Osotogari

Author: S.R. Hoare & J.M. Goodger
Pub: 1968 by Leonard Hill Books
Pages: 110
Ranking:
Out of Print

This book is nearly as good as any of the Ippon Masterclass books. It combines excellent photos with above average text. Although the author is like Yamashita & Geesink in their ability to teach Osotogari in a form different from what they do, this book shows much more realistic photos of Osotogari than most. (If you aren't familiar with my views on Osotogari, read this article) Covering grips, as well as combinations and counters, this book discusses facets of Osotogari rarely seen elsewhere. I highly recommend this book, even though it's out of print.

           Contents 
 
Acknowledgements              5 
Foreword                      9 
Introduction                 11 
 
1 A Basic Form               13 
2 Adaptations and Variations 18 
3 Grips and Entries          33 
4 Renrakuwaza                47 
5 Defence                    70 
6 Counters                   75 
7 Special Practices          85 
 
Contest Photographs from the 1967 World
University Championships in Tokyo 93
 
Leisure Learning Series Judo Books 107
Leisure Learning Series Judo Authors 108

-- 

Foreword
-- by Charles Palmer, 5th dan

President of the International Judo Federation
Chairman of the British Judo Association

Member of the winning British team in the 1957 European
Championships

Captain of the winning British teams in the 1958 and 1959
European Championships
International referee
Olympic Games referee 1964

In recent years, the development of Judo in Britain has become characterized by a proliferation of ideas and styles. Techniques of holding, groundwork and contest tactics have received increasing attention, and even the basic concepts of throwing have been the subject of new ideas. Potentially, this is a very healthy trend. The technical progress of Judo can best be promoted by positive interaction between the 'revisionist' and the 'traditionalist' schools of thought. The former demands change and the latter insists that innovations should be thoroughly tested. Such interaction should result in a steady and progressive development of Judo technique. It is with these thoughts in mind that I welcome this series of specialized books. The techniques described are not only modern; they are also of proven effectiveness. Furthermore, the authors have been very successful in their endeavours to be frank and objective. These books are, therefore, capable of making a great, positive contribution to the progress of Judo in this country.

Introduction

When players meet, discussion of Judo techniques often ensues, and the discerning listener soon becomes aware of certain recurring themes. It is often suggested, for example, that practice loses its value if it is not based on sound technical principles. In response to this simple statement, however, the speaker may be asked how he would recognize a 'sound technical principle' if he saw one! This incisive comment may be followed up by the argument that, because a particular technique has as many different forms as there are players who use it, individual styles should be allowed to develop unhampered by the dictates of a teacher's theories. A careful consideration of these arguments reveals that their underlying philosophies are not entirely incompatible. Clearly, high-grade judoka differ in the way they execute a particular technique. It is more important to note, however, that distinct points of similarity also exist, for it is in these that 'sound technical principles' may best be sought. The relationship between such principles and the individual variations of high-grade exponents is extremely complex, but the former may still be discerned. It is practical to argue, therefore, that teachers have a responsibility to see that their students' practice is based on 'sound technical principles'. Similarly, individual players would be well advised to concentrate on developing sound basic techniques during the less-advanced stages of their Judo development. These conclusions are certainly not incompatible with the view that the individual should develop variations to suit his build, speed and dexterity. It should be noted, however, that in analysing the techniques of high-grade players in contest and randori, it is very easy to forget the influence of defensive reactions on throwing techniques. Thus an important part of a player's throwing action may not be observed because his opponent's defence consistently prevents it from having an apparent effect. It may well be, however, that the force exerted in the direction of the intended movement influences the defending player in ways that disturb his defence, and thus allows the attacker to bring off his throw in an adapted form. It is important, therefore, to find out what the player is trying to do, and to give due consideration to this knowledge when his apparent movements are analysed.

In this series of specialized books, the authors have set out to isolate and describe the 'sound technical principles' of particular throws. Thus the chapters on basic techniques provide 'blueprints' from which individual techniques may be developed. In addition, the authors have described in detail a large number of grips, entries, variations, adaptations, combinations, defences and counters associated with the basic techniques in question. Great efforts have been made to help judoka to guide the development of their own Judo and, in consequence, much emphasis has been placed on extensive, realistic illustration and carefully planned, concise text. The keynote of these books is realism, and the authors make no apology for any eyebrows that are raised as a result.

Note In all the illustrations to the text, Uke wears a grey judogi.