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KATAME WAZA
Author: Professor Néstor Figueroa |
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The Katame waza is one of the forms battle of the Judo that is made in the ground, and that is divided in three groups of techniques: Osae komi waza or immobilizations, Shime waza or strangling, and Kansetsu waza or luxations; the ground work more is known like Ne waza.
These techniques have their ancestral origins in the schools of the Takenouchi ryu, one of oldest in (Osae komi waza); the one of Tenshin shino ryu in all (Katame waza); and the one of Daito ryu in (Kansetsu waza). Although the real origins of the Jujutsu lose in the time, bordering the time of those origins around the beginnings of the Christian era; also one says that the Jujutsu reached to develop around 180 ryus towards century XIX.
The Ne waza also must like principles obtain the Maximum efficiency with the minimum effort; and the mutual satisfaction through its practice. Nevertheless, we must limit that in the field of the Ne waza, the intensity in the use of the intelligent force has more relevance; because they are very short movements and displacements that they require in addition to the good use of the resources, and the application of controlled energy to define situations.
Analyzing the movements in Ne waza, and although all the parts of the body enter game, we will say that the hands, wrists and arms, are the ones that take the greater percentage of participation. In addition to the inferior members, the weight of the body like mass to move and to use of handle and support of control; it is another interesting factor to observe of how it is used with efficiency.
In Ne waza takes part much concurrent biomechanics, forces, turns, rotations, strategy, dynamic voltage, and techniques of dominion or subjection. We will also indicate, that like physical exercise, the Ne waza is fabulous; it gives resistance, sharpness of reflections, tenacity, flexibility, elasticity like speed, cardiorespiratory control, anticipation, mental sharpness, continuity of action, and explosive energy.
a) Harmony: all the movements and techniques must have balance and sequence in their execution; for that reason it is that actually of the Ne waza is necessary to work by families of techniques, to integrate those that have a familiarity or common denominator, so that it is easier to apply them and to maintain harmony of execution and connection among them.
b) Joint: this foundation very is related to the previous one, it talks about to the coordination and sequence that must as far as possible have between a technique and another one; with the purpose of saving of movement and energy. There are techniques that have a function conditioner, or previous to others.
c) Dragging: in the ground work, the drag by tug is important, because it makes change the position of the rival, allowing to enter according to agrees better.
d) Blockade: in the defense it is necessary to use blockades, to neutralize the attack of tori; one is not due to allow that an attack arrives at destiny, has to interrupt it in the way using technical of blockade.
e) Constriction: for my, waza Randori has been very edifying to observe the conduct of the ofidios in the foundation of the Ne; to assure takes hold, displacement, contact of the members, traction of the movement, impulse, they are some of the characteristics of the mechanical movement of the boas specially, and that there are to incorporate to the resources of the combat.
f) Control: The body of Uke has three segments of control, and on which it must have a balance of the weight of Tori; that they are: inferior head and shoulders, chest and abdomen, members. It is necessary to know how to distribute the pressure of the weight of the body in proportional form, to avoid that Uke rises or moves.
g) Displacement: it is related to the previous principle; because the displacement in Ne waza is by traction, bearing, impulse of the body, pulling and pushing themselves. These techniques it is necessary to learn them and to practice them in routines, like the Tai sabaki or the Shintai in Tachi waza.
h) Dominion: this is what many call submission, is to say to have greater control on the rival, to make unusable it to prevent that it escapes.
i) Push-pull: they are movements that can mount within a sequence of attack or defense; or to initiate, to consolidate, or to finalize an action. It is basically with the hands.
j) Escape: they are the modalities that in each technique of attack, exist to counterattack through an effective technique of escape.
k) Flexibility-Elasticity: they are the characteristic of the movement of the body and the members, molding them to the changing circumstances of the combat; be blocking, rolling, bending, contorting themselves.
l) Flotation: it is the necessary comfort that it must exist between a body and another one when making the changes from a technique to another one; the idea is to avoid the friction on the other body, because this subtraction displacement and flexibility, so like exempt facility to move the members.
m) Lifting: as in the drag, this one is one of the basic movements in Ne waza; but it is necessary to learn to raise with efficiency; using the members, and the body also when it is possible.
n) Opportunity: in Judo each action has a time, is not before nor later, of that consists the efficiency of the movement.
o) Pause: they are the times of delay, but unproductive; because one hopes to that the rival executes certain movement that allows to act later.
p) Pressing: this one is another important resource, it presses itself using the body and the members; but it is necessary to know how when to press, what intensity, and by how long to do it.
q) Rolling: is one of the ways in which waza moves in Ne, rolling on the backs, shoulders; in order to move, or to assure, or to escape.
Observing the work that is made in the competitions, he takes to me to think that a high percentage of judokas, has two or three techniques very defined and studied to attack in the ground; and that is very well, is part of its strategy. But in a combat the factor improvisation and creativity is necessary to develop it, on the basis of the work to increase technical resources that the athlete of the Judo can make use in any circumstance, is for escaping or to define a situation.
But here we return to the subject from always, must be the high-priority force in the Judo.
The Judo so lets be, if it is not used at least, 70 % of skills, abilities, talents, plasticity, rate, sequence, art; that is, the technique like expression of the art, plus the use of the efficient method. The method is the most important instrument of the technique, and all must use that engineering equipment; but all do not have art, that is the essence of the technique, that is the problem; and when judoka does not have art, it looks for the only element that it has left, the brute force; and when using brute force very excessively, the quality of its Judo is smaller, and contributes to distort the nature of the Judo, and to turn it Fight Free or Wrestling.
In the combat of Ne waza is needed to have a scheme or patron of pursuit, as much in the defense, as in the attack, so as in the displacements and necessary changes during the combat. A person who the weight and the force, are the most important attributes in their nature, surely will have disposition by the techniques of the Osaekomi. However, that that is light, of long muscles, little weight, medium force, will have preference by the techniques of Shime waza; and those that they have of both characteristics, could invariably do of everything, or maybe to choose the techniques of Kansetsu waza.
Entering the land of the optimization, the efficiency of the movement, the shortest line between two points, is the air line; and under that perspective, the techniques of Shime waza, are most direct and effective to control or to dominate an adversary. When an adversary moves much, he is agile, elastic, flexible; he is better to control it with chokes or handles; however, when a rival is lethargic, of slower reactions, waza can be worked with techniques of Oseakomi. But we do not take this as fixed or unalterable rules; the strategy battle is dynamic, changing, adaptable to the circumstances.
Is advisable that the athlete has a diagnosis of his morphology, abilities and points of advantage and disadvantage; and on that base, to process a strategic structure battle; knowing that according to the capacities of his rival, it will have to put into action the most advisable decisions. A competitor must learn to diagnose in seconds the configuration of the capacities of the opponent; for that way, to put into action certain tactical battle.
As occurring account for example if he is hyper-nervous, violent, aggressive, robust, uses much force, or is talented; if it has resources, he is night watchman, astute, or it uses dirty maneuvers; to observe his takes hold, that technical of contact or boarding uses; how and why side moves, if he is left-handed or right. If the fast control is impatient and loses, if its attack is safe and direct, or combines with artifices, or has frustrated attacks by halves or. In short, it is enough information that is due to catch in very little time, but the trainer or professor must teach of stratagems, and is good for practicing with ukes of different weights and styles to learn to capitalize those differences.
We are focusing the biomechanics of the Judo, always in the two perspective; the one of the movements and the one of the techniques; looking for in both aspects optimization of the movement, and improvement of the technique, to obtain discharge effectiveness of performance.
In Tachi waza we have done the same, and under the criteria of the Kuzushi, Tsukuri, and Kake; because of methodology and pedagogical principle. Sometimes it could think that the structure of the Judo because it would have been incomplete; perhaps it needs time to the Dr.kano to conclude its work in describing a Theory of the integrated Judo and with parts very defined as it has them.
There is techniques and Katas that no longer are taught, and that are not including in the classification of the Kodokan; and there is a Kata like the Itsusu no Kata, that gave the printing of not to be concluded. There are certain angles in the Judo because they were omitted, or were not classified. It is to say that the Judo is so great in its composition, that much more required time to be completed in its structural, theoretical design, pedagogical, and operative.
The movements in Ne waza have certain sequence, they are articulated, and they have biomechanic interdependence. If you enter a kesa Hon gatame; it requires to follow this sequence:
a) To take hold: the Judo is a discipline essentially of takes hold; if it is not taken to the rival it cannot have Judo. Therefore, kumi kata is essential in the work of the Judo, is still on or in ground work. It is taken hold with the hands, becomes involved with the arms and legs, maneuver, one complies, one subjects to the rival.
b) Action: it is the following step to take control from the rival or to neutralize it, later to hold it; the action in Ne waza takes place when hauling it, pushing it, to drag it, to raise it, to make roll it. Or connecting from a technique to another one, with the minimum of movements and risk of losing the balance, and of assuring control on the subjection the opponent.
c) Dominion: the purpose in Ne waza is to dominate, to get to totally control the rival, or to put it outside combat. In this case, the movements that study and try to perfect, are to maintain, to moor, to double, to press, to immobilize.
The last item will be to manage to put it of backs to the opponent, or to strangle it, or to apply a luxation to him in its members.
In Ne waza also exists an aspect to medullar of the Kuzushi, Tsukuri, and Kake, as he is it in the techniques of Nage waza.
The question is that the internal structure of the Ne waza does not present display a so descriptive and in detail nominative character; if he is tacit more and understandable, because the gestures in Judo, by themselves speak in their own language to gesture and sicomotriz. But essentially, the work of Ne waza can be disturbed in certain components or parts.
1. Contact or Kuzushi: In this step of the combat of Ne waza, the movements of Takes hold are fundamental to unbalance the rival. Be if the rival is in position of turtle or horse, rather facing tatami, thrown or squatting; the intention is to make lose it its stability, its control on its body; breaking its defense, neutralizing its movements of protection. In a man who is on his knees facing tatami (position of turtle or horse), the Happo Kuzushi work in the 8 directions; it will be tried to put it of backs following any usual technique, but in one of those directions. Be grabbing of the arms, the sleeves, the elbows, the neck, the back, the belt, the legs, or the sentaderas.
The idea is to position the rival in form so that the attack with a certain technique can be initiated; and while is manipulated it, he is not safe in that position will be left the rival, so that allows us to attack it concretely.
2. Attack-Defence or Tsukuri: In this stage already there are more concrete actions, with the purpose of materializing the attack; because the rival one or lost its balance, it has rolled, it can be of backs, or flank, or perhaps mouth down, but in disadvantageous situation, and to make specific or to execute the action to connect the bodies, for a final action.
In the case of a defense, all the opposite will happen; the rival will have neutralized our attack, and is counterattacking, making us loose the balance, and arranging themselves to take connection to arrive at the later control, or simply to escape.
3. Retention-Escape or Kake: it is the time of explosion of the energy, when the end item took shape in a dominion or control of the rival through a technique makes specific and defined. Or in the case of an escape, the rival broke the dominion technique, counterattacked and escaped.
In Newaza there is a limit of capacity for the force; if this one exceeds to the technique, then no longer it is Judo, is Free Fight, change the sport. Judo is science and art of the imbalance, intelligent and limited use of the force. Specially in Ne waza, that is a type battle in which the action is very nearly developed, hand-to-hand; and in where the space to move the extremities, is not only uncomfortable, but narrow in addition.
The force finishes where the technique begins, as the night finishes where the day begins. Artificiso and the techniques is what waza Randori predominates in the combat of Ne, that is the Judo, to unbalance the rival, to deactivate it, and to control it with art, speed, and efficiency of movement.
Something that little does judokas is to articulate a defense or attacks on the basis of taking hold the sleeves, and the elbows, there is the secret to unbalance the rival; a good tug of the sleeves in crossed form; or a tug of the neck threw it front when it is necessary.
With respect to the zone of the neck that is susceptible of choking, there are three meeting points to press and to obtain the suppression. First it is in the cervical zone, about four fingers in horizontal form on the neck. Second it is in the jugular carotid plane. And third in the apple of Adam. In anyone of those places you can get a successful Shime waza.
Of course, that are subjects that have a short and and wide neck, because they do not have neck because the head is joined with shoulders, to them it is only possible to be strangled to them in the apple of Accept or tracheal protuberance. just like to that has the very short and heavy arms, the handles are not easy, then the best thing is to use our armpits or legs to exert pressure in the case of a luxation. It is necessary to invent it, Judo is creativity, talent, easy way.
Author: Professor Néstor Figueroa
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