Wristlocks and Armbars
Within Shobudo lie several disciplines both in Te-Waza (empty hand) and Buki-Waza
(weapon) applications. Also within each discipline, hundreds of techniques are
available from simple to complex and in combination with one another. Of the
waza's listed; wrist, armbar, nerve, finger locks and pressure points are the
most difficult and painful to learn. These techniques are the backbone of what
constitutes most Jitsu arts and is what separates Jitsu from Judo and Karate.
In all classical or Koryu arts (arts prior to the Meiji period of 1868), names were given to each and every applied technique. As there are hundreds of techniques involved individually or in combination that make up a school, there is also several names given to each technique or principle within the same style of ryu. Example: Aikido's 3rd wristlock is known as Sankajyo, yet in other styles of Aikido it is called Sankyo, Kote-Maki, Kote-Mawashi and Tekubi-Gaeshi, etc… This same procedure applies as well to all forms of karate and Jutsu's within their particular waza's of blocking, kicking, striking, throwing or choking, etc… Since Shobudo is not a Koryu art and learning the classical names is not emphasized, we concentrate mainly in the technical applications rather than learning the technical name for all possible techniques. The bottom line to a particular technique is its final intended purpose. If a given technique is executed for the purpose to break an elbow but has three names attached to it, the names are not as important as is the intended final result!
The sole purpose of self-defense is to protect or defend one's self and others by means of controlling an aggressor(s) through a process of restraining takedown locks or take-outs if necessary. Throws are an important element of all techniques as well as strikes and kicks by which a subject is subdued. The last resort of self-defense is not to break or destroy. The object is to first minimize the actions of aggression through locks then sprains, then into breaks if warranted through the understanding knowledge and principles of Kansetsu-Waza or joint locking techniques. Therefore, in Shobudo we concentrate in great depth and detail with why the principles of a technique work and how they are applied in order to control a subject through pain of Itai. Knowing a few techniques with a few directions is insufficient when so many possibilities are available once the controlling factors and principles of angle and degrees are understood. As each technique has a specific purpose and definite function, some individuals may not respond to a given applied technique as it was intended. This is due to the subject's strength, height, weight, flexibility and general overall response to pain. Therefore, it's imperative to follow that person in all directions and angle changes that take place, changing from one principle or technique into another until the subject is locked and under control!
TEKUBI-WAZA:
To fully appreciate and understand the many applications and complexities that
make up wristlocks, only three basic locks are used. Since the wrist rotates,
bends, twists or turns naturally in three directions (four with finger locks),
if you extend pressure beyond the limits of its natural rotation, itai and lock
is created. In concert with this are circular motions (circle within a circle)
that must be maintained with a constant and continuous pressure to the wrist
in angle degrees for direction changes made in response by uke. This may sound
confusing and complicated but in time will fall into place. This is our specialty
because all other waza's used initially will usually end up with one of the
three wristlocks, a finger-lock or an armbar and many times in combination with
each other. NOTE: finger locks are not the same as wrist locks and have no painful
or controlling effect to the wrist. Although the wrist is bent toward the back
of the hand, pain is felt only to the finger or fingers that are under the control
of Tori.
The principles that control the wrist and their direction of force are the factors that determine wristlocks and armbars in general. Of all the waza's listed, emphasis is placed heavily on wristlocks (Tekubi-Waza) and arm bars (Ude to Hiji-Waza) as they are the most complex to understand, learn and execute. Following are the basic foundations for each of the three wristlocks. Once understood, hundreds of techniques are available from a grab to any part of the body, a reach, punch or weapon of any type.
1. Tekubi Yokusei Ichi -- Wrist rotated inward and down, then bend into top of forearm (little finger on top) then bend wrist outward into (Z) configuration (wrist parallel with upper arm), maintain wrist and elbow parallel to the floor. Follow uke's directions into lock.
2. Tekubi Yokusei Ni ---- Wrist rotated outward and (bending toward inside of forearm), then continuing an outward twist into (U) configuration (wrist parallel with upper arm), maintain elbow in downward position. Follow uke's directions into lock.
3. Tekubi Yokusei San --- Wrist rotated inward and down continuing outward and up, forcing elbow to corkscrew toward ceiling into an inverted "L" (7), and or the (Z) configuration. Note: This 3rd wrist control, is the same as the 1st wrist control but tori's hands are placed differently on uke, (need to see video). Tori, using the inverted "L" (7) has more control then the (Z) over uke, but both are basically the same. When using the (Z) configuration (wrist parallel with upper arm), maintain elbow (both configurations) higher than the shoulders of uke. Follow uke's directions into lock.
Note: (1) Index fingers (direction of force) point into or at uke. This is the crucial and final principle in producing itai of all wrist techniques and all techniques in general. Do not leave it out!
Note: (2) Most wrist techniques will be either a take down lock (Tekubi-Kagi no Shita) or some type of throw (Tekubi-Nage). Many times it will involve both.
All advanced locks (compound with reverse and double reverse applications with throws) are built from the above three basic foundation principles. In addition, combination with all other waza's from all types of approaches (grabbed, being grabbed or from a punch etc) are what make up the endless array of individual wristlock techniques. Therefore, its imperative they are understood for maximum effectiveness. Following the above three principles and rules of control, one can make up or fall into a technique not already taught.
UDE to HIJI-WAZA:
Again, several names are given to armbar locks; Hiji-Gime, Hiji-Jimi, Ude-Garami,
Juji-Gatame, etc… To produce an effective armbar lock, two elements are
required, the forearm Ude and the elbow Hiji. By holding, supporting or containing
uke's forearm ude, pressure is applied to the elbow hiji by means of your hand,
forearm, knee or shoulder, etc… Note: Of all waza's, armbar techniques
rely heavily on the physics of the fulcrum and leverage system; holding the
forearm (fulcrum) then applying pressure (leverage) to the elbow.
It must be emphasized that several variables are involved besides simply applying pressure to the elbow. As the elbow has approximately a 120-degree pivot point between the upper and lower arm and is supported by several tissue structures of tendons, ligaments and muscle, it is obviously much stronger than the wrist. Along with this are three types of arms and two natural pivot points of the shoulder, each of which must be considered.
1. Upper & lower arm in line: ------This is normal for the majority of individuals and is what you will be dealing with in most situations.
2. Forearm curved inward: -------The curve inward provides a natural strength to an individual and is the most difficult to apply and control. Short stocky and heavy boned individuals usually have this type of arm configuration. Note: best to avoid applications of armbars per these individuals and apply a wristlock or simple goose-neck of (Tekubi Yokusei Ni).
3. Forearm extended outward: -- Easiest to apply, control and break, but sometimes confusing as to where the elbow is in relation to the arm. Tall lanky men and most women usually have this type of configuration.
4. Pivot points of the shoulder: ----- With the upper and lower arm held out
straight, it has (approx) a natural 270 degree pivot point at the shoulder as
well as a 360 rotation in a circular motion.
Given the above problems, armbar locks are very complex and involve the knowledge
of degrees in angle and direction changes more than any other waza forms. Learning
armbar techniques is as varied in numbers as is wrist techniques, and must be
fully understood for each to work in conjunction with one another.
As with wristlocks, armbars are to control a subject in take down and lock (Hiji -Kagi no Shita) or throws (Hiji-Nage). Many times it will involve both. As uke's hand, arm or wrist will be captured by one of your hands, application of leverage to uke's elbow can be supplied by your free hand or forearm. Also your shoulder, chest, knee, leg, foot, and any other available objects (chair, railing, post, etc…) can be used. Advanced levels of compound wrist and armbar techniques in unison with each other truly state the meaning of Itai … so learn them well!
In Budo,
Robert Morton
Kaicho
Shobudo BuJitsu Kai