In 1924 Jigoro Kano created the ‘Seiryoku-Zen’yo-Kokumin-Taiiku no Kata’ (Maximum-Efficiency National Physical Education) often abbreviated to ‘SZKT’.

Although one of its primary aims was to develop a bilateral physical training exercise form, Kano also created the SZKT as a method of practicing the atemi waza, or striking forms, of Kodokan Judo, which he feared were disappearing from Judo owing to the dangers of including them in randori (free sparring) practice.

In an edition of Kano Chronicles (Issue No.57) an article on the development of SZKT notes that Kano had been impressed with the striking techniques he had witnessed by a group of Okinawan school children demonstrating Karate at the Butokukai in Kyoto, in 1908.

In the same article it describes how Kano invited Gichin Funakoshi, the founder of Shotokan Karate, to the Kodokan in 1922 to give a demonstration of Karate to Kodokan instructors.

Accompanied by a young Okinawan University student, Gima Shinken (Makoto), who was a student at the Kodokan and studied Karate under Funakoshi at the ‘Meisei-Juki’ (Okinawan Dormitory), Funakoshi performed the kata Kusanku while Gimo performed Naihanchi Shodan. They then gave a demonstration of Kumite (sparring) drills, in which Kano joined in.

Gima maintained that this demonstration was influential in Kano’s development of the SZKT no Kata.

Composed of two parts: ‘Tandoku-renshu’ (a solo form similar to a simplified karate kata) consisting of 16 exercises and ‘Sotai-renshu’ (a series of paired partner exercises similar to old Koryu Ju Jitsu kata), consisting of 10 techniques each, split into ‘Idori waza’ (kneeling techniques) and ‘Tachi waza’ (standing techniques), SZKT forms a very comprehensive introduction to the art of atemi jutsu, now largely forgotten in mainstream Judo practice.

The Sotai-renshu exercises are composed of two routines. The first ‘Ju-shiki’ (gentle forms) are derived from the Kodokan kata ‘Ju-no-Kata’ and focuses on teaching the body mechanics involved in ‘Kuzushi’ (breaking balance) the second, ‘Kime-Shiki’, (decisive forms) are derived from the Kodokan kata ‘Kime-no-Kata’ and focuses on atemi (striking techniques).

Kano also created a chart of 12 Kyusho points, deprived from Tenjin Shinyo-ryu Ju Jitsu. These Kyusho points removed the most dangerous points from the Tenjin Shinyo-ryu charts in an attempt to make the practice of atemi safer for Judo practitioners.

When Kano’s chart is used in conjunction with SZKT, it creates a comprehensive introduction to the art of atemi jutsu.

In addition, Kano incorporated 4 basic ‘Kappo’ (revival techniques) into the Kodokan, designed to revive students suffering from accidental strikes during atemi waza practice.

In 1930, Kano campaigned to have SZKT accepted into the National Physical Education curriculum by the Ministry of Education, and the physical education aspect of SZKT overshadowed the atemi concept, to the point the Atemi aspect became all but obsolete until it was revived by the Dai Nippon Butokukai in 1944 as part of the war effort. 

This seminar, led by Shihan Jim Dart, is a unique opportunity to learn the atemi jitsu aspects Kano introduced into Judo practice at the Kodokan.

This is an ambitious seminar and it might not be possible to get through everything in 3 hours, but this program forms part of a ‘senshusei-kosu’ (specialised, intensive training course) in atemi jitsu, which also includes study of Ju-no-kata and Kime-no-Kata.

This course is  not just for judo practitioners. Practitioners of all styles of martial arts will learn something from this course.