Uchi uke – the block that leaves every student scratching their head and wondering “how on earth is this ever going to be useful?” The biomechanics of using an outward rotation of the arm to gain a mechanical advantage over an opponent during an aggressive encounter is something of a mystery for most beginners and even some of the more advanced students of the art.
Uchi translates to “inside” or “inner” and uke means “to block” or “receive”. In this case the uchi indicates the origin of the movement. The uchi uke, or inside block as it is commonly called, travels in a circular trajectory horizontally around the body. Therefore, it is best used to negotiate a direct linear attack that is coming straight towards the body. Think about the execution an uchi uke with the right arm for one moment. The uchi uke initially intercepts the oncoming attack as it travels in a leftward, perpendicular trajectory and then changes direction to a rightward motion to finish. However, this bi-directional sweeping movement of the “blocking” arm requires both a change in direction and an outward rotation to overcome what many see as the traditionally accepted way of using this technique – blocking a stepping punch.
Part of the study of the martial arts has to be to delve into the rich culture and history from which the art originates. Okinawan karate, which is the base point for all other Japanese systems, has rich historical links to the systems of Chinese boxing found in the province of Fujian. The Chinese named their techniques for everyday actions and objects that are easily recognisable and very often poetic in the terminology used. For example, a two handed push where the arms extend out in front of the body is called “twin/double dragons out to sea” and the movement “mei jen chao ching” is translated to “lady looks in the mirror”.
“Lady Looks in a Mirror” is quite simply a check and bridge technique that can work to the outside or the inside of a threat. Imagine an opponent pushing with the right hand. The first part of the response is to use the left hand to check the pushing hand and then bring the right hand under and bridge it towards the right hand side of the body. The finishing position of the right hand is with the palm facing, thus the mirror. It is important to note that the Chinese description gives the correct positioning through a very concise naming. The defender is now on the outside of the attack and away from the threat of the opposite (left, in this case) hand, presenting many options for both impacting, choking/strangling or taking the aggressor to the ground for control.
This movement, when standardised and formalised, became the uchi uke with the initial fists closed, a strong hikite (pull hand) and moving backwards that is so familiar within the traditions started in the Japanese school system in 1905 by Itosu Ankoh. However, the dynamics and mechanics of the movement are more readily understood with the original Okinawan technique. It also encourages tai-sabaki in the defender as they can easily move off the line and work around the outside to the side and even to the rear of the attacker. For many, moving off the line of attack adds to the circular defence that is required to intercept and effectively redirect a linear attack. Moving backwards with a block quicker than someone can move forwards with an attack is a daunting prospect and depending on the defenders initial motion, almost impossible. Moving off the line is a much more efficient option that gets the defender past the attacker and into the better position.
Another variation of the uchi uke is seen in the Chinese technique called “mother and child hands”. Picturing the way a mother holds a baby and the position of the hands under the infant will quickly give the correct image with the left hand supporting the right hand around the elbow. This is instantly recognisable to karate-ka as a morote uke or a reinforced block.
The usefulness of the uchi uke does not end with blocking options. As with all of the block in the martial arts, context is everything. Rather than being used as a block, we can see it being used as a centre lock in the pictures. A wrist grab is used by an aggressor to turn the target towards them. In this context, we can use the leftward motion as a balance displacement and then step in sharply with the outward rotation. The net effect of this is that the aggressor is pulled forward of balance and then immediately pushed back (against a wall in this case). The defender has clamped the left hand over the attackers grab on the write. Keeping this position and executing the uchi uke brings about a centre lock with the elbow and wrist both bent at ninety degree angles. As the defender puts their arm down (imagine putting a cup down on a table), they initiate an extremely painful twist of the radius and ulna around each other. The attacker has no choice but compliance and gives the defender the upper hand (no pun intended) and the opportunity to end the encounter in a manner of their choosing. The second picture in the set shows the distraction technique that is sometimes required, but never shown in kata.
In the second two pictures (below), the morote uke (two handed inside block) is used as a take down. Getting in close in never completely avoidable, so using the block as a tight grip and grape vining the legs will take the aggressor off balance. By moving in this close, the threat from the aggressor’s other arm is minimised for a short time – this is not a long term solution but a transition. This move can be seen most clearly in Heian Godan in the Shotokan system.
And a quick look at UFC 140 will show Jon Jones defeating Lyoto Machida with a guillotine choke in the second round. On careful examination, this choking arm is in an uchi uke position. This is a natural follow on from the initial guillotine across the larynx and was even reinforced by Jones to make it a morote uke at the finish, showing the versatility of this technique.
Uchi uke is a block that is often not trusted by beginners as a way to stop an attack. Executing what are essentially two movements to negotiate a linear attack requires a great deal of practice (and a little faith). However, given a reasonable contextual premise, an understanding of body dynamics and a willing training partner, uchi uke can be developed into a very useful tool in the martial artist’s bag of tricks. In the event that they are called to use them, then the long hours spent in the dojo will be an essential element in the successful negotiation of the situation.
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.
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