Gedan Barai (下段払)

It can be an impressive sight, row after row of karate-ka lined out in snow white karate-gi, standing in yoi (ready position) waiting for the sensei to give the command.  Time and again, this command will be “gedan barai”.  Sure enough, in an impressive display of unity, the karate-ka will step forward or back into the gedan barai position, executing what has been translated for many years, a downward block.  It is the movement that has been used as the starting point for thousands of stepping punches up and down the floor of the dojo and as the setup position for starting kihon ippon kumite (basic, one step sparring) in the dojo.

Repeated so many countless times by karate-ka in the dojo, the gedan barai is a technique that punctuates modern karate practice.  Gedan barai followed by oi-tsuki times three.  Gedan barai, gyaku tsuki times three.  It almost seem like another yoi (ready) position and for many people, this is exactly what it is.  However, like most techniques in karate, it deserves exploration and should never be underestimated in its usefulness to help counter and control in a great many confrontational contexts.

Many karate-ka tend to forget that this simplest of movements can be a block, a lock or even a take-down when grabbed by an attacker.  As always, it will be the contextual premise that determines the function and application of the gedan barai.  Like all of the techniques that are taught as blocks, there is so much more to them once the surface is peeled away and some time is taken to analyse the possibilities.

The name itself is a good starting point for any analysis and also highlights the importance of studying the language and culture of the martial arts.  Although most often referred to as a “downward block”, one needs to return to the Japanese name to begin to understand more.  Gedan Barai!  Gedan refers to a level.  The other levels that are familiar are jodan (上段) for upper level, chudan (中段) for middle level.  Hence, gedan (下段) translates as the lower level.  Barai (払) means a sweeping movement.  The other, frequently practised, technique that uses barai is ashi barai (足払) or foot sweep.  This is a technique that relies heavily on timing to ensure success and put the attacker off balance in order to counter the attack.  So bringing them together, gedan barai (下段払) is a lower level sweeping technique.

Calling it a block implies that the karate-ka is using the arm to block or create an obstacle to the normal progress or functioning of the attacking limb/object.  While some may practice intense conditioning and develop arms of steel over many years, most karate-ka will be the worse for wear after the meeting of the forearm with a powerful front kick or a weapon attacking the 4 o’clock to 8 o’clock range..  These include low body blows, kicks and uppercuts and in general, gedan barai is not used as a block to stop the oncoming attack in its tracks.  However, sweeping techniques are used to redirect the force and direction of an attack in order to best negotiate and respond to an opponent.  Or they are used as a lever in order to gain control of an attacker.

The gedan barai is an excellent class 3 lever and a good example of physics being applied.  The fulcrum is the hikite hand, the load will be the attacker and the effort is applied through the gedan barai itself.  This can be seen in action through picture set number 1. The wrist grab is a common contextual premise that very often is a precursor to a hook punch or a reach for the face or neck.  As shown, the defender uses the hikite hand (in this case, the left) to change the grip and hold on to the attacker.  At the same time, the right hand sweeps up to slap the attacker across the face (distraction/hidden technique) and then bring the hand down to use the gedan barai as a lever to force the attacker towards the ground.  Although the defender never wants to end up on the ground, there is no reason not to put the attacker on the ground in order to provide a window of escape.  As the attacker is pushed down, they will use their free arm to stop themselves, thus removing the immediate danger of being hit by it.  The possibilities for follow up in this scenario include simply leaving the scene, forcing the attacker face first into the ground or reaching through the grab the leg and roll the attacker.

A similar set up can be seen in picture set number 2 and from this position, it is possible to use a gyaku gedan barai to form an arm bar to restrain the attacker.  In this case, the attacker has used a shoulder grab in order to gain control.  Garment control like this is done using either one or two hands.  Practice and repetition in the dojo will help to develop the instinct and timing needed to be able to overcome an assailant in this type of scenario.  As is very often the case, a distraction technique is required to help the defender.  In this case, a slap to the testicles will cause a predetermined response from the attacker.  The defender can then duck back under the arm and execute a gyaku gedan barai.

The use of receiving techniques like the gedan barai is not limited to punching distance encounters.  They are easily applied and very effective in close quarter encounters as well.  They can provide the base point for the balance displacement or throwing techniques that have been almost forgotten by modern day karate.  In scenarios like this, the foot work becomes a key factor in the success of the technique.  As an example, look at the photo set 3.  A side bear hug, in this case under the arms, is used to control a person or even lift them off their feet.  In a scenario like this, a distraction technique is essential.  From this position, a head butt or an elbow to the attacker’s face will cause a slight loosening of the grip.  This will allow the defender to grab the attacker’s wrist with the left hand and as the right had returns, a strong base is formed.  The step back into gedan barai will drive the defender’s leg under the attacker’s, displacing their balance and most certainly end up with the being thrown to the ground.

Countless hours of practice and repetition are required to develop the timing and body dynamics needed to make these techniques effective.  The mechanics of the techniques are learned using passive resistance in order to understand the dynamics of the movements.  After that, progressively increasing the level of resistance will test the veracity of the training and understanding of the student.  The martial arts are not a study in instant gratification, rather a journey towards understanding.

Damien Costello is a Renshi level instructor in Koryu Uchinadi and one of Hanshi Patrick McCarthy’s shibucho in Ireland.  For further details on upcoming events or enquiries about incorporating Koryu Uchinadi concepts into your training please contact info@ku-ireland.com and check www.ku-ireland.com for regular updates.