Throws in Karate?
by Joe Swift
The mere mention of the word "karate" conjures up
many images to the listener, the most common probably
being that of two combatants fighting each other with
kicks and punches. However, this image seems to stem
from the training methods and practices adopted by
modern karate, and is not necessarily a true representation
of the older Okinawan methods. In fact, karate is
more of a complete self defense system than most non-practitioners
realize, incorporating not only strikes, punches,
and kicks aimed at the body's most anatomically vulnerable
areas, but also joint locks, takedowns, throws, strangulations,
restraints, etc.
This article will focus its attention to one all-but-forgotten
aspect of karate application, namely throwing techniques.
Specific mention of throwing techniques in karate
can be found as far back as 1922, in the first known
published book on the art, Funakoshiís classic Ryukyu
Kenpo Toudi. This book nominated eight throws, with
specific mention that at least two of them were applications
from kata described in the book. Funakoshiís next
two books, Rentan Goshin Toudijutsu (1925) and Karatedo
Kyohan (1935), also contained examples of throws and
takedowns.
One other book worth taking a look at is the 1938
collaborative publication entitled Kobo Kenpo Karatedo
Nyumon by Mabuni Kenwa and Nakasone Genwa. In addition
to describing many throws and takedowns, Mabuni also
states that the karate that was introduced to Tokyo
(Mabuni lived/taught in Osaka) was only a single portion
of a larger whole, and that the fact that people in
Tokyo viewed karate as a solely striking and kicking
art only served to point out their overall lack of
awareness of the complete nature of karate (Mabuni
et al, 1938).
More often than not, throws are not implicit in the
kata techniques, but serve more as follow ups or "exit
techniques" after the necessary set-up, or "entry
technique" has been established through strikes. One
general rule of thumbs for throwing in general is
to first damage the opponent with strikes, so as to
lessen the chances for resistance (Kinjo, 1991).
Senior American karate teacher Dan Smith, who has
spent considerable time learning karate at the "source"
in Okinawa, from numerous teachers, recently observed
the following:
"The question was why didn't the kata show the full
follow through on throws in the kata. I asked the
question while on Okinawa of several senior teachers.
Their unanimous answer was that the throws in Okinawan
karate are not meant to throw the opponent anywhere
but the ground. Secondly, it is not appropriate to
think you can throw someone far when you have already
struck them and at the point of throwing or tripping
them to the ground they should already be headed that
way. . . If you follow the bunkai of the kata the
throws are proceeded by striking techniques, which
should eliminate the ability to off balance the opponent
and use their momentum to throw them very far from
where you are." (Smith, 1999)
Let us now take a look at some specific throws found
in karate kata.
From Kusanku, Passai, Pinan Godan, Seiyunchin, Chinto,
etc.
This particular throwing technique that can be utilized
in response to many types of attack, including a straight
punch to the facial area, a wrist grab, an attempted
lapel or throat grab, etc. Thus, as the method of
entry depends upon what type of attack is being defended
against, this description will not cover a specific
entry into the technique, but rather explain the actual
technique itself.
This technique is actually an application of a position
found in most, if not all, versions of Kusanku, as
well as in Passai, Chinto, Pinan Godan, Seiyunchin,
and several other kata. This posture goes by many
names, such as Manji-gamae, Tettsui-gamae, Ura-gamae,
etc., and comes in many variations. It is represented
by one hand in a low position in front of the performer
and the other hand raised up either above the forehead
or behind the head. Some kata use an open hand, others
a closed fist, and the stance also often changes between
kata and/or variations. However, the fundamental principle
remains the same.
Photograph
1. The application of the posture. The right hand
pulls the opponent's right hand to break his balance
as the left hand strikes into the lower body. Possible
kyusho targets are denko (GB-24) or inazuma (Liv-13).
The idea here is to inflict damage on the opponent
before throwing.
Photograph
2. Step in front of the opponent's right leg, and
slap the testicles with the left hand to inflict more
damage and to get the opponent to bend forward.
Photograph
3. Controlling the opponent's left hand, apply
pressure to the Golgi receptors at the back of the
tricep tendon (kyusho name hiji-tsume, TW-11), and
Photograph
4. Turning the hips to the right, throw the opponent
down. Possible follow ups can include a well placed
strike or kick, a joint lock, or similar technique
of subjugation.
From Kururunfa
This throw is actually described in Mabuni and Nakasoni's
1938 Karatedo Nyumon, page 208. It is an application
against a full nelson hold from behind. Below is an
English translation of the instructions, with accompanying
line drawings from the book.
Ura-nage (Throw to the Rear)
When the opponent grabs you in a full-nelson by inserting
his hands under your armpits, before he can get set,
immediately bring both arms up, backs of the hands
facing each other, and strike down with your elbows
with all your strength (as if performing a descending
elbow smash).
The opponent's grip should loosen, and you should
then head-butt him in the face (if the opponent has
gotten you in a deep full-nelson, your head-butt will
probably strike him in the throat or the chest). Sink
your body down, grab the back of his knees with your
hands, and topple him backwards by striking again
with the back of your head.
Note: Be sure to keep your mouth open when you perform
the rear head-butt, as if you close it, you run the
risk of numbing your eyes (temporary blindness ñ tr).
Two
of Mabuni Kenwa (from his 1938 book Karatedo Nyumon)
His partner in the photos is Taira Shinken.
In closing, I would like to share a
personal anecdote. Showing a copy of a Japanese translation
of the Bubishi to my current teacher, we were looking
at the 48 self defense techniques presented therein.
After a few minutes, he looked at me, and said, "Letís
get out on the dojo floor." He proceeded to demonstrate
(on me!) several takedowns and grappling techniques
that were almost verbatim from the Bubishi. I asked
him where he learned them. His reply: "Jujutsu."
Bibliography
Funakoshi, G. (1922) Ryukyu Kenpo Toudi. Tokyo: Bukyosha
(Reprinted edition, 1994, Naha: Yoju-shorin)
Funakoshi, G. (1925) Rentan Goshin Toudijutsu. Tokyo:
Kobundo. (Reprinted edition, 1996, Yoju-shorin)
Funakoshi, G. (1935) Karatedo Kyohan. Tokyo: Okura
Kobundo.
Kinjo H. (1991) Yomigaeru Dento Karate (A Return to
Traditional Karate) Vol 3 (video presentation). Tokyo:
Quest Productions.
Mabuni K. and Nakasone G. (1938) Kobo Kenpo Karatedo
Nyumon. Tokyo: Kobukan. (Reprint edition, 1996, Naha:
Yoju-shorin)
Smith, D. (1999) E-mail Post to Cyber Dojo
Photo Credits:
All old photographs in this article were provided
by Mr. Takeishi Kazumi of Yoju Shorin Bookstore in
Okinawa. I would also like to personally thank my
dojo-mate Mr. Matsumoto, for posing in the other photographs,
as well as my teacher Uematsu Yoshiyuki Sensei, for
the use of his dojo when shooting the photos.
About the Author:
Joe Swift, native of New York State (USA) has lived
in Japan since 1994. He holds a dan-rank in Isshinryu
Karatedo, and also currently acts as assistant instructor
at the Mushinkan Shoreiryu Karate Kobudo Dojo in Kanazawa,
Japan. He is also a member of the International Ryukyu
Karate Research Society and the Okinawa Isshinryu
Karate Kobudo Association. He currently works as a
translator/interpreter for the Ishikawa International
Cooperation Research Centre in Kanazawa. He is also
on the Board of Advisors for FightingArts.com.
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