Throws and Locks in Karate Kata
by Harry Cook
In 1935, Gichin Funakoshi observed that “hitting, thrusting, and kicking are not the only methods; throwing techniques, (nagewaza) and pressure against joints are also included. Depending upon the strength and skill of the opponent it is not always necessary to use powerful techniques like hitting, thrusting and kicking, but, adjusting to the situation, softer techniques such as throwing may be used, and in this versatility there is an inexpressible savour.”
When Funakoshi published his first two books in 1922 and 1925 he included a number of throws and locks.
The throws were listed as:
1. neijidaoshi (twisting down). An arm bar, which Funakoshi said could be considered an application of Naihanchi Shodan (modern Tekki Shodan
.
2. kusariwa (chain ring). A double rising block. After the blocking movement Funakoshi advises the reader to “leap in and use both arms to encircle his legs with udewa”, ie throw by pulling both the legs away. This technique is said to be an application of Bassai kata.
3. taniotoshi (push off a cliff). Essentially the opponent is turned upside down and dropped so his head hits the ground.
4. yaritama (spearing a ball). Turn inside an attack, seize the opponent’s arm and pull while also lifting the opponent by the crotch.
5. kubiwa (encircle the neck). Slide into and around an attacker. Place one arm around his neck and pull while pushing against his lower back.
6. nodo osae (pressing the neck). Block an incoming attack and simultaneously grab the opponent’s throat. This technique closely resembles movements found in the Goju Ryu kata Shisochin.
Funakoshi taught that “All these techniques should be studied, referring to basic kata.” So it would seem that according to Funakoshi, Shotokan kata include not only kicks, punches, blocks, and strikes, but also throws and locks.
It is an interesting but little known fact that the skeleton of the dinosaur known as Struthiomimus is very similar to that of the modern ostrich. It is believed by functional anatomists that the reason why these animals look alike is because their way of life and the environment they lived in were very similar. Adrian J. Desmond explains that ‘Convergence of appearance among animals is always accompanied by a close similarity of function.’
This is all very interesting, I hear you say, but what has this to do with the martial arts? Actually it is very relevant because it draws attention to an important principle, which is that in nature form and function are closely related. So if we find similar looking techniques in a number of apparently different martial arts it is reasonable to assume that the function, or application of those techniques will be similar.
Bassai-dai is a kata taught in many systems, and in Shotokan it is typically selected as one of the kata used in the test for first dan. After the third yama-zuki the karateka normally shifts the rear (left) leg across into a long deep front stance and swings the right arm across the body into an outside block (Shotokan uchi uke). According to Gichin Funakoshi in Karate-Do Kyohan “This technique is employed to scoop and immediately throw back an opponent’s foot, so it is essential to keep as low as possible.” This application of the technique is also included in M. Nakayama’s Best Karate 6 (page 66) and other works by Shotokan instructors.
Although this has become the standard way of explaining this technique in modern Shotokan, it is instructive to compare this movement with structurally similar movements used in a variety of fighting methods such as the pugilism of the Prize Ring, wrestling, Judo and French Boxing where typically it is used as a hip or neck throw. It is perfectly reasonable to see this technique as a type of hip throw, a follow up from the last yama-zuki which can be regarded as a block to a right hook (left hand) and a counter punch to the stomach (right hand). The left hand then grabs and pulls down as you pivot into the throw and the right forearm slams into the head and neck, adding power to the throw.
One major difference between the way that karate kata were performed in the past and the way they are done now, is that in the past function dictated form, while in many of the modern versions, form dictates function. In the older versions the application of the technique was considered to be the most important aspect, while the modern approach to kata is to see the development of the outer form as paramount.
This trend has been reinforced by the adoption of sport values when evaluating the quality of a kata; the criteria used to judge a kata tournament is now primarily visual. A “good” kata looks very precise and gymnastic, while a ‘bad’ kata is visually unimpressive. In the sporting arena this is a fair judgement, but from the traditional perspective it deals only with superficialities and is therefore fundamentally irrelevant. Two eminent physiologists and physical educators Philip J. Rasch and Roger K. Burke point out the danger of concentrating on outer form “Much kinesiology has implications for determining the mechanical technique or “form” to be employed by the learner. Class teaching methods often imply that there is a best way to perform in a given situation, whether it be postural adjustment, crutch-walking, or participation in a sport, but teachers should not insist upon too rigid a “form”. In the first place, better “forms” are still being discovered for most activities...In the second place, individual differences can never be completely understood. There is a wisdom of the body that supersedes academic knowledge or analysis, and a little trial-and-error learning frequently produces a more effective performance technique than could rigid direction.”
The primary consideration in evaluating the quality of traditional karate kata should be the efficiency or otherwise of the application of the techniques, as this is where the true heart of the kata lies.
Sadaki Nakabayashi explains that the judo-ka in illustration t007 is improving the outer form of a throw. “In the same way that a boxer shadow-boxes to improve his footwork and timing, a Judo player practises throwing without a partner. It’s called Tandoku-Renshu, self-practise. Here we see the self-practise movements for Marote seionage, the shoulder throw.”
If you asked most karate-ka what technique the photograph most resembled it is likely they would refer to a technique found in Heian/Pinan godan kata, which is often described as a punch followed by a jump over a low level attack with a stick. However it would be perfectly valid, and more sensible to understand the movement as a throw similar to morote seionage. Throwing techniques are a part of traditional karate. The founder of Shotokan karate-do Gichin Funakoshi observed “Karate may be said to be hard technique when compared to the soft technique of ju-jutsu, but softness includes hardness and hardness includes softness. In other words softness is necessary to become hard, and hardness is necessary to become soft, and to begin with both softness and hardness are one..”
In karate the ideal is to end the fight with a single powerful blow, but in reality this is sometimes not possible and other techniques must be used. It becomes obvious after even a cursory examination of any form of free for all empty hand fighting that the action is not restricted to one type of technique. Methods of punching, kicking, slapping, biting, gouging, twisting, tripping and throwing are used freely to damage the enemy and win. It is only when combat takes on some kind of sporting form that restrictions on permissible vs. non-permissible technique appear, but in more serious struggles there are no limits imposed on the action.
Charles Janson, an English visitor to America at the beginning of the nineteenth century witnessed a fight between two men in Georgia “We found the combatants ...fast clinched by the hair, and their thumbs endeavouring to force a passage into each other’s eyes; while several of the bystanders were betting upon the first eye to be turned out of its socket. For some time the combatants avoided the thumb stroke with dexterity. At length they fell to the ground, and in an instant the uppermost sprung up with his antagonist’s eye in his hand!!! The savage crowd applauded, while, sick with horror, we galloped away from the infernal scene. The name of the sufferer was John Butler, a Carolinian, who it seems, had been dared to the combat by a Georgian: and the first eye was for the honour of the state to which they respectively belonged.”
While this is a gruesome tale similar examples could be found from all cultures, and it was from the knowledge gained by the survivors of these kinds of fights that the founders of fighting methods created their systems. In karate a lot of the information was stored by way of kata. In a society where few could read and write and film and video were unknown it makes sense to store information through methods such as kata. The basic techniques could be taught through the formal movements and the actual fighting applications would appear once the bunkai were explained by the instructor. So for example if we look at kata such as Chinte, Seisan, and Shisochin we can find techniques which could be used to attack an enemy’s eyes; the results of such techniques would resemble very closely the eye gouging witnessed by Mr. Janson.
It is often the opponent who dictates which techniques you are able to use in a fight. Gichin Funakoshi warns us “that since the essence of karate is found in a single thrust or kick...one must be very careful not to be defeated through concern with throwing an opponent or applying a joint-punishment hold”, which is of course true, but there are times when the opponent closes into grappling range and you do not have the opportunity to use a single thrust or kick; in this situation you are forced to use throws or locks. Morio Higaonna, the famous Goju Ryu master is highly skilled in all forms of grappling and often uses locks and throws as part of the bunkai of Goju Ryu kata. According to Shito Ryu teacher Toshihisa Sofue grappling methods are in fact the dominant aspect of kata. He says that karate kata are made up of “80% throwing and locking techniques; only about 20% is mere blocking and striking.”
Throws and locks can be invaluable when fighting an opponent under the influence of alcohol and/or drugs. One of my dan grade students is a policeman, whom I will call “C” here. C weighs about 100 kgs, trains with the weights, and is a police self defense instructor as well as having over 15 years experience in karate. He was recently attacked by a drunken 6’ 3” football hooligan (“H” here) who was also under the influence of drugs, probably some form of amphetamine. During the altercation C landed full power punches and kicks on his attackers face, body, and groin, as well as bouncing his head off a wall. Although H was bleeding from his face and scalp, and presumably he had a sore groin, he kept on getting up and attacking. Because of the mixture of alcohol, adrenaline, and drugs, the pain wasn’t enough to keep him down. Finally C secured a strangle hold and he choked H unconscious. The following day H was asked what had happened to him as he looked as if he had been run over by a bus, but he said he couldn’t remember a thing about the previous day. Admittedly this is something of an extreme case, but it does demonstrate the need for techniques other than punches, kicks and strikes.
Some experienced judo-ka who began training in karate found that their grappling skills were a tremendous advantage when it came to sparring. An Englishman Charles Mack began to train at the JKA in 1958. He was an experienced judo-ka with nine years training and a 3rd dan in judo. He explains that “it was natural in my case...especially when doing karate free-sparring to react to the various relative positions between my opponent and myself in a way quite different to that of a person with no judo training. This disturbed me at first, for was I not now engaged in a new and different activity from judo, and would I not therefore be much better employed in practising as everyone else seemed to be doing, the classical techniques of karate and give up my judo throwing and holding methods.
I realized however that all the judo techniques which I was using in the free sparring sessions was being used by me quite naturally and not consciously in the least. My reflexes were acting in the way they had been taught to act for nine years. One important thing was made clear to me at that time. It was that if one can easily control one’s reflex actions in dangerous situations where natural unthinking action is of great importance then that kind of training which developed those reflexes actions must leave a great deal to be desired. One should only with the greatest difficulty be able to control one’s reflex actions, even to a very small degree. My judo, I was very pleased to be able to prove to myself, must have been sound, otherwise I should have had less difficulty in using the new to me karate technique instead of the judo technique which I had developed to the point where, given the opportunity, I could execute it quite instinctively or mechanically.
As time went by, I began to do sparring with skilful, strong, aggressive karate players. I realised that although I could still throw them, once given the opportunity to get my hands on them, this opportunity most frequently occurred when I found myself at very close quarters with my opponent. It was simply a question of slapping my hands on him, pulling him in, and then applying the appropriate throwing technique. What as most surprising, if I did manage to secure a hold on the jacket of my opponents, how little resistance they had against my controlling them with my hands. I had not realized how powerful one becomes in judo at controlling a person with the hands, and also what tremendous resistance to powerful pulling and pushing movements a judo player develops compared to that of a person with no judo training. So...a judo player is in his element when he is very close to his adversary. It is then that he can put to their greatest use his hands and arms which are not used to striking but grappling or grabbing. Although karate training develops certain powers in a person which judo does not, karate training is not designed to develop in a person the power to resist, nor absorb the shock of, powerful judo throwing techniques.
It was for this reason that the other members of the Dojo of the Japan Karate Association where I was training would, when doing free sparring with me, use the most ingenious devices to prevent me using any throwing technique on them. This was usually accomplished by always keeping at a distance which made securing a hold on their jacket difficult. In other words they sparred at long range. When they attacked they did so with speed and power and then came out again just as quickly. This state of affairs resulted in my changing my strategy, which took the form of thinking of ways and means of using judo technique without having first to grab the opponent.”
Charles Mack decided to concentrate on learning how to apply foot sweeps in sparring. He explains “The throwing technique which I decided would lend itself to throwing without grabbing with the hands was De Ashi Barai [Sweeping the Advanced Foot], a classical judo throwing trick and one which was also popular with high grades at the Dojo...This is a technique which I have used successfully in Karate both as a throwing technique and also to disturb the opponent’s posture and create opportunities for other forms of attack.”
It is important to understand that there is more than one way to apply the specific moves from a kata; according to the circumstances of the attack many applications of kata technique may be used. As sensei Morio Higaonna says in volume 3 of Traditional Karate-do “None of the movements of a kata is limited to one application - in a real fight the variations of each application are unlimited.” In volume 4 of the same series Higaonna sensei explains that the individual karate-ka should develop “oyo bunkai” or personal ways of applying techniques from the kata “Oyo bunkai practise is the individual’s own research into technique. If you pursue these studies seriously then an infinite variety of techniques may be developed. I hope that from learning just one example of bunkai that you will be able to develop many techniques of your own.”
The logic behind these applications must simply one of function; they need to work in a rational manner and not depend on partner compliance to any unreasonable degree.
It should always be assumed that the attacker is not a trained martial artist, so the “attacks” are not karate techniques, but resemble the kinds of movements used by untrained but aggressive individuals. In training it is common for the attacker to be face on to the defender, but it should be remembered that attacks can come from a variety of angles. As a general principle I would suggest that attacks should be considered as coming from six basic positions relative to the defender:
- in front
- behind
- to the left
- to the right
- from above
- from below.
By exploring the possible applications of any technique to an attack coming from these six positions the relative strength or weakness of a movement can be evaluated. Another way of studying kata application is to assume that the attacker is armed with a knife or a stick. This adds an extra consideration to the way the techniques might be applied.
While jumping movements may be of some use in defence, it is my belief that in many cases a jumping action in a kata actually indicates a throwing technique. One way to simulate the explosive body action used in throwing is to jump high; in the solo practice of a kata, performing a jumping or leaping action could be a valuable way to prepare the body to perform a throw, i.e. as a kind of plyometrics. Seeing a jumping action as a possible throw can be a useful pointer when analysing the techniques of kata which feature jumping movements such as Heian Godan, Empi, and Kanku-dai.
