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Showing posts with label Kata. Show all posts
Showing posts with label Kata. Show all posts

Tandoku Renshu Application For Judo Not Just Self-Defence

Tandoku Renshu as uchikomi – Solo Practice Turned Technical Training

Many judoka view Tandoku Renshu as a kata mainly for atemi-waza and self-defence, but it serves a much broader purpose. When practised with focus, it builds posture, balance, rhythm, and precision — the same qualities required for strong uchikomi. This makes Tandoku Renshu a valuable solo training method that directly supports effective partner practice.

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Tandoku Renshu, as uchikomi, gives judoka precise movement training without a partner. It builds coordination, balance, posture, and muscle memory [1][2].

Benefits of Tandoku Renshu as uchikomi

Practising solo drills lets judoka focus on technical precision, rhythm, and timing. It enhances balance and self‑correction [1].

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Active Movement and Balance

Each Tandoku Renshu sequence trains weight transfer and kuzushi. That underpins effective uchikomi entries.

Coordination and Rhythm

Repetition without hesitation builds rhythm. It improves fluid entries when you move to partner practice.

Muscle Memory and Solo Training

Tandoku Renshu engrains correct motion. Judoka develop a reliable form even when no uke is available.

Mapping Solo Sequences to Uchikomi Throws

Tandoku Renshu Sequence Technical Focus Matching Uchikomi Throw
Forward step with hip rotation, arms drawing inward Hip placement and sleeve/collar pull Seoi‑nage
Diagonal step with sweeping arm extension Base leg placement and timing Tai‑otoshi
Rearward step with strong downward arm action Kuzushi backward and body drive O‑soto‑gari
Large circular hip turn with sweeping arm motion Leg‑sweep timing and hip alignment Harai‑goshi
Small inward step with close arm control Tight positioning and forward pull Ko‑uchi‑gari

Training Tips Using Tandoku Renshu as Uchikomi

  • Seoi‑nage: Move slowly and visualise uke’s centre of gravity.
  • Tai‑otoshi: Pretend uke advances and time your block leg.
  • O‑soto‑gari: Drive from your hips, not just your leg.
  • Harai‑goshi: Synchronise sweeping leg with hip pivot.
  • Ko‑uchi‑gari: Feel uke’s weight shift before stepping inward.

Why Judoka Should Apply This Mapping

Tandoku Renshu, as uchikomi, gives judoka the tools to train effectively alone. It teaches footwork, body alignment, timing, and balance needed for uchikomi.

Final Remarks on Practice

Regular solo practice improves technical quality and endurance. It forms a clear bridge between kata and randori. Many high‑level athletes integrate Tandoku Renshu into competition prep [3].

References

  1. Red River Judo defines Tandoku Renshu as solo practice enhancing coordination and muscle memory ( redriverjudo.com).
  2. Kodokan kata Seiryoku‑Zenyo‑Kokumin‑Taiiku explains that Tandoku‑renshu builds balance, coordination, and motion efficiency ( judo-encyclopedia.com).
  3. A-level Judo training course underlines Tandoku‑Renshu and Uchi‑Komi as core supplementary technical training ( archysport.com).







Seiryoku-Zenyo-Kokumin-Taiiku Judo Kata / 精力善用国民体育 Analysis

Introduction to Seiryoku Zenyo Kokumin Taiiku no Kata

The video below of seiryoku zenyo kokumin taiiku no kata is in Japanesse only. There does not appear to be a similar quality version in english. In light of this I thought it only approprete to give a bit of a analysis on seiryoku zenyo kokumin taiiku no kata. Enjoy.

Seiryoku Zenyo Kokumin Taiiku no Kata is a system of physical education exercises created by Jigoro Kano, the founder of Judo, to embody the principle of maximum efficiency in the context of national health and physical training. Developed in the early 20th century, this kata was designed to be more than just a martial arts form; it was a holistic method for developing strong, healthy minds and bodies, deeply integrated with Japan's national physical education reforms of the era.

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The name itself provides a clear insight into its purpose. A linguistic breakdown reveals its core concepts:
Seiryoku Zenyo (精力善用): Translates to "maximum efficient use of energy," a foundational principle of Judo.
Kokumin (国民): Means "national" or "the people."
Taiiku (体育): Means "physical education."
no Kata (の形): Translates to "form of" or "pattern."
Collectively, the name means "Maximum-Efficiency National Physical Education Form."

  • Origin and Creator: The kata was developed by Jigoro Kano around 1924 as part of a broader initiative to modernize and systematize physical education in Japan.
  • Core Philosophy: Built upon the two central pillars of Kodokan Judo philosophy: Seiryoku Zenyo (maximum efficiency) and Jita Kyoei (mutual welfare and benefit).
  • Dual Purpose: The kata serves a dual role as both a martial arts training tool and a comprehensive physical education system.

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Historical Background and Evolution

The genesis of Seiryoku Zenyo Kokumin Taiiku no Kata is deeply rooted in the modernization of Japan and the educational philosophy of Jigoro Kano. Developed around 1924, its creation was a direct response to a call for systematic and holistic physical education. The dual structure—solo (Tandoku Renshu) and partner (Sotai Renshu) practice—made it highly adaptable for the classroom, dojo, and even military training, acting as a comprehensive system.

Milestone Year/Period Significance
Conceptualization & Development c. 1924 Jigoro Kano develops the kata as a system of physical exercises with direct self-defense applications.
Early Implementation 1920s-1930s The kata is introduced and practiced within Kodokan and influences Japan's physical education reforms.
Adoption in Women's Judo Early 20th Century Kata becomes part of women's judo training; focus on moral and physical education.
Formal Integration into Curriculum c. 1960s The kata is formally integrated into Japan's national school curriculum.
Ongoing Evolution Post-1960s Practice continues to evolve, adapting to modern educational needs while preserving tradition.

The Kodokan Institute played a central and indispensable role in the kata's preservation and spread, from its history to global practice in judo education today.

Technical and Philosophical Principles

Seiryoku Zenyo Kokumin Taiiku no Kata synthesizes physical training and martial philosophy, structured around:

  • Tandoku Renshu: Solo exercises for conditioning and the execution of strikes and blocks (e.g., Goho-ate, Goho-geri).
  • Sotai Renshu: Partnered exercises for applying Judo’s core principles—timing, leverages, and body movement—in harmonious paired practice.
  • Seiryoku Zenyo (Maximum Efficiency): Teaches effective use of physical and mental energy; advocates achieving results with minimal waste.
  • Jita Kyoei (Mutual Welfare): Stresses the ethical foundation of all training for the benefit of both self and others.
  • Mind-Technique-Body Integration: Exercises are designed to develop the mind (shin), technique (gi), and body (tai).
  • Kagami-migaki (Mirror Polishing): Symbolic exercise representing character development through diligent training.
Practice Method Focus Key Characteristics Purpose
Tandoku Renshu Individual Fundamentals Solo movements, striking, kicking, body movement (Tai-sabaki) Conditioning, power, balance, coordination
Sotai Renshu Applied Principles Partner drills, throws, pins, controls Timing, distance, applying Seiryoku Zenyo with a partner

Notable Practitioners and Organizations

  • Kodokan Judo Institute: The primary authority for preservation, standardization, and dissemination of this kata, playing a key role in both Japan and internationally.
  • International Judo Federation (IJF): Promotes judo and kata education globally with support from 200+ national federations.
  • Judo Dojos and National Federations: Integrate this kata into training curricula, recognizing its value for understanding core judo principles and for physical conditioning.
  • Educational Institutions: Universities, schools, and federations in places like Spain (e.g., JUA project) adapt the kata for all ages, notably for seniors’ programs.
  • Notable Practitioners: High-ranking judoka (10th Dan holders) recognized for promoting and preserving traditional kata practice.
Organization Primary Role Key Contributions
Kodokan Judo Institute Preservation & Authority Defines official form; preserves philosophy; reference for authentic instruction
International Judo Federation Global Promotion Standardizes practice; oversees global events; produces educational content
National Federations & Dojos Local Implementation Train local judoka; foster grassroots practice; teach philosophy and technique
Educational Institutions Specialized Adaptation Adapt training for various groups; research health benefits

Cultural and Educational Significance

Seiryoku Zenyo Kokumin Taiiku no Kata is more than a set of exercises; it’s a vehicle for cultural heritage and holistic education.

  • Built for national and moral development, connecting to Japan's vision for a disciplined, healthy, and harmonious citizenry.
  • Emphasizes samurai spirit, efficiency, minimalism, precision, and social harmony (wa 和).
  • Integrates with education to develop both physical fitness and moral character, using symbolic movements (like mirror polishing) to reinforce the value of self-reflection and improvement.

Kata Principle/Feature Cultural Value Educational & Social Impact
Seiryoku Zenyo Efficiency, minimalism, precision Promotes resourcefulness and purposeful action
Jita Kyoei Group harmony (wa 和), cooperation Encourages cooperation, linking individual and collective prosperity
Kata (form, pattern) Respect for tradition, discipline, process Teaches importance of structure, fundamentals, and mastery
Shin-Gi-Tai Holistic self-cultivation Fosters balanced physical, technical, and moral development

Modern Applications and Legacy

  • The kata is globally promoted by the IJF and taught by national federations and dojos as a foundational component of judo education.
  • Adapted for modern health programs, such as fall-prevention and quality of life training for older adults (e.g., JUA project in Spain).
  • Continues to be valued for both its physical and philosophical education, remaining true to Jigoro Kano’s vision for judo as a way of life.






Judo: The lost WRIST LOCKS of Self Defense Techniques

Origins of Wristlocks in Judo

Wristlocks, although non-existent in competitive Judo, have deep historical roots in the art. Judo, founded by Jigoro Kano in 1882, emphasized throws and joint locks. However, wristlocks were originally part of the techniques Kano drew from Jujutsu. Early Judo incorporated a broader range of joint manipulation techniques, including wristlocks, especially in self-defence contexts.

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Wristlocks in Traditional Judo

Traditional Judo recognized the effectiveness of wristlocks in controlling and subduing opponents. These techniques were and still are integral to kata, pre-arranged forms that preserve the art’s technical foundation. The wristlocks found in kata demonstrate their importance in Judo's early development. They were used to teach practitioners about leverage, control, and the importance of precision.

Wristlocks in Competitive Judo

As Judo evolved, the focus shifted toward throws and pins in competitive contexts. Wristlocks became less prominent, largely due to safety concerns and the desire to make Judo a more spectator-friendly sport. However, they still exist in certain Judo kata, reminding practitioners of their historical significance and practicality in self-defence. The rules of competitive Judo restrict wristlocks to avoid injury, especially because they can be applied quickly and cause serious harm.

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Wristlocks in Modern Judo

Today, wristlocks in Judo are primarily taught for self-defence rather than competition. They remain an important part of the art's curriculum, especially for advanced practitioners. Some Judo schools emphasize wristlocks more than others, depending on their focus and philosophy. These techniques are often taught alongside other joint locks, highlighting their value in controlling an opponent with minimal force.

The Future of Wristlocks in Judo

The role of wristlocks in Judo may continue to evolve as the art itself evolves. Some practitioners advocate for a revival of these techniques in both self-defence and sports contexts. Others believe that wristlocks should remain a specialized skill, reserved for those who reach higher levels of Judo practice. Regardless, the history of wristlocks in Judo ensures that these techniques will not be forgotten.

Wristlocks Have A Rich History in Judo

Wristlocks have a rich history in Judo, reflecting the art’s roots in Jujutsu. Although less common in modern competition, they remain a vital part of Judo’s technical heritage. Understanding the history of wristlocks in Judo provides insight into the art’s evolution and the balance between tradition and sport.

Championing Versatility and Adaptability

Through the narrative woven in this video (below), martial arts enthusiasts are encouraged to embrace the versatility and adaptability of Judo wristlocks in self-defence scenarios. The support links provided offer avenues for further exploration, empowering practitioners to immerse themselves in the rich tapestry of Judo and its timeless techniques.







Judo: Joshi-goshin-ho-kata

Exploring the Essence of Judo: Joshi Goshin Ho Kata

Judo has, of course, evolved over the years, blending tradition with innovation. One of the aspects that embody the essence of Judo is the kata, a series of prearranged movements that simulate real-life combat scenarios. Among these, the Joshi Goshin Ho Kata stands out as a crucial component, focusing on self-defence techniques tailored specifically for women.

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Understanding Judo and Kata:

Judo, founded by Jigoro Kano in the late 19th century, is renowned for its emphasis on using an opponent's force and balance against them. Kata, a fundamental element of Judo training, comprises choreographed patterns of techniques designed to enhance various aspects of martial prowess. While kata is often associated with forms and routines, it plays a vital role in honing practical skills for real-world self-defence.

Joshi Goshin Ho Kata:

Joshi Goshin Ho Kata is a set of self-defence techniques developed to address situations commonly faced by women. The kata consists of fifteen movements, each carefully crafted to empower women with effective responses to potential threats. The techniques are rooted in the principles of Judo, emphasizing leverage, balance, and efficient use of force.

Key Components of Joshi Goshin Ho Kata:

  1. Awareness and Distance Management
  2. The kata begins with a focus on situational awareness, teaching practitioners to maintain a safe distance from potential threats. Understanding the importance of distance is crucial in preventing an assailant from closing in.

  3. Basic Gripping Techniques
  4. Joshi Goshin Ho Kata introduces fundamental gripping techniques, enabling practitioners to break free from an assailant's grasp effectively. Learning how to control and manipulate an opponent's wrists and arms is essential for self-defence.

  5. Defensive Strikes
  6. The kata incorporates strikes and kicks as defensive measures, emphasizing precision and effectiveness over brute force. Techniques are designed to target vulnerable areas, providing a means for women to defend themselves against larger and stronger attackers.

  7. Ground Defense
  8. Ground defence is a critical aspect of self-defence, and Joshi Goshin Ho Kata includes techniques for escaping holds and pins. Practical ground-based maneuvers empower women to regain control in a variety of situations.

  9. Weapon Defense
  10. Recognizing the potential threat of weapons, the kata addresses defences against common items an assailant might wield. Techniques are designed to disarm and neutralize the threat while minimizing risk to the defender.

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Benefits of Joshi Goshin Ho Kata:

  1. Empowerment
  2. Learning the Joshi Goshin Ho Kata instils a sense of empowerment and confidence in women, providing them with tangible skills to navigate potentially dangerous situations.

  3. Physical Fitness
  4. Practising the kata enhances overall physical fitness, promoting strength, flexibility, and agility. Regular training contributes to improved cardiovascular health and muscular endurance.

  5. Mental Preparedness
  6. Joshi Goshin Ho Kata not only hones physical skills but also cultivates mental preparedness. Practitioners develop a heightened sense of situational awareness and the ability to remain calm under pressure.

Judo, with its emphasis on self-defence and practical techniques, finds a powerful expression in the Joshi Goshin Ho Kata. By tailoring these movements to address the unique challenges faced by women, Judo becomes a vehicle for empowerment and personal security. As practitioners delve into the intricacies of this kata, they not only enhance their physical abilities but also adopt a mindset that fosters resilience and confidence in the face of adversity.







RyoteDori From The Kodokan Goshin Jutsu Kata

Exploring the First Technique in Kodokan Goshin Jutsu: Ryote Dori

Kodokan Goshin Jutsu, the self-defence art of Judo, offers a range of techniques designed to protect oneself in various situations. Ryote Dori, or the "Two Hand Grab," is one of the fundamental techniques in this system. Here, I'll give a brief introduction to the video below, on Ryote Dori and its key elements as demonstrated by Steve Cunningham, with Fred Spaeth as the uke, or the attacker.

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The Basics of Ryote Dori

Ryote Dori focuses on defending against an attacker who grabs you with both hands. The defence involves a combination of striking and wrist-locking techniques, particularly the Kote Hinieri [ https://youtu.be/bT16tWYzD-w?si=7kmG8SvL6RU8lrPl] or Wrist Twist, also known as Nikyo in Aikido [https://youtu.be/ummLn3M_Sk8?si=PSs1xlHC8gK_9iKJ].

  • Initial Arm Strength
  • To begin the defence, it's essential to strengthen your arm by pushing your elbow through. This movement sets the stage for what follows.

  • Drawing Through
  • Draw your arm through, making sure the fourth finger and thumb slide up towards your ear. This movement lays the foundation for your defence.

  • Secure the Grip
  • As you execute the previous steps, reach back to grab the attacker's hand, making sure to catch the thumb partway. Your middle finger should be positioned just below the knuckle of the thumb.

The Two Ways to Finish

There are two variations for finishing the Ryote Dori defence.

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  • Elbow Control
  • The first method involves bringing your arm up to your collarbone and pulling down on the attacker's elbow. This technique aims to rotate the attacker's wrist for a wrist lock. It's crucial to control the elbow to prevent excess movement in the shoulder, ensuring a secure wrist lock.

  • Immobilizing the Elbow
  • The second method requires slipping underneath the attacker's arm, rotating the elbow over, and stepping out. You can grab the wrist or catch the elbow to create a wrist lock. To make this technique effective, it's essential to prevent the attacker's elbow from moving, which can be achieved by slightly bending their elbow and using your fingers to immobilize it.

The Twist

This variation demonstrates the same principles by maintaining control over the attacker's elbow. By laying the attacker's elbow under your armpit, you ensure the wrist lock is secure. This method keeps the elbow from moving, allowing for a precise wrist lock.

Ryote Dori, the first technique in Kodokan Goshin Jutsu, provides a solid foundation for self-defence against a two-handed grab. By understanding the intricacies of wrist locks and elbow control, one can effectively immobilize an attacker and protect themselves. This technique exemplifies the practical and versatile nature of Judo's self-defence techniques, making it a valuable skill for personal safety.







RyoteDori from Kodokan Goshin Jutsu

RyoteDori from Kodokan Goshin Jutsu

RyoteDori Technique in Kodokan Goshin Jutsu – A Self-Defense Overview

This video explores the RyoteDori, which translates to, "Two Hand Grab" technique, the first self-defence maneuver in Kodokan Goshin Jutsu. This technique combines strikes with a wrist lock known as Kote Hinieri, similar to Nikyo in Aikido. Our instructional guide features Steve Cunningham as the presenter and Fred Spaeth as the uke, demonstrating the technique.

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RyoteDori, as taught in Kodokan Goshin Jutsu, is designed to address a common self-defence scenario: a two-handed grab. Whether you're facing an aggressor in a real-life situation or training in a martial arts class, this technique equips you with the skills to respond effectively.

Defensive Elements

The RyoteDori technique comprises two primary defensive elements:

  1. Strikes:
  2. The first aspect involves a series of strikes aimed at weakening your opponent's stance and creating an opportunity for a successful defence. These strikes can target vital areas, such as the solar plexus, groin, or face, to disorient and disrupt the attacker.

  3. Wrist Lock (Kote Hinieri or Nikyo)
  4. The heart of RyoteDori is the application of a wrist lock. The wrist lock used in this technique is known as Kote Hinieri in Kodokan Goshin Jutsu, but it bears a resemblance to Nikyo in Aikido. This joint lock involves manipulating your opponent's wrist and hand, causing them pain and discomfort while restricting their movement. When executed correctly, it can force the aggressor to release their grip on you.

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Presenter and Uke

Steve Cunningham takes on the role of the presenter, guiding viewers through the step-by-step process of the RyoteDori technique. His expertise in Kodokan Goshin Jutsu ensures that the technique is explained thoroughly, with a focus on proper form and execution.

Fred Spaeth plays the crucial role of the uke, the individual who receives and demonstrates the technique. Ukes play a vital role in martial arts demonstrations, as their cooperation and understanding of the technique's dynamics allow the presenter to showcase its effectiveness.

Application

While this article provides an introductory overview of the RyoteDori technique, it's important to note that self-defence techniques, especially those involving physical contact, are best learned through practical demonstrations and hands-on training. Therefore, individuals interested in mastering RyoteDori should seek out qualified instructors or martial arts dojos specializing in Kodokan Goshin Jutsu.

RyoteDori is a valuable self-defence technique that addresses a two-handed grab scenario. Its combination of strikes and wrist locks makes it a versatile and effective method for neutralizing an aggressor's hold. Whether you're new to self-defence or an experienced martial artist, the RyoteDori technique is a valuable addition to your repertoire, enhancing your ability to protect yourself in real-world situations. So, remember, while self-defence knowledge is empowering, practical training and guidance from skilled instructors are essential for mastering these techniques and ensuring your safety.







Judo Buyo: Discovering The Lost Art

The Lost Art of Judo Buyo

Not many know about Judo Buyo, I learned about it recently myself.

This tradition was born in the 1960s, however, its roots can be found in traditional Japanese dance.

Judo Buyo simply means “Judo dance”.

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Nihon Buyo was a form of entertainment for the Samurais from the 17th century up until the 20th century.

Before 1978, women were not allowed to compete in Judo on the international stage, so Judo Buyo was performed by female judokas before the international competition took place.

Similar to how Kata was performed in the Olympic Games prior to 1964.

Once women started competing on the international stage in 1978, Judo Buyo almost faded into memory.

Keiko Nagasaki, a Judo Buyo veteran, tried to revive this tradition, adding more elements from the traditional Kata to make it a more techniques-based dance.

Former world champion Hiroyuki Akimoto was inspired by this tradition to create his artistic project.

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Whether it is leg grabs, Kata, self-defence training, or academic studies, we should be free and able to practice any aspect of Judo, Judo is far more than endless rounds of randori.

As the legendary Keiko Fukudo once said,

“There are two types of judo that can be learned. The first is narrow and emphasizes judo techniques...The second approach is much broader and deals with the development of a human being."

We should never forget that Judo is about human development for a better society and education.

We should have the right to specialize and train in whatever aspect that suits our diverse human preferences.

Judo should not be reduced to fit the very narrow IJF and Olympic frames.









Proving Why the Jō (Japanese Staff) is So Strong

Exploring the Art of Assamese Shindu: Unveiling the Mastery of the Jo Staff

The world of martial arts is a treasure trove of diverse techniques, philosophies, and traditions. Among the myriad of styles that have evolved over centuries, Assamese Shindu stands as a testament to the rich cultural tapestry of India. At the heart of this ancient art lies the remarkable Jo staff, a weapon that has woven its way through history, showcasing both practicality and finesse.

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A Glimpse into Assamese Shindu

Assamese Shindu, often regarded as a hidden gem within the world of martial arts, hails from the northeastern state of Assam in India. Rooted in centuries of tradition, this art form blends combat techniques with spiritual wisdom. Its practitioners, known as Shindu warriors, adhere to a code that values not only physical prowess but also mental discipline and ethical conduct.

The Enigmatic Jo Staff

Central to Assamese Shindu's methodology is the Jo staff, a weapon that embodies both simplicity and effectiveness. The Jo staff, typically made from bamboo or wood, ranges in length, with variations serving different tactical purposes. The longer variant, approximately 5 shaku (around the average arm span), is designed for swift, decisive strikes, while the shorter version, about 3 shaku, offers greater maneuverability, making it akin to a cane.

History and Evolution

The origins of the Jo staff's use in Assamese Shindu trace back to a time when carrying bladed weapons was restricted. While samurai predominantly trained in swordsmanship, the Jo staff found its niche among commoners and warriors of lower social ranks. This weapon served as a symbol of self-defence and a means to level the playing field against those wielding longer, deadlier arms.

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The assimilation of Jo staff techniques into Assamese Shindu gained prominence during Japan's Meiji Restoration. The decline of the samurai class and the prohibition of brutal training necessitated the preservation of martial skills through alternative means. Thus, the Jo staff assumed a more prominent role in combat training, offering practitioners a non-lethal yet formidable tool for self-defence.

Mastery of the Jo: Techniques and Strategies

Assamese Shindu's approach to Jo staff combat is characterized by fluidity, precision, and adaptability. Practitioners focus on exploiting the Jo's unique attributes, such as its lack of a blade, to create continuous and unpredictable attacks. Unlike bladed weapons, the Jo staff allows for seamless transitions between strikes, enabling practitioners to maintain relentless pressure on opponents without creating openings for counterattacks.

One notable technique, the "Dancing Technique," involves holding the Jo diagonally over the head to set up swift follow-up strikes. The absence of a blade enables practitioners to execute rapid changes in direction and target, catching opponents off guard and preventing them from mounting a successful defence.

Additionally, the "Slide and Push Technique" showcases the art's emphasis on leverage and timing. By sliding the Jo along an opponent's weapon and then delivering a sudden, forceful push, practitioners can create significant distance and gain a tactical advantage. This technique exemplifies Assamese Shindu's principle of using minimal force to achieve maximum impact, a hallmark of its strategic approach.

Conclusion

Assamese Shindu, with its Jo staff at the forefront, offers a captivating glimpse into the intersection of combat, culture, and history. This martial art showcases the ingenuity of individuals who faced with restrictions and challenges, adapted and thrived, leaving behind a legacy that continues to inspire modern practitioners. The Jo staff, a seemingly simple wooden implement, becomes a conduit for both physical prowess and profound philosophies, embodying the essence of Assamese Shindu's timeless teachings. As we delve into the techniques and strategies of this art, we are reminded of the enduring power of human creativity and resilience, transcending time and borders.







"The Path of Traditional Judo" by Linda Yiannakis

The Path of Traditional Judo

Judo was originally introduced in 1882 by Jigoro Kano. Since then, it has undergone many changes, and it is currently hard to find an instructor in the US who teaches Classical or Traditional Judo.

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Kano's Judo included moral and mental development as well as bodily development and contest skills. It has three precepts: seiryoku zenyo (energy), jita kyoei (prospering together), and jiko no kansei (perfecting the self). Kano’s Judo stresses both the teaching of principles and the teaching by principles. It is very much a hands-on practice involving physical operation and the execution of technique. Judo ultimately has the goal of self-actualization through the internalization of its principles.

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Key Takeaways:

  • Judo as presented in the US often doesn't represent Traditional Judo as originally developed by Jigoro Kano.
  • Kano's Judo contained three precepts: the development of the body, contest skills, and moral development.
  • Kano emphasized both the teaching of principles and teaching by principles.

"The cultivation of a strong physical body (through rentai-ho) and the development of contest skills (through shobu-ho) together resulted in kyogi judo or judo in the narrow sense."

Read more: https://www.usatkj.org/the-path-of-traditional-judo.html




Ju No Kata Including Footwork & Kuzushi

Ju No Kata Including Footwork and Kuzushi

Judo kata is hard enough to perform whilst in full contact with your partner but to do it without contact and only using camera tricks to make it look like they are in contact is just very clever.

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This shadow Juno kata performance, to demonstrate a social distancing version of the kata, is not only great performance of shadow Kata we could all learn clearly the footwork of the Kata at the beginning of the video. And although in normal performance of Juno kata one learns a lot about Kazushi this I think would be an even more powerful learning method.

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One of my favourite ways to use Juno Kata is as a stretching exercise at the beginning of class. You really cannot get a better stretching exercise that is judo specific. Of course, used this way there is no need to be quite as exacting with the movements. To see the skill of these practitioners makes me wonder if this kata would work as a solo stretching exercise as well. It would make a great alternative to Tandoku Renshu to ad variety.









Joshi Judo (Women's Judo): Origins and Early Years

Joshi Judo (Women's Judo): Origins and Early Years

The history of Joshi Judo (Women's Judo) is more important than just the academics. It may allow insight into Kano's original intentions for Judo.

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This article is republished here because I cannot find it anywhere on the internet and whilst I cannot vouch for its accuracy it does discuss what I think is an important topic. This document is published as "cop con" since I have been unable to contact the author.

Joshi Judo: Origins and Early Years

Copyright1996 Steven R. Cunningham All Rights Reserved

Jlgoro Kano is often quoted as saying, "If you want to know what I truly intended for Judo, then look at what they are doing at the Kodokan Joshi-Bu (Women's Section)." This implies that a consideration of Joshi Judo has greater importance than just historical or academic. An analysis of Joshi Judo may allow us to peer into Kano's original intentions for Judo.

What is so different about women's Judo? According to Keiko, one of the leaders of women's Judo, "...the main object of Women's Judo is not to win in a competition as in [modern] Men's Judo." What is, then, the essence of Women's Judo? To glimpse the answer to this, we need to outline the history of the development of Joshi Judo

Kano accepted his first female student, Sueko Ashiya, after she arranged an introduction in 1893. Kano's openness was not shared in the male-dominated society of Japan, so he taught Miss Ashiya at his home along with his wife, Sumako, and some of her friends. (Sumako gave birth that same year to their daughter Noriko).

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At that time Kano apparently had little sense of the longer or farther-reaching consequences of this action, to him it just seemed the right thing to do. When others (other men) found out what he was doing, they questioned the wisdom of teaching women, and some suggested potential health problems and limitations of women participants. Kano researched the issue himself and discussed it at length with the leading medical authorities available at the time, and came to the conclusion that women would only benefit from the practice and study of Judo.

Mrs Kino Yasuda became the proof of the theory. In poor and failing health, Kano took her into his home to live with his family and taught her Judo alongside his wife, daughter and other female relatives. Yasuda‘s health improved dramatically. This helped quiet the critics and gave Kano renewed confidence. At the same time, Kano began to teach Women at a dojo in Koubun Gakuin (Koubun school) in Tokyo, where he taught women from the Nikon Women's University and the Ochanomizu Girls' High school. Yasuda became so enthusiastic with it all that she volunteered to make judogi (uniforms) for everyone, The early judogi was a result of repeated iterations of design between Kano and Yasuda.

Gradually, Kano was going public' with this, and women's Judo was taking on a life of its own. In 1923, Kano informally created the woman’s section at the Kodokan (Kaiunzaka Dojo) and named Mr Honda as the chief instructor. In 1926, Kano hosted a two-week clinic at his own home, where he personally taught about a dozen teachers, from all over Japan, how the Kodokan Kata should be taught to women in the public schools. This was nothing short of revolutionary. Later that year (November), he formally opened the Women's sectional the Kodokan under Honda.

Things were, moving along pretty fast and certain complications with formalities had to be resolved. For example, it was not until 1931 that the Joshi Enrollment Oath Book was created. Keppan, or “blood Oaths” were not required as they had once been routinely in the Men's section, and the oath was more related to focus and commitment, The first three names were Nortomi, Akutagawa, and Yasuko Morioka. A Joshi Yudanshakar (black Bell Association) book appeared in 1933.

When the new dojo was built at Suidobashi the women were given their own dojo in the Kodokan, established their own regulations, procedures, practice methods, rank requirements, etc. In many ways, the course of instruction at the Women's section more reflected the training that Kano had given his students in the first decades of the Kodokan. Classes began with a thorough warm-up, then a lengthy ukemi session followed by Tandoku Renshu (solo exercise). Extensive use of Kata and randori were interspersed with long lectures on method, theory and history and Atemi and other battlefield methods were practised. Students were given extensive research and study assignments designed to provoke a deep and subtle understanding. These sessions were often led by Kano himself with his oldest daughter, Noriko Watanuki, who was also then head of Joshi-Bu. Students were also given extensive instruction on etiquette and propriety. Indeed the training program was extremely complete. In some ways, their requirements were more rigorous than those in the Men's Division and were thought to deserve special recognition. A white stripe running the length of the belt was chosen as a symbol of this and the more pure line of the Women's Division.

Kano had Joshi-Bu Dojo put right next to his personal suite so he could keep a close eye on the proceedings there, Kano made sure that the Women's section was not shortchanged in the quality of instruction, Honda, Uzawa, Mifune, and others were regular faces in the dojo. Masako Moritomo, then the highest ranking woman, had begun training at age ten, was very knowledgeable and highly skilled, and gradually accepted more of a leadership role in the instruction.

For the Women's Division, Kano felt that competition was contrary to the objectives of Judo practice, Competition requires one to attack, the antithesis of a defensive art, and leads one to try to assert oneself over another. Also, if you attempt to achieve victory with unperfected techniques you will almost certainly abandon technique, skill, and Ju in favor of strength; once the Judo, is perfected, competition has no meaning.

Kano had undertaken an obligation (Giri) to Hachinosuke, Fukuda, his Tenshin Shin’Yo Ryu Jujitsu instructor, The elder Fukuda was a major figure in Japanese Jujitsu. For example in 1879, while a student of Fukuda, Kano participated in an exhibition that Fukuda gave for U,S, President Ulysses S. Grant. Jujitsu had died out in the Fukuda family. In January of 1934, Kano hand-brushed an invitation inviting them to a ceremony at the Kodokan in honor of Fukuda, Masatomo lso, and Tsunetoshi Iikubo, whose teachings all greatly Influenced the development of Judo, At the ceremony in March, Kano planted three Sakaki trees (Shinto ceremonial trees) in their memory, in front of the Dojo. Shortly thereafter, Kano visited the Fukuda household and personal invited Keiko Fukuda, his old teacher’s granddaughter, to join the Josh-Bu at the Kodokan. Fortunately, she accepted, and Keiko Fukuda is now one of the highest-ranking women in the world (Ed. Until her death).

By 1935 members of Joshi-Bu arranged for women to learn the Seiryoku-Zenyo-Kokumin-Taiiku no Kata (form of the system of exercise based on the principle of maximum efficiency), a form emphasizing Atemi and Taisabaki (strikes/kicks and pivoting methods), and Kime Shiki (ritual of moments of life and death decision) to high school women in some schools.

About the same time, Kano was being pressured to allow the military to use the Kodokan as a means for the wholesale training of soldiers for the Japanese military machine. Kano refused and was utterly horrified at the turn of events. Although he received some guarantees from the Emperor that a nationalization of the Kodokan would not happen, Kano and others remained gravely concerned. Preparations for the worst were made, many key people left and certain practices were abandoned. Kano died mysteriously on a ship voyage home after meetings in the West. As a result of his actions and perceived sympathies toward the West, some people claim he was assassinated.

Kano's nephew, Jiro Nango, took over leadership of the Kodokan, and attempted to keep things afloat during difficult times. Kano had often said that it was critical that Atemi be taught in close conjunction with other techniques and the Kata. Concerned about the loss of such martial skills teachings to women as an outcome of the "politics" just mentioned, the new Kodokan head proposed that the Joshi-Goshin-Ho (Women's Self-Defense Methods) be created. Noritomi, Fukuda, and others went to work on it. Joshi-Bu managed to maintain about 25 women staying at the Kodokan during the war, often instructed by only Fukuda and Ontsuka.

After the war, the Allied Occupation forces enforced a ban on all martial activity. This kept the elder surviving Judo instructors from returning to the Kodokan. Tiny dojo sprung or Judo people joined Jujutsu people in their tiny private dojo mostly practising in secret. Kotani and others have talked about this experience.

Ultimately the ban was lifted. The women at Joshi Bu were amazed when "the giants" from the West arrived, Western women looked physically huge to the tiny Japanese Women at the Kodokan, People like Ruth Gardner Chicago, Helen Carollo (Oakland), and others, with the first to arrive, Remembering the wishes of their teacher, Kyuzo Misfune Sensei and others often visited Joshi-Bu over the years and encouraged the ongoing development of Women's Judo.

Today women participate in international competition, and Women's Judo is evolving in such a way as to make it identical to Men's Judo in every way, One Judo seems a better ideal. I guess the only question is: is the one Judo that is emerging the right Judo?

Copyright © 1996-1990 Steven R. Cunningham All Rights Reserved.

Last updated:03/17/00







Yoko-Shiho-Gatame Escapes As Used in The Katame-No-Kata

Yoko-Shiho-Gatame Escapes As Used in The Katame-No-Kata

Here we see Yoko-Shiho-Gatame escapes as used in the Katame-No-Kata except they are fully executed. If ever you have seen or done Katame-No-Kata you know that Uke is supposed to attempt three escapes before they tap to indicate that the hold is genuinely on. But most, if not all books on that kata are vague at the very least, as to what escapes you should attempt.

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If you compare the video of the Kata and the video of the escape, you can see clearly that the escapes used in the video are the same ones attempted in the Kata video. This is of course very helpful if you are doing the Kata but what about competition?

Well well, all three are actually very effective and honestly apart from just pushing Tori (in this case the one on top) away, every other escape is a variation of these three. So effectively these are the only three escapes from Yoko-Shiho-Gatame.

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The first escape has some points of note:
  1. I am not sure that once you had the person on top in the head lock that the hold would be considered broken.

  2. It may depend on the referee. So it is worth not sitting on your lorals and doing something else once you are in the headlock posisiton.
  3. You can extend the first hold escape into an armlock

  4. There are several avalible from this position or if in the trows of the struggle you other leg becomes free you can put it over the person on top's back and add to the leverage.
  5. You can try and turn the headlock into a strangle using your legs

  6. This may sound easier than it is becasue your leg is resonabley large and there is a good chance that you will be encircleing your opponents chin and not their neck.
    This may result in a penalty.












Judo Kata: Doing Things Backwards Helps Too

Doing Things Backwards Helps Too

Everybody knows that the best way to teach something is one step at a time. That is you start with step one then step two and so on. But not only is it possible to teach Judo backwards it sometimes the only way to correct an error or fix a problem.

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By backwards I mean start from the last step and do that until it is fixed the add the second last step etc.

I've seen this work brilliantly in Swimming but it also works really well for Judo.

Of course you can't always start with the fall in Judo (although it can be useful to start with the position the fall should end up in) but you can start with the step just before the fall.

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The challenge in this is finding the thing that is the actual second last or last step. It is only when you start to try this that may figure out that what you thought was the second last or the last step may not in fact be the second last or the last step. Making this discovery can in itself be very revealing and most educational.







Judo Kata: The Importance & Dynamic Nature of it

The Kodokan today recognizes a number of official Judo kata.

This interview with Steven R. Cunningham 6th Dan Kodokan Judo, 7th Dan Takagi-ryu Jujutsu, 6th dan Mugen-ryu karate by Linda Yiannakis 4th Dan USJJF; 4th Dan USA Judo, is a superb and unbelievably detailed discussion on Judo kata.

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At just under 12,000 words there is a great deal to think about.

Few details are left out including the need to dig below the surface of Kata and how kata is misunderstood as a “belt requirement” and no more instead of it being a means to understand principle through techniques that demonstrate the principle of techniques.

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Some of the topics dealt with are:
  • What are the origins of each of these kata and what does each contribute to the complete syllabus of Judo?

  • There are other kata which are not currently recognized by the Kodokan, such as Go no Kata, Ippon Yo Goshin Jutsu no Kata, Gonosen no Kata, and others. What are the origins and nature of these so-called ‘lost kata’ and why do you think they are no longer widely known?

  • What are the purposes and ends of kata as originally intended by Kano?

  • What was Kano’s purpose in designing a linear practice form for what we know as a largely circular movement-based art?

  • Is there a special meaning behind only Nage no Kata and Seiryoku Zenyo Kokumin Taiiku being practiced on both the right and left sides?

  • What story’ does Kodokan kata tell?

  • Some detail about the hidden components of kata, and when or how each is taught in relation to the other.

  • Kano designed Nage no Kata to align with the Go Kyo no Waza in order to highlight specific strategies and principles. What are some of these connections?

  • What is your advice for today’s Judoka regarding the best way to study kata? Do you feel that kata is relevant to modern sport Judo?


And much more, so read the full article: The Dynamic Nature of Judo Kata





Mifune's Judo Counters & Goshinjitsu Technique

Mifune's Judo Counters & Goshinjitsu Technique are Legendary

There is no doubt Mifune's Judo Counters & Goshinjitsu technique is legendary and I invite you to enjoy the skill and learn from this Master with the video below.
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Sooner or later you are going to come across the name Mifune if you are in or associated with the Judo community. He is a very significant player in the growth and development of Judo and who's photo and image appears in many old videos and books on that subject.

This video is old but for its age, it is quite sharp. It is also in Japanese but as long as you are happy to read the subtitles it is more than just interesting and a historical reference, you will learn a lot.

Pay particular attention to the Goshinjitsu. It's not the same one I do in the club but the association that it has with other Kata is very usful.

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Anyway have a look at it. There are some very useful counters and one or 2 very crative throws. At least I think they are crative.









Tandoku Renshu Kata: First Set, Leg & Other Stretches

Tandoku Renshu Stretching

In a previous post I explained how to use handgrips in the Kata Tandoku Renshu. In this post I like to try to explain the stretching involved, particularly the leg stretches but including the punches, kicks and the neck stretches in the Kata in a bit more detail.
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Tandoku Renshu & Leg stretching

I will start with the leg stretching just because I spent the time to do the photos (Fig. 1 & Fig. 2). Your first movements in this Kata are, of course, purely punches. The second set your step with the legs and it is this stepping that you can do the leg stretches.

As can be seen from the photos if you want to turn these moments into a genuine stretching exercise all you have to do is apply pressure to the front leg (Fig. 1) and fully straighten the back (Fig. 2). This is done on both sides and similarly as you do the strikes to the front and the elbow strikes.

It is important to make sure that you are also fully extending your arms as you do the punches

Image of me doing a forward punch from the Tandoku Renshu emphasizing the legs stretching
(Fig 1.)Tandoku Renshu Forward Punch and Leg Stretch


Image of me doing a forward punch from the Tandoku Renshu emphasizing the legs stretching seem from behind
(Fig 2.)Tandoku Renshu Forward Punch and Back Leg Stretch

The full extension of the arms is something that is often overlooked by practitioners, particularly Judo practitioners because we don't normally practise punching. This is of course because we don't do anything like that in competition. But if you are going to do this exercise you should take full advantage of it.

Just as an aside, the full extension not only improves the stretch but it is critical in any strike if you want it to be fully effective as a strike. So even if you are not doing punches for competition by fully extending you will get the full benefit and you will be respecting the tradition of the Kata.

When I say respect the traditions I mean, it should be remembered that Judo is a martial art and many of the punches are retained in a number of Katas. This is important because Judo is still in very competent self-defence, if it is practised that way, so these katas need to be retained. Besides it is Kata that stops Judo from degenerating.

Tandoku Renshu & The Neck

I used to think that you should do a separate neck stretch before you did this Kata if you were using it as stretching before training. But I have come to realise that, if you are doing the Kata properly, there is already plenty of correct neck stretching happening. Therefore separate exercise is obsolete. All you need to do is watch and follow your hand closely with your eyes and head as you do the punches. It also helps with your balance when you are on your toes doing the punch up.

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Kicks & Stretching

There is however no extension stretching for the legs in the Tendoku Renshu. By that, I mean placing your leg out straight in front of you on any surface and bending forward and touching your toes. Because of this, I recommend that you do such stretches before the Kata so that when you do the kicks you will not overextend your leg.

The kicks in themselves are great stretches and therefore great to do before training or competition but they are ballistic movements and hence should need preparation. So make sure you have done a 15-second leg stretch on each leg at least 3 times before the Kata to avoid any potential leg injury. Any kind of extension legs stretch will do really as long as you do it at least 3 times on each leg and hold it for at least 15 seconds for each leg.

Balance while kicking

Keeping your balance when you are doing the kicks is sometimes a challenge. At least it has been for me. The thing to remember is it is always the position of your head when you are kicking. Whatever leg you are kicking with make sure you tilt your head to the opposite side to maintain your balance. A little cheat if you need it is to pull slightly on the opposite ear lobe of the leg you have off the ground.

Just don't pull too hard or you will not only hurt you ear lobe but pull yourself off balance in the opposite direction. ;)

Practically A Complete Workout

Now that you have learned to do Tandoku Renshu as a stretch. In a previous post you learned to do some strength building with it. All you need is to do the whole thing again, without grips or weights as fast as you can to improve your cardio. Then you will have done practically a complete workout.

A complete workout (practically) could look like this

  1. Do the Tandoku Renshu (done here at normal speed) at about half speed. This is your warmup
  2. Repeat with instructions from this blog post at the same speed but with emphasised movements to do it as a stretch
  3. Repeat with handgrips to improve gripping strength Repeat with weights to improve upper body strength Repeat it as fast as you can to improve your cardio

Finally, don't forget to do the Kata as a Kata occasionally so that you come to appreciate the Kata for itself and to improve the Art in your Martial Art.





Tandoku Renshu Kata First Set With Hand Grips

Solo Judo: Using Kata Build Arm and Grip Strength

Every student of Judo knows that we only have one solo Kata it is called Tandoku Renshu. But this Kata is so flexible I thought I would show you some of the things that I do with it to add value to this already very valuable Judo activity. So in this post, I am discussing using the first set of Judo’s Tandoku Renshu Kata and hand grips to help build arm and grip strength.
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Whilst I have only included the first few movements of the first set of the Kata in the video, you can obviously continue to put full pressure on the handgrips throughout the whole of the Kata. Thus building arm and grip strength whilst doing Judo by yourself.

My advice would be to do the Kata first as a stretch alone, to make sure you don't risk muscle strain. You should then follow that with a repeat of the Kata using the grips to build strength.

There are a variety of different handgrips available. You can even use a stress ball to start with if the handgrips are too much or even just make and hold a strong tight fist. If that is too much just do it until you can't hold the grip any longer and work up to logger gripping each day or even every second day if you need to. But you can get a whole variety of difficulty in grips strengths, some with soft grips if you need that and if you intend to use this a serious exercise you should get an adjustable handgrip so it can get harder as you improve.

Personally, I have found that giving my muscles a break of a day or two allows me to do increased exercise more rapidly in the long run. Whereas trying to increase endurance each day every day only tends to give me sore muscles.

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Tandoku Renshu Kata to Build Arm and Grip strength

Hand grips come in a large variety of resistance levels, so you can start off with very light resistance and build up too much bigger resistance. Actually, the tight fist is more than enough to increase arm and grip strength but the big advantage of going from a stress or squeeze ball and then gradually increase the level of resistance is that any sort of handgrip gives you feedback. With the feedback, you can tell if you are actually maintaining your grip consistently throughout the exercise.

If you end up liking this approch you can extend the idea further and repeate the whole process using weights in your hands. You will have to experemints which weights and how to hold the weights when you are doing the kicks but that only adds to the fun I think. Besides holding a weight in the opposite hand to the legs you are kicking with can sometimes help with your balance.

I guess the only question that might come up maybe, "is using a physical piece of equipment consistent with the spirit of Judo"?

To my mind, the answer is an unequivocal "yes". Using a physical piece of equipment IS consistent with the spirit of Judo. You have to keep in mind that this Kata was developed as a warm-up or stretching Kata. Professor Kano did it deliberately because he found other forms of such exercise boring and not associated with Martial Arts. It only seems logical to me that anything that can be done to this exercise by way of improvement would well and truly meet with his approval.









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