What's The Difference Between Throws and Takedowns? Part 1

What is the difference between a throw and a takedown in the martial arts? This is the question that was asked on the Martial Arts Planet internet forum in 2007. The following is a summary of the responses received:

• There is no official distinction.
• A hard and fast definition is difficult because there is so much overlap between the two.
• A throw ends a fight and a takedown takes the fight to the ground.
• Both of the opponent's feet have to leave the ground with a throw and not a takedown.
• A throw gets one or both feet off the ground and a takedown gets one or no feet off the ground.
• It is martial art dependent. The same technique may be a throw in one martial art and a takedown in another.
• In addition to throws and takedowns, there are slams, sweeps, reaps, and trips.
• You go with the opponent to the ground with a takedown and not with a throw.
• A distinction between the two techniques cannot be based solely on mechanics.

Despite the quality of the source of the information, the responses are a pretty good depiction of the different conceptions that are held within the martial arts community of the distinction between throws and takedowns. They also reflect the confusion that surrounds the issue.

'There is no offical distinction'
The book I initially proposed to write was a how-to book on the jujutsu taught by Shihan Jan de Jong OAM 9th Dan. It was intended to contain difference chapters for each class of technique taught by Tsutsumi Hozan Ryu jujutsu/Jan de Jong jujutsu (and most other jujutsu systems) which included separate chapters for throws and takedowns. I wanted an authoritative definition(s) that distinguished between throwing techniques and takedown techniques for those chapters so I undertook a comprehensive review of the English-language martial arts and related fields literature. The results of that review was that, as respondent #1 above suggested, there is no official distinction between these two types of techniques within the martial arts literature.

Authoritative Distinction
The how-to book was shelved in favour of a book on the science behind martial arts/fighting techniques and the teaching thereof and a chapter was devoted to my failed search for an authoritative distinction between these two types of techniques. Within that chapter I also present, for the first time in the English-language martail arts and related literature, an authoritative distinction between these two types of techniques. This distinction then forms the basis for classifying all techniques that are designed to cause a person to fall to the ground.

I'm drafting an article about this issue for the Blitz martial arts magazine. Due to the limitations on the size of magazine articles, which I frequently exceed, I cannot detail this most interesting of journey's within the martial arts literature to find an authoritative distinction between these two types of techniques, so I thought I might share some of the journey with the readers of this blog.

Classification
The authoritative distinction between these two types of techniques I developed formed the basis of classifying all techniques that cause an opponent to the ground. When I discussed this classification with some senior martial artists I was generally met with bemusement. 'Why classify these or any other techniques?', they would ask. Rather than just assume I'm rightand my work is of importance, I went in search of an explanation of why classification is important. In researching this answer I came across 'the core of all learning.'

The Core of All Learning
The core of all learning is said to be the identification of similarities and differences. There seems to be consent as to the similarities between throws and takedowns - they are both types of techniques that cause a person to fall to the ground - but there is no consensus as to what separates them apart ... not until now.

Research has identified four forms of identifying similarities and differences that are highly effective: comparing, classifying, creating metaphors, and creating analogies. Each of those forms of identifying similarities and differences are seen by cognitive theorists as being more than simply linguistic or literary devices, rather, they are seen as being fundamental ways of thinking.

Rather than asking 'Why classify?', we should instead be asking why we don't classify. In the case of throws and takedowns it is probably because while the similarities between these two types of technique are understood, the differences are not.

Previewing

We will see that classification can be used, as it is intended to be used, to preview the technique to be taught or learnt. For instance, what do you know if you were told you were going to be taught a throw? You'd know that you are about to be taught a technique were forces are applied to an opponent to cause them to fall to the ground. What would you know if you were told you were about to be
taught a te waza (hand technique) as per Jigoro Kano's classification of judo techniques? You'd know that you are about to learn a technique that is:

1. a nage waza where forces are applied to an opponent to cause them to fall to the ground;
2. a tachi waza where the thrower will be standing during and at the completion of the execution of the technique;
3. a te waza where the thrower’s hand is the main body part that plays a central role in the execution of the technique; and
4. similar to other te waza and different from all non-te waza techniques.

You'd know all this before you even knew the name of the technique let alone before you'd seen it demonstrated, just because the technique was classified as a te waza. This classification is already suggesting to you what the key elements in the technique are, the important elements to look for. You can call upon your background knowledge of similar techniques to understand and learn the new technique.

Judo and Takedowns

What would you know if you were told you were about to learn a takedown (taoshi waza) with reference to Kano's classification of judo techniques? You'd know you were not learning judo.

The judo classification does not include a class that refers to takedowns (taoshi waza). That means that either judo does not teach takedown techniques or that judo does teach takedown techniques but they are included in another class of technique. The latter explanation means that the similarities between takedown techniques and the other techniques in the class, e.g. nage waza, have been identified but either the differences are considered not material enough to warrant their own class or, as is the case, they are not understood.

Does judo teach takedown techniques? Geoff Thompson's The Throws and Take-Downs of Judo would suggest they do - but then why does Thompson not provide definitions that distinguish between these two similar types of techniques and refers to all the techniques in his book as throws?

 The journey continues in part 2.

Jan de Jong Pt 19 - What Does a Black Belt Mean?

The photograph to the right was taken in the mid-1990s of Maggie de Jong demonstrating a hojo jutsu (rope tying art) technique on me at a seminar given by Jan de Jong in Sweden. Firstly, it was the 1990s, so both Maggie and myself have aged somewhat. Secondly, the very blond hair of mine is explained by my desire to assimilate with my very dear Swedish friends, or, maybe I was bored one day in Helsingborg and was talked into a 'dye-job' by Maggie and a very cute blonde female Swedish hair stylist. As a footnote to this story, De Jong was not happy with my new look.

What does a black belt mean? The above photograph suggests it might be useful for tying someone up. Mr Miyagi, from the classic Karate Kid (and don't dismiss that movie) explains to Daniel that, 'In Okinawa, belt mean no need rope to hold up pants.' All very practical observations, but belts are also symbolic in the martial arts. Symbolic of status, proficiency, knowledge, ... mastery?

Recall from previous blogs that Jigoro Kano, the founder of Kodokan judo, was the initiator of the black belt to signify ... something. When I was researching the development of the coloured belt system for the kyu grades, I came across these comments regarding the black belt from the International Judo Federation(IJF):

The ranking system in judo includes two types of ranks -kyu and dan grades. The dan grades are the more senior grades of judo, and are signified by the wearing of the black belt. High dan holders from 6th to 8th dan have the option of wearing a checkered red-and-white belt instead of their black belt; 9th and 10th dan holders have the option of wearing a red belt.

The kyu grades are signified by non-black belt colors. The original system of judo developed in Japan included 6 kyu ranks. In current-day judo around the world, however, each country is recognized to have its own ranking system, and its own promotion policies and criteria. ... The only common denominator across countries and organizations is that all beginners begin at white belt, and all dan holders wear a black belt. ...

While each country and organization has its own criteria and policies for the conferral of rank, there is a general consensus that the change from kyu to dan, that is, from 1st kyu to 1st dan, represents a qualitative development in the student. The student awarded the black belt has developed some degree of proficiency in the various techniques of judo. In particular, he or she will have developed one or several tokui waza [favourite technique], and will have demonstrated its effectiveness in competition against same rank opponents. More importantly, this student will have shown enough maturity, commitment, and fortitude to be a serious student of judo, having internalized some of the values and ethics of the educational system of judo. While the general public often believes that wearing a black belt means that one is an expert, in reality the awarding of the 1st degree black belt in judo signifies instead that the student is now truly ready to begin learning judo.

The acclaimed Neil Ohlenkamp expresses similar sentiments:

Professor Kano was an educator and used a hierarchy in setting learning objectives for Judo students, just as students typically pass from one grade to another in the public school system. The Judo rank system represents a progression of learning with a syllabus and a corresponding grade indicating an individual's level of proficiency. Earning a black belt is like graduating from high school or college. It indicates you have achieved a basic level of proficiency, learned the fundamental skills and can perform them in a functional manner, and you are now ready to pursue Judo on a more serious and advanced level as a professional or a person seeking an advanced degree would.

OK. According to the IJF, a student who attains a black belt is ready to begin learning judo. And according to Ohlenkamp, it indicates a basic level of proficiency and that the fundamental skills have been learnt and can be employed in a functional manner, and now the student is ready to pursue the study of judo. Does this describe the qualities of an expert that the IJF suggest the general public ascribes to the holder of a black belt?

What does a black belt mean? Is it the equivalent of a high school diploma as Ohlenkamp suggests, or is it the equivalent of an undergraduate degree? Should we be replacing the word is with should be? This also raises the question of what do higher black belts mean? Are they suppose to be the equivalent of post graduate degrees?

What does a black belt mean? Recall from previous blogs on the Jan de Jong jujutsu grading system that shodan includes practical, revision, theory, teaching, first aid, and more gradings. Is this a belt/qualification that signifies a student is ready to begin learning, or, is this a grading that is designed to produce a teacher, or an expert.

In the latter part of his life, De Jong expressed the concerned that the quality of his instructors/black belts may not be appreciated because of the different perceptions of a black belt in the world. He was toying with the idea of including the grading requirements on the black belt certificates to advertise the extensive requirements to obtain a black belt under his grading system. Unfortunately I had to rain on his parade and, while I acknowledged the merit of what he was trying to do, I had to suggest that nobody actually looks at most martial arts grading certificates.

Is this just a theoretical discussion? Absolutely not! Those who have continued teaching after De Jong's demise have assumed a responsibility for what they teach, and their grading system. THEY have to answer the question, what does a black belt mean in their grading system. Most adopt what was handed down to them from De Jong (although I suspect it was also developed by De Jong). But some, or only one that I know of, Peter Clarke of his Tsutsumi Jugo Ryu, is looking critically at the grading system he inherited. Clarke is like an ice berg. He is a powerful force of nature, but dear God in heaven he moves slowly. Not physically, because I vividly remember seeing him move so fast with a particular technique in our instructor's class that it is embedded in my memory as a slow motion, flicker frame movement. Clarke is a lawyer by profession, so everything he does is considered, but then everything he does is considered. We've discussed the disproportionate length of time it takes to get a black belt in Jan de Jong jujutsu compared to most other martial arts. At the heart of the discussion, at the heart of the solution, is, what does a black belt mean.

A logical extension of this argument which is suggested above is, what do the gradings past shodan actually mean. If, as the IJF and Ohlenkamp suggest, shodan is the beginning of one's learning experience, then it's obvious ... sort of. You should question, what is each and every grading contributing to my knowledge base or proficiency. And I don't exempt De Jong, or his instructors that have followed on to head their own schools. What does each and every grade from shodan onwards contribute to the knowledge base or proficiency of the student? I have to confront this question as I am in the position of grading the prospective sixth person to complete the Jan de Jong jujutsu grading system - Jamie Francis. We both, initially, wanted him to go through all of the gradings that I and the other four sandans went through. However, as I critically examine these gradings, I ask myself, and wonder, what is this grading adding to his knowledge base or proficiency. In turn, this causes me to reflect on the entire grading system.

This blog is intended to encourage the reader to reflect on what a black belt means to them. It's not meant to take anything away from the endeavours or achievements of those aspiring and tirelessly training towards their black belt. It's simply meant to encourage the reader to critically evaluate what their black belt means, and what other people's black belts mean, and to not ascribe any preconceived notions to those who are wearing black belts.

Jan de Jong Pt 13 - The Dan Grades

The photograph to the right was taken circa 2000. From left to right are Peter Clarke, Jan de Jong, Robert Hymus, and Paul Connolly. I may be wrong but I think the photograph was taken around the time of their completion of sandan (third dan), the final technical grading in De Jong's jujutsu grading system. Like my MBA (Master of Business Administration), I'd characterise De Jong's grading system, particularly the dan (black belt) grades, as a 'war of attrition' rather than as being particularly difficult.

Hymus can rightfully be said to be the first shodan De Jong graded in his jujutsu. He was awarded this grade in the very late 1970s. De Jong emigrated to Australia in 1952 and it was more than 20 years before he graded anyone shodan. Why so long? Given the calibre of Tony Chiffings, Warwick Jaggard, Peter Canavan, and other instructors, it could not have been because of the lack of commitment or proficiency.

De Jong visited Europe for the first time since WWII in the late 70s. While there he had the opportunity of visiting various jujutsu schools and comparing the standard of his mudansha (kyu grade holder) instructors with the European yudansha (dan grade holder) instructors. In 1978 he accepted the position of Australian representative for the World Ju Jitsu Federation (WJJF). In 1982 he would return to Europe with a team of his instructors to attend and compete in a WJJF seminar and teach at various other European schools. Is the timing of the awarding of dan grades coincidental? Please don't get me wrong, these instructors are world standard. What I am suggesting is that maybe De Jong wasn't aware they were world standard because he'd been teaching in what has been described as the 'most isolated capital in the world', and without the benefit of the 'information highway'. He had no basis for comparison.

Why weren't the previous instructors graded shodan? I'm of the growing opinion that a major part of the reason may be because he didn't have any dan grades, at least any of significance. A contentious opinion, and one I am prepared to be corrected on. Is it a coincidence that the dan grades, which have more than a 'wiff' of Minoru Mochizuki's teachings, were taught for the first time just after Yoshiaki Unno (see a previous blog) had trained with, and taught for, De Jong for two years? This influence becomes even more evident when he developed and introduced the mon grades (see next blog).

De Jong was justifiably proud of his instructors. He's quoted in a number of articles expressing his pride in connection with the compliments he received domestically, nationally, and internationally about their quality. In the last few years of his life he toyed with the idea of listing the gradings that were required to be completed to be awarded a dan grade to indicate what is required to become a yudansha in his school.

Shodan (1st dan) - 9 parts: revision, practical part 1 and 2, kentai ichi no kata (kata of sword body agreement) and suwari waza no kata (kata kneeling down), shiai (contest), oral theory and terminology, history essay, teaching, and examining.

Nidan (2nd dan) - 9 parts: revision, demonstration, practical, hantachi waza no kata (kata one standing one kneeling) and kentai ichi no kata, defences with short stick and defences against jo (short staff), pressure points, shiai, oral theory, essay on topic approved by De Jong.

Sandan (3rd dan) - 12 parts: revision, demonstration, taisabaki no kata (kata of bodymovements), theory grading with sacrifice throws and takedown techniques, kodachi no kata (kata of short sword), hoju jutsu (art of tying), arresting techniques, searching and handcuffing, jo and tobitanbo (jumping stick), manriki-gusari (weighted chain), shiai, and project assigned by De Jong.

Mochizuki's teachings influence can be seen most evidently in the kentai ichi no kata which is also taught by Mochizuki. However, De Jong would not appear to have simply adopted it wholesale. No. It appears he used it as a template and modified it based on his own experience and purposes. The suwari waza no kata is seen in Kodokan Judo. When I raised this issue with some of the senior instructors (not De Jong), the suggestion was that maybe this was one of the contributions to Jigoro Kano's teachings provided by Tsutsumi Hozan ryu (the jujutsu style De Jong's instructors told him they were teaching). A member of the Tsutsumi family is credited with assisting in the development of Kano's teachings. That is a possible explanation. Another is that De Jong adopted it and included it within his grading system to fulfil a particular requirement of his.

There appears to be some gradings that are repeated. They are not. The revision gradings and certain others are not a simple exercise of demonstrating things previously done. No. The candidate has to demonstrate their understanding of principles, tactics, and techniques, and 'flesh out' the outlined grading. For instance, the taisabaki no kata requires the candidate to demonstrate a specified number of variations of the five basic bodymovements taught within the system. Up until this grading only the five basic bodymovements had been specifically identified within the grading system.

These dan grades definetly have a focus on knowledge and understanding, and not just proficiency. There is a major element in these gradings to produce high quality, world class instructors. Not everyone would become, or wants to become, an instructor. De Jong recognised this, along with the extensive requirements of the grading system, and was toying with the idea of having two different 'types' of black belts. One complete and one a modified version for those who would not teach. He didn't resolve the problems associated with implementing this idea before he died.

These gradings formed the basis for the dan grading system developed for and used by the Australian Ju Jitsu Association (AJJA). I confess I do not know if this system is still being employed by the AJJA, but, the format or content of the dan grades, and not the specific tactics and techniques of De Jong's jujutsu, formed the base for the AJJA dan grading system. I know there are other schools/systems in Australia and Europe that have 'improved' their dan grading systems by referring to De Jong's.

According to Greg Palmer, there are only 21 people who have been graded shodan in De Jong's jujutsu. The first, Hymus, and the last Jamie Francis. Both instructors are now principals of their own schools. It is Francis' (and my) intention that he will be No. 6 to have completed sandan within the De Jong jujutsu grading system.

The more I study De Jong's grading system - study it as opposed to simply grading it - I see the hand of 'intelligent design' by De Jong. Not just modifying his teachers' grading system, but developing it totally, or at least a major portion of it. If so, it is a grand achievement as he didn't have a lot of other grading systems to refer to. I would suggest it is one of De Jong's most outstanding legacies if, and only if, he had the type of hand in developing it as I have suggested.

Jan de Jong Pt 11 - His Grading System Pt 3

Recall from part two of the blogs dedicated to Jan de Jong's jujutsu grading system that his system can be divided into three parts: the mon system, kyu system, and dan system. They are not only system divisions, but, I argue, also evolutionary divisions in the development of the 'school of Jan de Jong' (see previous blog on the concept of 'school' discussed in the context of the school of Jan de Jong).

De Jong only graded students in the kyu system until the late 1970s. Apart from De Jong, all the instructors were either purple belt (2nd kyu) or black and white belt (1st kyu). He graded Piet Hesselink 1st dan during WWII, but in what is unclear. He did not grade anyone 1st dan in Perth until Robert Hymus in the late 1970s.

Why didn't De Jong grade any of the other instructors in his school 1st dan prior to Hymus? It definitely wasn't because they were not of sufficient ability. Hymus and Greg Palmer often referred to the ability of their instructors. Hymus would motivate/chastise us based on the technical excellence and efforts of his instructors. I've had the good fortune to train with some of these instructors - Warwick (Zak) Jaggard, Tony Chiffings, and Peter Canavan - and they are as good as Hymus and Palmer (and De Jong) suggested. Given my current interest in being the unoffical historian of the 'school of Jan de Jong' (until someone else would like to assume the role), I've taken the opportunity of exploring these resources when I can. Zak visited the 'land of Oz' in the mid 90s and attended an instructors class for the first time in 20 odd years. Apart from being extremely sore the next day (and impressing those who were currently training), I asked Zak if what we were doing was the same as when he was training. He said it was, apart from this 'circular shit'. A recent conversation with Hymus suggests that he has devolved De Jong's teachings to a more 'direct approach' which presumably means he has turned away from this 'circular shit'.

There are a number of people from the pre-dan days that are a little bitter and a little disillusioned. They put in as much work and were as good, if not better (according to many), as those in later years who were awarded dan grades. These jujutsuka were not even given the opportunity of attempting dan grades. Why? Various theories abound as to De Jong's motives. Economic imperative is a frequently espoused explanation. De Jong didn't want to grade anyone black because they might leave and set up their own school in competition to his, which was his livelihood after all. Some suggest it was in connection with keeping the 'secrets' of the school secret as they were contained in the dan grades. That he didn't want to relinquish his monopoly of the 'knowledge well'.

These theories/explanations do not reconcile with the man I knew as De Jong. And remember, I'm a qualified accountant, so I am big on reconciliations. After much research, analysis, and deliberation, I propose an alternate theory. De Jong didn't grade anyone black because ... he didn't have any dan grades.

This, I am sure, will be controversial. I've already received criticism from some about my chronicling of De Jong's life and work, but this is the first time I'm referring to any criticism of De Jong, and, I am looking at a 'sacred cow' - the grading system.

Some need for what we do, including the grading system, to be predominantly handed down from at the very least the Saito brothers, if not the Tsutsumi family. This need is not unprecedented as so many in the martial arts need to associate their teachings with those of the past to gain credibility and/or authority. What I'm suggesting is that we don't need this link. In fact, what I'm suggesting is that one of De Jong's greatest achievements, one of his greatest legacies, is his grading system. It is a thing to celebrate, to study, and not simply something to be taken for granted (as it is).

De Jong's kyu grading system is only remarkable in that it uses the shinken shobu no kata method. What we refer to as the 'reflex' method. The use of shinken shobu no kata is a major 'point of differentiation' with other schools/systems. Most gradings/teachings are demonstration (technique or kata) based and/or randori (free fighting, sparring) based. Shinken shobu no kata combines elements of both. The kyu gradings contain specified defences against specified attacks, hence the kata element. However, where the uniqueness comes in, where the 'reality based' element comes in that so many emphasise these days, is that the attacks are randomly presented. This is the randori element.

During the grading, the student stands with their back to the examiner(s). The chief examiner signals an attack which is then executed. The candidate must defend themselves against the attack. Minimum, the candidate must defend themselves. If the candidate defends themselves with the required response, marks are awarded based on technical merit. If the candidate defends them self with another defence, the attack will come again. If the candidate fails to defend them self, they fail that 'question'.

Shinken shobu no kata is not just used as a grading method. It also used as a training method. Brazilian jiu-jitsu refer to 'drills' in which they train techniques, and then they rely on randori to train a person for combat. Jan de Jong jutsu uses 'drills' but then rely on shinken shobu no kata to train a person for combat. Each class usually ends with shinken shobu no kata, except that unlike a grading, no defence is specified against any specified attack. This method is also used in many different ways to train the student. It is modified by specifying an attack but requiring the student to respond with only one specified response. Alternatively, the response is specified but the attack is chosen at random. This is not unlike the story told in The Fighting Spirit of Japan were the jujutsuka/judoka would go into the red light district to confront individual yokuza and limit themselves to only one technique.

Major Greg Mawkes MBE (retired) had this to say on this method of training when working with De Jong to develop a close combat system, including training system, for the Australian Army including the SAS (Special Air Service Regiment):

What was created during the months of early morning starts and hard work is a system of unarmed combat that has Tsutsumi ju jitsu as its cornerstone. The reflex method of training and testing is particularly appropriate to the instinctive reactions that must be developed in unarmed combat exponents. (Jan de Jong: the man, his school, and his ju jitsu system)

Given the limited attention span that most of us are suppose to have in this electronic/world wide web age, and given what I consider to be one of De Jong's major legacies, this subject will be continued in future blogs.

Jan de Jong Pt 2 - The Pre-War Years

This blog is part two of the Jan de Jong Story. Unfortunately, reference to the 'pre-war' years now needs to be clarified given the number of conflicts that it is possible for a man of De Jong's age to have been involved in. The pre-war years refer to pre World War II. Much of the Jan de Jong story was derived from extensive interviews I conducted with Jan de Jong in the last 90s. I still have hours of tape recordings of these interviews which take on a poignancy now that he has passed away.

Jan de Jong was born to Dutch parents on 6 February 1921 – though where he was born is another matter. His parents told him he was born in Gorkum, Holland, however his first Netherlands Indies passport disclosed Indonesia as his place of birth. At that time there was a certain stigma to being born in the colonies. In Malaysia for instance, the British would often give birth on board a British ship in order to record a British place of birth against the infant’s name. In any case, Semarang, a sea port on the northern coast of central Java, was where he grew up.

The colonial Dutch were known for assimilating into the local culture and De Jong immersed himself in the Indonesia culture which became a large part of who he was for the rest of his life. He would often be seen around his home wearing a sarong (which he later taught us how to use as a weapon). If you were a De Jong instructor you developed an appreciation for Indonesian cuisine, of which he was well accomplished at preparing. Garlic was forever associated with his diet. Who could ever forget, as much as they tried, his 'satay' sandwiches consisting of bread, peanut butter, and slices of garlic. No need to mention his home brewed garlic wine which was occasionally inflicted upon his instructors. Always consumed in minute doses because it tasted very much as you'd think. I always imagined it was a test to see how gullible people can be when they follow someone.

De Jong commenced training jujutsu under the Saito brothers at the age of seven. The 'Saito brothers' as he never knew their first names, always referring to them individually as 'Saito Sensei'. The Saito brothers very rarely taught non-Japanese students and De Jong was only afforded the opportunity of joining their classes through his father's relationship with them. His father, an engineer, befriended one of the brothers whilst building a shed at the flower nursery of one of the brothers in the hills above Semarang. This friendship led to an invitation for both father and son to train under them. The chief instructor was a professional photographer, whilst his brother was a florist who spent most of his time at his nursery.

The above photographs are of the Saito brothers circa 1930. These are the only three photographs of them that De Jong had. He used the last photograph as the inspiration for Wim Zwiers to develop an ex libras which then went on to become the logo of his school. Zwiers would go on to become a famous artist in Holland and his work, mainly ex libras, is much sought after. I had the pleasure of meeting him and visiting his home where he worked and displayed his and other artist's art work. I am fortunate enough to have been given an ex libras he'd made of my zodiac birth sign and which is now hanging on my loungeroom wall.

Not much is known of the Saito brothers. De Jong would say the main instructor was eighth dan while his brother was seventh dan. Given dan grades were instituted by Jigoro Kano, it would be interesting to know how these grades were awarded. Did they, like so many, go over to the Kano system? The Saito's told De Jong that the style of jujutsu they were teaching was Tsutsumi Hozan Ryu. During his training with them, the dojo was visited by jujutsuka (jujutsu exponent) who were said to be training Tsutsumi Hozan Ryu in Japan.

The dojo was a small room with bamboo walls, off an alley in the centre of the town. Classes were always small in number, never having more than fifteen students at any one time and, as said before, very rarely including any non-Japanese students. Classes were conducted for two to three hours a day; seven days a week; 365 days a year. Apart from the rare bout of illness, De Jong only missed classes when his family returned to Holland for a six month holiday every five years. This occurred twice during his training under the Saitos.

The classes were conducted during the afternoon, the hottest part of the day in equatorial Indonesia. De Jong would recall that his gi (uniform) was often soaked with sweat before he even stepped onto the mats, and that sometimes during the class he would have to change into a spare gi which he’d brought along for just such a purpose.

Everyone trained together in the same class. All the students trained the same techniques, though the experienced students received more attention from the instructor than the novice. Repetition was the preferred method of instruction with the students being told to 'train slow', and that 'speed will come'. There was no enforced discipline, but rather respect and self discipline was expected and willingly accorded due to the times and culture.

An amusing anecdote De Jong shared demonstrated his attitude towards his training. His father visited his school one day to check up on his son’s academic progress only to find he hadn’t been attending school for the past six months. School hours were between 7am and 12am or 1pm and he had been using this time to do extra training before attending the jujutsu class. With a rye smile, De Jong would say that his father was not pleased.

De Jong would also say his father was not pleased when he got their pet monkey drunk on his father's best liquor. He was obviously a spirited lad. He'd tell of how they would give visiting soccer teams coconut milk at half time which would then slow them down for the second half of the game.

De Jong was in the boy scouts. He gave me a copy of his list of contacts and I wrote to people who had known him before and during WWII. I received a reply from one who also sent me a couple of small photographs of De Jong in his pre-WWII Indonesian days. There is a young De Jong in his boy scouts uniform (complete with shorts and knee high white socks) attending a jamboree in front of a hut surrounded by a tropical jungle.

De Jong said he received his third dan grading from the Saitos just before he left for Holland in 1939. This was apparently the highest technical grade and all higher grades were honorary and based on, among other things, certain age requirements. De Jong, at the age of eighteen, had some time to go before meeting those age requirements.

He left Indonesia by boat in late 1939 arriving in Holland in February 1940. He travelled to Holland in order to further his ambitions of becoming a pilot. Three months later the Nazis put paid to that ambition by invading Holland and ruthlessly occupying the country for the next five years.

In the 1994-5 I accompanied De Jong, along with his wife and daughter, on a visit to Java (the subject of a future blog itself). He took the opportunity of travelling to the places of his childhood. We found the street but no trace of the Saito dojo exists as it has been built over.

When De Jong returned to Indonesia after WWII, he tried to locate his instructors but no trace of them was ever found. This could be explained because they may have been Japanese spies. De Jong would suggest they may have been in the Japanese Army pre-WWII. This story is given a little more support when Jan Ruff-O'Hearne (50 Years of Silence) writes about her time growing up in pre-WWII Semarang: 'Our friendly Japanese photographer turned out to be a spy too. He was the most popular photographer in Semarang.' Given the time the Saitos spent in Semarang, it may be they were former military and were called upon, as islikely of all nationals living in a country which is at war with their homeland, by the Japanese military prior to their invasion.

During the Java trip, we were invited to dine at an old colonial restaurant. It was truly old colonial world with open bay doors and black and white checkered tiles on the floor. Our host knew of De Jong's fondness for Indonesian cuisine and organised a traditional rijsttafel for us. Rijsttafel is translated as 'rice table' in Dutch and it is an elaborate meal where dishes are brought to the table for the diners to choose portions from. At this time a dozen Indonesian women all dressed alike came to our table holding different dishes and filed pasted us. The setting, the rijsttafel, and the food brought back many fond memories that moved De Jong to tears. He later told me he'd actually worked in just such a restaurant in his youth.

In the years just prior to his death, De Jong would reminisce about his life with me after I'd taken him to the movies or out to dinner. It was a real 'Tuesdays with Morrie' moment (book about a former teacher reminiscing with a former student each Tuesday before dieing; and Jack Lemmon's last movie). He talked often, and lovingly, of his father and one thing always stuck with me. He'd say how he'd turned out very much like his father.

Jan de Jong Pt 1 - The School of Jan de Jong

I've received numerous requests to write about Jan de Jong to which I am now acquiescing. I will basically serialise the chapter I drafted for my originally conceived book on the tactics and techniques of Jan de Jong jujutsu with certain modifications.

What is the ‘school of Jan de Jong’?

'School,' when used in this sense, refers to a school of thought or a continuing tradition, like the 'school of Rembrandt' for instance. When used in this context, The Macquarie Concise Dictionary defines 'school' as, 'a body of scholars, artists, writers, etc. who have been taught by the same master, or who are united by a similarity of method, style [and/or] principle.' Hence, the 'school of Jan de Jong' refers to the school of thought concerning martial arts which can be attributed to Jan de Jong and those who follow his teachings.

With regards to the Japanese martial arts schools, I will defer to the work of Karl Friday. Friday is associate professor of Japanese history at the University of Georgia and he holds the menkyo kaiden license and is a certified shihan in Kashima-Shinryu. His book Legacies of the Sword is one of the most authoritative English-language books on the Japanese martial arts ever written. This book should be required reading for anyone attempting to understand the Japanese martial arts. He has this to say with regards to martial art ryuha (school):

Martial art ryuha ... have historically tended to practice total transmission, in which students certified as having mastered the school's kabala are given 'possession' of it. ... such former students normally left their masters to open their own schools, teaching on their own authority; masters retained no residual control over former students or students of students. Each new graduate was free to modify his master's teachings as he saw fit, adding personal insights and/or techniques and ideas gleaned from other teachers. It was common practice for such graduates to change even the names of their styles, in effect founding new ryuha and independent branches of ryuha in each generation.

Friday presents a case study by analysing the history, philosophy, and pedagogical dynamics of Kashima Shinryu to lay the foundation for a broader understanding of what the classical bugei (martial arts) are, what they were, and what they mean to those who practice them. His explanation of the historical pattern of the development of martial arts schools definitely explains the evolution of the school of Jan de Jong following his death in 2003.

According to De Jong, he started teaching in Perth, Western Australia in 1952, the year he emigrated to Australia from Indonesia. In 1955 he named his school Ju Jutsu Kan which was changed to Jan de Jong's Self Defence School (JDJSDS) in 1973.

The style of jujutsu which De Jong taught is often referred to as Tsutsumi Hozan Ryu jujutsu. However the JDJSDS grading certificates only refer to Tsutsumi Ryu and discussions with previous generations of instructors only refer to Tsutsumi Ryu. It appears to be quite late in the piece that De Jong started to refer to Tsutsumi Hozan Ryu.

The Jan de Jong jujutsu grading system includes technical grades up to and including third dan. Higher grades are honorary and awarded at the discretion of De Jong. There are only five people who have completed all the technical grades under De Jong. Peter Clarke was the first in 1998 and was immediately awarded fourth dan. The grading certificate referred to Jan de Jong Jujutsu for the first time. It would appear that De Jong was acquiescing to the lobby to change the name of the style of jujutsu he taught to reflect his contributions. However, he only did so on certain higher grade certificates.

Clarke was followed by Rob Hymus, Paul Connolly, Greg Palmer, and myself. These four instructors were my instructors and I am the only 'student' who has completed the technical grades under De Jong.

Greg Palmer is pictured above receiving his third dan grading certificate. Just prior to De Jong's death he was awarded fourth dan. He went on to establish his own school which he named Keikai, apparently the Japanese equivalent of his name. He also changed the name of the jujutsu he taught to Keikai jujutsu. Unfortunately Greg passed away in 2008.

Debbie Clarke, wife of Peter, established Southern Cross Bujutsu a few years before De Jong's death. Peter joined his wife after De Jong's death and became the technical director of the school. He refers to his jujutsu as Tsutsumi Jugo Ryu jujutsu. Peter, along with Hymus and Connolly, was awarded sixth dan by De Jong just prior to his death. Peter is a very proficient and thoughtful practitioner and I am led to believe, based on discussions with him, that he has made some significant changes to the jujutsu he is now teaching.

De Jong's school was taken over by his daughter, Maggie de Jong (first dan), following his death. Connolly, her partner, assumed technical control. They changed the name of the school to Jan de Jong Martial Arts Fitness and they advertise they teach Tsustumi Hozan Ryu jujutsu. Hymus established Indian Ocean Dojo which he advertises as teaching Tsutusmi Hozan Ryu jujutsu. Hans de Jong, De Jong's son, established Hans de Jong Self Defence School and likewise teaches jujutsu he refers to as Tsutsumi Hozan Ryu jujutsu. All of these schools are based in Perth, Western Australia.

One of De Jong's students/instructors, Jamie Francis, established South West Self Defence School teaching Tsutsumi Hozan Ryu jujutsu in the south west of Western Australia. He has built up quite a respectable following with over 80 students. He graded up to second dan with De Jong and half way through third dan with Palmer. I've agreed to continue his journey and teach and grade him the remainder of third dan. When completed, he will be only the sixth person to have completed the Jan de Jong jujutsu grading system.

I have succumed to the requests to teach and am teaching a small number of higher graded students/instructors. Given my obsessive nature, I do not want to commence teaching until my book(s) have been completed. I've also received requests to teach in Europe and the United States. Again, these requests have been put on hold until I complete my book(s). I consistently refer to the jujutsu I learnt and teach as Jan de Jong jujutsu reflecting what I believe to be the school of Jan de Jong.