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The contest area must be at least 9 meters square (about 27 ft), at most 10 meters square, including the danger zone, The danger zone is a different colour (usually red) from the rest of the ‘contest’ area. It alerts the competitors that they are near the boundary of the contest area; they will receive a severe penalty if they step outside. A competitor who remains in the danger zone for longer than five seconds without attacking will receive a lesser penalty. A referee conducts the contest on each mat, and two judges sit in the corners. The scoreboard and scorer and two time keepers are present nearby. The scoreboard shows the points and penalties for each competitor; one timekeeper keeps the match time and the other times the hold-downs (osaekonii). The following point system is used to decide the outcome of a match: Ippon=full point Waza-ari=half point There are two lesser points, yuko and koka, which are awarded when a contestant is thrown with less power and skill so that he/she lands on the hip, thigh, or side of the back. These points do not add up to make the higher-level points waza-ari and ippon. 1. If a contestant is thrown with considerable force and power by a well executed technique, so that he/she strikes the mat largely on his/her back, an ippon (full point) is scored. This wins the match. If the throw is good but does not quite merit a full point (force, speed, or control is less), the referee may call it a waza-ari (half point). Two half-points win a match. 2. If a contestant is held on his back under the control of his opponent for 25 seconds (osaekomi), an ippon is scored and the match is over. If a contestant is held for 20 to 24 seconds, a waza-ail is scored. A pin lasting for 15 to 19 seconds scores a yuko, and a pin lasting for 10 to14 seconds scores a koka. 3. If a contestant is choked until he/she becomes unconscious or resigns the match by tapping at least twice, her opponent wins by ippon. 4.If a contestant is forced to tap out because an arm-lock on the elbow joint is successful, his opponent wins by ippon. 5.Contestants may be penalized for a number of things (such as stalling and improper use of the hands.) When a penalty is given to one player, the opponent is awarded a point equal in value to the penalty. A shido is equal to a koka, a chui equal to a yuko, a keikoku to a waza-ari, and hansoku-make (disqualification) to ippon. When two players have the same score, the one with fewer penalties wins. 6.If no ippon has been scored at the end of the time limit, the referee uses the combination of lesser points and penalties to determine the winner. If the scoreboard shows a tie, the corner judges will raise either a red or white flag and the referee will use a hand signal to show which contestant displayed greater skill and authority. The contestants' names are called before the match; the first name called is designated "red" (and usually wears a red sash) and the other is "white" for that match. Contestants bow before stepping onto the mat, enter the contest area to stand behind their respective lines, bow to each other as a sign of mutual respect, and step forward (left foot first). They are facing each other approximately 12 feet apart. The referee calls "Hajime!" (Begin!), the time starts, and the contest begins. In the beginning of the match, contestants fight for grips. Each judoka has a favourite way to hold, but the most common is a standard right-hand grip: right hand on left lapel, left hand on right sleeve. Some players use both lapels, since this permits them to throw with both right and left techniques without changing grips. Before a contestant can throw, he/she must break her opponent's balance. This breaking of balance is called kuzushi, and can be achieved with a lift-pull motion, circular movement, a sharp downward tug, or a variety of other ways. When a contestant attempts a throw, he is momentarily off-balance and thus at a disadvantage. Should his speed, coordination, timing, or technique be inadequate, he may be counter-thrown by his opponent. There is a great deal of difference between the posture, movement, and actions of the lower and higher ranked belts. During the course of the match, an attempted throw may force one or both of the contestants to the mat. This is when the grappling, choking, and joint locking techniques usually come into play. In grappling, the contestants must use recognized judo holds. Use of the hands on the face of the opponent is not allowed, nor is a scissors hold against any part of the body, nor attacks on any joint other than the elbow, nor insertion of fingers into sleeves or trouser legs. Judo on the ground uses the same principles as standing judo, that is, the most efficient use of strength and energy. The choking techniques operate on the principle of cutting off the supply of blood to the brain rather than on cutting off the air supply. In the joint-locking techniques, the joint is endangered by bending or twisting it in the direction opposite to that which is natural. When a contestant wishes to submit because of pain or inability to escape, he/she indicates this by tapping her opponent or the mat or calling "Maitta" (I give up). After unsuccessful throws or attempts at mat-work, the referee may stop the contest, return both players to their starting lines, and restart the match. When the time is up or the match has been won by ippon, the contestants return to their positions at the beginning of the match. The referee indicates the winner by raising the arm on that side of the body and pointing. The contestants then take one step back (to behind the line, right foot first), bow to each other, and leave the mat. Shido1.Non-combativity (20-30 seconds with no attack by one or both): to avoid (intentionally) taking a grip; after kumi-kata, not to attack; to try to give the impression of attack without the intention of throwing (false attack); to adopt an excessively defensive posture. 2.Danger zone: to stand with both feet in danger zone longer than 5 seconds unless beginning, executing, countering, or defending an attack. 3.Grips (without attack): belt, bottom of jacket; both hands on same side of jacket, lapel, or sleeve; both sleeves ends for defence only; fingers inside sleeve or trousers; "screwing up" sleeve; keeping opponent's hands or fingers interlocked. 4.Uniform: intentionally disarranging judogi; untying or retying belt or trousers without referee's permission; completely encircling any part of opponent's body with belt or jacket; putting opponent's gi in mouth. 5.Body: to put hand, arm, foot, or leg directly on opponent's face; standing, to grab opponent's foot, leg, or trousers without attempting to throw; on back, holding with legs around neck and armpit of opponent as opponent rises to knees or feet. 2.Position: standing, to go out of bounds while applying a technique started in bounds; to put foot or leg into opponent's belt, collar, or lapel. 3.Physical harm: to apply dojime (crossed-feet leg scissors while stretching legs) to opponent's trunk, neck, or head; using knee or foot, to kick opponent's hand or arm to effect a release of grip; to bend back opponent's finger(s) to effect release of grip. 4.To pull opponent to ground to start ne-waza unless (a) some throwing technique or movement resembling one was used; (b) a standing choke or armbar was used with considerable effect and entry into groundwork is uninterrupted; (c) when opponent is extremely off-balance as result of either person's attempt to throw. 2.Physical danger: to apply kansetsu-waza to other than the elbow, to apply any technique which could injure the neck or spine; to lift a prone opponent from the mat and drive her back onto the mat; to attempt to throw by winding the leg around opponent's leg while facing in the same direction and failing backwards; to reap opponent's leg from the inside while opponent is trying harai-goshi, uchi-mata, etc.; to attempt such throws as harai-goshi or uchimata with a single lapel grip in which the opponent's hand is trapped as in waki-gatame, including falling face-down to the mat; to fall directly to the mat while applying or attempting techniques such as waki-gatame ; to make any action which may injure or endanger the opponent or is contrary to the spirit of judo. 3.Courtesy and sportsmanship: to disregard the referee's instructions; to make unnecessary calls, remarks, or derogatory gestures to the opponent or officials during the match. 4.Position: intentionally, to go outside of the contest area unless tori stays in bounds long enough for the effectiveness of the technique to be clear, or in the case of throws such as ko-uchi or o-uchi, no weight is placed on a leg out of bounds; deliberately to move out of bounds in ne-waza ; to force the opponent out of bounds; to apply or attempt any technique out of bounds. 2.To dive head first onto the mat by bending forward and down while attempting such throws as harai-goshi or uchi-mata. 3.To fall backwards onto the mat intentionally when the opponent is clinging to one's back, no matter who has control. 4.To wear a hard or metallic object, covered or not (athletic supporter cups are permitted.) Tip #1 - Choke tips on Okuri-eri-jime and kataha-jime One of the things that give many people trouble is proper choking. Most chokes are meant to avoid the windpipe (with the exception of some hadaka-jime variants.) Yet, many people can't seem to avoid the windpipe. Others can't seem to get a choke to work at all. While studying chokes (shime waza), it is important to remember that though they don't look to difficult, they are often as difficult to master as any throw, i.e. they take time and most of all patience. It is immediately obvious when a throw has been effectively performed, your partner is lying on the mat. However, the effect of a choke can often take 15 or twenty seconds to become apparent. The most common problem with ineffective chokes is space. There is usually space between the hands and the neck, the gi is not taut around uke's neck, or other such problems. When performing okuri-eri-jime (sliding lapel choke) it is important to get the slack out of the gi immediately with the left hand under the armpit, grabbing the left lapel and pulling down and slightly out to open things up. The right hand should then slide around the neck starting from under uke's right jaw under the ear and maintain contact while sliding all the way around to the under uke's left ear. Grab the gi with the thumb in and make a fist. Make sure that there is no large gap between the gi and hand, and the neck. Then the left hand should move to grab uke's right lapel and pull straight down. Finally, maintaining a tight grip on the lapel, begin pulling the right hand and the judogi around uke's neck by pulling up with your right elbow (yes, pull your elbow up.) If you have tight contact, you will require very little movement for the choke to become effective and will avoid the windpipe. When performing kataha-jime (single wing choke), tight contact is still a must, but to help avoid the windpipe, try gripping the lapel with your right hand such that the part of your wrist just above the wrist-bone, under your thumb is directly under uke's adam's-apple. This usually avoids getting the windpipe in the choke. One last tip on kataha-jime. As you bring uke's left arm up with your left arm, place your left hand behind your own right forearm and thrust it through. This prevents uke from grabbing your hand to escape from the choke and help create a very strong and tight choke. |
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