The Kodenkan Judo of Master Okazaki

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Official Kodenkan Scroll translated by Akira Miyazaki

Judo Mokuroku

Official Translation of the Black Belt Diploma in Jujutsu


(Translation by Akira Miyazaki, Secretary of the Imperial Japanese Embassy, Washington, D.C., of the Black Belt Diploma presented to Marion W Anderson by Judo Master Seishiro Okazaki in Honolulu, TH. on May 5, 1939.)


History (Origin and Development) of Jujutsu:

It has been said that the origin of Japanese wrestling dates back 1,960 years ago when a certain Nomino Sukune grappled with and killed Taimano Kehaya in the seventh month of the seventh year of the eleventh Emperor Suinin. In view of the recorded statement; “The two men stood up face to face and kicked each other; Sukune kicked Kehaya in the ribs and stomped on and crushed his waist and killed him.” This incident may be regarded as the origin of Jujutsu.

Then during the first year of Temmon in the reign of Emperor Gonara at the end of the period of Civil War (400 years ago), the Takenouchi School of Jujutsu was systematized. Again during the Keicho Era (340 years ago) a Chinese came to Japan and taught an Art of boxing; about forty years later another Chinese visited Japan and introduced an Art of seizing one’s opponent. In the course of time some of the forms and techniques were eliminated, while others were harmonized with the Art of the old Jujutsu. Through the process of elimination and harmonization, a new Art known as Yawara was created and was extensively popularized. This is the origin of the present day Judo. During the Edo period various schools of Judo were brought into existence, of which the following were the leading ones:

Tokeuchi, Teihozan, Araki, Muso, Miura, Fukuno, Isogai, Seigo, Kajiwara, Sekiguchi, Shibukawa, Kito, Yoshin, Kyushin, Kanshin, Yoshioka, Iga, Sosuishitsu, Iwaga and Nambashoshin.

Instructions Regarding the Practice of Judo:

The fundamental principle acquired through the practice of Jujutsu was elevated to a finer moral conception called Judo - the Way of Gentleness. It may well be said that the primary object of prac­ticing Judo is perfection of character. And in order to perfect one’s character, one must be grateful for the abundant blessings of Heaven, Earth and Nature, as well as for the great love of parents; one must realize one’s enormous debt to teachers and be ever mindful of one’s indebtedness to the general public. As a member of a family, one’s first duty is to be filial to parents, to be helpful, to be harmonious with one’s wife and be affectionate to brothers and sisters. As a member of a nation, one must be grateful for the protection which one derives as a citizen, must guard against self-interest and foster the spirit of social service; one must be discreet in action, yet hold courage in high regard and strive to cultivate the powers of manhood; one must be gentle, modest, polite and resourceful, never eccentric, but striving always to take the Golden Mean. One must realize that these constitute the secret of the practice of Judo.

A Brief Personal Account of the Judo Master:

Born in Fukushima Prefecture, Japan, I came to Hawaii in 1906. When I was nineteen years of age, a doctor who was practicing in Hilo, Hawaii, pronounced that I was suffering from a lung disease. For a time my spirits sank. Then I mustered my courage and, at the risk of my life, took up Judo under the direction of Judo Master Kichimatsu Tanaka, then the proprietor of the exercise hail of Shinyu Kai. In the subsequent course of my relentless practice of Judo, I miraculously conquered the disease and acquired an iron physique. I was convinced that my new life and superb health were entirely due to Judo and I dedicated the rest of my life to its practice and propagation. In the course of time, I mastered the Yoshin, Iwaga and Kosogabe Schools of Judo in HiJo. At the same time, I also acquired the Art of Ryukyunan boxing and the technique of Filipino knife play and created what I have called the Danzan School by coordinating the strong points of all these Arts and tech­niques into one form.

In September 1922, when Morrison, an American boxing champion, came to Hawaii, I challenged him and brought him to his knees in spectacular fashion. This undoubtedly enhanced the reputation of Japanese Judo, both at home and abroad.

In 1924, I returned to Japan. During my sojourn, I visited more that fifty Judo exercise halls throughout Japan. In the course of my travels, I acquired 675 different kinds of technique or forms of Judo and returned to Hawaii with a Certificate of Third Grade. For a while I taught Judo on the Island of Maui., but in 1929 I opened an office for massage and chiropractic practice and estab­lished the Koden Kan in Honolulu for the propagation of Judo among all racial groups. I have been in this profession ever since.

Primary Forms and Techniques of the Danzan School:

Anyone who practices Jujutsu should neither be afraid of the strong nor despise the weak, nor should he act contrary to the strength of his enemy because of the Art he has acquired. For example, when a boat is set afloat on the water, one man’s strength is sufficient to move the boat back and forth. This is possible because the boat floats, if, on the other hand, the boat is placed on dry land, the same man’s strength is scarcely sufficient to move it. It is necessary, therefore, that the weak should learn this fact with regard to the strong.

Fundamental Forms and Techniques:


1. Katate Hazushi A Outside wrist hold break

2. Katate Hazushi B Inside wrist hold break

3. Ryote Hazushi Two hand hold break

4. Morote Hazushi Two hand on one break

5. Yubi Tori Hazushi Finger grip break

6. Momiji Hazushi Breaking a choke

7. Ryoeri Hazushi Two hands on lapel break

8. Yubi Tori Hand hold on sensitive third

9. Moro Yubi Tori Handhold using all the fingers

10. Katate Tori One hand wrist break

11. Ryote Tori Two hand or double wrist break

12. Tekubi Tori A Wrist hold break and right arm twist

13. Tekubi Tori B Wrist hold break and left arm twist

14. Imon Tori Break hand – pushing chest

15. Ryoeri Tori Break two hand grip on lapels

16. Akushu Kote Tori Break handshake and twist wrist outwards

17. Akushu Ude Tori Apply armbar from handshake

18. Akushu Kotemaki Tori Break handshake & apply arm & wristlock

19. Kubi Nuki Shime Break headlock and apply hammerlock

20. Hagai Shime Full nelson, break and throw


1. Deashi Harai A lower foot sweep

2. Sasae Ashi A leg stop

3. Okuri Harai A sidestep throw

4. Soto Gamma An outside sickle

5. Uchi Gamma An inside sickle

6. Soto Momo Harai An outside thigh sweep

7. Uchi Momo Harai An inside thigh sweep

8. Ogoshi A loin throw

9. Utsuri Goshi Ogoshi with leg sweep

10. Seoi Nage Flying mare

11. Ushiro Goshi Counter for Seoi Nage

12. Seoi Goshi A cross loin throw

13. Tsurikomi Goshi An arm over loin throw

14. Harai Goshi A hip and leg throw or fast Soto Momo

15. Hane Goshi A lower leg and hip throw

16. Uki Otoshi A cross leg throw

17. Makikomi A loin throw and armbar

18. Kane Sute A flying scissors

19. Tomoe Nage A circle throw

20. Yama Arashi Break collarbone, throw, armbar & strangle


1. Yeri Gatame A throw & apply headlock with arm outside

2. Kata Gatame A throw & apply headlock with arm inside

3. Juji Gatarne A throw & apply cross body lock with scissors on arm

4. Shiho Gatame Counter Seoi Nage and use smother hold

5. Sankaku Gatame Miss Tomoe Nage and apply figure-4 scissors

6. Ushiro Gatame Duck under swing – dislocate shoulder

7. Namijuji Shime Choke with fingers inside from throw

8. Gyakujuji Shime Choke with thumbs inside

9. Ichimonji Shime Choke with one long and one short using the jacket

10. Tsukikomi Shime Choke using first one hand then the other

11. Hadakajime A Choke by using the head in front of body without the jacket

12. Hadaka Jime B Choke by using the arm around neck in back of body without jacket

13. Hadaka Jime C Choke by using the arm around neck in back of body without jacket

14. Dakikubi Jime Throw with headlock – then apply pressure

15. Osae Gami Jime Grab hair and chin and break neck by a quick twist from a throw

16. Kote Jime Throw and armlock with body across to keep opponent down

17. Tenada Jime Armbar from throw and choke

18. Do Jime Scissors and armbar by missing Tomoe Nage

19. Ashi Karame Jime Leg split and choke

20. Ashi Nada Jime Leg lock or leg breaker

21. Ashi Yubi Jime Leg lock and foot twist

22. Momo Jime Break from leg scissors

23. Shikano Itsusoku Leg and hammerlock

24. Shidaro Fuji Jime Choke with foot by missing Tomoe Nage

25. Tatsumaki Jime Reverse armbar

Forms and Techniques for the Juvenile Division:

Yonen Bu no kata

1. Deashi Harai A lower foot sweep

2. Sasae Ashi A leg stop

3. Okuri Harai A sidestep throw

4. Soto Gamma An outside sickle

5. Uchi Gamma An inside sickle

6. Soto Momo Harai An outside thigh sweep

7. Uchi Momo Harai An inside thigh sweep

8. Ogoshi A loin throw

9. Seoi Nage Flying mare

10. Seoi Goshi A cross loin throw

11. Tsurikomi Goshi An arm over loin throw

12. Harai Goshi A hip and leg throw or fast Soto Momo

13. Hane Goshi A lower leg and hip throw

14. Makikomi A loin throw and armbar

15. Tomoe Nage A circle throw

Intermediate Forms and Techniques:


1. Deashi Hayanada Lower foot sweep and armbar

2. Ogoshi Hayanada Hip throw and armbar

3. Seoi Hayanada Flying mare and armbar

4. Norimi Hayanada Counter for Ogoshi and choke

5. Sumigaeshi Side circle throw catching both ankles

6. Mizukuguri Block blow to the ears by throwing over back with hands

7. Maeyamakage Counter Seoi Nage, throw over back and break collarbone

8. Komiiri Leg split when opponent crouches low

9. Kotegaeshi Block double swing, break arm and strangle

10. Saka Nage (sic) Arm and rib break from stomach bump

11. Gyakute Nage Block swing, throw, step across, break arm

12. Hontomoe Circle throw, strangle Ashi Karame

13. Katate Tomoe One arm circle throw

14. Shigarame Block swing, break arm, throw Seoi Nage

15. Gyaku Shigarame Hold opponent helpless in hammerlock with one foot

16. Kote Shigarame Hold opponent helpless with one hand

17. Koguruma Counter for Mizukuguri

18. Tora Nage Three headlock hip throws and a kick to the spine

19. Tora Katsugi Throw with Obi and strangle

20. Arashi Otoshi Quick strangle and back throw

21. Hiki Otoshi Throw opponent on stomach & apply leg bar

22. Kinu Katsugi Side circle throw on one knee

23. Kin Katsugi Hit testicles, throw side circle throw

24. Kazaguruma Boston crab with opponent’s feet high in the air

25. Jigoku Otoshi Airplane spin

The foregoing forms and techniques are the principle ones which belong to the intermediate group. As aptly expressed in a poem:

The boughs that bear most hang lowest.”

One should never forget the virtue of modesty as one attains proficiency in the Art of Judo. Make no relative importance between literary and military Art. Within constant motion and change there is tranquility and within tranquility there is motion and change. Remember always parental love and one’s enormous indebtedness to teachers. Be grateful for the protection of Heaven and Earth.

Be a good leader of younger men. To lead younger men well would in the long run mean to attain proficiency in the skill of Judo.

Like a drawing in India ink of the whispering of the wind in the pines, the secrets of Jujutsu can only be suggested. It is only through personal experience that one can comprehend the mystic ecsta­sy of such secrets.

It is said of Jujutsu that it would require ten years of practice in order to win victory over one’s self and twenty years to win victory over others. A noted verse reads:

For the Lotus flower to fall is to rise to the surface.”

It is only be entering into the realm of open-mindedness that one is able to acquire or master the secret Art of selflessness and altruism.

These are the secrets of Koden Kan into which I have had the honor to initiate you.

Henry S. Okazaki

Judo Master & Owner of Koden Kan

Honolulu, Hawaii

May 5, 1939

Richard P. Rickerts, Assistant Master

Densel E. Muggy, Assistant Master

Prepared by: David A. Scheid