Shingitai Jujitsu, Kodokan Judo, Russian Sambo
The top of this page offers information on Shingitai Jujitsu. Scroll down to the bottom of the page for sambo information.
THE SHINGITAI APPROACH TO TRAINING
Some cultures through the ages have made more emphasis than others on fighting and the Japanese tradition of personal and group combat has evolved into a variety of different fighting systems. Jujitsu, as practiced today, offers a variety of appraoches to personal combat using hand-to-hand fighting skills as well as using 
weapons. The feudal jujutsu of Japan transformed into Kodokan Judo in the late 1800s. While some jujutsu systems remained after Prof. Jigoro Kano organized Kodokan Judo, they were minor in comparison to Kano’s judo. Prof. Kano was a brilliant organizer, teacher, theorist and technician. Through his work, Kodokan Judo eventually spread to every corner of the planet. We will have more on this historical development later in this book, but suffice it to say it was Kano’s judo that laid the path for the modern forms of grappling that evolved as a result of his work. Kodokan Judo continues to be very popular and is an Olympic sport. Millions of people practice it, but it has also been the genesis of a variety of significantly different grappling styles that were developed in the 20th Century.
In the former Soviet Union, the rough-and-tumble grappling style of sambo was developed. Sambo’s roots are in Kodokan Judo as the founder of the Soviet grappling system studied directly under Jigoro Kano, then combined a variety of other wrestling and grappling styles from the various Soviet republics and developed sambo. In another culture and country, Brazil, the seeds of Kodokan Judo were planted and eventually produced what has become Brazilian Jujitsu. In our own culture here in the United States, legitimate professional wrestling was widely popular in the early 1900s. Great wrestlers such as Frank Gotch, Farmer Burns and others popularized what became known as Catch-as-Catch-Can wrestling. Before there was professional football, baseball and basketball, the sport of professional wrestling attracted thousands of spectators all across the country. Just about every county fair featured wrestling matches where a touring professional would take on all comers. Eventually, professional wrestling became the thing that it is today and lost most, if not all, of its original authenticity.
Our approach of Shingitai Jujitsu evolved from the Kodokan Judo that John Saylor excelled at as well as the American tradition of taking what we know and making it work for us. We believe our emphasis of the three 
principles that make up Shingitai make it a comprehensive appraoch to not only grappling, but also to personal combat. As John Saylor has said often; “Jujitsu is first and foremost a fighting art.” The principles of Shin (fighting heart or spirit), Gi (a practical emphasis on technical skill) and Tai (physical fitness) are the principles of any good martial artist, grappler or fighter. While no approach to martial arts training can be complete, our goal in Shingitai is to offer the most practical, effective and technically sound education possible to anyone who chooses to embrace it. (Pictured here is the Barn of Truth, Shingitai's home dojo in Perrysville, Ohio. This barn is where John Saylor lives and trains. There is no place like this barn and if you want to experience what Shingitai is all about, you have to come here. Located on the outskirts of the Mohican National Forest, this barn houses a hard-core weightroom, austere dojo and living quarters.)
We firmly believe that Shingitai Jujtisu (SJJ) is the type of approach to martial arts that can be someone’s base as a serious martial arts athlete or student. Like the Russians embraced sambo, the open-ended approach to accepting anything that works is a characteristic of Shingitai Jujitsu. It’s a large and solid enough base that you can take the principles and skills of SJJ and use them in any form of fighting or self-defense you wish. If there is any phrase to describe what SJJ is, it’s “open-ended.” This means that we emphazise function and effectiveness and use any tool or tactic to achieve success. Our approach is to learn the basic core technique and make it work for us. One thing leads to another and the action-reaction-action that takes place in real fighting is our appraoch to teaching skills. No technique is isolated; everything leads to something else, sets another move up or can be countered. Through disciplined, austere training, an individual progresses in the Shingitai philosophy or approach to jujitsu, self-defense, grappling or martial arts. SHINGITAI GRAPPLING RULES Uniform: Athletes must wear a jacket, pants and belt (standard judo or jujitsu uniform). The jacket sleeves must come to (at least) immediately above the wrist and the pants must come to immediately above the ankle. The jacket must not be so tight or so thick that an opponent cannot grip it. No foreign substance may be used on any part of the uniform or athlete’s body. Any alterations to the uniform that may hinder an opponent from gaining a grip will not be permitted. One contestant will wear a red belt or sash and be designated as “red” for scoring purposes. The other will be designated a “blue” for scoring purposes. Conduct of the Match or Bout: Purpose: To insure punctual start and end of the match or bout and to insure sportsmanship. The bow is mandatory and signifies a sign of respect and sportsmanship between the athletes. The match starts and ends in a standing position with the contestant about 3 to 4 feet apart from each other. The match or bout starts and ends with a bow by the contestants to each other. The referee shall raise the hand of the winner at the end of the match. There will be a referee and judge (who is free to move about the mat) that will decide the match. Ways to Win: Purpose: To clarify the ways to win a Shingitai match or bout. Win by Submission: If an athlete taps the mat, his opponent or himself with his hands or feet or signals defeat verbally (any yell, word, phrase or noise that the athlete having the technique applied makes), he loses by way of a submission or “tap out.” A "tap out" wins the match by use of a submission hold (an armlock aimed against the elbow joint, knee or ankle lock or a strangle or choke). All ankle locks must be straight and in line with the leg. All knee locks must be in line with the upper leg (femur). No twisting ankle or knee locks allowed. Toe holds and heel hooks are not permitted for safety reasons. No neck cranks, headlocks or full nelsons are permitted. The referee has the authority to stop the match immediately if he sees that a submission hold is in effect, but the athlete having the hold applied does not surrender. Similar to a referee stopping a prizefight, the referee must look out for the safety of the athletes first. (An example is that if the referee sees a straight arm in a belly-down cross-body armlock position, he has the authority to stop the match and award the victory to the athlete applying the armlock. In the heat of battle, some athlete may not tap out or signal defeat to their peril. The referee has the authority to stop a match or call a break to action when he observes a dangerous situation that is taking place. Win by Decision: Purpose: The Superior Decision is designed so that one contestant doesn’t sustain unnecessary punishment or possible injury. Point Scoring: Hold-downs and Pins: Passing the Guard, Turning Opponent onto his Back and Near Submission: Active Grappling: Purpose: To insure that both athletes actively compete with each other and avoid passivity. Athletes must actively "tie up" and attempt to grapple. Avoiding contact is considered passivity. Backing away from an opponent excessively is considered passive. If an athlete takes his opponent to the mat in any way, he must actively attempt a technique. Time Outs: One medical time out is allowed for each athlete during the regulation time of the match. The total medical time allowed is 3 minutes. If, at the end of the medial time out, the athlete cannot continue due to an accidental injury, he shall be declared the loser by injury or medical reason. If the athlete is injured by his opponent in a way that is determined to be against the rules by the referee, the offending athlete shall be deemed the loser by medical disqualification. Categories: Female Athletes: Senior: Ages 18-over 3 or 4 weight classes based fairly on participation. Skill Groups: Junior Age Groups: No age groups have been determined at this time for athletes under the age of 18. The Following Acts Result in Immediate Disqualification: Purpose: All Shingitai contest rules are designed so that athletes can compete in a safe and fair atmosphere. The safety of athletes is important and techniques that are deemed dangerous are not permitted. Heel hooks, toeholds or twisting submission holds of any kind applied to any joint or part of the body is an illegal act. No heel hooks, toe holds or twisting locks of any type allowed on the legs, hips, knees, ankles or arms. No neck cranks, head locks or locks or cranks applied to any joint or part of the body other than the legal armlocks, leglocks or chokes. Penalties and Illegal Acts Penalties are awards in the following order: 1-Verbal Warning. 2-Caution. 3-Penalty (referee awards 1 point to opponent). 4-Disqualification. Illegal Acts: Purpose: These acts are illegal but do not merit immediate disqualification. Scissors hold with the legs on the opponent’s head, neck, ribcage or stomach (hooking the ankles together and squeezing), eye gouges, finger pokes, slaps, elbow or forearm shivers, grabbing fingers (grabbing the hand by the fingers is allowed, but not less than four fingers/thumb), wrist twists or locks, head butts, excessive pressure on the neck or bar arms, spitting, use of profane language or gestures, not obeying referee’s commands, excessive talking, or any unsportsmanlike behavior. Rules Not Covered: Anything not covered in these rules will be determined by the head official at the event, meet or tournament. 
RULES FOR SHINGITAI GRAPPLING, FITNESS CONTESTS AND TECHNIQUE TOURNAMENTS
Shingitai Jujitsu is first and foremost a fighting art, but many SJJ athletes like to test themselves against others as well. Our approach to competitin is that it's a personal choice. Some people prefer to train exclusively for self-defense reasons and this is the heart and core of Shingitai Jujitsu. Others may be inclined to want to test themselves against others or against a set standard of performance. With this in mind, Shingitai offers activities in three areas of testing and competition. These three areas of competition offer unique opportunities for each person who involves himself or herself. All three areas of competition refledt the Shingitai philosophy.
1-Shingitai Grappling: This is the competitive matches similar to judo, wrestling and other forms of combat sports. This is a 1-on-1 match and athe athletes compete against each other. This might be looked at from a "Shin" perspective where a "fighting heart" is emphasized.
2-Shingitai Fitness Contests. These are strength, endurance, agility and fitness contests similar to pentathalon events, strongman contests, "ironman" contests and obstacle courses. This type of competitino pits the athlete against th etime clock or course. It's a test of strength, endurance, agility and fitness. This might be looked at from a "Tai" perspective where fitness and physical ability is emphasized.
3-Shingitai Technique Tournaments: Contests where athletes perform specific techniques or skills (not a kata contest) and and are judged on established criteria by a panel of judges. This might be looked at from a "Gi" perspective where skill and technique are emphasized.
These rules will be used in the Shingitai Open and at all Shingitai grappling meets held in the Missouri Valley AAU as an extension of the AAU Judo contest rules and all matches will be conducted in the same way as all AAU judo contests. These rules will be modified at the National Shingitai Jujitsu Championships.
Match or Bout Time: Purpose: The scheduled length of the match or bout is designated in this section.
Male and Female Senior Category: 3, 4 or 5 minutes scheduled.
Veterans (30-39) Male and Female Categories: 3 or 4 minutes scheduled.
Masters (Ages 40-49) Male and Female Categories: 3 or 4 minutes scheduled.
Executives (Ages 40-over) Male and Female Categories: 3 or 4 minutes scheduled.
Referee’s Commands: The referee will have authority to give verbal commands to the athletes. The referee will advise the athletes when they are moving toward the edge of the mat, or for any reason that may arise. The referee will verbally warn the athlete(s) if he/they are not active enough, or for any other reason that may arise during the match or bout.
Start
Break
Pin In (Hand Signal: Referee will extend an arm in the direction of the hold-down.)
Pin Broken (Hand Signal: Referee will extend an arm and wave it back and forth.)
Action
Time Out
Time In
Win by Submission (Athlete submits to his opponent.)
Win by Superior Decision (Athlete has secured a 12-point margin over his opponent.)
Win by Points (At end of time limit, the athlete with the most points wins.)
Win by Decision (after overtime period) (Referee’s decision after overtime period.)
Win by Disqualification (Athlete wins by way of opponent’s fouls.)
Win by Injury (Athlete wins due to opponent’s injury or inability to compete.)
Win by Forfeit (Athlete wins if opponent doesn’t show up for the match.)
At the end of match time, the athlete who has more points than the other will win the match.
Superior Decision. If there is a point spread of 12 points (or more) between the two athletes, the athlete with the 12 points spread will be declared the winner immediately.
Throws/Takedowns:
4 Points for a throw/takedown with the opponent landing largely on his back or back side with force and control.
2 Points for a throw/takedown with the opponent landing largely on his side with force or control.
1 Point for a throw/takedown with the opponent landing on his buttocks or on his front or front side or with opponent landing on his hands and knees with force and control.
Note: A throw or takedown that starts with the attacker inside the regulation mat area and the opponent is thrown outside of the designated mat area will be a valid for scoring purposes.
4 points for a hold-down of 20 seconds.
2 points for a hold-down of 10 to less than 20 seconds.
Hold-down is similar as any hold-down (osaekomi) in sport judo or position in submission grappling. A side mount or mount is considered a hold-down. Knee in the chest is considered a hold-down as long as control is maintained.
The referee will announce, “pin in” when one athlete has gained enough control for a hold-down. An escape is recognized when the bottom athlete breaks free of his opponent and is no longer under his control and has freed his legs if they have been controlled. The referee will announce, “pin broken” when the athlete escapes from a hold-down.
1 point for passing by the opponent’s guard and getting by his legs completely.
1 point for sweeping the opponent from the guard and rolling him over with control to his back or backside.
1 point for turning the opponent who is on his hands and knees over onto his back and/or backside with control.
1 point for securing and maintaining a position for a submission technique that in the referee’s judgment may win the match but the opponent escapes. The attacking grappler “almost” secures the move. Note: The referee will award near submission point immediately after the technique has been broken. (Example: Athlete A has a Sankaku (Triangle) on his opponent from the guard position and Athlete B picks up Athlete A and nullifies the technique. The referee will award 1 point to Athlete A for a near-submission.)
As long as an athlete is making progress and attempting a technique or move, he will be given as much time in groundfighting as the referee deems necessary to achieve the technique. Likewise, the referee will give the defender of the action sufficient time to defend himself and escape or counter the move. The athlete on the bottom in the guard position must make an attempt to sweep or roll his opponent over and the athlete in the top position in the guard must make an attempt to pass the guard or control his opponent. If the referee deems the athletes are not aggressively or effectively attempting moves, he has the authority to stop action and put both athlete to their feet to resume the match.
Grabbing the knot of the opponent’s belt while in a standing position, grabbing inside the opponent’s sleeve or sleeves or pant leg or legs (from standing or in groundfighting) is not permitted.
If the referee deems an athlete too defensive in his posture in a standing position and not attempting to engage his opponent, he will be subject to the rules covering passive grappling.
If either athlete’s uniform or equipment is loose or damaged, the referee may call a time out on the referee’s time (and not at the athlete’s time) at his discretion.
Male Athletes: Senior: Ages 18-over (Weight in pounds.) 135, 145, 160, 175, 190, 210, 235 Over 235.
Veterans: Ages 30-39 Masters: Ages 40-49 Executives: Ages 50-over
These age groups will be divided fairly into weight categories based on participation at the event.
Veterans: Ages 30-39 Masters: Ages 40-49 Executive: Ages 50-0ver
These groups will be divided fairly into appropriate weight categories based on participation.
Advanced-Athletes with 2 or more years of experience and has attained the rank of purple, brown or black belt in any form of jujitsu, judo or related combat sport or martial art.
Rookie-Athlete with less than 2 years experience and has not attained the rank of purple, brown or black belt in any form of jujitsu, judo or related combat sport or martial art.
If an athlete is in the guard and attempting an armlock and his opponent picks him up, the referee will signal "break" and the bottom man attempting the armlock must immediately stop his attempt to lock the opponent's arm (risk of breaking an arm). The athlete pulling his opponent up off the mat must not drop or forcefully drive his opponent back to the mat. He must make every attempt to lower his opponent without injury. (Risk of neck, back and arm injury is too great to allow this to happen.)
When attempting a submission hold, the attacker must give his opponent time to submit or surrender.
No “fall-down armlocks” (such as the fall-down waki gatame armlock) or any submission hold allowed where the attacker starts from a standing position and doesn’t allow his opponent a chance to tap out, surrender or signal defeat. An athlete is permitted to take his opponent to the mat but must be done in a safe manner so that the opponent has a chance to submit and not be injured.
If an athlete is thrown and lands in the neck bridge position, he will lose the match immediately (risk of a broken neck).
Attempting to throw an opponent with the crab scissors throw (risk of broken leg or knees).
Attempting to throw an opponent and entwining his leg (called kawazu gake) with the attacker’s leg (risk of possible knee injury).
Attempting to throw an opponent and the thrower lands on his head (risk of neck injury).
Kicking, punching or striking the opponent in any way results in immediate disqualification.
Some acts are so dangerous or unsportsmanlike that immediate disqualification takes place. (See above in the rules for a listing.)
THE DEVELOPMENT AND HISTORY OF SHINGITAI JUJITSU
By Steve Scott
To understand Shingitai Jujitsu and its role in the world of jujitsu, martial arts and self-defense let’s take a look at some historical developments that led to its development.
American silver medallist and was a leading candidate for the U.S. Olympic Judo Team that would compete in the 1984 Los Angeles Olympic Games. However, in 1982, John sustained a serious shoulder injury in the U.S. National Judo Championships and his competitive days were over. After rehabilitating his injury, John turned his attention to coaching and was selected for the coaching job at the U.S. Olympic Center in 1983. (This photo shows John Saylor teaching at a Shingitai clinic in 2006.)
During his tenure as coach of the Olympic Training Center, John Saylor was exposed to some of the best judo technicians in the world. The leading judo teams from Asia, Europe and the Americas visited the Olympic Training Center regularly and John wasted no effort in observing their training methods and discussing judo technique with the world's top judo athletes and coaches. Not only did he work with the top judo people, Saylor worked closely with some of the top strength and conditioning coaches in the world who coached and did research at the Olympic Training Center or were visiting form other nations.
John Saylor built on his existing base of grappling knowledge by this experience at the Olympic Training Center. He served as the coach from 1983 until 1991. However, before he left his position at the Olympic Training Center, Saylor began a more thorough and extensive study of martial arts. Not wanting to be confined to the limits of competitive judo, John began to look outside of his primary martial art and studied Japanese karate, Korean taekwondo, boxing, wrestling and was interested in any form of personal combat or combat sports.
In 1984, Saylor, along with his good friend Dave Hodge, opened their own private training center in Colorado Springs, Colorado in what was to be the first Shingitai Jujitsu club. This first Shingitai dojo was a rough and tumble place, but the atmosphere was always positive. John’s personality and work ethic 
and Dave’s street smarts were what made this place the best (and toughest) dojo in the area. All the while, John was continuing his work as the judo coach at the U.S. Olympic Training Center.
One of John Saylor's early judo instructors, Yoshisada Yonezuka, emphasized the philosophy of shin (mind), gi (technique) and tai (body). Actually, Yasuhiro Konishi initially made the Japanese philosophy of “Shingitai” public in 1934. Konishi was the founder of the Shindo Shizen Ryu. Konishi's Shindo Ryu was a system of karate-jutsu as Konishi had studied under Gichen Funakoshi and Choki Motobu, pioneers in the development of karate, eventually forming his own approach to teaching karate. In no way is Saylor's Shingitai a direct descendent of Konishi's form of training, however, the philosophical roots of Shingitai Jujitsu have historical precedent in Shindo Shizen Ryu and through the teaching of Yoshisada Yonezuka, who was well-schooled in the traditional teachings of bujutsu and budo, and taught them to John Saylor early in his career as a judo athlete.
Yonezuka taught Saylor that through dedication to training, carried out over an extended period of time, shin, gi and tai would develop in proper proportion in an individual.
Saylor's philosophy teaches that shin comprises the spiritual and mental facet of the art. This also encompasses the "fighting heart" of the Shingitai exponent. The tactics, strategies, and cognitive appreciation of jujitsu also comprise this facet of the art. The word gi means technique. The Shingitai exponent must make a thorough and realistic technical study. Developing useful, effective and realistic skill is fundamentally important. The word tai refers to the body and to the importance of physical fitness in Shingitai Jujitsu. One must be physically able to perform the techniques of jujitsu. Jujitsu is a fighting art and requires a body that can react when necessary and can physically adapt to the situation at hand. This also refers to austerity in living. Bad habits can lead to a weak body, a weak mind and a weak spirit.
Saylor learned early on that an individual's elevated degree of fitness often dictated his ability to fully increase technical development and mental readiness for fighting. Thus, John Saylor built his personal philosophy on the three elements of shin, gi and tai.
Initially, John Saylor called his approach to teaching Shingitai Goshin-jitsu, which means "mind-technique-body self-defense-art". He called it goshin-jitsu because what he was advocating was, according to him, a "well-rounded approach to self-defense training".
Saylor often compared Shingitai to the decathlon in track and field, where a person must develop his skills in a variety of areas to be successful. A decathlete must have the skills and fitness level to compete 
in all ten events. He can't afford to specialize in any one event at the expense of neglecting the other events. The same can be said in effective self-defense. An individual must have the skills and fitness level to adapt to the many situations that may arise in real fighting. John’s work at the Olympic Training Center gave him access to working with some of the best judo, jujitsu, wrestling, boxing, strength training and weightlifting athletes and coaches in the world. In addition, John spent a great deal of time in studying the most innovative and effective ways to teach fighting skills and physical fitness from some of the top elite coaches in the world who passed through the Olympic Training Center. Shingitai’s philosophy of “cross-training” has its roots in these days of learning and experimentation at the Olympic Training Center.
With an open mind to a variety of influences, Saylor wanted to offer a realistic, combat-effective approach both in strategy and technical application. He freely borrowed from the traditional teachings of many bujutsu and budo sources as well as from the more modern approaches to physical education, strength and conditioning training and psychological training.
John Saylor wrote in 1993; "The Shingitai Goshin-Jitsu Association is dedicated to the mental, technical and physical development of its members through the teaching and practice of the most up to date and combat effective martial arts skills available today".
Being historically accurate was important to John in the development of his Shingitai as well as being combat effective. He realized that contemporary instructors in various martial arts were “inventing" and "improving" on the more traditional styles (as well as the non-traditional systems) with an all-too-common regularity, often promoting themselves to high belt ranks and making outrageous claims.
John Saylor was (and is) an austere man with a personality formed to a great degree by a life of hard training and the pursuit of athletic excellence. Years of taking, and giving, beatings on judo mats in many places in the world gave him a sense of both humility and confidence. Knowing that he had fought and trained with some of the toughest men in the world gave him a realistic perspective on what the martial arts were then, and are now. He wasn't about to "invent" a "new" style of martial art or claim to be something he wasn’t.
Shingitai’s appearance in the early 1980s as a viable approach to self-defense and martial arts training is similar to the historical development of Japanese budo (martial way or philosophy) in the late 1800s. Although some people might not view it as historically important in some ways to the 
development of budo in Japan, Shingitai’s development as a specific approach to training in martial arts is one of several that took place in the United States (and elsewhere) during the period between 1965-1995. Others, such as Ed Parker, Gene LeBell, Bruce Lee, the Gracie Family, Wally Jay, and others in a variety of both striking and grappling martial arts were openly advocating the ideas of cross-training, function dictating form and approaching the learning and teaching of martial arts in a similar manner to what John Saylor was doing with his work in Shingitai. In 1995, John changed the name Shingitai Goshin-jitsu to Shingitai Jujitsu, as the American public was (and continues to be) more familiar with the word jujitsu.
The roots of what we now call jujitsu go back to Japan. Classical bujutsu (martial art) evolved into classical budo (martial way or philosophy) in Japan prior to the Meiji period (starting in 1868), which led (after 1868) to the modern forms of judo, karate, kendo and others. Japanese technicians and masters founded the modern budo systems such as Kodokan Judo, Shotokan Karate-Do, Aikido, and others with direct philosophical foundations in Zen and Shintoism. The founders of these disciplines borrowed liberally from the theory and the practice of classical bujutsu and budo. Classical bujutsu, simply stated, was the Japanese study of warfare. Bujutsu was a generic term for the many arts of war that the bushi (warriors) were required to learn. When warfare changed with the opening up of Japan by westerners, bujutsu (and the professional warriors who adhered to it) become unnecessary. This led to the development of budo (martial way) in Japan in the late 1800s and early 1900s.
A similar situation took place with the development of sambo in the Soviet Union. The Soviet Government commissioned Vasili Oshchepkov and others to develop a method of hand-to-hand combat for the Soviet military in the early 1920s. Oshchepkov and his contemporaries traveled to Japan and studied Kodokan Judo. Oshchepkov received a 2nd degree Black Belt in Kodokan Judo, and after making a study of grappling and fighting systems throughout the Soviet Empire, eventually developed what become known as sambo in the early 1930s. "Sambo" is an acronym for the Russian words meaning "self-defense without weapons". Basically, what the Soviets did was take the technical facets of judo, remove the philosophical underpinnings, make some adaptations technically and create their own hand-to-hand combat system. John Saylor did something similar in the development of his Shingitai in the United States, but without government sponsorship.
Historically, what has taken place is that many cultures have embraced the bujutsu (and ultimately the budo) of Japan and developed them into martial disciplines of their own. This is the cycle of what has taken place in martial arts for centuries, even in feudal Japan. Shingitai Jujitsu is certainly part of this cycle of development within the culture and history of martial arts and has taken its place for its functional approach to training.
Shingitai Jujitsu: A Culture Of Discipline
By John Saylor
The modern Western culture in which we live values comfort, instant gratification, and ease. Just look at all the advertising claiming easy weight loss, or fitness without effort. The “want something for nothing” philosophy is everywhere around us. In Shingitai Jujitsu, though, we have different values that we maintain within a culture of discipline. We exercise this discipline in the following three categories:
Shin: means mind, spirit, or heart.
Gi: refers to technique or skill.
Tai: means the body, or the physical.
If you possess discipline in each of these areas you will set yourself apart from the milk-suck, weak-willed majority around you. You will prevail in SJJ and in life.
The philosophy of Shingitai was something I first learned from my coach, Yoshisada “Yone” Yonezuka, a 2-time U.S. Olympic Judo Coach and All-Japan Collegiate Champion. As Yone explained, if you possess these attributes in the right proportion you will most often emerge the winner in judo or other martial arts. The Japanese often combine these three words into one: Shingitai, and it’s no accident that Shin is always first. You must first have the right mind-set before you will acquire great skill or physical conditioning. The qualities of Shin, Gi, and Tai are closely interwoven and each has an influence on the others. Keep these things in mind as you train in Shingitai Jujitsu.
THE PRINCIPLES OF SHINGITAI JUJITSU
By John Saylor
These are some of the principles that, if diligently pursued, will lead to your success as a martial artist. This list is by no means complete—there are other important principles that will need to be added as time goes on—but these will provide a good base:
1) Develop the Attributes Required to be a Good Martial Artist
Start by examining yourself in three general areas: Shin, Gi, and Tai.
Shin refers to your mind, spirit, or heart.
You first must have the right mindset for training, self-defense, or competition. Both skill (Gi), and the body (Tai), are directly affected by the mind (Shin). This is why Shin is so important and it is why the Japanese place the word Shin first when combining the three words into one. Some of the mental attributes you should strive to develop are mental toughness and an indomitable will.
The words Shin, Gi, and Tai serve as a great trouble-shooting checklist. If your progress has stalled, examine yourself in each category and work to surpass your previous limits. If you do this consistently over a period of time, you will become an outstanding martial artist.
2) Balance the Development of All Ranges of Fighting
I’ve often described Shingitai Jujitsu as the Decathlon of the martial arts.
The Decathlon is comprised of ten totally different grueling events over a two-day period. Each of the events requires not only physical training, which is specific, but also a completely different mindset.
T
“Don’t just do what you want to do. Do what you need to do.”
Again, always work your weaknesses as well as your strengths. In an actual self-defense situation your attacker may deny you your favorite range, but if you’ve trained in Shingitai Jujitsu for any length of time you will be able to adapt.
3) Develop Smooth Transitions Between Ranges of Fighting
In what will surely go down as one of the best fights ever, on August 28, 2005, Mirko “CroCop” faced the Russian Fedor Emilianenko for the heavyweight championship in, for my money, the best of the Mixed Martial Art Competitions, the Pride Fighting Championship held in Japan.
What a battle! A 10-minute action-packed first round followed by two high- voltage 5-minute rounds. I won’t go through the fight blow-by-blow, but I’d like to use it to illustrate one of the key principles of Shingitai Jujitsu: Develop Smooth Transitions Between Ranges Of Fighting. Whether for self-defense or for contest, this principle is vital to your success as a fighter.
Now, let’s take a look at the fight. The challenger, Mirko “CroCop,” is regarded as one of the most dangerous strikers in Mixed Martial Arts. What’s more, he has developed his takedown and ground-fighting defense to such a degree that he is able to spend most of his time on his feet where he is most deadly.
The current (as of 2007) Pride Heavyweight Champion, Fedor Emilianenko, has a cherubic face that at first glance looks about as harmless as a choirboy. But looks can be deceiving. Not only has Fedor mastered all ranges of fighting, but has absolutely no gaps between those ranges. He’s deadly with his punches and kicks, and as a former SOMBO champion, he also has dynamic throws, takedowns, and submission skills…and he flows between these ranges reflexively.
During his fight with Mirko “Cro Cop,” for example, Fedor attacked several times with right Ouchi Gari (Major Inside Reaping Throw, a.k.a. Inside Trip.) There’s nothing unusual about that. After all, he is a sambo champion and a good judoist. But what made the Ouchi Gari unique was the way he combined it with knee kicks. Every time “Cro Cop” successfully defended the right Ouchi Gari, Fedor reflexively drove a powerful left knee strike into “Cro Cop’s” midsection. There was no hesitation or gap whatsoever. This, I believe, was a trained move. And let’s not forget that two of his Ouchi Gari attacks landed “Cro Cop” on his back where Fedor had the advantage in ground- work.
Several times from a right over-hook or “whizzer” tie-up, Fedor also attempted a right Uchimata (Inner Thigh Throw). “Cro Cop” successfully blocked the Uchimata. Fedor, however, immediately withdrew his right sweeping leg, planted it and threw a powerful left hook that enabled him to maintain momentum and dominance. Again, with Fedor, there is no gap between his throwing and striking techniques, and this makes him very dangerous.
How did Fedor Emilianenko develop such smooth transitions between his throws and strikes, throws to groundwork, and so on? How does he train? Well, only he and his trainers know for sure, and they’re not talking. All they revealed about his preparation for this heavyweight championship bout was that throughout July, Fedor had trained in the mountains, no doubt to further improve his endurance by training at high altitude. But their secrecy notwithstanding, we can probably make an educated guess.
The two combinations just mentioned, right Ouchi-Gari to left knee strike, and right Uchimata to left hook, were probably skills that Fedor had drilled repeatedly before the match. In addition to drilling these combinations in isolation for high reps, I would guess that he purposefully went after these follow-up combinations in his live free-practice or sparring. Maybe his trainers even put a quota on him by demanding a certain number of those attacks per round. Who knows?
All I do know is that reflexive combinations such as Fedor exhibited don’t come from nowhere in the midst of a fight. They are the result of something…weeks, months, years of disciplined training. I believe that Fedor diligently drills to develop smooth transitions between the various ranges of fighting, and that this is one reason he is such a dangerous fighter. And you can do the same!
4) Learn High Percentage Success/Low Percentage Risk Techniques
Fighting is all about odds, so place the odds in your favor by learning and
practicing techniques that work a high percentage of the time and which are less likely to be countered by your opponent or attacker. In the striking arts, for example, high kicks, jump kicks, and other acrobatic skills are very flashy, but they also run a high risk of being countered. Instead, emphasize knees, elbows, basic punches, low kicks, and so on. The same principle also applies to throwing and grappling. Find out which techniques work consistently and focus on these in practice.
5) Narrow Your Techniques Down to a Few
Once you have determined your high percentage success/low percentage risk techniques, narrow your focus down further to one or two techniques and develop a few supporting techniques around them. This is especially true of throwing skills (In grappling it is possible to work on more skills because most don’t require as much time to learn).
Yoshida “Yone” Yonezuka, an outstanding judoist and coach of several U.S. Olympic Judo Teams, stated it this way at a clinic at the U.S. Olympic Training Center. “Who do you think will be better? The guy who practices ten throws, or the guy who only knows and practices two?”
Some beginner and intermediate judoists who were present answered that the one who knows ten throws would be better.
Incidentally, in his prime, Yone threw many opponents so hard with his Osoto Gari (Major Outside Reaping Throw) that they were knocked unconscious. Follow his advice and narrow your throws down to a favorite technique, focus most of your practice time on it, and then build a small series of supporting throws around it. Your opponent must respect your favorite technique or he won’t react to it, and he won’t be open for follow-up combinations. This advice is especially true in an art as diverse as jujitsu. Simplify each range of fighting into a few key high percentage success/low percentage risk skills, and once you master these add a small series of follow-up skills to use in combinations. Let’s look at the last statement in more detail:
6) Group Skills Together Into a Series
Once you have developed a favorite technique that your opponent will have to respect and react to, you can add a small series of supporting techniques around it. Again, though, if your opponent doesn’t fear your favorite technique he won’t react to it and none of your follow-up combinations will work either. To build an effective series, whether in throwing, striking, or grappling, start with a strong attack, and analyze your opponent’s possible reactions and defenses to it. Then devise a follow-up technique for each of his possible defenses.
By grouping your skills together this way you will learn quicker and will greatly increase your odds of winning.
7) Develop a Strong Defense
Whether for self-defense or competition, the first part of winning is not losing. To be a consistent winner you need a strong defense against striking, throwing and takedowns, ground fighting, and for self-defense, against all types of violent physical assaults. In competition a strong defense wins matches. On the street it helps insure your survival.
8) Simulate Self-Defense or Contest Situations as Closely as Possible
Sports scientists often refer to this as specificity of training, or as the SAID principle: Specific Adaptation to Imposed Demands. Once you have some command of basic skills, add more stressful situations that duplicate actual self-defense or contest conditions as closely as possible. Remember, you will adapt only to what you have specifically imposed upon yourself in training. How you train is how you will react.
9) Establish Domination
The old maxim, “Lead or be led,” certainly applies here.
Whenever possible, though, try to establish domination from the start. If your opponent gets off the first attack, though, try to punish it. If he shoots in for a takedown, for example, sprawl, smash your hips into him, push his head into the mat, get behind him and drive him onto his face. Then get on his back with your feet hooked in and grind into a choke. Even if you don’t get the submission, do you really thing he wants to shoot in with that same takedown again? Not likely. Again, always try to punish his first attack.
10) Employ Superior Strategy and Tactics
This is an entire study in itself, and basically involves stacking the odds in your favor. There are numerous ways to do this, and it is beyond the scope of this short overview of principles to go into them in any depth, but start by honestly analyzing your strengths and weaknesses. Then pit your strengths against the opponent’s weaknesses. This involves knowing both yourself and your opponent. There are many more tactical considerations we could discuss, but since we could fill an entire book with them, it will have to wait until another time.
Conclusion: To sum up, many individual techniques come into and out of vogue, but the principles of fighting are timeless. If you make a thorough study of these principles and put them into practice you will achieve great success in Shingitai Jujitsu.
SAMBO
The sport of sambo (also spelled sombo) is a rough and tumble grappling sport and method of fighting native to the old Soviet Union. The hybrid fighting sport that was first publicly called "sambo" in 1938 was developed by Vasili Oshchepkov after his return to the Soviet Union from Japan in 1914. Oshchepkov studied judo at the Kodokan in Tokyo and earned the rank of Nidan (2nd Grade Black Belt) directly from Prof. Jigoro Kano, judo's founder. Oshchepkov was commissioned by the Svoiet government to develop a self-defense activity for both the Soviet soldiers and citizens. Along with a number of colleagues, Oshchepkov toured the Soviet Union's republics and studied the many regional wrestling, grappling and fighting styles native to each republic of the Soviet empire. Oshchepkov's aim was to develop a Sovet form of judo and he and his team of colleagues blended the many cultural grappling and fighting styles into the judo he brought back from Japan and formed a unique and highly effective hyrid form of sport combat.
Oshchepkov's mistake was to give credit to Japanese judo for this developing wrestling form, and in the isolated, communist dictatorship of the Soviet Union this was considered "treason" by Stalin's henchmen. As a result, Vasili Oshchepkov was arrested and shot in 1937 in a Soviet prison. Oshchepkov never referred to this hyrid grappling style as "sambo" and it was later given this name by Anatoli Harliempf and officially called sambo in 1938. The name "sambo" is an acronym for SAMozashchita Bez Oruzhiya (SAMBO) which means "self defense without weapons."
There are 2 primary forms of sambo. The most popular form is sport sambo, but the combat sambo has gained popularity in recent years. At Welcome Mat, we practice the sport form of sambo where throws, takedowns, armlocks, leg/ankle locks and hold-downs are used. Scoring in sambo matches is similar to how Olympic style wrestling is scored and the emphasis is on effective throws followed by effective submission holds. Some people mistakenly believe sambo is only done on the ground or mat, but sambo has many unique, skillful and effective throwing techniques. In all reality, the goal of a sambo wrestler is force his opponent to submit by an armlock or leg/ankle lock. Hold-downs are used as in submission grappling where you can earn points but not victory. Physical fitness is stressed in sambo training and this is why sambo is so much like Shingitai Jujitsu. A sambo match is a physically demanding activity and as a local newspaper report in Kansas City once said "Sambo is not for the faint of heart."
This photo shows Bill West demonstrating the cross-body armlock on Eric Millsap, a typical submission techniques used in sambo. The above photo shows a bent-knee lock demonstrated by World Sambo Champion Chris Heckadon on Bob Rittman. 
Jim Schneweis, U.S. National Sambo Champion and coach of many sambo champions is the referee in this photo. Kenney Brink, also a U.S. National Sambo Champion, is throwing his opponent is typical sambo style.
SAMBO'S UNIQUE APPROACH TO THROWING AND TAKING THE OPPONENT TO THE MAT
Something that is often misunderstood about sambo throwing techniques is that thye rely on "power" more than technical skill. This isn't the case at all as sambo throws are based on the same technical and mechanical factors that judo and jujitsu throws are based on. A good throw is a good throw. What makes the throws of sambo so unique is the concept of gripping, space between the two opponents and posture. At no time, does a sambo wrestler want to engage in a grip that is neutral or one that gives his opponent the advantage. Grip fighting in sambo is fierce and aggressive and it was the Soviet sambo wrestlers who competed in international judo events starting in the 1960s that changed how judo gripping was viewed (and still done today in international judo). Early on in a sambo wrestler's development, he is taught to aggressivley sominate the grip. The grip usually dictates the type of attack the sambo wrestler will use and this grip control further dictates the posture, space between the two grapplers and tempo of the match. Those who call this approach to judo and jujitsu as "power judo" miss the point of the importance of dominating the grip and controlling your opponent's posture.
One of the most recognized thowing techniques in sambo is what we in the west call the "Kharbarelli." Named after 1980 Olympic Judo Champion Shota Kharbarelli (also a World Sambo Champion) who used this throw on many opponents, this throw is indicative of the hard-core approach sambo wrestlers take in grappling. This throw demonstrates the sambo approach to controlling the grip and keeping the distance short between the two grapplers. Gripping is a vital part of sambo throwing techniques, and is what often gives sambo that particular appearance so unique to this form of grappling.
Chris Bartley is demonstrating the Kharbarelli throw on his training partner Brian Lepic. This looping over the back grip is typical a many sambo throwing techniques.
Chris pulls Brian in close to his body as he steps into Brian and lifts his leg. As he does, this, Chris pulls hard with his right hand on Brian's belt.
As Chris pulls with his right hand on Brian's belt and uses his left hand to lift Brian's right leg, he quickly rotate his upper body to his right/back direction and uses his right leg to help lift Brian.
This is a spectacular throw and results in a hard landing for any opponent who gets caught in it. While this photo sequence isn't exactly the same as the famous photo of Kharbarelli throwing his Finnish opponent, the throw is very similar and the basic concept of control with the looping grip over the opponent's back, hip movement, thigh/leg lift and other technical factors are the same that made the Kharbarelli throw so famous.
