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Brazilian Jiu-Jitsu (BJJ) is a martial art and combat sport that focuses on grappling and especially ground fighting with the goal of gaining a dominant position and using joint-locks and chokeholds to force an opponent to submit. The art was based on early 20th century Kodokan Judo ,[2][1] which was itself then a recently-developed system (founded in 1882), based on multiple schools (or Ryu) of Japanese Jujutsu.

It promotes the principle that a smaller, weaker person using leverage and proper technique can successfully defend themselves against a bigger, stronger assailant. BJJ can be trained for self defense, sport grappling tournaments (gi and no-gi) and mixed martial arts (MMA) competition.[3] Sparring (commonly referred to as 'rolling') and live drilling play a major role in training, and a premium is placed on performance, especially in competition.
Contents

* 1 History
o 1.1 Beginnings
o 1.2 Name
o 1.3 Development
o 1.4 Prominence
* 2 Comparison with judo
o 2.1 Combat strategy
o 2.2 Free sparring
o 2.3 Divergence from Kodokan rules
o 2.4 Ground fighting
o 2.5 The gi
* 3 Style of fighting
o 3.1 Types of submission
+ 3.1.1 Joint locks
+ 3.1.2 Chokes and strangles
o 3.2 Training methods
* 4 Grading
o 4.1 Graduation
* 5 Black-Belt World Champions
* 6 See also
* 7 Footnotes
* 8 Sources
* 9 External links

History

Beginnings

The art began with Mitsuyo Maeda (aka Conde Koma, or Count Combat in English), a Japanese expert judoka and member of the Kodokan. Maeda was one of five of the Kodokan's top groundwork experts that Judo's founder Kano Jigoro sent overseas to spread his art to the world. Maeda left Japan in 1904 and visited a number of countries[2] giving "jiu-do" demonstrations and accepting challenges from wrestlers, boxers, savate fighters and various other martial artists before eventually arriving in Brazil on November 14, 1914.[4]

Since its inception, judo was separated from jujutsu in its goals, philosophy, and training regime. Although there was great rivalry among jujutsu teachers, this was more than just Kano's ambition to clearly individualize his art. To Kano, judo wasn't solely a martial art: it was also a sport, a method for promoting physical fitness and building character in young people, and, ultimately, a way (Do) of life.[5][6] To a very large extent, Brazilian Jiu-Jitsu has also encompassed these philosophies.

It is often claimed that BJJ is a development of traditional Japanese jujutsu, and that Maeda was a jujutsuka. However, Maeda never trained in jujutsu. He first trained in sumo as a teenager, and after the interest generated by stories about the success of judo at contests between judo and jujutsu that were occurring at the time, he changed from sumo to judo, becoming a student of Kano's Kodokan judo.[2] He was promoted to 7th dan in Kodokan judo the day before he died in 1941.

Hélio Gracie himself had already risen to the rank of 6th dan in judo by the time of his fight against Kimura in 1951.[7]

Name

When Maeda left Japan, Judo was still often referred to as "Kano Jiu-Jitsu",[8] or, even more generically, simply as "Jiu-Jitsu."[9][10]

Kigashi, the co-author of "Kano Jiu-Jitsu"[8] wrote in the foreword "Some confusion has arisen over the employment of the term 'jiudo'. To make the matter clear I will state that jiudo is the term selected by Professor Kano as describing his system more accurately than jiu-jitsu does. Professor Kano is one of the leading educators of Japan, and it is natural that he should cast about for the technical word that would most accurately describe his system. But the Japanese people generally still cling to the more popular nomenclature and call it jiu-jitsu."

Outside Japan, however, this distinction was noted even less. The distinction between a jutsu and a do is subtle, and is still used somewhat arbitrarily to this day.

Thus, when Maeda and Satake arrived in Brazil in 1914, every newspaper announced jiu-jitsu despite both men being Kodokan Judoka.[5]

The Japanese government itself did not officially mandate until 1925 that the correct name for the martial art taught in the Japanese public schools should be "judo" rather than "jujutsu".[11] In Brazil, the art is still called "Jiu-Jitsu". When the Gracies went to the United States to spread their art, the system became known as "Brazilian Jiu-Jitsu" and "Gracie Jiu-Jitsu."

"Jiu-Jitsu" is an older romanization that was the original spelling of the art in the West, and it is still in common use, whereas the modern Hepburn romanization is "jūjutsu." Other common spellings are Jujitsu, Ju-Jitsu, and Ju jitsu.

The art is sometimes referred to as Gracie Jiu-Jitsu (GJJ), but this name is trademarked by Rorion Gracie and specifically refers to the style taught by him and his selected teachers. Other members of the Gracie family often call their style by personalized names, such as Charles Gracie Jiu-Jitsu or Renzo Gracie Jiu-Jitsu, and similarly, the Machado brothers call their style Machado Jiu-Jitsu (MJJ). While each style and its instructors have their own unique aspects, they are all basic variations of Brazilian Jiu-Jitsu.

Today there are four major branches of Jiu-Jitsu from Brazil. Gracie Humaita, Gracie Barra, Alliance Jiu-Jitsu, and Carlson Gracie Jiu-Jitsu. Each branch can trace its roots back to Carlos Gracie, and Mitsuyo Maeda.

Development

Maeda met an influential businessman named Gastão Gracie who helped him get established. In 1917, his son Carlos Gracie, still a 14 year-old boy, watched a demonstration by Maeda at the Teatro da Paz and decided to learn jiu-jitsu. Maeda accepted Carlos as a student,[2] and Carlos went on to become a great exponent of the art and ultimately, with his younger brother Hélio Gracie became the founder of Gracie Jiu-Jitsu, modern Brazilian Jiu-Jitsu.[12]

In 1921, Gastão Gracie and his family moved to Rio de Janeiro. Carlos, then 17 years old, passed Maeda's teachings on to his brothers Osvaldo, Gastão and Jorge. Hélio was too young and sick at that time to learn the art, and due to medical imposition was prohibited to take part in the training sessions. Despite that, Hélio learned jiu-jitsu by watching his brothers. He eventually overcame his health problems and is now considered by many as the founder of Brazilian Jiu-Jitsu (though others, such as Carlson Gracie, have pointed to Carlos as the founder of the art).[12]

Hélio competed in several submission judo competitions which mostly ended in a draw. One defeat (in Brazil in 1951) was by visiting Japanese judoka Masahiko Kimura, whose surname the Gracies gave to the arm lock used to defeat Hélio.

The Gracie family continued to develop the system throughout the 20th century, often fighting vale tudo matches (precursors to modern MMA), during which it increased its focus on ground fighting and refined its techniques.[13]

Today, the main differences between the BJJ styles is between traditional Gracie Jiu-Jitsu's emphasis on self-defense, and Sport Brazilian Jiu-Jitsu's orientation towards point competition. There is a large commonality of techniques between the two. Also, there is a wide variety of ideals in training in different schools in terms of the utilization of technique versus how much to attempt to overpower an opponent.

Prominence

Brazilian Jiu-Jitsu came to international prominence in the martial arts community in the 1990s, when Brazilian Jiu-Jitsu expert Royce Gracie won the first, second and fourth Ultimate Fighting Championships, which at the time were single elimination martial arts tournaments.[3] Royce fought against often much-larger opponents who were practicing other styles, including boxing, shoot-fighting, karate, judo, tae kwon do and wrestling. It has since become a staple art for many MMA fighters and is largely credited for bringing wide-spread attention to the importance of ground fighting. Sport BJJ tournaments continue to grow in popularity worldwide and have given rise to no-gi submission grappling tournaments, such as the ADCC Submission Wrestling World Championship.

Comparison with judo

Combat strategy

Renzo Gracie wrote in his book Mastering Jujitsu[14]: "The classical jujutsu of old Japan appeared to have no common strategy to guide a combatant over the course of a fight. Indeed, this was one of Kano's most fundamental and perceptive criticisms of the classical program." Maeda not only taught the art of judo to Carlos Gracie, but also taught a particular philosophy about the nature of combat developed by Kano, and further refined by Maeda based on his world-wide travels competing against fighters skilled in a wide variety of martial arts.

The book details Maeda's theory as arguing that physical combat could be broken down into distinct phases, such as the striking phase, the grappling phase, the ground phase, etc. Thus, it was a smart fighter's task to keep the fight located in the phase of combat that best suited his own strengths.

Renzo Gracie stated that this was a fundamental influence on the Gracie approach to combat. These strategies were further perfected over time by the Gracies and others, and became prominent in contemporary MMA.

Free sparring

Like judo, BJJ encourages free sparring against a live, resisting opponent. Practitioners therefore have the opportunity to test their skills and develop them under realistic conditions, while minimizing the risk of injury. Also known as "rolling."

Divergence from Kodokan rules

Since judo was introduced to Brazil there have been changes in the rules of sport judo—some to enhance it as a spectator sport, and some for improved safety. Several of these rule changes have greatly de-emphasised the groundwork aspects of judo, and others have reduced the range of joint locks allowed and when they can be applied. Many of the banned techniques are preserved in the judo kata, and are practised to varying extents in different clubs. Brazilian Jiu-Jitsu did not follow many of these changes to judo rules, and this divergence[15] has given it a distinct identity as a martial art, while still being recognizable as a sub-style of judo. Other factors that have contributed towards the stylistic divergence of BJJ from sport judo include the Gracies' desire to create a national martial art, the influence of Brazilian culture, and the Gracies' emphasis on full-contact fighting and self-defense.

BJJ permits all the techniques that judo allows to take the fight to the ground. These include judo's scoring throws as well as judo's non-scoring techniques that it refers to as 'skillful takedowns' (such as the flying armbar.) However, BJJ differs in that it also allows a competitor to drag his opponent to the ground, and also even to drop to the ground himself provided he has first taken a grip.[16] Early Kodokan judo not only allowed all that BJJ now allows, it even allowed a fighter to drop straight to the ground without first taking a grip.

BJJ's different rules set and point scoring mechanisms are designed to give BJJ an arguably more practical emphasis. This is done by rewarding positions of control from which the grappler could strike their opponent (if it weren't for the sport's restrictions against striking.) While judo's greater emphasis on throwing is sometimes criticised as not being as useful in a self-defence situation, the effectiveness of throwing should not be underestimated. This is especially so when performed on a hard surface and with the freedom to throw their opponent in a manner that would cause great injury (being unrestricted in the circumstances by sport judo's requirement to rotate one's opponent onto their back.)

Ground fighting

BJJ is strongly differentiated by its greater emphasis on groundwork. This is due to both its radically different point-scoring system, and the absence of most of the judo rules that cause the competitors to have to recommence in a standing position. This has led to greater time dedicated to training on the ground, resulting in enhancement of judo's groundwork techniques by BJJ practitioners.

However, there are also many techniques that are allegedly created by BJJ, though they already existed in Kodokan judo. This misconception is often the result of incorrect assumptions by BJJ practitioners who simply assume that the techniques they learned in BJJ classes originated in BJJ, and it is also due in some instances to BJJ practitioners genuinely rediscovering techniques that they did not know already existed in judo, such as the Gogoplata.

Along with BJJ's great strengths on the ground comes its relative weakness with standing techniques. There is an increasing amount of cross-training between the two sports.

The gi

While the judogi (judo uniform) is regulated and inspected by sanctioning bodies so as to maintain a necessary amount of room between the arm and the sleeve for gripping, and also between the leg and the pants, a BJJ practitioner's gi is not generally as tightly regulated. The practitioner can therefore benefit from a closer fit, providing less material for an opponent to manipulate.

Style of fighting

Brazilian Jiu-Jitsu emphasizes ground fighting techniques and submission holds involving joint-locks and chokeholds also found in numerous other arts with or without ground fighting emphasis. The premise is that most of the advantage of a larger, stronger opponent comes from superior reach and more powerful strikes, both of which are somewhat negated when grappling on the ground.

BJJ permits a wide variety of techniques to take the fight to the ground after taking a grip. Once the opponent is on the ground, a number of maneuvers (and counter-maneuvers) are available to manipulate the opponent into a suitable position for the application of a submission technique. Achieving a dominant position on the ground is one of the hallmarks of the BJJ style, and includes effective use of the guard position to defend oneself from bottom, and passing the guard to dominate from top position with side control, mount, and back mount positions. This system of maneuvering and manipulation can be likened to a form of kinetic chess when utilized by two experienced practitioners. A submission hold is the equivalent of checkmate.

Types of submission

The majority of submission holds can be grouped into two broad categories: joint locks and chokes. Joint locks typically involve isolating an opponent's limb and creating a lever with the body position which will force the joint to move past its normal range of motion, generally referred to as hyperextension.[3] Pressure is increased in a controlled manner and released if the opponent cannot escape the hold and signals defeat by submitting. Opponents can indicate submission verbally or they can tap out (i.e. tap the opponent, the mat, or even themselves, several times.) A choke hold, disrupting the blood supply to the brain, can cause unconsciousness if the opponent does not submit soon enough.

A less common type of submission hold is a compression lock, where the muscle of an opponent is compressed against a hard, large bone (commonly the shin or wrist), causing significant pain to the opponent. These types of locks are not usually allowed in competition due to the high risk of tearing muscle tissue. This type of lock often also hyper-extends the joint in the opposite direction, pulling it apart.

Joint locks

While many joint locks are permitted, most competitions bar or restrict some or all joint locks involving the knees, ankles, and spine. The reason for this is that the angles of manipulation required to cause pain are nearly the same as those that would cause serious injury. Joint locks that require a twisting motion of the knee (called twisting knee locks or twisting knee bars, or techniques such as heel hooks, and toe holds) are usually banned in competitions because successfully completing the move nearly always results in permanent damage that requires surgery. Similarly, joint manipulations of the spine are typically barred due to the inherent danger of crushing or mis-aligning cervical vertebrae. Leglocks are allowed in varying degrees depending on skill level, with straight ankle locks being the only leglocks allowed in the beginner division, or white belt level, straight kneebars being allowed in the intermediate division, or blue belt level and toeholds with the pressure applied inwards are allowed in the advanced division (purple, brown, black).

However, most joint locks involving the wrist, elbow, shoulder or ankle are permitted as there is a great deal more flexibility in those joints and those locks are safe to use under tournament conditions. Also, some fighters practice moves whose sole purpose is to inflict pain upon their opponent, in the hope that they will tap out. This includes driving knuckles into pressure points, holding their opponent's head in order to tire out the neck (called the "can opener" or kubi-hishigi) and putting body weight on top of the sternum, floating ribs, or similarly sensitive bones. These moves are not true submission moves - they are generally only used as distractions mostly in lower levels of competition. They are avoided or aggressively countered in middle to upper levels of competition.

Chokes and strangles

Chokes and strangles (commonly but somewhat incorrectly referred to as "air chokes" and "blood chokes" respectively) are a common form of submission. Chokes involve constriction of the windpipe (causing asphyxia.) Strangles involve constriction of the carotid artery (causing ischemia.)[17]

Air chokes are less efficient than strangles and may result in damage to the opponent's trachea, sometimes even resulting in death. By contrast, blood chokes (strangulations) cut the flow of blood to the opponent's brain, causing a rapid loss of consciousness without damaging any internal structures. Being "choked-out" in this way is relatively safe as long as the choke is released soon enough after unconsciousness, letting blood back into the brain before oxygen deprivation damage begins.[18] However, it should not be practiced unsupervised.

The prevalence of the more dangerous "air" chokes has led to the banning of choke holds from some United States police departments. Because of the negative legal connotations of the words "choke" and "strangulation", it is advisable to use the term "lateral vascular restraint" when describing a blood choke used in a self-defense situation.

Training methods

Sport Brazilian Jiu-Jitsu's focus on submissions without the use of strikes while training allows practitioners to practice at full speed and with full power, resembling the effort used in a real competition. Training methods include technique drills in which techniques are practiced against a non-resisting partner; isolation sparring where only a certain technique or sets of techniques are used against full resistance; and full sparring in which each opponent tries to submit their opponent using any legal technique. Physical conditioning is also an important part of training at many clubs.

Grading

The standards for grading and belt promotions vary between schools, but the widely accepted measures of a person's skill and rank in Brazilian Jiu-Jitsu are:

1. The amount of technical knowledge they can demonstrate, and
2. Their performance in sparring and competition.

Technical knowledge is judged by the number of techniques a person can perform, and the level of skill with which he performs them in sparring and competition. This allows for smaller and older practitioners to be recognized for their knowledge though they may not be the strongest fighters in the school. It is a distinctly individual sport, and practitioners are encouraged to adapt the techniques to make them work for their body type, strategic preferences, and level of athleticism. The ultimate criterion is the ability to execute the techniques successfully, rather than strict stylistic compliance.

Competitions play an important role in Brazilian Jiu-Jitsu gradings, as they allow an instructor to compare the level of his students against those of the same rank from other schools. A belt promotion may be given after success in a competition, particularly at the lower belt levels. A promotion might also be awarded when a person can submit most people in his school of the same rank, e.g. a white belt who consistently submits most other white belts in sparring and is starting to catch blue belts.

The high level of competition between schools - and its importance for belt promotion - is also considered to be one of the key factors preventing instructors from lowering standards or allowing people to buy their way up the belts. Instructors may also take the personality of the person and their behavior outside of class into account, and may refuse to promote someone if they exhibit antisocial or destructive tendencies. It is by these and other criteria that most instructors promote their students. Some schools may also have formal testing which might include oral or written exams.

Some schools use a stripe system for each belt level, indicating progress through that belt.
Adult belt colors (16 and over) White
Blue
Purple
Brown
Black
Red
Junior belt colors (15 and under) White
Yellow
Orange
Green

Some schools use slightly different belt systems, such as having more colored belts before blue belt, but the above are the only widely accepted ranks as they are the standards for tournaments. There are minimum age requirements for belt promotions. Blue belts are never awarded to anyone under the age of 16. For promotion to black belt the minimum age is 19 years old according to the main regulating body of Brazilian Jiu-Jitsu, the International Brazilian Jiu-Jitsu Federation.

Stripes may be awarded to any rank below black belt, but like the belts themselves, they tend to be given at the instructor's discretion, and may be in recognition of accomplishments like noticeable improvement or tournament victories. However, not all schools award stripes, or award them consistently, so the number of stripes a person has is not necessarily a good measure of their accomplishments or time in training. When they are used, it is standard for a student to receive four stripes before being promoted to the next rank.

Black belts can receive degrees, up to 9th degree, for as long as they train or teach the art. At 7th degree, the black belt is replaced by an alternately red and black belt. At 9th & 10th degree, the belt becomes solid red. Only the founding Gracie Brothers Helio, Carlos & his brothers will ever have the 10th degree red belt[19]. The Gracie family members who are 9th degrees belt holders are Carlson Gracie, Reylson Gracie, Relson Gracie, and Rorion Gracie.

BJJ differs in some aspects from other martial arts in the criteria for grade promotion, which is almost exclusively based on practical expertise in randori (free sparring, or rolling) and championship results. It's expected, although not always the case, that any BJJ black belt is extremely proficient in every applied aspect of BJJ and also perform well in competition. Less emphasis is given to theoretical and background knowledge. Rarely is any formal test undertaken for the grading, which is based mainly in observation at every-day practice sessions. By contrast, in Judo, practical knowledge and expertise in shiai (competition) and/or randori alone would not normally give an athlete the black-belt grade, as knowledge of technique names and Kata demonstration are necessary (the exception is promotion by Batsugun.)

There is a vast difference in how often belt progression takes place, and the requirements for the progression.[citation needed] More traditional schools and especially Gracie-affiliated schools believe that black belt cannot be achieved in under 8 to 10 years, while some schools allow students to achieve black belt more quickly.[citation needed]

Graduation

A common custom on graduation is running the gauntlet. The graduate is hit on their bare back with belts—once by each of their fellow practitioners—as they walk or run past. This custom is said to have originated in Brazil.[20]

Black-Belt World Champions

2008 IBJJF Mundials (World Championship)

* Openweight: Alexandre Ribeiro
* +97 kg: Roger Gracie
* -97 kg: Antonio Braga Neto
* -91 kg: Alexandre Ribeiro
* -85 kg: Andre Galvao
* -79 kg: Sergio Morais
* -73 kg: Celso Vinicius
* -67 kg: Rubens Charles
* -61 kg: Samuel Braga
* -55 kg: Caio Terra

2007 IBJJF Mundials (World Championship)

* Openweight: Roger Gracie
* +97 kg: Rafael Lovato, Jr.
* -97 kg: Roger Gracie
* -91 kg: Alexandre Ribeiro
* -85 kg: Romulo Barral
* -79 kg: Lucas Leite
* -73 kg: Lucas Lepri
* -67 kg: Rubens Charles
* -61 kg: Robson Moura
* -55 kg: Bruno Malfacine

2005 CBJJO Copa Do Mundo (World Cup)

* Openweight (-75 kg): Rodrigo Antônio
* Openweight (+75 kg): Alexandre Ribeiro
* +97 kg: Leonardo Leite
* -97 kg: Alexandre Ribeiro
* -91 kg: Robert Drysdale
* -85 kg: Demian Maia
* -79 kg: Gustavo Campos
* -73 kg: Leonardo Santos
* -67 kg: Rubens Charles
* -61 kg: Ricardo Vieira
* -55 kg: Gabriel Moraes

See also

* List of celebrity BJJ practitioners

* Other arts extensively utilizing leverage, chokes, and/or joint-locks:
o Aikido
o Catch wrestling
o Judo
o Jujutsu
o Hapkido
o Hoi Jeon Moo Sool
o Sambo
o Yoseikan Budo

Footnotes
This article needs additional citations for verification.
Please help improve this article by adding reliable references. Unsourced material may be challenged and removed. (October 2007)

1. ^ a b Virgílio, Stanlei (2002). Conde Koma - O invencível yondan da história (in Portuguese). Editora Átomo, pp. 93. ISBN 85-87585-24-X.
2. ^ a b c d Virgílio, Stanlei (2002). Conde Koma - O invencível yondan da história (in Portuguese). Editora Átomo, pp. 22-25. ISBN 858758524X.
3. ^ a b c Untangling a sport that transcends style Chad Edward The Cincinnati Enquirer Oct. 30, 2007 12:05 PM
4. ^ Eros, Rildo. História do Judô.
5. ^ a b Virgílio, Stanlei (2002). Conde Koma - O invencível yondan da história (in Portuguese). Editora Átomo, pp. 72-73. ISBN 85-87585-24-X.
6. ^ For more on this, see Judo and Kano Jigoro.
7. ^ According to Masahiko Kimura in his book "My Judo" (see extract at http://www.judoinfo.com/kimura2.htm). Kodokan records have Hélio Gracie recorded as a 3rd dan in judo, but it is not unusual for a foreign judoka's actual grade to be higher than that officially granted and recorded by the Kodokan.
8. ^ a b As evidenced by the title of the book Hancock, H. Irving (1905). The Complete Kano Jiu-Jitsu (Judo). New York: G. P. Putnam & Sons, 544. See details, including the original book cover here.
9. ^ As evidenced by the title of the book Kano, Jigoro (1937). Jiu-Jitsu (Judo). Tokyo, Japan: Board of Tourist Industry, Japanese Government Railways, 59. See details, including the original book cover here.
10. ^ As also evidenced by the title of the book Gregory, O.H. (circa 1906). Judo: The Modern School of Jiu-Jitsu.
11. ^ Motomura, Kiyoto. "Budō in the Physical Education Curriculum of Japanese Schools." In Alexander Bennett, ed., Budo Perspectives. Auckland: Kendo World, 2005, pp. 233-238.
12. ^ a b Virgílio, Stanlei (2002). Conde Koma - O invencível yondan da história (in Portuguese). Editora Átomo, pp. 93-104. ISBN 85-87585-24-X.
13. ^ Peligro, Kid (2003). The Gracie Way: Illustrated History of the World's Greatest Martial Arts Family. Invisible Cities Press Llc. ISBN 1-931229-28-7.
14. ^ Gracie, Renzo (2003). Mastering Jujitsu (in English). Human Kinetics, pp. 1-233. ISBN 0736044043.
15. ^ International Brazilian Jiu-Jitsu Federation (IBJJF) rules - URL last accessed April 3, 2008
16. ^ Article 5.2.2.A of the IBJJF rules states "The athlete will only be allowed to kneel after having taken hold of his opponents kimono."
17. ^ Ohlenkamp, Neil. Principles of Judo Choking Techniques. judoinfo.com. URL last accessed October 23, 2007.
18. ^ Koiwai, E.K. (MD). How Safe is Choking in Judo?. judoinfo.com. URL last accessed October 23, 2007.
19. ^ According to the Third Chapter, 10. of the IBJJF Graduation System, http://www.ibjjf.org/graduation.htm
20. ^ Jorge Gurgel is one practitioner who has confirmed the tradition and the origins of running the gauntlet upon rank promotion in BJJ.

Sources

* Gastão and Hélio Gracie talk about Gracie Jiu-Jitsu - interviewed in 1997 for Gracie Jiu-Jitsu Videos
* IFBJJ Graduation System. URL last accessed September 19, 2007

Jujutsu (柔術, jūjutsu?) listen (help·info), literally meaning the "art of softness", is a martial art consisting of grappling and striking techniques. Jujutsu evolved among the samurai of feudal Japan as a method for dispatching an armed and armored opponent in situations where the use of weapons was impractical or forbidden. Due to the difficulty of dispatching an armored opponent with striking techniques, the most efficient methods for neutralizing an enemy took the form of pins, joint locks, and throws. These techniques were developed around the principle of using an attacker's energy against him, rather than directly opposing it, and came to be known as jujutsu.[1]

There are many variations of the art, which leads to a diversity of approaches. Jujutsu schools (ryū) may utilize all forms of grappling techniques to some degree (i.e. throwing, trapping, joint locking, holds, gouging, biting, disengagements, striking, and kicking). In addition to jujutsu, many schools taught the use of weapons.

Today, jujutsu is still practiced both as it was hundreds of years ago, but also in modified forms for sport practice. Derived sports forms include the Olympic sport and martial art of judo, which was developed from several traditional styles of jujutsu by Kano Jigoro in the late 19th century; and Brazilian Jiu-Jitsu, which was in turn derived from judo.
Contents

* 1 History
o 1.1 Origins
o 1.2 Development
* 2 Description
o 2.1 Technical characteristics
* 3 Schools and derivatives
o 3.1 Old schools
o 3.2 Derivatives and influences
+ 3.2.1 Bartitsu
+ 3.2.2 Judo
+ 3.2.3 Brazilian Jiu-Jitsu
o 3.3 Modern schools
o 3.4 Sport jujutsu
* 4 Etymology
* 5 Heritage and philosophy
* 6 See also
* 7 Footnotes
* 8 External links

History

Origins

Jujutsu was first developed by Samurai. Fighting forms have existed in Japan for centuries. The first references to unarmed combat arts or systems is in the earliest purported historical records of Japan, the Kojiki (Record of Ancient Matters) and the Nihon Shoki (Chronicles of Japan), which relate the mythological creation of the country and the establishment of the imperial family. Other glimpses can be found in the older records and pictures depicting sumai (or sumo) no sechie, a rite of the Imperial Court in Nara and Kyoto performed for purposes of divination and to help ensure a bountiful harvest.

There is a famous story of a warrior Nomi no Sekuni of Izumo who defeated and killed Tajima no Kehaya in Shimane prefecture while in the presence of Emperor Suinin. Descriptions of the techniques used during this encounter include striking, throwing, restraining and weaponry.

The term "jūjutsu" was not coined until the 17th century, after which time it became a blanket term for a wide variety of grappling-related disciplines. Prior to that time, these skills had names such as "short sword grappling" (小具足腰之周, kogusoku koshi no mawari?), "grappling" (組討 or 組打, kumiuchi?), "body art" (体術, taijutsu?), "softness" (柔 or 和, yawara?), "art of harmony" (和術, wajutsu?), "catching hand" (捕手, torite?), and even the "way of softness" (柔道, jūdō?) (as early as 1724, almost two centuries before Kano Jigoro founded the modern art of Kodokan Judo).[2]

These systems of unarmed combat began to be known as Nihon koryu jūjutsu (Japanese old-style jujutsu), among other related terms, during the Muromachi period (1333-1573), according to densho (transmission scrolls) of the various ryuha (martial traditions) and historical records. Most of these were battlefield systems to be used with the more common and vital weapon systems. These fighting arts had various names, including kogusoku, yawara, kumiuchi, and hakuda, all under the general description of Sengoku jūjutsu. They were not systems of unarmed combat, but means for an unarmed or lightly armed warrior to fight a heavily armed and armored enemy on the battlefield. Ideally, the samurai would be armed and would not need to rely on them.

Methods of combat (as just mentioned above) included striking (kicking and punching), throwing (body throws, joint-lock throws, unbalance throws), restraining (pinning, strangulating, grappling, wrestling) and weaponry. Defensive tactics included blocking, evading, off-balancing, blending and escaping. Minor weapons such as the tanto (dagger), ryufundo kusari (weighted chain), kabuto wari (helmet smasher), and kakushi buki (secret or disguised weapons) were almost always included in Sengoku jujutsu.

Development

In later times, other koryu developed into systems more familiar to the practitioners of Nihon jujutsu commonly seen today. These are correctly classified as Edo jūjutsu (founded during the edo period): they are generally designed to deal with opponents neither wearing armor nor in a battlefield environment. Most systems of Edo jujutsu include extensive use of atemi waza (vital-striking technique), which would be of little use against an armored opponent on a battlefield. They would, however, be quite valuable in confronting an enemy or opponent during peacetime dressed in normal street attire (referred to as "suhada bujutsu"). Occasionally, inconspicuous weapons such as tantō (daggers) or tessen (iron fans) were included in the curriculum of Edo jūjutsu.

Another seldom-seen historical side is a series of techniques originally included in both Sengoku and Edo jujutsu systems. Referred to as hojo waza (捕縄術 hojojutsu, nawa jutsu, hayanawa and others), it involves the use of a hojo cord, (sometimes the sageo or tasuke) to restrain or strangle an attacker. These techniques have for the most part faded from use in modern times, but Tokyo police units still train in their use and continue to carry a hojo cord in addition to handcuffs. The very old Takenouchi-ryu is one of the better-recognized systems that continue extensive training in hojo waza. Since the establishment of the Meiji period with the abolishment of the Samurai and the wearing of swords, the ancient tradition of Yagyu Shingan Ryu (Sendai & Edo lines) has focused much towards the jujutsu (Yawara) contained in its syllabus.

Many other legitimate Nihon jujutsu ryu exist but are not considered koryu (ancient traditions). These are called either Gendai jūjutsu or modern jujutsu. Modern jujutsu traditions were founded after or towards the end of the Tokugawa period (1868), when more than 2000 schools (ryu) of jūjutsu existed. Various traditional ryu and ryuha that are commonly thought of as koryu jujutsu are actually gendai jūjutsu. Although modern in formation, very few gendai jujutsu systems have direct historical links to ancient traditions and are incorrectly referred to as traditional martial systems or ryu. Their curriculum reflects an obvious bias towards Edo jūjutsu systems as opposed to the Sengoku jūjutsu systems. The improbability of confronting an armor-clad attacker is the reason for this bias.

Over time, Gendai jujutsu has been embraced by law enforcement officials worldwide and continues to be the foundation for many specialized systems used by police. Perhaps the most famous of these specialized police systems is the Keisatsujutsu (police art) Taiho jutsu (arresting art) system formulated and employed by the Tokyo Police Department.

If a Japanese based martial system is formulated in modern times (post Tokugawa) but is only partially influenced by traditional Nihon jujutsu, it may be correctly referred to as goshin (self defense) jujutsu. Goshin jujutsu is usually formulated outside Japan and may include influences from other martial traditions. Brazilian Jiu-Jitsu, which was developed from judo, but with greater emphasis on ground grappling (ne waza), is an excellent example of Goshin Jujutsu.

Jujutsu techniques have been the basis for many military unarmed combat techniques (including British/US/Russian special forces and SO1 police units) for many years.

There are many forms of sport jujutsu, the original and most popular being judo, now an Olympic sport. One of the most common is mixed-style competitions, where competitors apply a variety of strikes, throws, and holds to score points. There are also kata competitions, where competitors of the same style perform techniques and are judged on their performance. There are also freestyle competitions, where competitors take turns attacking each other, and the defender is judged on performance.

Description

Japanese jujutsu systems typically place more emphasis on throwing, immobilizing and pinning, joint-locking, choking, and strangling techniques (as compared with other martial arts systems such as karate). Atemi-waza (striking techniques) were seen as less important in most older Japanese systems, since samurai body armor protected against many striking techniques. The Chinese quanfa/ch'uan-fa (kenpo or kung fu) systems focus on punching, striking, and kicking more than jujutsu.

The Japanese systems of hakuda, kenpo, and shubaku display some degree of Chinese influence in their emphasis on atemi-waza. In comparison, systems that derive more directly from Japanese sources show less preference for such techniques. However, a few jujutsu schools likely have some Chinese influence in their development. Jujutsu ryu vary widely in their techniques, and many do include significant numbers of striking techniques, if only as set-ups for their grappling techniques.

In jujutsu, practitioners train in the use of many potentially fatal moves. However, because students mostly train in a non-competitive environment, risk is minimized. Students are taught break falling skills to allow them to safely practice otherwise dangerous throws.

In jujutsu, there are five main sectors ("arts") of training. The first, the Art of Blocking, is used to defend against attacks. The second, the Art of the Fulcrum Throw, is employed in modern judo. The third, the Art of the Non-fulcrum Throw is employed through throws that involve little or no contact with the opponent. The fourth, the Art of Escaping (Hakko-Dori), is very crucial in many styles of Jujutsu. The fifth, the Art of Striking (Atemi-Waza), is used more by modern jujutsuka who do not employ body armor.

Technical characteristics

Although there is some diversity in the actual look and techniques of the various traditional jujutsu systems, there are significant technical similarities common to all schools:

* Students learn traditional jujutsu primarily by observation and imitation of the ryu's waza.
* The unarmed waza of most schools emphasize joint-locking techniques (kansetsu waza), that is, threatening a joint's integrity by placing pressure on it in a direction contrary to its normal function, aligning it so that muscular strength cannot be brought to bear, take-down or throwing techniques, or a combination of take-downs and joint-locks.
* Sometimes, atemi (strikes) are targeted to some vulnerable area of the body; this is an aspect of kuzushi, the art of breaking balance as a set-up for a lock, take-down or throw.
* Movements tend to capitalize on an attacker's momentum and openings in order to place a joint in a compromised position or to break their balance as preparation for a take-down or throw.
* The defender's own body is positioned so as to take optimal advantage of the attacker's weaknesses while simultaneously presenting few openings or weaknesses of its own.
* Weapons training was a primary goal of Samurai training. Koryu (old/classic) schools typically include the use of weapons. Weapons might include the roku shaku bo (six-foot staff), hanbo (three-foot staff), katana (long sword), wakizashi or kodachi (short sword), tanto (knife), or jitte (short one hook truncheon).

Schools and derivatives

Because jujutsu contains so many facets, it has become the foundation for a variety of styles and derivations today. As each instructor incorporated new techniques and tactics into what was taught to him originally, he could codify and create his own ryu (school). Some of these schools modified the source material so much that they no longer considered themselves a style of jujutsu.

Old schools

Circa 1600 AD there were over 2000 ryu of jujutsu in Japan and there were common features that characterized most of them. The technical characteristics varied from school to school. Many of the generalizations noted above do not hold true for some schools of jujutsu. Old schools of Japanese jujutsu include:

* Araki-ryu
* Daito-ryu aiki-jujutsu
* Hontai Yoshin-ryu
* Sekiguchi Shinshin-ryu
* Sosuishitsu-ryu
* Takenouchi-ryu
* Tatsumi-ryu
* Tenjin Shinyo-ryu
* Yagyu Shingan Ryu
* Yoshin Ryu

Derivatives and influences

Some examples of martial arts that have developed from or have been influenced by jujutsu are: Aikido, Bartitsu, Hapkido, Judo (and thence Brazilian Jiu-Jitsu and Sambo), Kajukenbo, Kapap, and Kenpo – as well as some styles of Japanese Karate.

Some schools went on to diverge into present day Karate and Aiki styles. The last Japanese divergence occurred in 1905 when a number of jujutsu schools joined the Kodokan. The syllabi of those schools was unified under Kano Jigoro to form Judo.

Bartitsu

Jujutsu was first introduced to Europe in 1899 by Edward William Barton-Wright, who had studied Tenjin Shinyō-ryū and Shinden Fudo Ryu in Yokohama and Kobe, respectively. He had also trained briefly at the Kodokan in Tokyo. Upon returning to England he folded the basics of all of these styles, as well as boxing, savate and French stick fighting, into an eclectic self-defence system called Bartitsu.

Judo

Modern judo is the classic example of a 'sport' that derived from jujutsu and became distinct. Another layer removed, some popular arts had instructors who studied one of these jujutsu derivatives and later made their own derivative succeed in competition. This created an extensive family of martial arts and sports that can trace their lineage to jujutsu in some part.

The way an opponent is dealt with also depends on the teacher's philosophy with regard to combat. This translates also in different styles or schools of jujutsu. Because in jujutsu every conceivable technique (including biting, hair-pulling, eye-gouging, etcetera) is allowed (unlike, for instance, judo, which does not place emphasis on punching or kicking tactics, or karate, which does not heavily emphasize grappling and throwing), practitioners have an unlimited choice of techniques.

Not all jujutsu was used in sporting contests, but the practical use in the samurai world ended circa 1890. Techniques like hair-pulling and eye poking were and are not considered conventionally acceptable to use in sport, thus they are not included in judo competitions or randori. Judo did, however, preserve the more lethal, dangerous techniques in its kata. The kata were intended to be practiced by students of all grades, but now are mostly practiced formally as complete set-routines for performance, kata competition, and grading, rather than as individual self-defense techniques in class. However, judo retained the full set of choking and strangling techniques for its sporting form, and all manner of elbow locks. Even judo's pinning techniques have pain-generating, spine-and-rib-squeezing and smothering aspects. A submission induced by a legal pin is considered a fully legitimate way to win. Kano viewed the safe sport-fighting aspect of judo as an important part of learning how to actually control an opponent's body in a real fight. Kano always considered judo to be a form of, and a development of, jujutsu.

A judo technique starts with gripping your opponent followed by off-balancing the opponent, fitting into the space created, and then applying the technique. In contrast, kuzushi (the art of breaking balance) is attained in jujutsu by blocking and then parrying or deflecting an opponent's attack in order to create the space required to apply a throwing technique. In both systems, kuzushi is essential in order to use as little energy as possible during a fight. Jujutsu differs from judo in a number of ways. In some circumstances, jutsuka generate kuzushi by striking one's opponent along his weak line. Other methods of generating kuzushi include grabbing, twisting, or poking areas of the body known as atemi points or pressure points (see kyusho-jitsu) (areas of the body where nerves are close to the skin).

Brazilian Jiu-Jitsu

Brazilian Jiu-Jitsu (BJJ) was developed after Mitsuyo Maeda brought judo to Brazil in 1914. At the time, judo was still often commonly referred to as "Jiu-Jitsu", which explains why this derivative of judo is called Brazilian Jiu-Jitsu rather than Brazilian Judo.[3] BJJ dominated the first large modern mixed martial arts competitions, causing the emerging field to adopt many of its practices.

Modern schools

A Japanese-based martial system formulated in modern times (post Tokugawa) that is only partially influenced by traditional Nihon jujutsu, is correctly referred to as goshin (self defense) jujutsu. Goshin jujutsu is usually formulated outside Japan and may include influences from other martial traditions. Brazilian Jiu-Jitsu, although derived originally from Kodokan Judo, has evolved independently for many years, and could be considered an example of Goshin Jutsu.

After the transplantation of traditional Japanese jujutsu to the West, many of these more traditional styles underwent a process of adaptation at the hands of Western practitioners, molding the art of jujutsu to suit western culture in its myriad varieties. There are today many distinctly westernized styles of jujutsu, that stick to their Japanese roots to varying degrees.

There are a number of relatively new martial systems identifying themselves as jujutsu.

Some of the largest post-reformation (founded post 1905) jujutsu schools include (but are certainly not limited to these in that there are hundreds (possibly thousands), of new branches of "jujutsu"):

* Danzan Ryu
* German Ju-Jutsu
* Goshin Jujitsu
* Hakko Ryu
* Hakko Denshin Ryu
* Jukido Jujitsu
* Ketsugo Jujutsu
* Kumite-ryu Jujutsu
* Sanuces Ryu
* Shorinji Kan Jiu Jitsu (Jitsu Foundation)
* Small Circle JuJitsu
* World Ju-Jitsu Federation (WJJF)
* Senso Ryu Aikijujutsu

Sport jujutsu

Sport jujutsu is an official sport of the World Games and comes in two main variants: Duo (self-defense demonstration) where both the tori (attacker) and the uke (defender) come from the same team and demonstrate self defense techniques, and Fighting System (freefighting) where competitors combine striking, grappling and submissions under rules which emphasise safety. Many of the potentially dangerous techniques such as scissor takedowns, necklocks and digital choking and locking are prohibited in Sport Jujutsu. There are a number of other styles of sport jujutsu with varying rules.[1][2][3]

Etymology

Jujutsu, the current standard spelling, is derived using the Hepburn romanization system. Before the first half of the 20th century, however, jiu-jitsu and then jujitsu were preferred, even though the romanization of the second kanji as jitsu is unfaithful to the standard Japanese pronunciation. Since Japanese martial arts first became widely known of in the West in that time period, these earlier spellings are still common in many places. Ju-Jitsu is still a common spelling in France, Canada and the United States while Jiu-Jitsu is most widely used in Germany and Brazil.

Some define jujutsu and similar arts rather narrowly as "unarmed" close combat systems used to defeat or control an enemy who is similarly unarmed. Basic methods of attack include hitting or striking, thrusting or punching, kicking, throwing, pinning or immobilizing, strangling, and joint-locking. Great pains were also taken by the bushi (classic warriors) to develop effective methods of defense, including parrying or blocking strikes, thrusts and kicks, receiving throws or joint-locking techniques (i.e., falling safely and knowing how to "blend" to neutralize a technique's effect), releasing oneself from an enemy's grasp, and changing or shifting one's position to evade or neutralize an attack. As jujutsu is a collective term, some schools or ryu adopted the principle of ju more than others.

From a broader point of view, based on the curricula of many of the classical Japanese arts themselves, however, these arts may perhaps be more accurately defined as unarmed methods of dealing with an enemy who was armed, together with methods of using minor weapons such as the jutte (truncheon; also called jitte), tanto (knife), or kakushi buki (hidden weapons), such as the ryofundo kusari (weighted chain) or the bankokuchoki (a type of knuckle-duster), to defeat both armed or unarmed opponents.

Furthermore, the term jujutsu was also sometimes used to refer to tactics for infighting used with the warrior's major weapons: katana or tachi (sword), yari (spear), naginata (glaive), and jo (short staff), bo (quarterstaff). These close combat methods were an important part of the different martial systems that were developed for use on the battlefield. They can be generally characterized as either Sengoku Jidai (Sengoku Period, 1467- 1603) katchu bujutsu or yoroi kumiuchi (fighting with weapons or grappling while clad in armor), or Edo Jidai (Edo Period, 1603- 1867) suhada bujutsu (fighting while dressed in the normal street clothing of the period, kimono and hakama).

The Chinese character 柔 (Mandarin: róu; Japanese: jū; Korean: yū) is the same as the first one in 柔道 (Mandarin: róudào; Japanese: judo; Korean: Yudo). The Chinese character 術 (Mandarin: shù; Japanese: jutsu; Korean: sul) is the same as the second one in 武術 (Mandarin: wǔshù; Japanese: bujutsu; Korean: musul)

Heritage and philosophy

All Japanese jujutsu schools have cultural indicators that help give a sense of the traditional character of the school.

* The type of keikogi or training suit worn, which is usually plain white, often with a dark hakama (the most colorful uniform might be plain black or the traditional blue of quilted keikogi).
* Lack of ostentatious display, with an attempt to achieve or express the sense of rustic simplicity (expressed in such concepts as wabi-sabi in Japanese) common in many of Japan's traditional arts.
* The use of the traditional (e.g., Shoden, Chuden, Okuden, Kirigami and menkyo kaiden levels) ranking system, perhaps as a parallel track to the more contemporary and increasingly common dan-i (kyu/dan) ranking.

Japanese culture and religion have become intertwined into the martial arts. Buddhism, Shinto, Taoism and Confucian philosophy co-exist in Japan, and people generally mix and match to suit. This reflects the variety of outlook one finds in the different schools.

Jujutsu expresses the philosophy of yielding to an opponent's force rather than trying to oppose force with force. Manipulating an opponent's attack using his force and direction allows jujutsuka to control the balance of their opponent and hence prevent the opponent from resisting the counter attack.

The Japanese have characterised states of mind that a warrior should be able to adopt in combat to facilitate victory. These include: an all-encompassing awareness, zanshin (literally "remaining spirit"), in which the practitioner is ready for anything, at any time; the spontaneity of mushin (literally "no mind") which allows immediate action without conscious thought; and a state of equanimity or imperturbability known as fudoshin (literally "immovable mind").

See also
Wikimedia Commons has media related to:
Jujutsu

* Jujutsu techniques

Footnotes

1. ^ Skoss, Meik (1995). "Jujutsu and Taijutsu". Aikido Journal 103. Retrieved on 2007-09-09.
2. ^ Mol, Serge (2001). Classical Fighting Arts of Japan: A Complete Guide to Koryū Jūjutsu. Tokyo, Japan: Kodansha International Ltd., 24-54. ISBN 4-7700-2619-6.
3. ^ How Brazilian Jiu-Jitsu got its name - Wikipedia

Courtesy of Wikipedia