study of techniques; and 2) hard = building the body.

Do both kinds of training.

In order to study the techniques and master them (soft), we need to build physical strength that can endure them (hard).

It is also necessary to take care that practice does not become monotonous by skillfully mixing the hard and the soft.

Finish training at 8:00 and after showering, eat dinner.

For the evening meal, the most important thing to consider is nutritional balance and there is no need to eat a lot.

When I was training at the Gotch dojo, I only had two meals a day, morning and evening, but the volume was still sufficient to build up the body. Moderate dehydration is important even during training, but be careful about taking in too much water.

After the evening meal relax and use your own time efficiently.

Be sure to make a note of anything you noticed:

It is also important to reflect upon the training of the day and make a note of what you noticed without forgetting about it.

Make it a habit to write down any idea that comes to you, whether by drawing or with sentences. Years later these notes will be valuable assets.

Eight hours is the best duration for sleep. Both lack of sleep and too much sleep will lead to destroying the body’s rhythm.

Each person is different due to physical fitness and the environment, and thus what is effective in training will be different for them.

Begin by making your own plan and building a training schedule that is right for you.



Pushups. My own record was 90 times.
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Learning the distance from your opponent with your body, throw an accurate and yet effective kick.
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Previous Page Translated...

Shooting Official Rules:

Chapter 1: Fighting area:

Article 1: Determination of the mat size: Octagon shape with a 10 meter distance for the floor mat between opposing regions with the diagonal lines reaching each side [translator’s note: I’m not sure what this means].

Article 2: Out-of-bounds zone: The inner loop will be partitioned with the width of 1 meter by a conspicuous color as the out-of-bounds zone.

Article 3: Center zone: 1 meter of the octagon with equal regions will be partitioned diagonally as the center zone for the starting positions for the fighters at the start of the match.

Article 4: Free start position line: A line is drawn from every corner of the octagon as the free start position line.

Article 5: Determination of the material: The mat will be an official mat authorized by the Shooting Federation and will be tightly stretched across the canvas to prevent tripping.

Article 6: Determination of out-of-bounds: The out-of-bounds zone will be of the same material as the in-bounds area and at least two meters of it will extend beyond the partitioning line with nothing placed on it.

Article 7: Front and sides: One corner of the octagon will be the front, the second corner from its right will be the white corner, and the second corner from its left will be the red corner. Officials will be seated at the front corner, and each of the white and red corners will be the entrance area for the athletes.

Article 8: Seating of officials: The seating of officials will be in the center of the front corner. The mat chairman (chief judge) will be seated in its middle seat, the official record keeper will be seated on the right, and next to him is seated the time-keeper. And on both sides of the front corner from some distance will be seated the sub-judges.

Chapter 2: Equipment for competition:

Article 9: Clothing: The competitors must not wear any clothes other than what is admitted by the Shooting Federation.

Article 10: Tights: Competitors must wear tights authorized by the Shooting Federation.

Article 11: Shoes: Competitors must wear shoes authorized by the Shooting Federation.

Article 12: Wearing anything other than what is required:You cannot wear anything that would hinder the fight or any protectors other than what is required.

Article 13: Body: 1) Toe nails must not be grown; 2) Hair and body must be not oiled up.

Article 14: Protectors: Competitors must only wear protectors recognized by the Shooting Federation.

Article 15: Protective Mask: Competitors must wear the protective mask recognized by the Shooting Federation.

Article 16: Leg protectors: Competitors must wear leg protectors recognized by the Shooting Federation.

Article 17: Knee protectors: Competitors must wear knee protectors recognized by the Shooting Federation.

Article 18: Foul cup: Competitors must wear a foul cup recognized by the Shooting Federation.

Article 19: Hand protectors: Competitors may wear hand protectors recognized by the Shooting Federation.

Chapter 3: Judging:

Article 20: Judging: Judging is to be fair and impartial and has the highest authority and the match proceeds according to its instructions.

Article 21: Number of judges: There will be four judges per match.

Article 22: Judge-chairman (Matt chairman): While the matt chairman judges the whole [of the match], the judges concurrently take the total [points] counted by each judge.

Article 23: Referee: The referee directly oversees the match and allows it to proceed. And when the total points of the judges equal a draw, the referee ultimately decides the winner.

Article 24: Judges: The judges are positioned behind each corner and assist the referee, and make the judgment when the match ends in decision.

Article 25: Judgment: Members of the judgment committee [referee and judges] decide the winner.

Article 26: Regulation: Members of the judgment committee must take their designated positions and during the match must not be allowed to talk to others or look elsewhere.

Article 27: Indication of judgment: Judgment committee members must indicate their judgment promptly.

Article 28: Summoning call: The referee extends his hands towards both competitors standing by within the arena [octagon] and invite both to come to the center zone by calling “center.”

Article 29: Final check: At the center of the mat the referee performs a final check of both fighters’ wear and equipment, their medical checkup, and rules.

Article 30: Stand-by: The referee directs both of his palms from inside to outside and with the command “outside,” moves both competitors to outside of the center zone to prompt them to stand-by [be ready].

Article 31: Start of the match: The referee at the center between the two competitors makes the command of “bow” while fixing his right hand with the thumb pointing up at the level of his chest and arm extended. After their bowing, he lowers his land and calls “start” to begin the match.

Article 32: Indication of ground position: During the match, when either or both competitor/s touches the mat from the knee up, in cases where the situation is a ground position, the referee taps the back of his right hand, in a downward direction, on the top of his left palm while calling, “ground.”

Article 33: Indication of free position: When the time limit [for ground fighting] or the competitor/s indicate being free [stand up?], the referee places the back of his right hand on the palm of his left hand and raises his arms, in an upward direction, while separating them left and right.

A mat for amateur wrestling is circular with a 9 meter diameter but because shooting includes striking it [the mat] is larger in size.
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To Be Continued...
 
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Kakutogi Road Presents: Sayama’s Corner "The Story of Shooto Vol.12"




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  • Note: This is a continuation of where we left of last time, as we continue to rappel the depths of all shoot-mysteries. In this case, as we forge ahead with our translation of “Shooting: The Technical Shooting Fight” from 1986.*



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Previous Page Translated

Article 34: Interruption of the match: When the referee needs to interrupt the match to make a signal, he calls “stop,” steps between the two competitors, and with his hands separates them over one meter apart.

Article 35: Free position start: To restart the match from a free start position, the referee spreads his hands and arms to form a position and create a distance of over one meter between the competitors, then extends his right arm with the thumb pointing upwards at chest level and immediately lowers that hand while calling “start” to restart the match.

Article 36: Interruption of ground [grappling]: When the referee needs to interrupt the match on the ground to make a signal, he calls “stop,” and having deliberated whether to separate the competitors or to leave them as they are, and restarts the match with the call of “start” from the position prior to calling “stop.”

Article 37: Out of bounds: During the match when either competitor goes out of bounds, the referee points his hands in the direction of where the competitor went out of bounds and calls “out of bounds.”

Article 38: Caution: During the match, when a competitor is passive, the referee will interrupt the match and, restraining the passive competitor with his hand, calls “caution” while making a caution signal with his other hand.

Article 39: Guidance: During the match when a competitor commits a foul on a level requiring guidance, the referee interrupts the match and, restraining the competitor who committed the foul with his hand, calls “guidance” while making a guidance signal with his other hand.

Article 40: Warning: During the match when a competitor commits a foul on a level requiring a warning or committed fouls requiring guidance twice, the referee interrupts the match and, restraining the competitor who committed the foul with his hand, calls “warning” while making a warning signal with his other hand.

Article 41: Admonition: During the match when a competitor commits a foul on a level requiring an admonition or committed fouls requiring warning twice, the referee interrupts the match and, restraining the competitor who committed the foul with his hand, calls “admonition” while making an admonition signal with his other hand.

Article 42: Full point (Ippon) [decisive move]: When the match is settled with a decisive move by submission or knockout, or when the referee decides that the match can no longer be continued, he projects his right palm forward as if pushing downward and ends the match while calling “that’s it.” Immediately after that he raises his palm above chest level and thrust it toward the winning competitor.

Article 43: Decision: When there is no decisive win within the time limit, the three judges make a decision as to the winner, and in the case of a draw the matter is left to the referee.

Article 44: Method of decision: The method of decision is a 5-point standard deduction system counting equally the number of effective hits in striking, the number of effective standing techniques, and the number of effective ground techniques.

Article 45: Other ways of ending the match: When the match ends in other ways, the referee calls “that’s it” and after signaling the way of winning, he crosses his arms at chest level and calls “end.”

Article 46: End of match: When the winner of the match has been decided, the referee brings the competitor to the center position, positions him at the center zone, facing outwards, and once again officially declares the winner by raising the hand towards the winner.

Chapter 4: Officials/Staff:

Article 47: Official records committee: The official records committee records the result of the match in an official notebook and, taking the total [points] from the judges at the time of decision, swiftly gathers them.

Article 48: Time keeper: The time keeper keeps track of the match time and the [time] limit for ground positions. At the end of the match he signals this by blowing his whistle. For the limit for ground position, he counts [out loud], “ten,” “twenty,” and so on every ten seconds, and when the time limit is reached hits the [musical] triangle.

Chapter 5: Match format:

Article 49: Tournaments or leagues: Matches are done in either a tournament [elimination system] or league [round-robin] format.

Article 50: Classes: Matches are divided into each class by weight: Preshooting: under 58kgs, under 62kgs, under 66kgs, under 71kgs, under 77kgs, under 82kgs, under 88kgs, under 94kgs, under 100kgs, over 100kgs; Shooting: under 66kgs, under 75kgs, under 84kgs, under 93kgs, above 93kgs.

Article 51: Match duration: Ordinarily matches are from 3 minutes to 20 minutes, and in the case of a draw, an extension of 2 minutes to 10 minutes is added for two rounds.

Article 52: Rest period: 1) The rest time between matches for a single competitor should at least be 5 minutes and over. 2) Before the finals [of a tournament], the rest time should be at least 10 minutes and over.

Chapter 6: Winn/loss:

Article 53: Victory by ippon: Matches are for one fall and one “ippon” [decisive move] determines the winner.

Article 54: Victory by decision: In cases where there was no ippon within the limited time period and within the limited extension of the match, a [judges’] decision decides the winner. In the case of a draw, the referee makes the final decision.

Article 55: Standard of judgement: Number of effective hits in striking, number of effective stand-up techniques, and number of effective ground techniques.

Article 56: Down: When as a result of the opponent’s striking attack, a competitor touches the mat from his knee up, or when the strike was obviously effective but he has not completely fallen but is in a dangerous position, the referee calls this a [knock] down.

Article 57: Knockout: When as a result of a striking attack, the competitor is down for more than three seconds even if he hasn’t completely fallen and is in a dangerous position, the referee regards this as a submissive position and calls an ippon [decisive move].

Article 58: Submission: When as a result of a submission technique, the competitor “gives up” or the referee calls “that’s it,” this is a win by ippon.

Standing position out of bounds; ground position out of bounds


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Previous Page Partially Translated

Article 59: Indication of surrender: The competitor must communicate clearly to the referee his will of surrender by saying, “I give up,” or by tapping the mat or opponent with his hand.

Article 60: Voicing surrender: During the match when caught by a submission hold or hook, if the competitor immediately utters a vocal sound, without any thought, even without the [recognized] indication of “giving up,” the referee will take this to mean surrender and counts it as ippon [full point].

Article 61: Referee’s decision: When a competitor is caught in a submission hold or hook but cannot make the indication of surrender or refuses to, or when driven to a dangerous position during the match by striking techniques, as a duty the referee can stop the match by uttering, “that’s it,” and decide on the winner.

Article 62: Fleeing: During the match if a competitor deliberately goes out of bounds, this will be regarded as abandoning the match and will signify a loss.

Article 63: Fleeing by U-turn: During the match if a competitor turns his back on his opponent and loses any will to fight, this will be regarded as abandoning the match and will signify a loss.

Article 64: Abandoning the match: During the match if a competitor abandons the match, it will be recognized as “abandoning the match” and will signify a loss.

Article 65: Doctor’s stoppage: During the match if a competitor gets injured and the judges decide he cannot continue the match, it will count as a loss for the injured competitor by “doctor’s stoppage.”

Case 1: Doctor’s call: During the match if a competitor gets injured, the judges can interrupt the match and have the certified doctor check the injury on the competitor to decide if the match can be continued or not.

Article 66: Injury: During the match if a competitor gets injured, the judges can decide the winner on the basis of the cause of the injury.

To Be Continued…


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Kakutogi Road Presents: Sayama’s Corner "The Story of Shooto Vol.13

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Note: This is a continuation of where we left of last time, as we continue to rappel the depths of all shoot-mysteries. In this case, as we forge ahead with our translation of “Shooting: The Technical Shooting Fight” from 1986.




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Previous Page Translated

Article 59: Indication of surrender: The competitor must communicate clearly to the referee his will of surrender by saying, “I give up,” or by tapping the mat or opponent with his hand.

Article 60: Voicing surrender: During the match when caught by a submission hold or hook, if the competitor immediately utters a vocal sound, without any thought, even without the [recognized] indication of “giving up,” the referee will take this to mean surrender and counts it as ippon [full point].

Article 61: Referee’s decision: When a competitor is caught in a submission hold or hook but cannot make the indication of surrender or refuses to, or when driven to a dangerous position during the match by striking techniques, as a duty the referee can stop the match by uttering, “that’s it,” and decide on the winner.

Article 62: Fleeing: During the match if a competitor deliberately goes out of bounds, this will be regarded as abandoning the match and will signify a loss.

Article 63: Fleeing by U-turn: During the match if a competitor turns his back on his opponent and loses any will to fight, this will be regarded as abandoning the match and will signify a loss.

Article 64: Abandoning the match: During the match if a competitor abandons the match, it will be recognized as “abandoning the match” and will signify a loss.

Article 65: Doctor’s stoppage: During the match if a competitor gets injured and the judges/referee decide he cannot continue the match, it will count as a loss for the injured competitor by “doctor’s stoppage.”

Case 1: Doctor’s call: During the match if a competitor gets injured, the judges/referee can interrupt the match and have the certified doctor check the injury on the competitor to decide if the match can be continued or not.

Article 66: Injury: During the match if a competitor gets injured, the judges can decide/referee the winner on the basis of the cause of the injury.

Chapter 7: The Match:

Article 67: Proscription of objections to the judges: Competitors must in no case at all object to the judges/referee.

Article 68: Weighing: Before the match the competitors must be weighed at the time and place designated by the Federation.

Article 69: Health checkup: Before the match the competitors must undergo a health checkup by a Federation authorized doctor at the time and place designated by the Federation.

Article 70: Arena [Stadium] : Matches will be conducted only within the arena.

Article 71: Techniques out of bounds: Techniques or holds made by both or either of the competitors when out of bounds will not count [count as invalid].

Article 72: Standing position out of bounds: Out of bounds in the position of standing techniques would be the position when one foot completely steps beyond the dividing line to the outside.

Article 73: Ground position out of bounds: Out of bounds in sacrifice throws [suplexes or throws falling to the ground] or ground techniques would be when more than half of the body exits beyond the dividing line to the outside.

Article 74: Valid techniques out of bounds: When the competitor’s move or technique was made within bounds up to the moment it had its effect, even if the opponent’s body is out of bounds, it will fully count.

Article 75: Commencement of the match:

Case 1: Stand-by within the ring [octagon]: Competitors will bow and enter the arena to stand-by.

Case 2: The call: The referee will call both competitors to the center of the mat.

Case 3: Final check: The referee will make a final check of the competitors’ clothing, equipment, and body, and go over the rules.

Case 4: Stand-by: With the referee’s call of “outside,” the competitors will exit the center zone to stand-by [await] for the match.

Case 5: Start [Commencement]: Following the bow to/with the referee, the match begins with the referee’s signaling of “start [begin].”

Article 76: Free position: When both competitors are in the stand-up position, all permitted techniques, such as striking, throwing, and submission techniques and so on, can be exchanged.

Article 77: Ground position: This is when either one or both competitors are in the position for ground techniques (when any point in the body above the knee touches the mat).

Article 78: Restriction of striking techniques in the ground position: In the ground position, no striking techniques are permitted at all.

Article 79: Limit of ground position: When ground fighting has not led to any submission position within 30 seconds, the referee will call a break and the competitors will be stood up to commence the match from the starting position.

Article 80: Ground limit stand position: Even if both competitors stand up within the 30 second time limit [for ground fighting], the ground position will continue [translator: I’m not sure what this means.]

Article 81: Indication of free position: When one or both competitors free themselves from close contact within 30 seconds [of grappling] and sufficiently separated himself/themselves, the judge can signal by raising one hand and have them restart the match from the free position.

Article 82: Difference (in/out) start: When the time limit is up in the ground position, the match is restarted from the free position at the free start line with the competitor who was dominant at the time limit positioned from the center and the competitor who was in a less dominant position at the time positioned towards the boundary and from a standup free position with the competitors separated over one meter.

Article 83: Level start: When the time limit is up in the ground position and the competitors were equal in their dominance or had achieved a freed status, the match is restarted at the closest free start line with both competitors taking the line at the center horizontally with one side of the center zone, from a standing position at least one meter apart from each other.

Article 84: Center start: The restart of a match after competitor/s went out of bounds occurs from the center start position.

Article 85: Avoiding the free position: When a competitor intentionally falls to, and invites his opponent, to the ground position numerous times, he will receive a caution.

Article 86: Restriction of the use of striking techniques: punches must use the area of the palm and cannot employ finger pokes, knuckles, or head buts.

Article 87: Restriction of the area of attack: Strikes to the lower abdomen, to joint areas from the front, and to the back of the head [occipital region] are not permitted.

Article 88: Restriction to grappling techniques:

Case 1: When grabbing fingers, it must be more than three fingers.

Case 2: Grabbing the clothing/uniform or equipment worn by the competitor or anything he has or his hair is not permitted.

Article 89: Restriction of holding protective equipment: Grabbing the protective equipment with the hand or using its protruding parts to push or pull is not permitted. But holding it with the arm/s is permitted.

Article 90: Restriction of bridging: To raise a bridging opponent in the direction of his head or to pick him up and drop him is not permitted.

Article 91: Crushing: Jumping on a lying opponent’s head with momentum is not permitted.

Article 92: Dropping: Lifting an opponent in the ground position and dropping [slamming] him on the mat is not permitted.

Article 93: Excessive attacks: Once the judges or referee indicates a break or calls, “that’s it,” the striker must promptly release his attack.

Article 94: Common sense attacks: In no case may morally impermissible actions, such as biting, pinching, scratching, and so on be allowed.

Article 95: End of match:

Case 1: When the match has ended with a victory, such as by ippon, the competitors must return to the center position and await the referee’s signaling of the victor.

Case 2: At the end of a match that went the full time limit, competitors must return to the center position and await the referee’s signaling of the decision.

Article 96: After the match’s end: After the decision, competitors must bow and return to their respective corners and exit the mat and bow to the mat center and go to their locker/changing rooms.

Chapter 8: Foul and Caution:

Article 97: Guidance: When a competitor commits a foul that is not grave and due to ignorance, he will receive one guidance; and if he commits the same foul twice, he will receive one warning.

Article 98: Warning: When a foul is committed, the judge/referee will interrupt the match and give the competitor a warning.

Article 99: Admonition: When a foul is committed a second time, the competitor will receive an admonition and one point will be subtracted from his score.

Article 100: Admonition loss: After receiving an admonition, if a foul is committed again graver than what deserves a warning, the competitor loses the match by disqualification.
 
Kakutogi Road Presents: Sayama’s Corner "The Story of Shooto Vol.13 (Continued...)




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Previous Page Translated

Article 101: Immediate admonition: For a grave foul committed, regardless of whether he receives a warning or not, the competitor will immediately receive an admonition or lose the match due to immediate admonition (disqualification).

Article 102: Caution: Conducting the match passively will be considered a foul; and when the competitor is not sufficiently active in pursuing attacks, it will be considered an escape and he will receive an admonition, and with three such cautions, he will lose by admonition [disqualification].

Article 103: Restriction of forbidden attacks: The following conducts are forbidden:

1) Not following the orders of the referee; objecting to the referee.
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2) Growing the finger nails. Putting oil or cleats on the head or body.
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3) Excessive attacks.
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4) From the standing position to persistently and intentionally invite the opponent into the ground position
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5) To raise the bridging opponent in the direction of his head. Or to lift him up and drop him.
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6) With momentum to fall on top of a lying opponent.
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7) To utilize the fingers, knuckles, or butting [head buts] in striking techniques.
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8) To strike against the lower abdomen, joint areas, or back of the head.
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9)To strike against an opponent in the ground position
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Previous Page Translated

10)To grab equipment, clothing, hair and so on.
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11)To put the hand in the opponent’s mouth.
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12) To act in a way that does not follow common sense or demeanor.
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13) To act passively.
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14) To run out of bounds.
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Kakutogi Road Presents: Sayama’s Corner "The Story of Shooto Vol.13 (Continued...)

Chapter 9: Referee’s Signals:


Among referee’s signals there are the following six kinds:

Begin
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Ippon [full point]
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Separate
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Ground Position
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From ground position to free position
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That’s It
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Move to standing position (signal made by competitor)
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Authorized by the Shooting Federation

To Be Continued…


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*Note: Volumes 14,15,16, and soon 17, can all be found over at www.patreon.com/KakutogiRoad
 
Kakutogi Road Presents: Sayama’s Corner "The Story of Shooto Vol.14"




Kayfabe- Satoru Sayama 85 compressed.pdf504×782 144 KB



Note: This is a continuation of where we left of last time, as we continue to rappel the depths of all shoot-mysteries. In this case, we are forging ahead with our translation of “Shooting: The Technical Shooting Fight” from 1986




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Previous Page Translated

Chapter on the Basics—Let’s start shooting

Shooting requires that you extend your sensibility from head to toes so you can follow any kind movement.

This is necessary also for attack and defense and for the prevention of dangerous situations and becomes possible only after the accumulation of basic training day after day.




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Previous Page Translated

  1. Stretching: Stretching the waist and hip muscles, crotch joints, and thighs
1.1: From this position inhale deeply
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1.2: While slowly exhaling gradually bend your torso and grab the left ankle with the left hand
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1.3 Return to position 1 and twist your body to the right and place your left elbow on your right knee.
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1.4 [Translator’s note: The following two pictures appear in the next page at the top but they seem out of place and I believe they belong here:] Return to 1 and bend your upper body sideways and grab your right knee with your left hand and your left ankle with your right hand.
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1.5: Return to 1 and, keeping your left leg stretched out, curve your upper body to the back. Keep your knee flat on the ground.
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2. Stretching the thighs, waist and hip muscles, knee joints, and calves

2.1:Stretch by placing the inner part of your whole left leg and the right heel on the mat. Even if you can do this all the way, stretch a little more each day.
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2.2: With the intent to stretch the thigh of your right leg, slowly bend your upper body to the front and place your chest snugly on to the right leg
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2.3: Return to position 1 and pulling the left hand behind you, turn your waist to the left. Keep your line of vision at the tip of your left leg
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  1. Stretching the shoulder muscles, waist and hips, glutes, crotch joints, spine, and neck (cervix):
3.1: Spread legs wide and place hands on mat at shoulder width.
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3.2: Enter your head between your shoulders and make sure your buttocks is behind your heals to the back.
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3.3: Pushup while stretching. This also serves as strength training.
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3.4: Skim the mat with your arms as if you are crawling the ground and stretch.
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3.5: Support your weight with both arms and flexibly stretch upwards.
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3.6: Stretch both arms and spine. Look straight upwards.
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4. Stretching the inner thigh muscles, back thigh muscles, and spine

4.1: Gradually spread both legs to the right and left.
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4.2: If you are stiff don’t overdo this.
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Volume 14 Continued....

4.3: In order to prevent curving your back at this position, raise your ankles.
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4.4: From the lower abdomen, slowly lower your upper body as if you are pressing your chest to the front
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5. Stretching the sides of the body, shoulder muscles, and shoulder joints:

5.1: Keep your feet shoulder width apart and with the left arm hold your right upper arm (tricep part). Slowly twist it to the left. Then do the same with the opposite side.
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6. Stretching the neck muscles, cervix, and shoulder area:

6.1: With chest forward, grasp your hands behind your head. As if hugging your head with both arms, slowly lower it with the elbows. When returning to the start position, raise with the head.
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6.2 Spread your feet a little wider than shoulder width and pressing your left ear with the right hand, lower the right shoulder. Do the same with the opposite side.
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6.3: Do not separate your heel from the mat. Keeping your spine straight, press your chin to the back.
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[Top of page:] Stretching in English means “to stretch” or “to pull.” About twenty years ago this exercise was developed by American sports medical scientists and then spread around the world and is currently being used in all kinds of sports as warm up and preparatory exercises.

Stretching trains to stretch and pull the muscles and tendons throughout the body in order to broaden or extend the scope of movement of the joints and prevent injuries.

[Side bar:] Point: “In order to increase the effect of stretching, relax the shoulders, inhale deeply, and while exhaling slowly stretch. Then while taking shallow breaths, maintain the stretched position for a while.”




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7: (In Pairs) Stretching the front thigh muscles, waist and hips, and lower spine:

7.1: Stand above your partner who is lying stomach down, facing the opposite direction.
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7.2: Holding your partner’s feet in your armpits, raise his knees with your hands.
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7.3: Sit on your partner’s buttocks and stretch his spine.
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7.4: Stabilize your partner’s feet with your armpits.
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7.5: Bend this part of your partner (pointed to in the picture).
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8. Stretching the waist and hips, shoulder muscles, nape of the neck, and upper spine:

8.1: Stand above your partner who is lying stomach and face down [but facing in the same direction].
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8.2: Grab your partner’s upper arms [biceps] and lift him.
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8.3: Place your hands on his chin and pull him up to make his face look up
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8.4: [continued in next page 35 out of order:] Hooking your partner’s arms on both of your knees, bend his upper back
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8.5: How to place your hands.
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8.6: Sit on this part of your opponent (pointed to in the picture).
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To Be Continued…


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*Volumes 15, 16, 17, and 18 are all available over at www.patreon.com/KakutogiRoad . Don’t miss any of our exciting misadventures!
 
Nice how Sayama teaches a Boston Crab and Camel Clutch as stretching exercises.
 
Kakutogi Road Presents: Sayama’s Corner "The Story of Shooto Vol.15"


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*Note: This is a continuation of where we left of last time, as we continue to rappel the depths of all shoot-mysteries. In this case, as we forge ahead with our translation of “Shooting: The Technical Shooting Fight” from 1986. *




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Body Weight Training:

Leg training (1):

1.1: Relax your whole body, and stand with your feet shoulder width apart.
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1.2: Swing your arms from back to front while bending your knees.
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1.3: Spreading/flexing your chest, lower your hips, and push your butt out behind you. When doing this raise your heels while balancing.
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1.4 Increasing your speed, stand up with rhythm.
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1.5: Bad example: [in the photo] [Don’t] look down with back bent and not completely lowering your hips.
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Leg training (2):

2.1: Stand with your legs spread wide and your arms crossed.
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2.2: With your chest flexed, bend your legs left and right.
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2.3: By lowering your hips sufficiently and doing this for many repetitions, this exercise produces the effect of both strengthening the legs and stretching.
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Knee and abdominal muscle training:

1: Place the soles of both legs of your opponent, lying supine on the ground, on your left knee.
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2: With your left arm between your opponent’s knees, have him squeeze it with his knees.
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3: Left your opponent with your left arm. The opponent must tightly squeeze his knees and not lose the arm.
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Pushup (1):

1.1 Put your feet on a chair and your hands shoulder width apart [on the floor]. Look straight forward. Keep the body straight like a stick.
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1.2: Deeply bend the arms until your chest is about to touch the mat. Make sure your lower abdomen does not sink forward.
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3.3: Bad example: The lower abdomen has dropped and the arms are not completely bent. Pushups are not only for the arms but trains the abdominal and back muscles as well.
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Volume 15 Continued....


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[Top of page:]

There is no need to have muscles to the degree of a weight lifter or a body builder, but we do need muscles that would allow us to move the body freely without restriction.

Unless you do your body weight training in a balanced manner, training the upper body, lower body, front of the body, and back of the body, you will gain muscles that are just one-sided or unbalanced, so be aware of this.

[Side bar:]

Point: “Japanese people, compared to foreigners [non-Japanese], are strong in their lower body but weak in the upper body. There is no need for showy hard muscles, but increase your power with flexible and tenacious muscles [instead].”

Pushup (2):

2.1: Pushup to strengthen your wrists by placing your palms up.
72ef1dbe77d8853327d49198fddaaba221158684.jpeg


2.2: Place your hands a little wider than shoulder width and deeply bend your arms while looking forward.
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Pushup (3):

3.1: Do a handstand with your partner assisting (or you can do this alone against a wall).
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3.2: During the handstand, look straight below
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3.3: Pushup using only the strength of your arms. Deeply bend your arms so that your head almost touches the floor.
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Pushup (4):

4.1: Handstand pushups using chairs.
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4.2: Do a handstand on chairs with your partner assisting
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4.3: Bend your arms even more deeply than in pushup (3). Don’t overdo this when you first start. Rather than increasing the quantity it is better to attempt to do this [even once] completely.
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To Be Continued…
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Kakutogi Road Presents: Sayama’s Corner "The Story of Shooto Vol.16"


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*Note: This is a continuation of where we left of last time. Special thanks to John Krummel for his work in translating this. *




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Bridging:

Basic training in bridging (1):

1.1: Go on all fours with your feet spread widely and put your head on the mat.
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1.2: Movement to strengthen the neck in the front. Put your back of the head on the mat.
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Bridging (2):

2.1: Grab your partner’s hand tightly and stand with your feet shoulder width apart.
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2.2 Put your head on the mat as close as possible to your own feet.

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2.3: Once you are supporting yourself on your toes and head, put your nose on the mat and thrust your butt upwards.
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2.4: Without having your partner pull you, return with your own strength.
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2.5 Once your neck has been strengthened and your body made flexible, try this alone.
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2.6 Bad example [photo is in next page]: The hips are too low and not depicting an arc.
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2.7: {Photo is in next page} For people whose hips fall too low or those who cannot lift their hips when returning, [the partner can] assist them by pulling the area of their belt.


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{Top of page} Bridging, which is one basic form of training in wrestling, is not only effective in defense but very often can also be used in offense.

Among the basic offensive techniques in shooting there are many techniques taking the bridge as the basis. And in order to master wrestling skills, it is absolutely necessary to strengthen the neck.

[Side bar:]

Point: “Water fall bridge (bridge like a flowing water fall). This was one of Gotch’s sayings. A bridge that flows from top to bottom like a water fall is a necessary requirement for executing a powerful sault (throw).”




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1.4: Movement to strengthen the neck on the sides. Put your ear on the mat.


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Break falls [this is put in incorrect English as “Roll”]

Front break fall (1):

1.1: Close your arm pits, put your arms to the front [palms facing front], standing on your knees.
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1.2: Fall to the front with your body straight
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1.3 Relaxing your body, break the fall with your whole body.
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Back break fall (2):

2.1: Break fall to the back like a rolling ball.
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2.2: Fall backwards while looking at your own navel.
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Volume 16 Continued....

2.3: Be careful not to hit the back of your head.
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Left/right break fall (3):

3.1: Do this lying down, alternating left and right.
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3.2: Fix your left hand (the hand opposite to the hand breaking the fall) on the body, taking care to not be carelessly hooked by a submission.
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3.3: Make it a habit to immediately pull in your right hand (the hand breaking the fall) as well, after breaking the fall.
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Important point: firmly guard both hands/arms [from being submitted].
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Side bar:]

Point: “In contrast to other combat sports, in the case of shooting, after breaking your fall grappling (submission techniques) awaits. After the break fall, it is necessary to quickly pull in your arms and legs to prevent carelessly having your hands or feet taken [by a submission lock].”




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Basics: Distancing and Posture in Shooting

Posture is not kata [form—as in traditional martial arts]. It is a posture that enables one to cope with any situation.

The posture naturally changes depending on the strategy or opponent’s distance. In shooting that makes use of all techniques of “striking, throwing, submitting,” we need to master the posture of each technique.

To Be Continued…
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Kakutogi Road Presents: Sayama’s Corner "The Story of Shooto Vol.17"


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*Special thanks to John Krummel for his awesome work in translating this historic tome! *




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Distancing [Positioning]

[top of page]

The first step in mastering the technical side of shooting is in accurately measuring one’s distance from the opponent.

Make sure you come to firmly recognize the fundamental distancing positions (the five body postures) and understand the intimate relationship between “distance” and “posture.”

Mutual separation [meeting distance] (1):

  1. Face each other with a natural posture. This is also the position before the beginning of a match.
    c6edfcd76022de6e0d2e0dc3bc72dc15c4f67009.jpeg
Mutual striking [distance] (long range) (2):

  1. The distance by which long kicks and long punches are effective. The posture is in the upright style with a low center of gravity.
    ac36c474dc2c48bfb90b35b7b6f401f73519a43a.jpeg
Mutual striking [distance] (mid-range) (3):

  1. The distance by which strikes like kicks, punches, leg trips are possible. The posture is in the upright style with a low center of gravity
    3aa4ebe14f44dad8bf12731cb77dbbe0c58b7a9c.jpeg
[Side bar:]

Point: “Offense must always be changing, from kicking, punching, tackling, throwing, and to joint submissions. An understanding of distancing is the necessary condition for being able effectively employ all the techniques “hitting, throwing, submitting.”




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Mutual striking [distance] (close range), grappling (4):

  1. The distance of striking techniques in close combat, such as the shooting short hook, shooting elbow punch [strike], shooting uppercut, knee kick, and so on.

  2. The range, in distinction from boxing, is also the range for grappling.
    ad443a2d6225708ddad714ce799ecb332fb534bf.jpeg



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No distance (5):

  1. & 7. Keeping the basics of the crouching style in wrestling (see p. 48), block striking techniques by sticking your chest completely to you opponent. This state of no-distance can also unfold into grappling such as throws and submissions.

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Posture [put in English here as “form”]

[side bar:]

Point: “Your gaze in your posture should be fixed somewhere between your opponent’s eyes and his chest. Look at his whole body while fixing on that point. This is similar to paying attention to cars moving in the opposite direction (the opponent’s punches and kicks) while looking at the car in front of you (the opponent) [when driving]. Don’t let your eyes be plundered by the opponent’s attacks.”

[top of page:]

The ideal posture would be one in which you can defend yourself without leaving an opening, can switch at any time to offense, and can attack in various ways.

In order to form a perfect posture, you need to thoroughly engage in repetitive training while imagining a real fight.

Natural posture (1):

  1. Face the toes of your left foot in the direction of 11:00 and take a half step forward with it. The toes of your right foot should face the direction of 2:00 and determine the position of your feet.

  2. View of 1. From the side. Relax your body and take an oblique stance while balancing yourself.


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Low center of gravity upright style (2):

  1. Place the toes of your left foot pointing towards 11:00 and the right foot in the direction of 3:00. Lift the heel of your left foot so that it can respond to any movement.

  2. Pull in your chin and be careful not to lower the palms of your hand in guard below your eyes. Turn your right knee a little inwards so that it can step forward at any time.

  3. If the space between your hand are too narrow, there is the danger of being kicked from above your guard. The space between your hands should be wide enough to allow you to clearly see the opponent’s body. Relax your body, tighten your arm pits but spead your elbows a little out in your posture.


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[Box in bottom left corner:]

Why low center of gravity ?

Shooting starts with striking. In order to defend against tackles and leg trips that are the key points in the transition from a striking battle to grappling, you need to keep your posture in a low center of gravity in the upright style to prevent easily being thrown.
 
Volume 17 Continued...



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Wrestling crouching style (3):

  1. Put the center of gravity on the big toes of both feet and position your knees in a pliant or loose way.

  2. Position your elbows above your waist and your gaze should be forward.

  3. Tighten/close your elbows and armpits.

  4. Thrust your arms to the front and your buttocks to the back.

  5. Bad example: the waist is too high and the arm pits are open.



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[side bar:]

Point: “If you face your opponent in the wrestling crouching style, you can be flooded by a concentrated line of kicks and punches. The wrestling crouching style in shooting is the basic posture strictly for grappling.”

To Be Continued…

 
Kakutogi Road Presents: Sayama’s Corner "The Story of Shooto Vol.18"




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This is a continuation of where we left off last time. Again, special thanks to our resident translator, John Krummel for his immense efforts. *




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Quarter position (4):

  1. The posture when thrown by your opponent. Put your toes together, draw in your chin, place your hands firmly on the mat wider then shoulder width.
    f5909be4e24ccc24b8197b91eedbab3781ba8a1b.jpeg


  2. Position yourself in a way that you can see your opponent from anywhere, such as over your shoulders or from your sides.

  3. Bad example: This makes it easy for your opponent to hook [joint lock] your ankle.


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  4. Bad example.
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Overturn position (5):

  1. The posture when turned over onto your back by your opponent. Lift your head and make sure to watch your opponent.
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  2. By always directing both your feet towards the opponent and controlling him with your hands and feet, do not let him inside.
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  3. Bad example: If you are not watching your opponent, not only will you be unprotected against his joint locks, you will be unable to freely move.
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Exercise – 1

Theory of Footwork:

In both real fighting and in practice in shooting, in order to go forward by slipping through the opponent’s counters, you need a good command of feinting and sliding techniques. For this you need to completely master basic vertical and horizontal footwork.

Vertical footwork is for mastering solid attacks and guards, and horizontal footwork is indispensable for using techniques that go forward while swaying the body left and right, as in sliding or the shooting swing hook, tackles, leg trips (leg sweeps), and so on.

But just because you’ve been training the vertical footwork for 3 minutes and the horizontal footwork for 3 minutes each day, can you use them in matches? The answer is “NO.”

The basics are strictly nothing but basics. The footwork used in real fights that are just like the basic footwork are very few, and what is required is an applied footwork that can respond to any situation.

Every rhythm has a beat. For example, let’s assume that the rhythm of the footwork we have been practicing comprises 4 beats. In a real fight, if you only used this footwork of 4 beats, you would be KO’d. That’s because the opponent can easily read your movement. Matches are not made of simple movement. Instead you need to remind yourself that a match is a living thing whereby every element becomes intertwined with complexity.

In a real fight, there will be times when one must use 8 beats, 16 beats, or even 32 beats. You need to be able to move freely in accordance to the circumstances.

To practice repetitively the basic footwork everyday is for the sake of grasping your own rhythm.

Once you’ve mastered the basic footwork, next learn how to feint in order to approach the opponent.

The most basic of these is the sliding feint. When you do this don’t forget the stepping technique. By this I mean a forceful step forward.

Enter into the opponent’s left or right inner side by swaying not your head but the shoulders. Or while shifting your shoulder to the right as if you are entering the right side of the opponent, enter into the left side. Or sway your body left and right with 4 beats and then suddenly enter with a 32 beat rhythm. There are various patterns like these.

In a real fight, feinting that skillfully and properly employs such sliding steps with irregular beats exhibit tremendous consequences.

Grasp your own timing and rhythm on the basis of completely mastering the basic footwork.




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Forward and Backward footwork—the knack of training (1):

1. Never lower the guard:

The repetitive practice in footwork is monotonous and simple. When you get tired, the tendency is to lower the guard, but think of this as strength training and do not lower the guard even for 1 millimeter.

2. Keep the knees relaxed:

In the same way explosive punches and kicks come from a relaxed body, if the knees are stiff you cannot move rhythmically.

3. Move not only the feet but the body:

The cause of an unbalanced footwork is often in the dis-alignment between feet’s movement and the upper body. During practice, imagine your opponent and do move over and over with the correct posture to gain a sense of balance.

4. Do not put too much weight on one foot:

If you put too much weight on either of your feet, you can easily fall victim to your opponent’s leg sweep. No matter what stance you end up in, you need to be able to transition your weight smoothly.

5. Balance with your toes :

Forward and backward footwork is done with both feet on your toes. So make it a habit to practice balancing with your toes.

[photo caption:]

  1. Take a ready stance by drawing-in your chin and putting yourself in the lower-center of gravity upright style.

  2. Take care to stabilize your guard firmly so that it will not get lower.
Return your left foot that you stepped forward with. Do this with both feet on their toes


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Left/right footwork—the knack of training (2):

1. Draw in your chin and face the opponent:

Draw you your chin in and sway the upper body with balance. Never face sideways. Make your jaw hard to hit effectively even if you do get punched and always face the front with your forehead.

2. Left/right footwork to move forward:

To leap into the opponent’s inside, you need to lower the guard and be able to move your upper body to the left and to the right. When you can do the footwork, you can check your timing to transition to a tackle.

3. Sway the shoulders, not the head:

The point here is shared by sliding techniques (see p. 69). If you sway your shoulders in order to balance your entire body, your head and body will also sway without exaggeration.

4. Grasp your own timing:

Practice, strictly speaking, is of the basics involving a particular rhythm. Once you’ve mastered the basics, you can grasp how to handle your upper body or keep balance, and grasp your own timing.

[photo caption:]

  1. From the lower center of gravity stance in the upright style, take the ready stance by lowering both arms a little.

  2. Plunge with your right foot while guarding with your left hand and move to the left.

  3. Solidly guard your chin with your right hand, and sway your shoulder and move to the right. The plunging foot is the left foot. The hairline of your forehead should always be facing the opponent’s front.


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To Be Continued…
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Kakutogi Road Presents: Sayama’s Corner "The Story of Shooto Vol.19"

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*This is a continuation of where we left off last time. Again, special thanks to our resident translator, John Krummel for his immense efforts. *




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Previous Page Translated

Martial Artists Who Influenced Shooting: Karl Gotch

Scientific = wrestling. Theoretical = training. Animalistic = idea. Perfectionist in combat sports [martial arts].

I learned about the “essence of combat sports” from Gotch.

His teachings extended far in scope, from wrestling, submission holds, tackling, suplexes ( salts ), to boxing, from technical matters such as the offensive moves of various martial arts [combat sports] and their defenses to the theoretical commentary of techniques.

Gotch is a person who was thoroughly thinking about combat sports, not only wrestling. So he continued exploring the good points of other combat arts and impressively arranged them in the Gotch-style.

An example would be throws. The basis would be the Greco-Roman style of throwing in wrestling that involves bridging. He applied it in a way that could be tied to the next move.

Once you grab the opponent, you throw him in any way possible. Once you throw him you immediately create the situation to put him into a submission hold. In this way he tied the various combat arts together so that they would flow, to build up something syncretic.

Gotch’s way of thinking is alive in my basic idea of shooting.

And Gotch thoroughly researched and knew all about what sorts of attacks on what parts of the body are effective. So regardless of the move, and not limited to joint locks, if he gets you he really got you.

He was also good at teaching. Until you master a technique he will not allow you to advance to the next technique. If you want to progress, you need to master the technique. This was a teaching method unique to Gotch who was a perfectionist.

I learned [from him] not only techniques. Without knowing it I was being taught mental things such as the way to think about, or the attitude towards, a regulated life and practice and combat sports.

Gotch’s lifestyle was strictly focused on the combat arts.

Naturally this included training, but also from the menu for meals to how to spend your private time were all tied to combat arts.

When he had time, Gotch would go to the zoo. He said the muscles of tigers and gorillas give a lot of hints helpful in engaging in combat sports.

For myself, it would be certainly impossible to just copy everything. But I would like to approach Gotch’s lifestyle and indeed I would like anyone who aims at the combat arts to make an effort to do so.

[box:]

Daily Physical Training Method I: To think about things theoretically.

“Learn with the body!” “Listen to the advice of others!” These are words that beginners often hear, not only in the martial arts. Of course, these words are meaningful and I do not intend to deny their importance. But I also want you first to make it a habit to think about things theoretically. For example, to think in your head, “If I grab his left arm with my right arm…. and he tries to escape, I’ll take his right foot… like this…, etc.,” is very important.

When saying this, someone might argue that “if it’s possible to calculate all the moves on a desk, then there’s no need for practice.” But if one routinely thinks about techniques theoretically, when one falls into a slump one can easily understand the cause and the recovery becomes quick and one can also judge whether the advice of others is good or not.

Daily Physical Training Method II: You can practice the footwork anytime anywhere.

It is necessary to train in footwork not only for beginners but also those [already] in the shooting class and shooters.

The more one advances to the advanced classes, high level techniques with rapid movements, like feinting and sliding, become required. And what serves as the foundation for these is the footwork.

And footwork as foundation also makes possible the explosive power to sway the body left and right in an instant and with the correct weight transition.

There should be plenty of places around you that you can use to practice your footwork, such as the platform while waiting for the train or on a busy street. Running as if you are threading through the crowd, while drawing your chin in and balancing your upper body, is also one method.

Daily Physical Training Method III: You can have fun developing your reflexes with games.

It’s often thought that reflex is an innate talent, but from my experience, depending on your habitual efforts you can sufficiently train it. You can foster your reflexes by consciously executing your move quickly, such as suddenly jumping up from a lying position, or suddenly turning around when reading a book.

When doing this you need to take care to move quickly by relaxing your whole body.

It’s also effective to do this with friends. For example, by sounding/clapping the hand; or agreeing on a sign, and once one makes the sound to shift immediately to the next movement. At first this is difficult, but eventually your reflexes get developed. [translator’s note: It’s very unclear even in Japanese what sort of game he’s talking about…]




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Course on Practical Fighting, Section on Technique: “Hitting” Punching:

Needless to say the punches in shooting are based on boxing techniques.

But there is a difference in the character of punching techniques between shooting that allows all forms of attack, including “striking, throwing, submitting,” and boxing in which the competition for skill is limited to offense and defense in punching only.

Let me comment on what the punching techniques unique to shooting are.

TO BE CONTINUED…

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Kakutogi Road Presents: Sayama’s Corner "The Story of Shooto Vol.20"




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This is a continuation of where we left off last time. Again, special thanks to our resident translator, John Krummel for his immense efforts.




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Previous Page Translated

Shooting Straight:

1) Left shooting straight (jab):

  1. Position yourself in the low center of gravity upright style.

  2. Tighten your left elbow and throw out your left hand with your entire body in a straight line. Thrust your punch by moving your body in the order of right ankle à waist à shoulder à elbow.

  3. As if being pulled from behind your left shoulder by a rubber band, quickly pull your arm back to its original position. The movement should be in reverse: arm à shoulder à waist à right ankle.



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1) Right shooting straight:

  1. Begin the movement of throwing the punch from this position. Your hands and elbows (both left and right) must not move even for 1 millimeter.

  2. Step with your right ankle, turn your waist, and throw in the order of shoulder and elbow.

  3. With a steady motion of your body, thrust your arm in a straight line



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The shooting straight (including the jab) is the most basic of punches.

The left shooting straight (jab) has the role of being a preliminary to the following combination punches (one, two) and sliding techniques.

Since the right shooting straight is a punch that conceals the power of one shot KO, it is important to grasp the timing of counter (hitting).

Practical patterns:

From a forward and back footwork, take one step towards the opponent, and hit his face with your left shooting straight, and quickly return to your former posture.

The jab in boxing keeps the heel of the left foot that is stepping on the mat, but in shooting, raise the heel and stand on your toes so that you can move according to the circumstances in response to kicks and tackles.


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Previous Page Translated

  1. The right shooting straight can be a KO punch, but on the other hand there is also the danger of receiving a counter. Right before hitting your opponent, guard your chin with your right shoulder and left hand.

  2. Hit the opponent’s face with your palm heel (the part below the palm) in a right angle.
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Bad example:

  1. Turning your left foot inward would make this a stronger punch, but you could easily be thrown by a leg sweep. Moreover, the chin is up and the waist is avoiding engagement with the opponent.
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Bad example:

Telephone punch:

So-named because the backswing appears like one is taking the receiver. Punching with a backswing, makes the opponent sense one’s “will to hit” him and so it never lands.
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[Side bar:]

Point: “The distance for punching is also the distance where close contact (grappling) becomes possible. If distracted by punching, one can be tackled or leg-tripped. You need to fully calculate this and strike by grasping the precise chance for a counter.”




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Previous Page Translated

Shooting Hook:

1) Shooting short hook:

  1. Stand in the low-center-of-gravity upright style posture which is the basic posture.

  2. Drive with both feet and hit like you are lightly slapping by simultaneously moving your waist, shoulder, and elbow.
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  3. The moment your right shooting short hook lands: Hit the opponent at his temple with the lower part of your palm heel. If your elbow ends up driving upwards, it would be perfect.
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Pattern in real fights:

Immediately before making close contact [for grappling], try to land a left shooting short hook from a close distance while firmly guarding with your right hand.

The photo from above shows the way of entering the shoulder, the elbow angle, and the guard with the right hand. After hitting, the strike would be perfect if the shoulder, arm, and elbow all move in the direction of the arrow.


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TO BE CONTINUED…
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