Like all of the “blocks” in karate, kake uke is really a repositioning and transition movement that is used to move the attacker off balance and to present a number of ways to counter the initial attack.  Many styles of karate practiced in Ireland don’t practice this as a part of their kihon waza.  It appears in kata, but many traditional styles don’t recognise seizing (and the related grappling) as part of the karate arsenal.  However, it is most definitely a part of the techniques of “human-ryu” and as such must be explored to help develop the “toolbox” that a karate ka carries with them.  A seize changes the distance of the engagement and, by definition, changes the tools needed to protect and control.

In traditional karate, kake uke would be used against a stepping punch.  The defender moves to the outside of the punch and executes the hooking block or kake uke.   Once blocked, the defender grabs the attacker’s arm and then, in the one step sparring scenario, pulls the attacker in as they use a mae geri or front kick to counter. For many of us, this is where we started.

However, kake uke really deserves a proper exploration and substantial practice to develop the effective application of this technique.  Uke is translated as “receive”.  Rather than being a hard block as is commonly taught, receiving allows for the redirection of energy and the use of this energy against the aggressor.  Kake means hook. So the phrase kake uke can be translated as a hooking block, but is better thought of as receiving an attack using a hooking motion (quite a mouthful).

This receiving motion is only the starting position for countering the attack or controlling the aggressor.  Practicing uke techniques on a straight line against a stepping punch is only the first step.   Like all of the uke techniques in karate, they are not meant to be a static block followed by a reverse punch.  Karate-ka need to realise that they need a dictionary of techniques that can be picked and chosen depending on the context of the engagement.  This dictionary has to include joint locks, take-downs, chokes & strangulations (yes, they are different), seizing and pressure point manipulation.  There are many techniques in each category to choose from in any situation, but unless they are practiced and drilled with a partner using varying levels of resistance, then they will be of little use to a karate ka when they are needed.

 

Context

Rather than looking at a stepping punch as the initial attack (highly unlikely outside the dojo), let us look at some common acts of aggression that can often be preludes to a much more serious and realistic engagement.

The first is from a wrist grab that is used by an aggressor to turn someone and gain some control over them.  Most likely, due to a right handed dominance in society, the grab will be with the left hand so that the aggressor can use their right hand to assert control or to simply punch with the stronger hand.  In the event of being turned, instinct will kick in for the defender.  As they are turned, the free hand will automatically rise to protect the face and check the attackers other hand.

Another context is that of a front bear hug.  In this instance, let us consider the over arm bear hug.  Imagine that the defender raises their left hand into an uchi uke position and reaches into grab the attackers groin with the right hand.  In this case, the defender has forced the attacker to grab their right wrist with their left hand.  The attacker’s right hand, while stronger, has been stopped by the defenders left hand.  The defender has taken control to bring the situation back to a same side wrist grab with their right hand being seized.

Of course, the kake uke can also be used to counter a single or double handed shove.  This is the familiar scenario that has been formalised into the stepping punch in a one-step sparring environment.  However, as we all know, this scenario has very limited use in training for real effectiveness.  It needs to be moved beyond the static attack of the oi-tsuki.  In the event of a shove with the attacker’s left hand, the defender checks with their right, hooks with the left and then grabs the attacker with the left hand.

Positioning

Breaking the grip of someone larger needs more than just strength and speed.  There are small details in the execution of kake uke that make it much more effective.

Keep the elbows tight!  If the elbows are away from the body, then it becomes a battle to see who has the strongest arms.  If an attacker reaches and successfully grabs, then by default, their arm is away from their body.  When the defender keeps their elbow close to their body, then they will be using their body weight against the attacker’s arm, so the grip can be successfully broken.  If the successful outcome for the defender is to break the grip and run, then this can be achieved by using body weight against arm strength.

Straighten the attacker’s arm!  If the attacker can bend their arm, then it gets closer to their body and they will begin to assert their dominance through strength.  To avoid this, a shuffle backwards away from the attacker will allow the defender to pull the grabbing arm straight.  This has a number of benefits (for the defender!).  The first is the distance gained by moving back.  The second is that the straight arm can be used like a pole to pull and push the attacker to put them off balance.  The third is that the hand at the end of the straight arm is more vulnerable and a small joint lock can be easily applied to force the attacker up on their toes and utilise the second advantage given.

Learn some physics!  Karate ka are often surprised at how much physics plays a part in their martial arts.  Whether they realise it or not, the principles of physics transfer directly across to unarmed person-to-person engagement.  Once the defender has reversed the grip and is now holding the attackers wrist, they can use their free hand to push on the outside of the straightened elbow.  For those familiar with it, this is a class three lever where the effort is applied between the load (the attacker’s body) and the fulcrum (defenders hand in hikite position).  This will, in effect, push the attacker to the ground and allow the defender to exert control over them.

Movement

It is important to gain control while moving away from the attacker’s free hand to reduce the risk of it making contact.  This requires ashi sabaki or foot movement.  At the very least, this will be a side step or a small shuffle backwards in order to receive the oncoming attack after the point of maximum velocity.  Following this with a shuffle forward and a body twist will ensure that the attacker does not get a chance to regain balance before the defender can control them.  The attacker will be thrown backwards and forwards in quick succession, thus breaking their balance and not giving them a chance to re-assert control.

Ashi sabaki and tai sabaki are both required to make the kake uke an effective technique.  It is imperative that the attacker is not given the chance to regain balance in order that their arm can be used as a lever against them.  The synergy provided by the elements as they work efficiently together is greater that one could imagine on first examination.  This, once again, reinforces the need for a compliant training partner to understand the physics and motion required to initially learn the technique.  After the dynamics of kake uke are understood and practiced, the veracity of that understanding can be tested by increasing the resistance and force used by the training partner in safely recreating the scenario in the dojo.

Kake uke is an open handed technique that is related to the more “advanced” Chinese open handed techniques.  If you close the fist, as the Okinawans did in Sanchin kata, then the application of kake uke completely disappears.  This is one of the key differences between common “traditional” styles of karate and Koryu Uchinadi.  Koryu Uchinadi introduces realistic acts of violence immediately in training as a part of the kihon waza curriculum, building up a repertoire of defences that are later easily recognised by the student when they start to study kata.

Damien Costello is a renshi level instructor in Koryu Uchinadi Kenpo Jutsu.  Based in Galway, he is a student of Hanshi Patrick McCarthy.  Further information about Koryu Uchinadi in Ireland can be found at www.ku-ireland.com

The outside block, or soto uke, is one of the blocking movements that make complete sense to most beginners.  However, if you were to ask them, they would not know why.  The biomechanics are easily seen by beginners as they use this movement against any direct, linear punch or push coming towards them.  In modern Shotokan, this is very often a stepping punch (oi-tsuki) and the objective is to receive the punch and time the soto uke so that tori’s hand is redirected towards the centre line as they land with the punch and uke executes the soto uke.  Of course, this is then usually followed by a gyaku tsuki for one step “sparring”.

Soto translates to “outside” and uke means to “block” or “receive”.  Soto refers to the origin and direction of the movement.  The movement works to get the uke to the outside of tori’s arms.  The inside/outside positioning is something that every student of combat should know about. The inside line is the body side of the attacking arm and the outside line is the opposite.  The preference should be to work to the outside and away from the threat of being grabbed or hit by the attacker.  Being outside the reach of their arms give the uke a chance to work around to the back, execute a counter attack or simply, and safely, exit the area altogether.

Basic Mechanics

The soto uke is almost a reflex reaction when somebody pushes or punches towards the defender at the mid torso level.  In this way it is similar to age uke which derives from the instinct to raise our hands and protect our head.  Soto uke can be thought of as a “swat” or a similar primitive gesture to protect oneself and has been formalised to the distinct technique of the outside block.  As practiced in the formal setting of the dojo, it is most often executed when stepping back to receive a punch/push and then quickly followed by a gyaku tsuki.  It can also be followed by an elbow or a throw as shown.  This ability to redirect is an extremely useful skill to have in the self-defence toolbox.  Outside block, reverse punch – a classic combination practiced thousands of times by karate students as they learn basic technique.

This technique is very often the first one through which students will experience the benefit and see the effectiveness of adding a hip twist and effectively using the body to block rather than just the arm.  The hip twist adds body weight and force to the soto uke.  The beginner will see the added force through the redirection of the tori’s punch when the timing is correct – just as the punch lands, the defender will step back and turn the hips while twisting the forearm.  The difference can be remarkable and one of those moments when students have their eyes opened to the added biomechanics of the body being used as opposed to just the arm being used to block the punch.

 

Applying a lever

Once the basic technique is understood, then the student can really start to explore the possibilities.  A knowledge of levers and how they work will be invaluable in this exploration.  Karate-ka don’t often think about levers and physics when training.  However, when studying the dynamics and physiology of the human body, one should quickly realise that Archimedes made some connections here and we should be thankful that he did.  There are three classes of lever, all found within the human body and all providing a way to control or impede the motor function of an opponent.  In this case, the soto uke is a class three lever.  The effort is expended using the soto uke itself along the triceps tendon.  The resistance or load is the aggressor and the fulcrum is provided by using the hikite hand to hold onto the opponent’s wrist.  The observant reader will suddenly realise that the initial attack will not be a stepping punch.  The context of a stepping punch is a good learning environment for the timing and hip twist required to successfully execute a soto uke.  But as everyone should be aware, the number of times anyone has to defend against a stepping punch in an aggressive encounter are extremely limited.

 

Explore the Context

Context is everything!  Consider the scenario where the uke is grabbed by the right wrist from behind.  The intent is to turn the uke, usually towards a punch from the other hand.  This turning action is the opportunity to reverse the grip so that uke is now holding tori by the right wrist.  At the same time, stepping with the right leg in a large arc gives both lateral and rotational movement to take tori off balance.  At this stage, executing the soto uke will apply the force of the lever and bring tori under control as shown in the picture set.

The combination of the force of the soto uke lever, the hikite fulcrum and the tai sabaki (body movement) are an excellent example of the joint summation of forces that are so often mentioned in practice.  Through this culmination of forces, we get maximum effectiveness for the technique and an almost instant flash of understanding for the necessity of this bringing together of different elements.

The subsequent possibilities for courses of action are limited only by critical thinking and training.  Once tori is off balance and in a less dominant position, then one or two sharp impacts with fist, elbow or knee will help the uke assert their own position. Perhaps an uraken (back knuckle) to the side of the face or an elbow into the back would be worth considering.  This can be followed with a very sharp push to the ground and give an opportunity to exit carefully.  Training in the follow up is essential to build the reflex actions that are necessary in a self defence situation.

 

Increasing the intensity

Beginning with passive resistance, the karate-ka can learn the fundamentals of the soto uke.  They can try applying pressure on different parts of the arm to see how that affects the level of compliance that can be expected.  They can experiment with ashi sabaki to discover the most effective places to land and from there apply the soto uke to try and move their opponent.  In the dojo environment, karate-ka train with friends to learn the basics and then as the physical skill level improves, the passive resistance can be replaced with higher levels of resistance and aggression to really begin the journey of understanding.  It is only through aggressive resistance that the veracity of training the level of competency of the student can really be measured.

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.

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.

It is the most instinctive of gestures made when a threat to the face is perceived; raising the hand (either right or left, or both together) to protect the face and prevent injury.  It allows us to hide behind the safety of the perimeter that our arms create, absorbing the impact, assessing the level of threat and getting ready to act.  This raising of the arms is readily visible in the kata Yara Kusanku (Kanku-dai).   It is stylised in many different ways and translated as “look to the sky”.  However, this just means to raise your hands and the stopping point is elevated in front of the head.  In a practical context, this represents the forming of a defensive perimeter at any level depending on the angle of attack as shown in the picture.

Raising a single arm to defend the head is best recognised as an age-uke (揚受) or rising block.  It is among the first moves that a beginner level student will learn when they start mainstream karate.  Using the raised forearm as a block, a strike, a lever or a choke/strangulation will depend on the proximity of the two parties during the encounter.  Distance will be a determining factor in the purpose for the rising block.

One of the most common and recurring attacks is the grab or push with the left hand followed by a strike with the right hand.  This includes both vertical and horizontal trajectories which will come towards the top of the head or the left side of the face.  Considering that we live in a predominantly right handed society, this is one of the most common assaults on the person.

In this context we teach beginners to block the attack as it travels in a vertical arc towards the head.  Commonly referred to as an “ice pick attack”, and satirised by Jim Carey (Youtube: Jim Carey’s Karate School of Self Defence) to great effect, the age-uke in this case is used to block or receive the attack with the intention of delivering a sharp counter.  The counter used will once again depend on the ma-ai (間合) or combative engagement distance.  At arms-length, a straight punch might suffice while closer in, an uppercut to the opponents jaw would be more in order.

Very often, two protagonists will engage in a standing clinch.  This will not necessarily be by mutual consent and could even result after the attacker grabs using an over arm bear hug in an attempt to gain control.  Breaking the attention of the attacker is one of the key elements to a successful counter.  In this case, using the right hand to grab the testicles (presuming it is a male antagonist) will ensure that you know where the attacker’s hands will go.  The pre-determined response to this action will be for the attacker to grab your hand and try to take it off their testicles.  Once they have grabbed, the cross-extensor reflex will be to not let go of your hand.  Taking a sharp step back and dragging the attacker with you will jerk them forward, turn/move their head, and momentarily expose their neck.  Executing an age-uke at this point will impact them on the carotid junction (side of the neck) as shown in the picture.  The net result is a temporary and non-lethal disruption of blood supply to the brain which in turn causes a brief weakness in the opponent allowing for an appropriate follow up to disengage.

Finally, in a close range grapple for control, the age-uke can be used very effectively as a choke/strangulation to gain the upper hand.  In many instances, this will happen on the ground and form part of the strategy of regaining a standing position.  Positioning one hand across the throat with a thumbs down grip on the lapel, the other hand will grab the opposite lapel in a regular grip as shown in the picture.  Executing the age-uke in this scenario will pull the left hand further into the throat of the attacker and cause severe discomfort at the very least as the pressure mounts.

As a block, a strike or a lever, the age-uke is a versatile tool in the arsenal of any karate-ke.  It is a technique that deserves exploration in training to fully understand its potential in a self-defence context.  Working with a partner, using two person flow drills, in a controlled training environment is the best way to experiment and learn how to use this technique.  Remember, in self-defence training, it makes sense to have a complete toolbox and never need all of the gear rather than consider the alternative!

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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