3. Three Principles for Practicing Judo

In the previous chapter we learned about the unguarded moment: the moment that enables you to attack your opponent suc­cessfully. The unguarded moment is set up by two steps: first, by taking advantage of your opponent's long reaction time and, second, by breaking his posture before he can react. Once his posture is broken, he is certain to give you enough time to attack him success­fully. In broken posture he cannot change his position and his direc­tion of motion conveniently, and he takes a longer time to react to your attack.

Nevertheless, even a black belt judo man sometimes makes the mistake of trying to apply a throw before breaking his opponent's posture. If the opponent is also a black belt holder, he will react quickly to prevent the other man from applying a throw directly. Therefore the problem of how to break your opponent's posture is the first thing that must be studied.

Break your opponent's posture before applying your throw: kuzushi (unbalancing opponent).

It was Dr. Jigoro Kano who discovered this principle. In reporting his discovery, he said: "Mr. Iikubo was over fifty years old at the time, but he was still strong, and I used to work with him often. Although I practiced my technique industriously, I could never vie with him. I think it was about 1885 that I found, while practicing randori (free practice) with him, that the techniques I tried were extremely effective. Usually it had been he who threw me. Now, instead of being thrown, I was throwing him with increasing regularity. I could do this despite the fact that he was of the Kito-ryu school and was especially adept at throwing techniques.

"This apparently surprised him, and he was upset over it for quite a while. What I had done was quite unusual. But it was the result of my study of how to break the posture of the opponent. It is true that I had been studying this problem for some time, together with that of reading the opponent's motion. But it was here that I first tried to apply thoroughly the principle of breaking the opponent's posture before moving in for the throw. Afterward, at the Kodokan, I taught this principle as the happo-no-kuzushi (breaking the oppo­nent's posture in eight directions) and the roppo-no-kuzushi (breaking the opponent's posture in six directions).

"In short, the crux of the study was that a human body would lose its balance if it was only pushed backward or pulled forward. A care­lessly standing man, however large and strong, leans backward if pushed from the front and forward if pulled to the front; his posture is broken. A strong opponent, however, may be able to resist your pushing and pulling. Even so, you can easily break his posture back­ward if you push him backward when he pulls you forward, or pull him forward when he pushes you backward. It must be emphasized that the throw to be applied is effective only when the opponent has lost his balance.

"I told Mr. Iikubo about this, explaining that the throw should be applied after one has broken the opponent's posture. Then he said to me: 'This is right. I am afraid I have nothing more to teach you. From now on, you should continue your study with younger men. I will no longer practice with you.' And he has refrained from prac­ticing with me since. Soon afterward, I was initiated in the mystery of the Kito-ryu jujitsu and received all his books and manuscripts of the school."

Let us study in detail how to break the opponent's posture. First we must study the stability of an object, then that of a standing human body, and finally the correct direction of breaking the posture.

8. Center of gravity of a suspended object lies on line between point of attachment (A or B) and center of earth.

1.    Stability of an object

The stability of any standing object is determined by three factors: weight, base, and position of center of gravity.

a.         Weight: The earth and every object on or near it pull toward one another. The attracting force is called gravitation. The force with which a particular object and the earth pull toward each other is called gravity. When the gravity of an object is represented by a weight unit, such as a gram, kilogram, or pound, it is called weight.

b.         Base: The base is a plane that supports the object.

c.         Center of gravity: If we suspend a block by a string, we see that the string points to the center of the earth. No matter where the string is attached to the block, it is directed at a definite point on the block. This point is called the center of gravity. It is simple to find the center of gravity by experiment in the case of a block. But in a base, like a plane, it may be found geometrically. Let us now consider the plane.

9. Finding the center of gravity        10. Finding the center of gravity in a
in a triangle.                                   trapezoid.

Take a triangle, ABD. Draw three medians, Aa, Bb, and Dd, as shown in Figure 9. The three medians then intersect at one point, C. The point C is the center of gravity of the triangle ABD.

Again, take a trapezoid, ABCD. Dividing it into two triangles, ABC and ACD, find the center of gravity in each triangle: Ci and C2. Then find the point that divides inversely the distance between Ci and C2 by the ratio of magnitude of the two triangles. This point is the center of gravity of the trapezoid ABCD.

Figures 11 and 12 illustrate the stability and instability of standing objects. Let us tip two matchboxes to the right by taking the point A as an axis. If you tip the box in Figure 11 so that its center of gravity is displaced nearly to the point E, vertically above the axis A, the center of gravity will return to its original position when you let go of the box. Figure 12 shows the center of gravity just coming to the point E. If you keep tipping the box in the same direction, the center of gravity C will go down along the arc aa' and will not return again to its original position.

In the first case (Figure 11) we may say that the box is stable because it will return to its original position when the tipping is stopped. In the second case (Figure 12) the box is not stable because it will not return to its original position.

From the above experiments you will see that a larger force is needed to move a body when it is stable and a smaller force when it is unstable.

11. Center of gravity and stability of a standing object.

12. Center of gravity and insta­bility of a standing object.

13. Relative stability of standing objects.

Let us illustrate. In Figure 11 the box is stable because it takes some time to displace the center of gravity out of the base. The box in Figure 12 is unstable because it takes very little time to dis­turb its balance. In judo, time is needed until the posture of the opponent is made unstable. You will see that this has an important bearing on applying a throw before breaking your opponent's posture. It means that he has time to defend himself against your attack.

The stability of an object can be calculated from the ratio of the magnitude of the base to the height of the center of gravity. Let us study the following experiment:

Put four matchboxes of the same size on a plane so that they have different surfaces touching, as in A, B, C, and D in Figure 13. Let us lift the right end of plane E slowly. The boxes then start to fall one by one in the order of A, B, C, and D.

What is the reason? In the case of the boxes A and B, the height of the center of gravity is the same, but the distance between the edge and the vertical passing through the center of gravity is shorter in A (L1) than in B (L2). As for the boxes C and D, the reason is that the center of gravity is higher in C (h3) than in D (hi), though the distance between the edge and the vertical passing through the center of gravity is equal in each case. Again, in the boxes B and C, the center of gravity h2 is higher than h3, and the distance L2 is shorter than the distance L3.

21. Happo-no-kuzushi (eight directions of off-balancing).

the base, the more stable a body becomes. Therefore, if your opponent stands still, it would be best for you to break his posture backwards or forwards in a direction perpendicular to the straight line passing through both his big toes. (See Figure 20.) On the other hand, if you try to break his posture toward the left or the right, the force and time needed will be increased because the base is larger.

But what happens when your opponent is in motion? In this case it is best to push or pull him in the direction of his movement. We know that a certain force works on him when he moves, together with the force that you apply. If you apply force to him in the direction in which he moves, two forces—yours and his—will work on him and cause him to lose his balance.

When he steps forward, he thinks he knows the placement of his next step. This is his mistake: his unguarded moment. Therefore, if you pull more than he pushes or push more than he pulls, his posture will be broken by the combination of forces. You must realize that if you pull or push only as much as he pushes or pulls, you cannot apply force to him.

To explain more clearly the breaking of the opponent's posture, we can classify the directions of unbalancing into the eight types called happo-no-kuzushi, which are illustrated in Figure 21. b.    Coordinate all parts of your body.

Suppose you and your opponent stand naturally facing each other. If you pull your opponent with the power of your hands, in­tending to make him collapse, he will lean forward. At the same time, however, you also will lean forward. Therefore, to force him off balance without losing your own balance, you must pull him by avail­ing yourself of the force with which you pull your own body backward and vice versa.

From the above explanation you will see that you must pull or push your opponent with your body and not with your hands only. You may then, as will be explained later, use your arm as a chain connecting your body with your opponent's, but this must be done with dexterity to apply the force of your body to him. To be exact, as Figure 88 shows, the thrower in the second diagram of tomoe-nage (circle throw) breaks the opponent's posture by lifting him forward with the force with which the thrower bends his body backward.

In uki-waza (floating throw—Figure 89) the thrower unbalances his opponent to the right front corner by taking advantage of the force (momentum) that fells the thrower backward and the force with which he twists his body from the right to the left. In b and c of o-soto-gari (Figure 85) too, the thrower breaks his opponent's posture backward with the force that makes his body move quickly to the opponent's right side.

It is important that you try to break your opponent's posture with your body and not with your hands only. But the body is supported by the lower extremities. It is therefore clear that the lower extremi­ties must be used dexterously so that the body can move freely. For instance, look at the happo-no-kuzushi in Figure 21. You place your foot forward because you must push your body forward to break your opponent's posture backward. If you wish to break his posture for­ward, you must draw your foot backward. If you do not use this principle, you will pull or push with your hands only. Still, there are some cases when it is unnecessary to draw your foot backward; for example, the tomoe-nage and uki-waza, techniques. In these cases, instead of drawing backward, you kick the floor with your foot to make good use of the force that is created when your body falls backward.

To be able to make good use of the lower extremities, you must realize how to use dexterously the waist and abdominal region that connects the upper body with the lower extremities. Let us, however, study this in another section, since it is very important.

Next you must realize that putting more strength in the big toes of your feet means to produce much free motion of the lower extremi­ties. Thus, taking advantage of the coordinated working of legs, feet, waist and abdominal region, and hands, you can lure your opponent successfully to an off-balance condition in which his reaction time becomes longer.

c. Take advantage of your opponent's long reaction time. In the two sections immediately above, we have studied, first, the direction in which you can break your opponent's posture with the shortest time and force and, second, the coordination of all parts of the body for making the body work effectively. Now we must con­sider how to make the opponent's reaction time longer and make use of it in a practical manner.

Let us again read the section on reaction time in Chapter 2. When your opponent focuses his attention on something, his reaction time to another stimulus becomes longer. The instance of hane-goshi is cited in Chapter 2. We would like to take up here two other instances in which you can avail yourself of your opponent's force and his long reaction time.

It often happens that if you attack your opponent consecutively, the second or third attack enables you to make a decisive stroke. This happens because the first and second attacks put him in disorder while you are placed in a convenient position for taking advantage of his force and long reaction time. For instance, you might employ o-uchi-gari (see Figure 86) on him as he has leaned backward with his feet spread widely. He must push his upper body forward; other­wise, he will fall backwards. At this moment he can think of nothing but coming back into a natural posture. He doesn't realize how his pushing force is made use of by your next movement. You can now easily break his posture forward and apply seoi-nage (shoulder throw) or tai-otoshi (body drop) with success.

The second instance is that of escaping your opponent's attack. In whatever direction you advance or retreat, you must do it according to the principle of ju. The working of this principle will be clearly shown if you dexterously escape from his attack. He will break his posture by himself by lengthening his reaction time, since he attacks you with all his strength. At this moment your are put into a position extremely convenient for applying a throw. For example, suppose he attacks you with a right uchi-mata (inner thigh sweep). If you pull your left foot to the back of your right just before his body touches yours and at the same time pull his upper body with your right hand, his posture will break to his left front corner through his own force. This gives you an opportunity to apply left tai-otoshi (body drop) or right ko-soto-gake (foot hook). In case he applies left hane-goshi (see Figure 80) you must swerve your body aside just before he springs up your lower body with his left loin and leg and simultaneously sidestep with your left foot inside his left loin while twisting your right loin backward and at the same time pulling his upper body with your left hand. He will then break toward his right front corner, giving you the best chance to hold him up with your right arm on your back waist in order to throw him down. This technique is called utsuri-goshi (counterattack throw).

The principle of ju should, as explained above, be applied only during advancing or retreating. To take advantage of both your opponent's force and his long reaction time, you must move faster and farther than he does. Through this technique, if you repeat it con­secutively, you will finally bring him off balance. No matter what posture you take in accordance with his motion, you must be able to return to a position of natural posture before he attacks you. Taking this as a center that systematizes all the forces working between the two of you, you can lead him easily at your convenience, adding your force to his as you are giving way.

Take   advantage   of   the   waist   and   abdominal region.

To apply a throw successfully, you must break your oppo­nent's posture. To do this, you must take advantage of his long reac­tion time. This is done by harmonizing your motion with his. You can develop this ability through long practice. You must harmonize your motion with his, making thorough use of the forces working on you and your opponent.

You can break his posture and apply your throw with success. What is it that gives your actions vitality or life? It is the force of the waist and abdominal region, technically called the correct centripetal pressure.

22. Dynamic coordination. K: force pressing ground P : reaction from K G: gravity R : force of advance

23. Coordination of forces.

How does an expert manage to move speedily, smoothly, dexterously, and lightly without losing his balance and still being able to apply a large force the moment he has broken his opponent's posture?

His own mind is always serene. It is because he can make thorough use of the force of the waist and abdominal region: correct centripetal pressure. Let us now study correct centripetal pressure.

1. The force of the waist and abdominal region coor­dinates all parts of the body. (NOTE: This section is closely related to that on momentum in Chapter 5. Reread Chapter 3 after you have read Chapter 5.)
We can divide the human body into three parts: the lower extremities, the lower part of the trunk, and the upper body. The lower part of the trunk refers to the waist and abdominal region below the diaphragm. Located here are the major muscles supporting the spinal column, such as the musculus rectus abdominis and the oblique muscles. The major muscles that are attached to the pelvis to support the trunk are called the psoas, gluteus, quadriceps, biceps, etc. It is important to note here that

a.         The waist and abdominal region connects the upper body to the lower extremities.

b.         The largest muscles of the body—and the strongest—are located here and have one end attached to the pelvis.

24. Uki-otoshi (floating drop): mo­mentum mv works along line CC drawn by center of gravity C.

25. Combination  of forces  increases speed of upward thrust.

c. The waist and abdominal region contains about one-third of the weight of the entire body.

The waist and abdominal region, therefore, can make the muscles of the whole body coordinate dynamically. The coordination of im­portant parts of the body could not be considered without this factor. In Figure 22, for example, the lower left extremity (hip, leg, foot) makes the whole body advance by pressing the ground. The upper body cannot comply with the will of the extremity unless the muscles of the waist and abdominal region coordinate in order to comply with the motion of the lower extremity. When these muscles comply with the motion of the lower extremity, all parts of the body can move in complete harmony.

In Figure 23 we have another example. Suppose you wish to punch a suspended ball with your right fist. When you advance by kicking-the ground with your right leg, a momentum (see Chapter 5) is produced along the direction of the center of gravity. If, while the momentum is working, the force F, which the muscles of the lower part of the trunk exert, works to bend your body forward—that is, to rotate AO about axis O so fast that your lower body is stopped by means of reaction (see Chapter 4)—the momentum may be displaced to the upper part of the trunk, with the effect that the force P, with which your right fist punches the ball, may be represented by the displaced momentum. If you punch only with your hand, the force of the punch will be small.

Look at o-soto-gari in Figure 85. Letting your opponent lean backward, you (A) press the right side of your chest against his right chest by stepping with your left foot to his right side. The action of striking with your chest must be in strict accordance with that of punching the ball in Figure 23.

Next let us take up a case in which you pull your opponent forward. Look at uki-otoshi in Figure 24. As your opponent (B) pushes, you will draw backward, harmonizing your motion with his. The moment his body is about to lean forward, you drop your left knee to the mat suddenly, at the same time striking the mat sharply with your right foot, and pull his body down with your hands. In this case your center of gravity C draws the line C'C", as seen in the figure. The momentum produced in your body will work along the line C'C". If your waist and abdominal region works so as to comply with the pull of your hands—that is, to twist your upper body strongly from right to left— the momentum will be changed into the force of your hands, which will pull him down at great speed.

From the above illustrations it is clear that whatever part of the body—hand, arm, or leg—exerts a force on an object, that force can be represented by the momentum of the whole body if the waist and the abdominal region are properly used.

Next let us take up speed. Look at Figure 25. Consider the speed with which you thrust up your fist above your head. If you do it by using your shoulder and arm alone, the distance your fist travels is only R. Now what if you also use your knees and feet? The distance your fist travels will then become P plus Q plus R, and the speed becomes much greater.

2.    The force of the waist and abdominal region benefits the nervous system.

We shall now explain the substance of the force of the waist and abdominal region and the relation of this force to the nervous system. Whenever one lifts a heavy object, the diaphragm contracts with the other abdominal muscles, and at the same time the loins bend backward at the junction of the fourth and fifth lumbar vertebrae, because the psoas muscle contracts, as do the other muscles attached to the pelvis. The upper body and the lower extremities now become combined into one solid mass.

When these muscles contract, pressure is produced in the abdomen. In Figure 15 we explained the position of the center of gravity when one takes a natural posture. If these muscles are contracted harmoni­ously, the resulting pressure works toward the center of gravity. The harmonious contraction can come only when one takes a correct posture: a posture in which the center of gravity is located just above the center of base when one is standing on both feet. The stronger the harmonious contraction, the more pressure works toward the center of gravity. The ability to unify all parts of your body into one mass, as illustrated above, is based upon the harmonious and strong contraction of the muscles of the waist and abdominal region only. Next we shall explain the relation of this pressure to the nervous system.

The late Mr. Harumitsu Hida, famous Japanese master of Zen, was one who had trained the force of the waist and abdominal region to the highest level. Mr. Kurakichi Hirata, a physiologist who received important data from Mr. Hida, studied that force scientifically. It was Mr. Hirata who named it "correct centripetal pressure." He considered it extremely important in mental training as well as in dynamic control of the whole body. Let us pick out from his famous book a few sentences pertinent to our study. He states:

"In a posture that ensures correct centripetal pressure, you can master your will more easily, promote the unified growth of the motor nerve center, and develop the nerve fibres running to the muscles from the motor center. Accordingly, the functions of the motor nerve center and the transmission of impulses from there are facilitated. Further­more, by preserving correct centripetal pressure, the contractions, either too weak or too strong, of the chief muscles can be adjusted, while the useless contraction of antagonistic muscles is lessened, and practice can accelerate the growth of this mental and physical skill.

"Generally, the contraction of muscles becomes better coordinated.

26. Right-triangle sitting position.

27. Right-triangle standing position.

When the sensory nerve and motor nerve centers become sharper, there will be less chance to mistake impulses, and many kinds of exercises can be done more easily. In short, the ability to control the body's actions is improved."

Mr. Hirata was a pioneer in the scientific study of correct cen­tripetal pressure. Apart from such scholastic studies, we know from daily experience that emotional disturbances, such as periods of sad­ness, anger, surprise, and fright, can be prevented by correct cen­tripetal pressure.

Let us now take up the subject of respiration and its relation to centripetal pressure, for the relation is a direct one, not only to centripetal pressure but also to serenity of mind and the mastering of will power. The human body contains only about five quarts of blood. The heart circulates it from organ to organ through the blood vessels. It provides nourishment to the cells and muscles and carries waste matter from there to the lungs to be purified. If blood remains station­ary in the abdomen, it is obvious that the muscles and brain will become starved and less effective in their operation. A person suffering from an upset stomach or constipation is estimated to have some one and a half quarts of impure blood in his abdomen.

If, however, the correct centripetal pressure is preserved, the stationary blood can be pushed upward toward the heart by this pressure. The heart can then do its work more easily, and the lungs can also function normally because there is less pressure from the diaphragm.

28. Right-triangle kneeling position.

29. Stepping forward in right-triangle position.

3.    The force of the waist and abdominal region can be developed by training.

Let us study the method of creating centripetal pressure and of invigorating the waist and abdominal region.

a.         When standing or sitting, keep your body erect without bending in any direction so as to put the center of gravity just above the center of the base.
b.         Project the lower part of the abdomen to the front and the hips toward the back by bending the loins at the junction of the fourth and fifth lumbar vertebrae (arching the lower back).
c.         Form a right triangle with your legs when sitting (see Figure 26), with your feet when standing (see Figure 27), and with one foot and the lower half of the other leg when you have a knee on the ground (see Figure 28) in a squat-like position.

These conditions are fundamental to creating and preserving correct centripetal pressure. When you stand in the position shown in Figure 27 with your feet spread about shoulder-width, you are in natural posture, or shizen-hontai. Let us try a few experiments.

(1) Sit as shown in Figure 26. Next, by breaking the right angle combination, put both knees together. You will notice that the force of the waist and abdominal region becomes weaker and the body less stable. Even a slight push can knock you down. This is because the muscles of that region cannot contract vigorously and harmoniously.

1. Next, stand in a natural posture position. (See Figure 27.) Break the right-angle combination, pointing toes in or out. You will find that you are less stable, while the force of your waist and abdominal region becomes weaker.
2. Stand or sit as you wish, bending the loins forward as well as putting your center of gravity somewhere other than above the center of the base. You will find that you cannot give a strong and harmonious contraction to the muscles of the waist and abdominal region.Advancing a step further, let us see how we can strengthen the forces of the waist and abdominal region. You can train these muscles if you sit or stand still for a long time, taking the postures
   described above. But the best method of training is to take advantage of the reaction produced when you step forward and drop one foot to the ground while still keeping the right-angle combination.   (See Figure 29.)
3. Step forward with the knee bent and drop your foot quickly so that toes and heel touch the ground simultaneously. The advanced foot should make a right angle with the other foot as shown in Figure 29. At this moment you can probably shout louder (from the abdomen) than when you are standing still, and the abdominal region becomes as strong and hard as stone. This shout in judo is called kiwi (pronounced "key-I"). The deep diaphragmatic outburst of air creates strong abdominal muscle force.

If you step out with the angle smaller than 90 degrees, the force of your step is weaker. The contraction of the muscles of the waist and abdominal region also decreases proportionately. The more vigorous the step, the stronger the correct centripetal pressure becomes. The less vigorous the step, the weaker the pressure. By taking advantage of stepping out in this manner, you can give maximum contraction to the muscles of the waist and abdominal region, with the effect that these muscles can be strengthened by training. Eventually you will be able to produce a tremendous force in the waist and abdominal region with ease. What, then, is the best posture for practicing judo?

30. Improper  posture   hampers use of abdominal force.

31. Defending posture does not permit quick movement.

Practice judo in a natural posture.

In the sections above, from the standpoints both of dynamics and the nervous system, we have learned in brief that the force of the waist and abdominal region is what controls the body's actions. A judo expert takes full advantage of this force in practice. But in throwing techniques the best posture should be the one that affords a fast and light movement and at the same time permits the use of force. Let us see what this best posture is.

How about the sitting posture in Figure 26, which is similar to the basic posture in practicing Zen meditation? Although it enables you to make and preserve centripetal pressure, it is not as suitable as the natural posture shown in Figure 27. It does not permit you to move your body easily in any direction while taking advantage of your opponent's attack.

How about the posture in Figure 30, in which both arms are stretched stiffly while the loins are bent? This is abnormal, for in this posture you cannot take advantage of the power of the waist and abdominal region, nor can your movements be executed properly.

In the defending posture in Figure 31—with the feet spread more widely than in the natural posture—where is the advantage? The defending posture is better than the other two noted above, but it cannot compare with the natural posture because it is too stable. It prevents you from moving quickly in any direction. If you assume the defending posture, you may be able to change your position as fast as you can in the natural posture, but your motion will be strong and fast only in the single direction along the line passing through your feet. It can never be fast in all directions. When the center of gravity is low and the base large, the body is stable, but at the same time it is inconveniently set for a change in position and direction.

1.      The natural posture is best for practicing judo.

From the above illustrations it is clear that the natural pos­ture (Figure 27) is the best position for practicing judo (in throwing techniques) because it is the most convenient for a change in position and direction. It also makes thorough use of the working power of the waist and abdominal region. If you practice judo in this posture, your waist and abdominal region will develop, and you will naturally mature both in body and in mind. Always remember that jigo-tai (the defensive position) is more stable than shizen-tai (the natural posi­tion) in a stationary situation but that, dynamically, shizen-tai is more stable because of its flexibility.

2.      Grappling   techniques   require   a   different   type   of posture.

In throwing, you apply techniques by taking a standing posture. But grappling is done in a prone position, or at least with one knee placed on the mat. Free and easy motions are largely limited for you as well as for your opponent. So "gentleness" or "giving way" is not so evident as it is in throwing. A lower center of gravity and a large base mean shackled motions. If your opponent is lying on the floor on his back when you attack, your motions are easier than his. Let us consider the most effective posture for attacking your op­ponent in grappling. This is the posture shown in Figure 28. You place your right knee and left foot on the mat with your right foot balanced on the big toe. The left foot makes a right triangle with the lower right leg. Your center of gravity is situated directly above the center of the base.

In this position you will probably notice that you can easily push or pull an object lying in front of you without losing your balance, be­cause your center of gravity is low and the base is large. You can also make maximum use of the waist and abdominal region. The vital work of that region is assured by the above-mentioned conditions. If you press the floor vigorously with the right knee and foot, your trunk will move forward speedily. This sets up a large momentum. How to set up and take advantage of this momentum is the secret of grappling. You may think that an expert does not attack in this manner. His varying postures should be considered as modifications as long as he tries to take advantage of the force of the waist and abdominal region.

Whenever you rest a knee on the mat, you must support the foot with the big toe bent. In this position both the leg and the foot can do their work in unison. In throwing, also, you must realize that the thorough use of the big toes is vital in making both the legs and the feet work together in one complete force.

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