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Judo's international governing body is the International Judo Federation, and competitors compete in the international IJF professional circuit. Judo's philosophy revolves around two primary principles: "Seiryoku-Zenyo" (精力善用, lit. ' good use of energy ') and "Jita-Kyoei" (自他共栄, lit. ' mutual welfare and benefit ').
Mastering judo by Masao Takahashi et al., explains a number of aspects of the rules. General rules of competition, etiquette, and the penalty system are covered in Chapter 2. ISBN 0-7360-5099-X. The first chapter of Competitive judo: winning training and techniques, by Ron Angus, is devoted to explaining a number of aspects of the rules.
Media related to Judo Nage-waza at Wikimedia Commons Gokyo-no-waza (五教の技): Five sets of techniques Techniques are put into five groups of increasing difficulty that demonstrate progression through judo and may or may not correspond to belts. The 68 throws of Kodokan judo [2]
The Randori-no-kata (乱取りの形, Free practice forms) of Kodokan Judo consist of two kata that illustrate the principles behind techniques used in Randori (乱取り, free-practice), allowing them to be practiced with maximum efficiency.
Kanō Jigorō (嘉納 治五郎, 10 December 1860 [note 1] - 4 May 1938 [5]) was a Japanese judoka, educator, politician, and the founder of judo.Judo was one of the first Japanese martial arts to gain widespread international recognition, and the first to become an official Olympic sport.
Jigoro Kano trained in Kitō-ryū and derived some of the principles that were to form the basis of modern judo from this style. Judo's Koshiki-no-kata is based on Kitō-ryū. [1] Since Kano Jigoro got the Kitō-ryū densho from his Sensei, [2] Judo is the current Kitō-ryū official successor.
Ju no Kata (Japanese: 柔の形, Hepburn: Jū-no-kata, "forms of gentleness") is a kata (a set of prearranged forms) in Judo.It is designed to teach the fundamental principles of judo, especially the principle of ju (yielding or gentleness). [1]
The theory of Kyushindo has application in any study, or activity that can be named simply because it does not deal with the form and technique of anything, but with the fundamental principles which such forms and techniques represent. The principle may be likened to the hub of a wheel from which an infinite number of spokes or forms radiate.