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MARTIAL ARTS COLLEGE OF CLAYTON

MACC JUDO

BOOK ONE – 6TH KYU REQUIREMENTS –

YELLOW BELT

Theodore Angelo Povinelli

Korean Judo Association

Certification No. 1542

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MARTIAL ARTS COLLEGE OF CLAYTONMACC PRESS

“MACC JUDO BOOK ONE” 3rd EDITIONCOPYRIGHT JULY 20096348 S. ROSEBURY, CLAYTON MISSOURI 63105UNITED STATES OF AMERICA

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ACKNOWLEDGEMENTS

I WOULD LIKE TO THANK SUSAN GARVERICK, JUDOKA SANKYU, FOR ALL HER HELP IN CREATING BOOK ONE OF JUDO FOR ADULTS.

SUSAN GARVERICK

THEODORE ANGELO POVINELLI

AUGUST 2009

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“There is nothing so strong as gentleness;and nothing so gentle as true strength.”

Frances de Sales

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MACC JUDO BOOK ONE – 6TH KYU REQUIREMENTS –

YELLOW BELT

STUDENT

START DATE

TEST DATE

INSTRUCTOR

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TABLE OF CONTENTS

SECTION 1: INFORMATION

HISTORY OF JUDO 9

PRINCIPLE OF JUDO 9

ETTIQUETTE OF JUDO 9

PRINCIPLES OF MACC 10

HUMILITY 10

RESPECT 10

DISCIPLINE 10

HOW TO TIE YOUR BELT 11

SECTION 2: TERMINOLOGY

JAPANESE TERMINOLOGY 12

JAPANESE COUNTING 13

SECTION 3: TECHNIQUES

UKEMI WAZA 14

BACK FALL 14

SIDE FALL 15

CHUGARI 16

UKI OTOSHICHUGARI 17

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TABLE OF CONTENTS (CONTINUED)

HAPPONO KUZUSHI 18

TAI SABAKI 19

JIGO TAI POSITION 20

OSAE KOMI WAZA 21

KESA GATAME 21

ESCAPE TECHNIQUES 21

SECTION 4: NAGE WAZA

IKKYO NO WAZA (GROUP #1) 22

O SOTO GARI 22

O GOSHI 23

DE ASHI HARAI 24

SEOI NAGE 25

- MOROTE 25

- IPPON 26

O UCHI GARI 27

UKI GOSHI 28

SASAE TSURI KOMI ASHI 29

HIZA GURUMA 30

IPPON SEOI OTOSHI 31

TABLE OF CONTENTS (CONTINUED)7

SECTION 5: EXERCISE TRAINING

EXERCISE DESCRIPTION 32

EXERCISE CHART 36

SECTION 6: COURSE PROGRESSION

PROGRESSION CHART EXPLANATION 37

REQUIREMENTS FOR YELLOW BELT 37

CLASS CHART 1 - 31+ 38

6TH KYU EXAM SHEET ____________________________________69

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SECTION 1: INFORMATION

HISTORY OF JUDO JUDO WAS CREATED IN JAPAN IN 1882 BY KANO JIGORO FROM HIS EARLY TRAINING IN JUJUTSU. JUDO MEANS “THE GENTLE WAY”.

PRINCIPLE OF JUDOJUDO IS BASED ON THE PRINCIPLE OF MAXIMUM EFFICIENCY AND MINIMUM ENERGY. BY OFF BALANCING A PERSON, AND THEN APPLYING LEVERAGE AT A POINT BELOW HIS CENTER OF GRAVITY, WE CAN OVERCOME HIM WITH MINIMAL EFFORT.

ETTIQUETE OF JUDOWE SHOW GRATITUDE AND RESPECT TO EACH OTHER BY BOWING WHEN WE PRACTICE. WE ARE THANKING EACH OTHER FOR PROVIDING THE OPPORTUNITY TO IMPROVE OURSELVES.

WE NEED TO KEEP OUR UNIFORMS CLEAN AND IN GOOD REPAIR. WE MUST KEEP OUR NAILS TRIMMED TO AVOID INJURY.

WHITE PIGMENT IS THE ABSENSE OF ALL COLOR. WE WEAR A WHITE UNIFORM TO SYMBOLIZE THE ABSENSE OF KNOWLEDGE AND TO SHOW WE ARE WILLING AND READY TO LEARN.

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PRINCIPLES OF MACCAS WE PRACTICE JUDO, WE SHOULD DEVELOP THE FOLLOWING THREE PRINCIPLES TO HELP US LEARN MORE EFFICIENTLY AND EFFECTIVELY.

HUMILITYHUMILITY ALLOWS US TO ENTER THE LEARNING PROCESS WITH AN OPEN MIND. IT IS ONLY BY ACCEPTING THAT WE DO NOT HAVE THE KNOWLEDGE WE ARE SEEKING, THAT WE CAN THEN BEGIN TO LEARN THE NEW CONCEPTS WHICH JUDO OFFERS.

RESPECTIT IS VITALLY IMPORTANT THAT WE SHOW DIGNITY AND EQUALITY TO EACH OTHER WHILE IN THE DOJO TRAINING, AND OUTSIDE WHERE WE LIVE. INSIDE THE DOJO WE WANT ALL STUDENTS TO FEEL WELCOME AND AT EASE; NOT NERVOUS OR SCARED. THAT WAY ALL CAN PRACTICE THE JUDO TECHNIQUES FREELY WITHOUT RESERVE. TO PRACTICE THIS WAY HELPS PREVENT INJURIES TO EACH OTHER THAT NERVOUSNESS AND FEAR CAN CAUSE.

OUTSIDE THE DOJO IT IS EQUALLY IMPORTANT TO SHOW RESPECT TO OTHERS BECAUSE IT FRAMES OUR TEMPERMANT AND ALLOWS US TO ACT RATIONALLY TO EVENTS HAPPENING AROUND US, UNDISTRACTED BY MISGUIDED FEELINGS OF SUPERIORITY. RESPECT ALLOWS US TO FOCUS ON WHAT IS REALLY HAPPENING BY GIVING US TIME TO REFLECT DURING THE RESTRAINT IN OUR ATTITUDE TOWARD OTHERS.

DISCIPLINEMOST IMPORTANT IS THE DISCIPLINE THAT WE DEVELOP AND DEMAND OF OURSELVES. IT IS THE MOTIVATION TO PUSH OURSELVES THROUGH THE OBSTACLES AND DISCOMFORTS OF PRACTICE IN THE COURSE OF LEARNING SO THAT WE CAN BECOME BETTER HUMAN BEINGS FROM THE UNDERSTANDING OF OUR BODIES. THIS IS WHAT JUDO TEACHES.

HOW TO TIE YOUR BELT10

PLACE THE CENTER OF THE BELT ON YOUR STOMACH. TAKE BOTH ENDS AND WRAP THEM AROUND YOUR BACK SO THEY

CROSS AND THEN BRING BOTH ENDS BACK IN FRONT OF YOU. TAKE ONE OF THE ENDS AND PUT IT UNDERNEATH BOTH LAYERS AND

PULL IT THROUGH. TAKE THAT SAME END AND WRAP IT AROUND THE OTHER END (THE

END ON TOP STAYS ON TOP), THEN PUT IT THROUGH THE HOLE CREATED AND PULL YOUR BELT TIGHT.

THIS SHOULD CREATE A SQUARE KNOT WITH BOTH ENDS HANGING TO THE SIDES. IF THE ENDS ARE HANGING UP AND DOWN INSTEAD OF TO THE SIDES, YOU MADE A MISTAKE.

SECTION 2: TERMINOLOGY

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JAPANESE TERMINOLOGYKYOSKEI ATTENTION

REI BOW

TORI THROWER

UKE FALLER

SENSEI TEACHER

DOJO SCHOOL (PLACE OF ENLIGHTENMENT)

MATE STOP

HAJIME BEGIN

JUDOKA JUDO STUDENT

JUDO GI UNIFORM

OSAI KOMI HOLD

TOKETA HOLD BROKEN

NAGE THROW

TAI SABAKI BODY MOVEMENT

UKEMI FALL

CHUGARI TUMBLING

JIGO TAI LOWER BODY STANCE

JAPANESE COUNTINGICHI ONE

NI TWO12

SAN THREE

SHI FOUR

GO FIVE

ROKUSIX

SHICHI SEVEN

HACHI EIGHT

KYUU NINE

JUU TEN

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SECTION 3: TECHNIQUES

UKEMI WAZA (FALLING TECHNIQUE)BACK FALL

SIT ON THE FLOOR WITH YOUR LEGS OUT STRAIGHT. CROSS YOUR ARMS IN FRONT OF YOUR CHEST. TUCK YOUR CHIN INTO YOUR CHEST. ROLL YOUR BODY BACKWARD LIKE A WHEEL WHILE BRINGING YOUR

LEGS UPWARD INTO THE AIR. AS THE LOWER PART OF YOUR BACK BEGINS TO TOUCH THE FLOOR,

WHIP YOUR ARMS APART AND SLAP THE FLOOR NEXT TO YOUR HIPS WITH THE PALMS OF YOUR HANDS KEEPING THE FINGERS HELD TOGETHER.

COMPLETE THE ROLL ALONG YOUR UPPER BACK, THEN BRING YOUR LEGS BACK DOWN TO THE FLOOR SITTING BACK UP IN THE BEGINNING POSITION.

TO PERFORM A BACK FALL FROM A STANDING POSTION, CROSS YOUR ARMS ACROSS YOUR BODY THEN SQUAT DOWN AND LEAN BACKWARDS UNTIL YOU ARE PERFORMING A BACK FALL AS ABOVE.

SIDE FALL

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LIE ON YOUR RIGHT SIDE WITH YOUR RIGHT LEG OUT STRAIGHT AND YOUR LEFT LEG BENT.

YOUR LEFT FOOT SHOULD BE FLAT ON THE GROUND ABOUT TWELVE INCHES AWAY FROM YOUR HIP AND YOUR LEFT KNEE SHOULD POINT STRAIGHT UP IN THE AIR.

PLACE YOUR LEFT HAND ON YOUR STOMACH AND RELAX YOUR LEFT ARM.

LIFT YOUR RIGHT ARM UP HIGH AND THEN BRING IT RAPIDLY DOWNWARD, HITTING THE FLOOR WITH YOUR RIGHT HAND PALM ABOUT SIX INCHES AWAY FROM THE SIDE OF YOUR BODY.

KEEP YOUR FINGERS TOGETHER WHEN YOU SLAP THE FLOOR AND HIT HARD ENOUGH TO ABSORB THE BRUNT OF THE FALL WITH YOUR RIGHT ARM.

WHEN YOU ARE BEING THROWN, THE SIDE OF THE BODY, LEGS, ARM, AND HAND SHOULD ALL HIT THE FLOOR AT THE SAME TIME.

TO SWTICH SIDES, LIFT YOUR HIPS UP HIGH IN THE AIR TO SIMULATE FALLING, THEN LAND IN THE SAME POSITION, BUT ON THE OTHER SIDE.

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CHUGARI (TUMBLING) STEP FORWARD WITH YOUR RIGHT FOOT, KEEPING YOUR LEGS APART. TURN YOUR RIGHT HAND TO THE INSIDE OF YOUR BODY WITH THE

FINGERS POINTING BACWARD THROUGH YOUR LEGS AND PLACE THE PALM ON THE FLOOR.

PLACE YOUR LEFT HAND NEXT TO YOUR RIGHT HAND WITH THE FINGERS POINTING FORWARD.

BEND BOTH YOUR KNEES AS IF PREPARING TO RUN A RACE. TURN YOUR HEAD TO THE LEFT AND TOUCH YOUR LEFT EAR TO YOUR

LEFT SHOULDER. PUSH OFF YOUR BACK LEFT FOOT TO PROPEL YOURSELF FORWARD. AS YOU ROLL FORWARD, THE GROUND SHOULD MAKE MOMENTARY

POINT CONTACT STARTING WITH YOUR RIGHT WRIST, THEN RIGHT ARM, THEN RIGHT SHOULDER, THEN THE UPPER RIGHT BACK, THEN DIAGONALLY ACROSS YOUR BACK TO THE LOWER LEFT SIDE, AND FINALLY ACROSS YOUR LEFT LEG.

AS YOU LAND ON THE LEFT SIDE OF YOUR BODY, SLAP YOUR LEFT ARM TO ABSORB THE IMPACT AND BRING YOURSELF TO A HALT.

DONE CORRECTLY, YOUR BODY SHOULD ROLL ACROSS THE FLOOR WITH MINIMAL CONTACT; ROLLING LIKE A TIRE ON THE GROUND.

TO TUMBLE ON THE LEFT SIDE, REPEAT THE PROCESS, BUT ON THE OTHER SIDE.

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UKI OTOSHI CHUGARI (TUMBLING WITH PARTNER)

FACING YOUR UKE, GRAB HIS RIGHT SLEEVE WITH YOUR LEFT HAND. PULL HIS SLEEVE FORCING HIM TO STEP FORWARD WITH HIS RIGHT

FOOT, WHILE YOU STEP BACK WITH YOUR LEFT FOOT. WHEN PULLING YOUR UKE’S SLEEVE, MAKE SURE YOU KEEP YOUR ELBOW UP.

PUSH FIRMLY ON HIS SLEEVE FORCING YOUR UKE TO STEP BACKWARD WITH HIS RIGHT FOOT AS YOU STEP FORWARD WITH YOUR LEFT FOOT.

REPEAT THIS PUSHING AND PULLING FOOT MOVEMENT A COUPLE TIMES.

AS YOU PULL YOUR UKE FORWARD, BRING YOUR LEFT LEG AROUND BEHIND YOU UNTIL IT IS AT YOUR SIDE AND GO DOWN ONTO YOUR KNEE.

PULL THE UKE’S SLEEVE AROUND IN A CIRCULAR MOTION, HELPING THEM TO DO A CHUGARI.

AS THE UKE DOES A CHUGARI AND LANDS IN A SIDE FALL POSITION, CONTINUE PULLING THEIR SLEEVE IN A CIRCULAR MOTION UNTIL YOU ARE HOLDING THEIR ARM INTO THE AIR TO SUPPORT THE FALL.

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HAPPONO KUZUSHI (EIGHT-WAYS-OF-OFF-BALANCING)

1 WITH YOUR UKE STANDING STRAIGHT, PULL FORWARD

2 WITH YOUR UKE STANDING STRAIGHT, PUSH BACKWARD

3 WITH YOUR UKE STANDING STRAIGHT, PUSH/PULL TO THE RIGHT

4 WITH YOUR UKE STANDING STRAIGHT,PUSH/PULL TO THE LEFT

5 WITH THE UKE’S LEFT FOOT FORWARD, PULL TO THE FRONT RIGHT CORNER

6 WITH THE UKE’S LEFT FOOT FORWARD, PUSH TO THE REAR LEFT CORNER

7 WITH THE UKE’S RIGHT FOOT FORWARD, PULL TO THE FRONT LEFT CORNER

8 WITH THE UKE’S RIGHT FOOT FORWARD, PUSH TO THE REAR RIGHT CORNER

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TAI SABAKI (BODY MOVEMENT) STAND STRAIGHT WITH YOU RIGHT ARM OUT. IMAGINE GRABBING YOUR OPPONENT’S SLEEVE AND PULL YOUR RIGHT

ARM TOWARDS YOU WHILE YOU STEP FORWARD WITH YOUR LEFT FOOT AND BRING YOUR LEFT ARM UP LIKE YOU ARE WRAPPING IT AROUND YOUR OPPONENT’S ARM AND GRABBING HIS SLEEVE.

PIVOT AROUND SO YOU ARE FACING 180 DEGREES FROM WHERE YOU STARTED AND BEND YOUR KNEES WHILE KEEPING YOUR BACK STRAIGHT.

SPRING UP WITH YOUR LEGS WHILE YOU BEND DOWN AND PULL YOUR ARMS ACROSS YOUR BODY TO YOUR RIGHT

STAND BACK UP AND REACH OUT WITH YOUR LEFT ARM TO START THE MOTION AGAIN ON THE OTHER SIDE.

THIS MOTION IS SIMULATING IPPON SEOI NAGE AND IS GREAT FOR PRACTICING AT HOME.

JIGO TAI (LOWER BODY STANCE)19

JIGO TAI IS THE FINAL POSITION FOR MOST OF THE THROWS. JIGO TAI POSITIONING IS IMPORTANT FOR TWO REASONS:

1. TO HELP THE UKE LAND SAFELY 2. TO ENSURE COMPLETE CONTROL OF THE THROW BY THE TORI

YOUR OPPONENT IS FALLING THROUGH THE AIR AND IS ABOUT TO LAND ON THE GROUND.

SPREAD YOUR LEGS FAR APART AND BEND YOUR KNEES SO YOUR WEIGHT SINKS DOWN. (THIS IS TO ENSURE YOUR OPPONENT CANNOT PULL YOU DOWN ONTO THE GROUND).

HOLD YOUR OPPONENT’S ARM WITH BOTH HANDS AND PULL UP ON THE ARM SO YOU ARE HOLDING IT IN FRONT OF YOUR CHEST.

KEEP YOUR BACK STRAIGHT AND LOOK STRAIGHT AHEAD – DO NOT LOOK AT YOUR OPPONENT!

THIS SHOULD BE A FIRM BUT RELAXED POSITION.

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OSAE KOMI WAZA (HOLDING TECHNIQUE)KESA GATAME (SCARF HOLD)

WITH YOUR OPPONENT ON HIS BACK, SIT IN A KNEELING POSITION NEXT TO HIS RIGHT SIDE.

GRAB HIS RIGHT ARM AND PUT IT UNDER YOUR LEFT ARMPIT LOCKING IT DOWN TIGHTLY TO YOUR LEFT SIDE CHEST.

ENTWINE YOUR FINGERS INTO HIS RIGHT SLEEVE, WRAPPING THE CLOTH INTO YOUR HAND AS YOU CURL YOUR FINGERS TO MAKE A TIGHT FIST.

PUT YOUR RIGHT ARM UNDER HIS HEAD AND AROUND HIS NECK. TURN YOUR BODY TO THE LEFT SO YOUR BACK IS TO YOUR OPPONENT

AND SIT DOWN SO YOUR RIGHT LEG IS IN FRONT OF YOU AND YOUR LEFT LEG IS OUT BEHIND YOU. DO NOT CROSS YOUR LEGS.

PLACE THE RIGHT SIDE OF YOUR BODY ON HIS RIGHT SIDE AND KEEP YOUR HEAD DOWN WHILE YOU PULL UP FIRMLY ON HIS NECK WITH YOUR RIGHT ARM TO LOCK THE BODIES IN PLACE.

MIRROR THIS ACTION TO HOLD ON THE LEFT SIDE.

ESCAPE TECHNIQUES FROM KESA GATAME1. COLLAR GRAB-LEG THRUST

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2. BACK SHOULDERROLL3. LEG HOOK AROUND THIGH

INNER PULL OUT OUTSIDE ROLL OVER

4. BODY SEPARATION SITUP5. UPPER BODY SPRING6. KNEE WEDGE ROLLOVER

SECTION 4: NAGE WAZA

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GOKYO NO WAZA (FIVE SETS OF 8 THROWS)IKKYO NO WAZA (GROUP #1)O SOTO GARI (MAJOR OUTER REAP)

FACING YOUR UKE, GRAB HIS RIGHT SLEEVE WITH YOUR LEFT HAND AND HIS LEFT COLLAR WITH YOUR RIGHT HAND.

PULL OUTWARD AND PUSH TOWARD HIS BACK RIGHT CORNER. AS YOU APPLY THIS KUZUSHI, STEP FORWARD WITH YOUR LEFT FOOT

PLACING IT NEXT TO HIS RIGHT FOOT, LEAVING A GAP BETWEEN YOUR INNER LEFT THIGH AND HIS OUTER RIGHT THIGH.

DRIVE YOUR RIGHT SHOULDER INTO HIS RIGHT SHOULDER MAKING FIRM CONTACT TO LOCK THE BODIES TOGETHER.

SWING YOUR RIGHT LEG THROUGH THE GAP AND LIFT YOUR LEG UP HIGH.

REAP THE LEG DOWNWARD SO YOUR TOES BRUSH THE GROUND IN BETWEEN HIS FEET AND REAP HIS LEG HIGH.

AS YOUR UKE IS FALLING, RELEASE HIS COLLAR AND ASSUME A JIGO TAI POSTURE TO SUPPORT YOUR UKE AS HE LANDS.

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O GOSHI (MAJOR HIP) FACING YOUR UKE, GRAB HIS RIGHT SLEEVE WITH YOUR LEFT HAND

AND HIS LEFT COLLAR WITH YOU RIGHT HAND. PULL HIS SLEEVE TO OFF-BALANCE HIM TOWARD HIS FORWARD

DIRECTION. STEP YOUR FOOT ACROSS YOUR FRONT AND PLACE YOUR RIGHT FOOT

IN BETWEEN YOU AND YOUR OPPONENT WHILE YOU SLIDE YOUR RIGHT ARM AROUND HIS BACK.

PIVOT YOUR LEFT FOOT AROUND SO IT IS NEXT TO YOUR RIGHT FOOT. TURN YOUR FEET SO YOUR HEELS ARE CLOSE TOGETHER AND YOUR

BACK IS TO YOUR OPPONENT. BEND YOUR KNEES SO YOUR BELT IS BELOW YOUR UKE’S BELT. KEEP YOUR BACK VERTICAL AND YOUR LEGS AKIMBO AT 90©.

THE UKE’S BODY SHOULD BE TILTED FORWARD AND THE TORI’S HIPS SHOULD BE DIRECTLY BELOW THE UKE’S FRONT ABDOMINAL SECTION.

CONTINUE PULLING THE LEFT ARM WHILE TURNING YOUR BODY AND SHOULDERS TO YOUR LEFT. LOCK THE BODIES TOGETHER AND SPRING YOUR HIPS UP USING YOUR LEGS AS THE UKE COLLAPSES ON YOUR BACK.

AS THE UKE IS THROWN, RELEASE YOUR RIGHT ARM FROM HIS BACK, SLIDE YOUR RIGHT FOOT AWAY FROM YOUR LEFT FOOT, AND ASSUME A JIGO TAI POSTURE TO SUPPORT THE UKE’S FALL.

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DE ASHI HARAI (FORWARD FOOT SWEEP) FACING YOUR UKE, GRAB HIS LEFT SLEEVE WITH YOUR RIGHT HAND

AND HIS RIGHT COLLAR WITH YOUR LEFT HAND. PULL HIS SLEEVE FORCING HIM TO STEP FORWARD WITH HIS LEFT

FOOT, WHILE YOU STEP BACK WITH YOUR RIGHT FOOT. PUSH FIRMLY ON HIS LEFT SLEEVE FORCING YOUR UKE TO STEP

BACKWARD WITH HIS LEFT FOOT AS YOU STEP FORWARD WITH YOUR RIGHT FOOT.


AS YOU PUSH YOUR UKE BACKWARD, JUST AS HE IS SHIFTING HIS WEIGHT FROM THE FRONT FOOT TO THE BACK FOOT, BRING YOUR RIGHT LEG AROUND SO THE OUTER EDGE OF YOUR FOOT IS BRUSHING THE FLOOR.

ENGAGE THE UKE’S LEFT FOOT BELOW THE ANKLE WITH THE ARCH OF YOUR FOOT AS YOU SWEEP HIS FOOT AND LEG IN AN UPWARD DIRECTION.

USE YOUR HANDS TO TWIST HIS SLEEVE AND COLLAR LIKE TURNING THE STEERING WHEEL OF A CAR TO THE YOUR RIGHT.

AS THE UKE IS THROWN, RELEASE YOUR RIGHT ARM FROM HIS COLLAR AND ASSUME A JIGO TAI POSTURE TO SUPPORT THE UKE’S FALL.

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SEOI NAGE (SHOULDER) --MOROTE (TWO ARM)

FACING YOUR UKE, GRAB HIS RIGHT SLEEVE WITH YOUR LEFT HAND AND HIS LEFT COLLAR WITH YOUR RIGHT HAND.

PULL YOUR UKE’S RIGHT SLEEVE FORWARD WITH YOUR LEFT HAND TILTING HIS BODY OFF BALANCE.

STEP YOUR FOOT ACROSS YOUR FRONT AND PLACE YOUR RIGHT FOOT IN BETWEEN YOU AND YOUR OPPONENT WHILE YOU WHILE YOU DUCK YOUR RIGHT ELBOW UNDER HIS RIGHT ARM.






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-- IPPON (ONE ARM) FACING YOUR UKE, GRAB HIS RIGHT SLEEVE WITH YOUR LEFT HAND

AND HIS LEFT COLLAR WITH YOUR RIGHT HAND. PULL YOUR UKE’S RIGHT SLEEVE FORWARD WITH YOUR LEFT HAND

TILTING HIS BODY OFF BALANCE. STEP YOUR FOOT ACROSS YOUR FRONT AND PLACE YOUR RIGHT FOOT

IN BETWEEN YOU AND YOUR OPPONENT WHILE YOU TAKE YOUR RIGHT ARM AND WRAP IT UNDERNEATH YOUR OPPONENT’S ARM AND GRAB HIS RIGHT SLEEVE.




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AS THE UKE IS THROWN, RELEASE YOUR RIGHT ARM FROM HIS SLEEVE AND ASSUME A JIGO TAI POSTURE TO SUPPORT THE UKE’S FALL.

O UCHI GARI (MAJOR INNER REAP) HAVE YOUR UKE STAND WITH HIS LEFT FOOT FORWARD. FACING YOUR UKE, GRAB HIS RIGHT SLEEVE WITH YOUR LEFT HAND

AND HIS LEFT COLLAR WITH YOUR RIGHT HAND. STEP IN TOWARD THE UKE WITH YOUR LEFT FOOT. LIFT UPWARD AND PUSH ON HIS RIGHT SLEEVE TOWARD HIS BACK

LEFT FOOT CORNER. DRIVE THE RIGHT SIDE OF YOUR BODY INTO HIS CHEST AS YOU PULL HIS COLLAR DOWN AND INTO YOU WITH YOUR RIGHT HAND. THIS IS A CIRCULAR TURNING ACTION TO OFF-BALANCE YOUR OPPONENT TO THE REAR LEFT CORNER WHILE LOCKING THE BODIES TOGETHER.

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BRING YOUR RIGHT LEG FORWARD BETWEEN HIS LEGS WITH YOUR RIGHT KNEE BENT AND YOUR RIGHT FOOT POINTED STRAIGHT.

BRUSH YOUR TOES ON THE FLOOR AS YOU BRING YOUR RIGHT LEG AROUND AND BEHIND HIS LEFT LEG. PULL YOUR RIGHT LEG BACK IN A REAPING ACTION TO LIFT UP YOUR UKE’S LEFT LEG.

CONTINUE THE KUZUSHI AND THROW YOUR UKE TO THE GROUND. AS YOU FEEL THE WEIGHT OF YOUR UKE FALLING, RELEASE THE

COLLAR WITH YOUR RIGHT HAND, BRING YOUR RIGHT FOOT FORWARD TO THE FLOOR, AND STEP FORWARD OVER YOUR UKE’S RIGHT LEG INTO A LEFT SIDE JIGO-TAI STANCE TO SUPPORT THE FALL.

UKI GOSHI (FLOATING HIP) FACING YOUR UKE, GRAB HIS RIGHT SLEEVE WITH YOUR LEFT HAND.

AND HIS LEFT COLLAR WITH YOUR RIGHT HAND. PULL HIS SLEEVE TO OFF-BALANCE HIM TOWARD HIS FORWARD

DIRECTION. STEP YOUR FOOT ACROSS YOUR FRONT AND PLACE YOUR RIGHT FOOT

IN BETWEEN YOU AND YOUR OPPONENT WHILE YOU SLIDE YOUR RIGHT ARM AROUND HIS LOWER BACK.

PIVOT YOUR LEFT FOOT AROUND SO IT IS NEXT TO YOUR RIGHT FOOT.

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TURN YOUR FEET SO YOUR HEELS ARE CLOSE TOGETHER AND YOUR BACK IS TO YOUR OPPONENT. BEND YOUR KNEES SO YOUR BELT IS BELOW YOUR UKE’S BELT. KEEP YOUR BACK VERTICAL AND YOUR LEGS AKIMBO AT 90©.


CONTINUE PULLING THE LEFT ARM WHILE TURNING YOUR BODY AND SHOULDERS TO YOUR LEFT. LOCK THE BODIES TOGETHER AND DIP YOUR HIPS SLIGHTLY TO RIDE YOUR UKE ON TOP OF THEM.

ONCE THE UKE IS RIDING ON YOUR HIPS, WHIRL HIM AROUND YOUR TORSO TO THE FRONT OF YOUR BODY USING A CIRCULAR ARM MOTION.

AS THE UKE IS THROWN, RELEASE YOUR RIGHT ARM FROM HIS SLEEVE AND ASSUME A JIGO TAI POSTURE TO SUPPORT THE UKE’S FALL.

SASAE TSURIKOMI ASHI (PROPPING ANKLE LIFT-PULL) FACING YOUR UKE, GRAB HIS RIGHT SLEEVE WITH YOUR LEFT HAND

AND HIS LEFT COLLAR WITH YOUR RIGHT HAND. PULL HIS SLEEVE FORCING HIM TO STEP FORWARD WITH HIS RIGHT

FOOT, WHILE YOU STEP BACK WITH YOUR LEFT FOOT. 30

PUSH FIRMLY ON HIS RIGHT SLEEVE FORCING YOUR UKE TO STEP BACKWARD WITH HIS RIGHT FOOT AS YOU STEP FORWARD WITH YOUR LEFT FOOT.


AS YOU ARE PULLING THE UKE FORWARD, TURN YOUR RIGHT HEEL SO YOUR TOES ARE FACING TOWARD YOUR LEFT FOOT.

LET YOUR BODY TURN AS WELL SO YOUR CHEST IS FACING YOUR UKE’S LEFT SIDE. AS HE PASSES BY YOU, TURN YOUR LEFT FOOT ON EDGE AND PROP YOUR ARCH ON THE FRONT PART OF HIS RIGHT ANKLE.

THIS WILL ABRUPTLY HALT THE UKE’S FORWARD PROGRESS AND CAUSE HIM TO FALL FORWARD AS IF EXECUTING A CHUGARI ON HIS RIGHT SIDE.

CONTINUE THE PULLING KUZUSHI ACTION WITH THE SLEEVE AND COLLAR. AS HE STARTS THE TUMBLE, QUICKLY PULL HIS RIGHT SLEEVE IN A CIRCULAR MOTION AND PUSH UP AND FORWARD ON HIS COLLAR WITH YOUR RIGHT HAND. THIS ACTION IS SIMILAR TO TURNING A WHEEL.


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HIZA GURUMA (KNEE WHEEL) FACING YOUR UKE, GRAB HIS RIGHT SLEEVE WITH YOUR LEFT HAND

AND HIS LEFT COLLAR WITH YOUR RIGHT HAND. PULL HIS SLEEVE FORCING HIM TO STEP FORWARD WITH HIS RIGHT

FOOT, WHILE YOU STEP BACK WITH YOUR LEFT FOOT. PUSH FIRMLY ON HIS RIGHT SLEEVE FORCING YOUR UKE TO STEP

BACKWARD WITH HIS RIGHT FOOT AS YOU STEP FORWARD WITH YOUR LEFT FOOT.


AS YOU ARE PULLING THE UKE FORWARD, TURN YOUR RIGHT HEEL SO YOUR TOES ARE FACING TOWARD YOUR LEFT FOOT.

LET YOUR BODY TURN AS WELL SO YOUR CHEST IS FACING YOUR UKE’S LEFT SIDE. AS HE PASSES BY YOU, TURN YOUR LEFT FOOT ON EDGE AND PROP YOUR ARCH ON THE FRONT OF HIS RIGHT LEG DIRECTLY BELOW HIS KNEE.

THIS WILL ABRUPTLY HALT THE UKE’S FORWARD PROGRESS AND CAUSE HIM TO FALL FORWARD AS IF EXECUTING A CHUGARI ON HIS RIGHT SIDE.

CONTINUE THE PULLING KUZUSHI ACTION WITH THE SLEEVE AND COLLAR. AS HE STARTS THE TUMBLE, QUICKLY PULL HIS RIGHT SLEEVE IN A CIRCULAR MOTION AND PUSH UP AND FORWARD ON HIS COLLAR WITH YOUR RIGHT HAND. THIS ACTION IS SIMILAR TO TURNING A WHEEL.


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IPPON SEOI OTOSHI (ONE ARM SHOULDER DROP) FACING YOUR UKE, GRAB HIS RIGHT SLEEVE WITH YOUR LEFT HAND

AND HIS LEFT COLLAR WITH YOUR RIGHT HAND. PULL YOUR UKE’S RIGHT SLEEVE FORWARD WITH YOUR LEFT HAND

TILTING HIS BODY OFF BALANCE. STEP YOUR FOOT ACROSS YOUR FRONT AND PLACE YOUR RIGHT FOOT

IN BETWEEN YOU AND YOUR OPPONENT WHILE YOU TAKE YOUR RIGHT ARM AND WRAP IT UNDERNEATH YOUR OPPONENT’S ARM AND GRAB HIS RIGHT SLEEVE.

PIVOT YOUR LEFT FOOT AROUND AND GO DOWN ONTO YOUR LEFT KNEE.

GO DOWN ONTO YOUR RIGHT KNEE AND TURN YOUR FEET SO YOUR HEELS ARE CLOSE TO EACH OTHER AND YOUR BACK IS TO YOUR OPPONENT. YOUR KNEE SHOULD BE WIDELY SEPARATED.

KEEP HIS SHOULDER LOCKED TIGHTLY TO YOURS, PULLING HIM DOWN ONTO YOUR BACK. THEN SIT YOUR HIPS DOWN ON YOUR LEGS WITH YOUR BACK VERTICAL.

CONTINUE PULLING WITH YOUR LEFT ARM, TWISTING TO YOUR LEFT SIDE.

BRING YOUR RIGHT SHOULDER DOWNWARD TO THE FLOOR, PLACING YOUR RIGHT ELBOW BETWEEN YOUR LEGS. TURN YOUR HEAD TO THE LEFT AND AVOID HITTING IT ON THE FLOOR. AS YOUR RIGHT SHOULDER TOUCHES THE FLOOR, BUMP YOUR UKE UPWARD WITH YOUR LOWER BACKSIDE AND HIPS THROWING HIM TO THE FLOOR IN FRONT OF YOU.

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SECTION 5: EXERCISE TRAINING 34

EXERCISE DESCRIPTIONJUMPING JACKS

STAND WITH YOUR FEET TOGETHER AND YOUR ARMS AT YOUR SIDES. JUMP UP STRAIGHT AND SPREAD YOUR FEET ABOUT SHOULDER WITH

APART AS YOU LAND ON THE GROUND. CLAP YOUR HANDS OVER YOUR HEAD.

IMMEDIATELY JUMP BACK UP INTO THE AIR AND BRING YOUR FEET BACK TOGETHER AND YOUR ARMS BACK DOWN TO YOUR SIDES AS YOU LAND.

REPEAT THIS MOTION BRISKLY JUMPING HIGHER AND HIGHER INTO THE AIR AS YOUR BODY WARMS UP.

PUSHUPS (REGULAR)

POSITION YOUR BODY ON THE PALMS OF YOUR HANDS AND ON THE BALLS OF YOUR FEET FACING THE FLOOR WITH YOUR BODY STRAIGHT AND PARALLEL TO THE FLOOR.

DO NOT ARCH YOUR HIPS UP NOR SAG YOUR HIPS TOWARD THE GROUND.

YOUR HANDS SHOULD BE ABOUT SHOULDER WIDTH APART AND YOUR FINGERS SHOULD POINT FORWARD PARALLEL TO YOUR BODY DIRECTION.

BEND YOUR ELBOWS UNTIL YOUR CHEST ALMOST TOUCHES THE GROUND AND THEN PUSH YOURSELF BACK UP INTO THE STARTING POSTION.

KEEP YOUR BODY STRAIGHT THE ENTIRE TIME AND KEEP YOUR HEAD UP SO YOU ARE LOOKING FORWARD.

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BICYCLE THRUSTS LAY ON YOUR BACK WITH YOUR HANDS BEHIND YOUR HEAD AND

YOUR HEAD LIFTED OFF THE GROUND. BRING YOUR RIGHT KNEE UP SO IT IS TOUCHING YOUR RIGHT ELBOW

AND COMPLETELY EXTEND OUT YOUR LEFT LEG STRAIGHT IN FRONT OF YOU.

WHILE YOU EXTEND YOUR RIGHT LEG OUT COMPLETELY, PULL BACK YOUR LEFT LEG UNTIL YOUR LEFT KNEE TOUCHES YOUR LEFT ELBOW.

PUSHUPS (MODIFIED) SPREAD YOUR LEGS APART AND PLACE YOUR HANDS ON THE GROUND

ABOUT A SHOULDER-WIDTH APART. PUSH YOUR BODY BACKWARDS, THEN BEND YOUR ELBOWS AND DIP

YOUR BODY FORWARD SO YOUR CHEST ALMOST TOUCHES THE GROUND.

CONTINUE FORWARD AND THEN PUSH UP WITH YOUR ARMS SO YOUR HIPS ARE ALMOST TOUCHING THE GROUND, AND YOUR HEAD IS UP HIGH.

BRING YOUR HIPS UP AND PUSH YOURSELF BACK TO THE INITIAL POSITION.

SITUPS

HAVE YOUR PARTNER HOLD YOUR FEET DOWN WITH THEIR LEGS WHILE YOU SIT WITH YOUR KNEES BENT AND YOUR ARMS ACROSS YOUR CHEST

LOWER YOUR BODY UNTIL YOUR LOWER BACK TOUCHES THE GROUND.

USE YOUR ABDOMINAL MUSCLES TO SIT BACK UP.

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STRETCHING SIT ON THE GROUND AND SPREAD YOUR LEGS APART. STRETCH WITH BOTH HANDS TOWARD YOUR RIGHT FOOT, TOWARD

YOUR LEFT FOOT, AND TO THE CENTER. STRETCH AS FAR DOWN AS YOU CAN.

LEGS OVER HEAD LAY ON YOUR BACK WITH YOUR HANDS ON YOUR STOMACH AND YOUR

FEET A COUPLE INCHES OFF THE GROUND. USING YOUR ABDOMINAL MUSCLES, LIFT YOUR LEGS OVER YOUR BODY

UNTIL YOUR TOES TOUCH THE GROUND BEHIND YOUR HEAD. YOUR LEGS SHOULD STAY TOGETHER THE ENTIRE TIME. THEN BRING YOUR LEGS BACK TO THE STARTING POSITION

JUMPING (SIDE-TO-SIDE) HAVE YOUR PARTNER SIT ON THE GROUND WITH HIS LEGS EXTEDED

STRAIGHT IN FRONT OF THEM. STAND ON ONE SIDE OF HIS LEGS AND THEN WHILE KEEPING YOUR

FEET TOGETHER, JUMP UNTIL YOU ARE ON THE OTHER SIDE OF HIS LEGS.

THEN JUMP BACK TO THE ORIGIONAL POSITION. 37

TO MAKE IT EASIER, YOU CAN PUT YOUR OUTSIDE FOOT FORWARD SLIGHTLY EVERY TIME YOU JUMP.

JUMPING (SCISSOR) HAVE YOUR PARTNER SIT ON THE GROUND WITH HIS LEGS SPREAD

APART IN FRONT OF HIM. START BY STANDING WITH YOUR FEET TOGETHER IN BETWEEN HIS

LEGS. WHILE YOU JUMP STRAIGHT UP AND SPREAD YOUR FEET SO YOU LAND

WITH YOUR FEET APART, YOUR PARTNER SHOULD PULL HIS LEGS TOGETHER SO THAT HIS LEGS ARE NEXT TO EACH OTHER BEFORE YOU LAND.

WHILE YOU JUMP STRAIGHT UP AND BRING YOUR LEGS BACK TOGETHER TO LAND YOUR PARTNER SHOULD SPREAD HIS LEGS APART AGAIN.

MOUNTAIN CLIMBS (DOUBLE)

STAND UP AND PLACE YOUR HANDS ON THE GROUND IN FRONT OF YOU SHOULDER-WIDTH APART.

KEEPING YOUR HANDS WHERE THEY ARE, JUMP UP WITH BOTH LEGS AND MOVE YOUR FEET UNTIL THEY LAND RIGHT BEHIND YOUR WRISTS.

THEN JUMP BACK TO YOUR ORIGINAL POSITION.

38

ALTERNATIVELY, MOUNTAIN CILMBS CAN BE DONE ALTERNATING THE LEFT AND RIGHT FOOT FOREWARD (SINGLE MOUNTAIN CLIMBS).

39

40

EXERCISE REQUIREMENTS No. REQ

JUMPING JACKS 10

PUSHUPS (REGULAR) 10

BICYCLE THRUSTS 10

PUSHUPS (MODIFIED) 10

SITUPS 10

STRETCHING 10deg

MOUNTAIN CLIMB (DOUBLE) 10

LEGS OVER HEAD 10

JUMPING (SCISSORS) 10

JUMPING (SIDE-TO-SIDE) 10

SECTION 6: COURSE PROGRESSION

PROGRESSION CHART EXPLANATIONTHE FOLLOWING CHARTS ARE DESIGNED AND PROVIDED FOR THE STUDENT TO TRACK COURSEWORK CLASS BY CLASS. IT IS IMPORTANT FOR THE STUDENT TO KEEP UP-TO-DATE IN ORDER TO BALANCE TRAINING AMONG ALL THE VARIOUS TECHNICAL REQUIREMENTS.

EACH THROW HAS A MINIMUM NUMBER OF REPETITIONS REQUIRED FOR PROFICIENCY, AND THE STUDENT SHOULD NOT CONSIDER TESTING FOR PROMOTION UNTIL EACH TECHNIQUE HAS BEEN PRACTICED THIS MINIMUM NUMBER OF TIMES.

THE CHARTS ARE NUMBERED 1 THROUGH 30 FOR THE MINIMUM AMOUNT OF CLASSES REQUIRED BEFORE THE PROMOTION TEST. AN ADDITIONAL 31+ CHART IS INCLUDED SHOULD EXTRA CLASSTIME BE NEEDED FOR FURTHER PREPARATION FOR THE PROMOTION EXAM.

REQUIREMENTS FOR YELLOW BELT100 EACH THROW RIGHT SIDE

100 EACH THROW LEFT SIDE

41

CLASS 1

TECHNIQUES DAILY TOTAL

# THROWS # THROWS

IKKYO NO WAZA

(GROUP #1)

O SOTO GARIO GOSHIDE ASHI HARAISEOI NAGE - MOROTE - IPPONO UCHI GARIUKI GOSHISASAE TSURI KOMI ASHIHIZA GARUMAIPPON SEOI OTOSHI

UKI OTOSHI

# MINUTES # MINUTES

RANDORIRANDORINE WAZAOSAI KOMI

42

CLASS 2


# THROWS # THROWS

IKKYO NO WAZA

(GROUP #1)


UKI OTOSHI

# MINUTES # MINUTES


CLASS 3

43


# THROWS # THROWS

IKKYO NO WAZA

(GROUP #1)


UKI OTOSHI

# MINUTES # MINUTES


CLASS 4


44

# THROWS # THROWS

IKKYO NO WAZA

(GROUP #1)


UKI OTOSHI

# MINUTES # MINUTES


CLASS 5


# THROWS # THROWSIKKYO NO

WAZAO SOTO GARIO GOSHI

45

(GROUP #1) DE ASHI HARAISEOI NAGE - MOROTE - IPPONO UCHI GARIUKI GOSHISASAE TSURI KOMI ASHIHIZA GARUMAIPPON SEOI OTOSHI

UKI OTOSHI

# MINUTES # MINUTES


46

CLASS 6


# THROWS # THROWS

IKKYO NO WAZA

(GROUP #1)


UKI OTOSHI

# MINUTES # MINUTES


CLASS 7

47


# THROWS # THROWS

IKKYO NO WAZA

(GROUP #1)


UKI OTOSHI

# MINUTES # MINUTES


CLASS 8


48

# THROWS # THROWS

IKKYO NO WAZA

(GROUP #1)


UKI OTOSHI

# MINUTES # MINUTES


CLASS 9



WAZAO SOTO GARIO GOSHI

49

(GROUP #1) DE ASHI HARAISEOI NAGE - MOROTE - IPPONO UCHI GARIUKI GOSHISASAE TSURI KOMI ASHIHIZA GARUMAIPPON SEOI OTOSHI

UKI OTOSHI

# MINUTES # MINUTES


CLASS 10



WAZA(GROUP #1)

O SOTO GARIO GOSHIDE ASHI HARAISEOI NAGE - MOROTE - IPPON

50

O UCHI GARIUKI GOSHISASAE TSURI KOMI ASHIHIZA GARUMAIPPON SEOI OTOSHI

UKI OTOSHI

# MINUTES # MINUTES


CLASS 11



WAZA(GROUP #1)

O SOTO GARIO GOSHIDE ASHI HARAISEOI NAGE - MOROTE - IPPONO UCHI GARIUKI GOSHISASAE TSURI KOMI

51

ASHIHIZA GARUMAIPPON SEOI OTOSHI

UKI OTOSHI

# MINUTES # MINUTES


CLASS 12


# THROWS # THROWS

IKKYO NO WAZA

(GROUP #1)


52

UKI OTOSHI

# MINUTES # MINUTES


CLASS 13


# THROWS # THROWS

IKKYO NO WAZA

(GROUP #1)


UKI OTOSHI

53

# MINUTES # MINUTES


54

CLASS 14


# THROWS # THROWS

IKKYO NO WAZA

(GROUP #1)


UKI OTOSHI

# MINUTES # MINUTES


55

CLASS 15


# THROWS # THROWS

IKKYO NO WAZA

(GROUP #1)


UKI OTOSHI

# MINUTES # MINUTES


56

CLASS 16


# THROWS # THROWS

IKKYO NO WAZA

(GROUP #1)


UKI OTOSHI

# MINUTES # MINUTES


57

CLASS 17


# THROWS # THROWS

IKKYO NO WAZA

(GROUP #1)


UKI OTOSHI

# MINUTES # MINUTES


58

CLASS 18


# THROWS # THROWS

IKKYO NO WAZA

(GROUP #1)


UKI OTOSHI

# MINUTES # MINUTES


59

CLASS 19


# THROWS # THROWS

IKKYO NO WAZA

(GROUP #1)


UKI OTOSHI

# MINUTES # MINUTES


60

CLASS 20


# THROWS # THROWS

IKKYO NO WAZA

(GROUP #1)


UKI OTOSHI

# MINUTES # MINUTES


61

CLASS 21


# THROWS # THROWS

IKKYO NO WAZA

(GROUP #1)


UKI OTOSHI

# MINUTES # MINUTES


62

CLASS 22


# THROWS # THROWS

IKKYO NO WAZA

(GROUP #1)


UKI OTOSHI

# MINUTES # MINUTES


63

CLASS 23


# THROWS # THROWS

IKKYO NO WAZA

(GROUP #1)


UKI OTOSHI

# MINUTES # MINUTES


64

CLASS 24


# THROWS # THROWS

IKKYO NO WAZA

(GROUP #1)


UKI OTOSHI

# MINUTES # MINUTES


65

CLASS 25


# THROWS # THROWS

IKKYO NO WAZA

(GROUP #1)


UKI OTOSHI

# MINUTES # MINUTES


66

CLASS 26


# THROWS # THROWS

IKKYO NO WAZA

(GROUP #1)


UKI OTOSHI

# MINUTES # MINUTES


67

CLASS 27


# THROWS # THROWS

IKKYO NO WAZA

(GROUP #1)


UKI OTOSHI

# MINUTES # MINUTES


68

CLASS 28


# THROWS # THROWS

IKKYO NO WAZA

(GROUP #1)


UKI OTOSHI

# MINUTES # MINUTES


69

CLASS 29


# THROWS # THROWS

IKKYO NO WAZA

(GROUP #1)


UKI OTOSHI

# MINUTES # MINUTES


70

CLASS 30


# THROWS # THROWS

IKKYO NO WAZA

(GROUP #1)


UKI OTOSHI

# MINUTES # MINUTES


71

ADDITIONAL CLASSES 31 +


# THROWS # THROWS

IKKYO NO WAZA

(GROUP #1)


UKI OTOSHI

# MINUTES # MINUTES


72

6TH KYU EXAM SHEET

TERMINOLOGY Score EXERCISE No.Req Score

REI JUMPING JACKS 10KYOSKEI PUSH UPS (REGULAR) 10SENSEI BICYCLE THRUSTS 10DOJO PUSH UPS (MODIFIED) 10TORI SITUPS 10UKE STRETCHING 10MATE MOUNTAIN CLIMBS 10HAJIME LEGS OVER HEAD 10JUDOKA JUMPING (SCISSORS) 10JUDOGI JUMPING (SIDE-TO-

SIDE)10

OSAI KOMI UKEMITOKETA SIDE 10NAGE BACK 10TAI SABAKI CHUGARI 10UKEMI NAGE WAZACHUGARI O GOSHI 5/5JIGO TAI O SOTO GARI 5/5ICHI IPPON SEOI NAGE 5/5NI MOROTE SEOI NAGE 5/5SAN UKI GOSHI 5/5SHI DE ASHI HARAI 5/5GO O UCHI GARI 5/5ROKU HIZA GURUMA 5/5NANA SASEA TSURI KOMI

ASHI5/5

HACHI IPPON SEOI OTOSHI 5/5KYUU OSAI KOMIJUU KESA GATAME 3/3

ESCAPE TECHIQUES 7INSTRUCTOR SIGNATUREDATE

73

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