Is Ude Garami a Shoulder Lock or an Elbow Lock?

I am currently working on the joint-locking chapter in my book on the science behind fighting techniques. I've come across this rather interesting situation with regards to ude garami (arm entanglement).

The image to the right is the ude garami as taught by the late Shihan Jan de Jong OAM 9th Dan and his descendants. It is considered by them to be a shoulder lock.

Before we proceed, let's have a precise definition of joint-locks/kansetsu waza. Joint-locks/kansetsu waza are techniques where forces are applied to an opponent's body to move a joint towards or beyond the limits of its range of motion.

Ude garami, as the above parties would suggest, is a joint-lock where forces are applied to move the shoulder joint towards or beyond the limits of its range of motion.

Ude garami is most often shown in judo as being applied when both parties are grappling on the ground (see right). Many (e.g., see Jigoro Kano, Kodokan Judo) explain that ude garami targets the elbow. This is why ude garami is allowed in judo competition because only kansetsu waza that target the elbow joint are permitted in judo.

Does ude garami target the shoulder or elbow joint? Does the 'ground' technique differ in the consequences of the applied forces, i.e., targets the elbow rather than shoulder joint?
What are the anatomical consequences of the applied forces in both of those techniques?

Even though some distinguish between ude garami and gyaku ude garami in judo, more often then not the two techniques are referred to as ude garami. Should they be considered different techniques and not the latter a variation of the former if the anatomical consequences are different in both?

There are many more anomalies once you actually begin to study joint-locking/kansetsu waza techniques. Anomalies that throw up confusion and debate in martial arts circles but cannot be answered due to the lack of information and informed discussion.

Suffrajitsu

Interesting article on jujutsu and the suffragettes of yesteryear:

The Suffragettes Who Learned Martial Arts to Fight for Votes

My book on the science behind all fighting techniques and the teaching thereof is about complete. There's only an anatomical explanation of wrist twists and wrist crushes to be obtained.

The photo shoot and illustrations are in the process of being organised.

The above photograph shows a shoulder lock that can be understood and studied by reference to the applied forces and their effect on the humerus. It will also be explained that additional forces need to be applied to keep the officer from bending further forward as the body naturally moves to release the tension in the shoulder joint.

By the way, any reader who has a 'snappy' title suggestion, I'd appreciate it. The above description can follow after the ':', however, need a snappy title apparently. Unfortunately 'Fighting Science' is already taken.

FOOSH Revisited

I started off this blog with an article on FOOSH injuries - Fall On OutStretched Hand injuries.

More than 85% of all injuries t the upper limb are the result of a fall onto an outstretched hand.

Ukemi waza (breakfalling techniques) are techniques designed by jujutsu and its derivative arts of judo and aikido to prevent and control injuries arising from a fall, including FOOSH injuries.

The injury to the right was the result of a fall by Sally Pearson, the Australian champion hurdler, during a race recently.

I've seen a FOOSH injury while assisting Shihan Jan de Jong OAM 9th Dan when conducting a seminar in Gottenburg, Sweden. A highly graded student put his hand down while going over his partner's hips who was executing a koshi gaeshi (hip turn) technique. The jujutsuka shattered both his radius and ulna requiring plates in both.

Another interesting, for me, issue associated with the prevalence of FOOSH injuries is that the medical literature is virtually useless in terms of understanding the injuries associated with kansetsu waza (joint techniques) as the forces are applied in different directions with FOOSH injuries and kansetsu waza.

However, I have been able to generate an anatomical explanation of many kansetsu waza and the possible injuries that may arise from their application. The ones I am lacking are the techniques applied to the wrist. If anyone can assist in this regard it would be most appreciated. It would also be a genuine and unique contribution to the general body of knowledge.

Latest Contribution to Blitz - What is Jujutsu?

It would appear that I am becoming a regular contributor to Australia's premier martial arts magazine, Blitz.

My latest contribution which is to be published in a two part series starting next month is titled: 'What is Jujutsu?'

What is jujutsu? One of the best places to begin any enquiry into the Japanese martial arts is with the works of Donn F. Draeger. He was one of the first to write in any detail on the Japanese martial arts in the English-language literature, and he provided definitions and descriptions that continue to be widely accepted by Western practitioners. Draeger consistently explained jujutsu in terms of:

·       the generic nature of the term;

·       its history;

·       its technical content; and

·       the application of the philosophical concept of ju. 

Each of these elements are essential to any meaningful understanding of jujutsu.

The editor of Blitz has approached me for more articles. I may have access to a photographer and/or a graphic designer (although other offers would be gratefully accepted) which means I can write and share how-to articles and articles that require graphics in order to fully appreciate the message. For instance, articles that for the first time provide a physiological explanation of joint-locking techniques; articles that for the first time provide a definitive distinction between throwing and takedown techniques; articles that provide how-to instruction that was in demand world-wide from Shihan Jan de Jong OAM 9th Dan and which I have provided greater insights into through the application of biomechanics.

Please contact me with any of your questions as it may provide the basis for another article to be published by Australia's premier martial arts magazine - Blitz.

Teach the Essence of All Martial Arts Techniques

What is the essence of all martial arts techniques? What makes them work?

Forces account for the changes in motion and shape of all things in the environment, including the body and body segments (collectively body).

Any time a body starts, stops, speeds up slows down or changes direction, a force has been applied. A change in shape refers to deformation. Deformation of body tissues can cause pain and injury. Think about all the techniques taught in any martial art and you will see that they are designed to change the motion of an opponent or deform their tissues to inflict pain or injury.

The beauty of it all is that force is a biomechanical concept that is easy for the layperson to understand and apply.

Without providing the full explanation, the following is how you teach and learn by referring to forces, the essence of all techniques:

1. Identify the points of application of the forces - all contact points between the two bodies.
2. Forces are a push or a pull. Determine if it is a push or a pull at each point of contact.
3. Determine the direction of the force.
4. Determine the relative magnitude of the force.
5. Determine the objective of the combined forces (change the motion or shape (deformation) of the opponent's body).

First teach students about forces, then consistently teach using a force based approach. Students will be taught to, and will, focus on the essence of techniques; what actually makes them work. When they come to correct errors in their performance they will go directly to the essence of the technique.

While the above might appear to have limited potential to improve on teaching striking and kicking techniques, it does not when the third law of motion is also understood. For every action there is an equal and opposite reaction. Action refers to forces. When we hit a body, that body 'hits' us back with a force that is equal in magnitude and opposite in direction.

When we hit or kick an opponent or some training devise, or block an opponent's attack, we must deal with reaction forces. What is being done in terms of posture and stance to increase our stability and ability to absorb those reaction forces?

Those martial arts that describe their stances in terms of mobility (which means less resistance to forces), what are they doing to increase stability when contact is made and forces are experienced?

Everybody understands what a push or a pull is. If a student is told to push or pull in a certain direction they will do so. If that instruction is not an accurate or complete description of the forces involved in the execution of a technique, do not be surprised if the student experiences difficulty in performing the techniques. A force-based approach 'forces' us to consider each and every point of contact where a force may be applied. All of those forces contribute to, or at times hinder, the execution of a technique. A complete analysis of the forces involved in the  technique avoids these issues and demonstrates a thorough understanding of the technique. And a complete analysis of the forces involved in a technique is so simple.





 

Kansetsu Waza Assistance Request

I only need a small piece of information to complete my book which facilitates the understanding and study of all fighting/self defence methods. I'm using this blog to request any reader's assistance in this regard.

I'm writing a chapter on joint-locking techniques (kansetsu waza), focusing on techniques applied to the upper limb because of their popular and tactical use. Incredible as it may seem given the popularity of these techniques, to the best of my knowledge there is no anatomical description of these techniques in the martial arts and related literature.

The medical literature is of no help because the vast majority of injuries that occur in the upper limb are as a result of a fall on an outstretched hand (FOOSH injuries). The forces experienced when falling on an outstretched hand are different to those applied with a joint locking technique. For instance, a fall on an outstretched hand involves an extended hand whereas most joint-locking techniques involve a flexed hand.

I've described the anatomical effect of techniques that target the shoulder based on the movement of the humerus in the shoulder joint. This produced a classification that can be used to understand and study familiar and unfamiliar techniques that target the shoulder joint.

I've described the possible dislocations (3) that techniques targeting the elbow might produce.

There is a technique that targets the forearm taught in aikido and some jujutsu systems. This technique is called kote hineri (forearm twist; see right) in Jan de Jong jujutsu and involves applying forces to the hand to rotate the forearm towards the body. I thought obtaining an anatomical description of the effects of this technique would prove the most difficult to obtain, but it turned out to be the easiest. A researcher was interested in the effects of hyper-pronation of the forearm and published the results of a study in 1949. He used 18 cadavers and stripped the forearm of the tissues andheld the shaft of the humerus firmly in a vice and the forearm was gripped in a wooden clamp just above the wrist and slowly pronated.

I'm interested in three basic wrist locks. The first is the popular wrist crush (see right), also known as 'goose-neck' wrist lock, and gokyo (fifth teaching) in aikido. A study was conducted on this technique and published in an academic journal so I have some information on the possible anatomical effects of this technique. However, it has to be said the study was a little light on.

The second wrist lock is what De Jong referred to as yoko tekubi hishigi (side wrist lock; see right and down), which aikido refers to as nikyo (second teaching). A study on the possible anatomical effects of this technique was published in an academic journal by the above author of the study on gokyo and another by another author. Again, these studies are not as comprehensive as they might be.

The third wrist lock is the ubiquitous wrist twist (see below right). I have no information on the anatomical effects of this technique other than a general possible explanation provided by a physiotherapist. While I would appreciate information on the above two wrist locks, it is a description of the anatomical effects of the wrist twist that I am missing. If any reader could assist with a description from an authoritative source (anatomist, biomechanist, etc), I would be very appreciative. You would be contributing to the general body of knowledge because no such description appears to exist today.

Thank you.

Done

There was a very odd moment last week. I finished the first draft of a chapter in my book and I sat back and thought, 'I'm done.' I've finished the first draft of my book (with the small exception of getting some physiological information on joint techniques that target the wrist). Done. No more finding and developing theory, it's now editing. It was a very odd feeling.

The book had over 170,000 words which equates to over 300 pages. The editing process over the past week has reduced that to just under 100,000 words and 265 pages with no loss of information. I expect that number to reduce even further.

The book has 17 chapters:

Chapter 1 Introduction
Chapter 2 Core of All Learning
Chapter 3 Kaizen: Analyse Tactics and Techniques
Chapter 4 Force
Chapter 5 Balance and Unbalance
Chapter 6 Stances and Motion
Chapter 7 Throwing and Takedown Techniques
Chapter 8 Joint-Locking Techniques
Chapter 9 Injury Science
Chapter 10 Striking and Kicking Techniques
Chapter 11 Blocking Techniques
Chapter 12 Nature's Breakfalling Techniques
Chapter 13 Martial Arts Breakfalling Techniques
Chapter 14 Strangulation Techniques
Chapter 15 Pain
Chapter 16 Survival Process Pt 1
Chapter 17 Survival Process Pt II

I have a friend who is the headmaster at a school helping me edit the book. He has no background nor interest in the subject matter. If he understands what I am writing about and his interest is retained, I must have done a good job. So far that has been achieved and he has informed me that he is excited by the content. That it is like no other book written for the martial arts and other activities associated with preparing a person to survive a violent encounter. He is right.

Give a man a fish and you feed him for a day. Teach a man to fish and you feed him for a lifetime.
Chinese Proverb

Facilitating the Understanding and Study of Fighting Methods is about teaching the reader how to ‘fish’ so they can feed themselves for a lifetime. It is also about teaching the reader how to teach others to fish so that they can feed themselves for a lifetime.

I'm still working on the title of the book.

Facilitating the Understanding and Study of Fighting Methods is written for both teacher and student alike. It is written to assist teachers in understanding and teaching their methods. It is also written to assist students in understanding and learning the methods taught by their teachers. A fallacious assumption in our education system is that students inherently know how to learn. They may do to varying degrees but not necessarily efficiently or effectively. Greater efficiencies and efficacies are achieved when the student is first taught how to learn. Facilitating the Understanding and Study of Fighting Methods empowers students by enabling them to take responsibility for their own learning experience. It encourages students to become their own teachers or at least to manage their learning experience. In this way, Facilitating the Understanding and Study of Fighting Methods also challenges teachers to be better teachers.

Shoulder Locks Master Class

The core of all learning is the identification of similarities and differences. One of the four methods of identifying similarities and differences that has proven to be highly effective is classification. I have developed a classification of shoulder locking techniques.

A joint is where two bones meet. The glenohumeral (GH) joint, or shoulder joint, is where the head of the humerus of the upper arm meets the glenoid fossa of the scapula. The bony arrangement of the shoulder joint consists of a shallow socket (glenoid fossa) to which is joined the one-half-spherical head of the humerus. It has been likened to a golf ball (head of the humerus) on a golf-tee (glenoid fossa). Less than half of the humerus is in the socket at any one time, and the bony arrangement is therefore weak.

A mobility-stability continuum has been proposed for joints. The stability refers to the amount of force required to dislocate the joint. The shoulder is the most mobile joint in the body and is therefore the least stable joint in the body.

What do hammer lock, figure four lock, reverse figure four lock, key lock, reverse key lock, kimura, ude garami, gyaku ude garami, ude garami henka waza, stappado and 'Palistinian hanging' have in common? They are all techniques that are designed to move a subject's shoulder joint towards or beyond the limits of its range of motion. What are the differences between these techniques? This is where classification comes in.

The classification of shoulder locking techniques is based on the intended movement of the humerus. The initial principle of division is rotation or extension. Rotation refers to the turning of a bone around its own long axis. Extension refers to moving the arm straight back behind the body. The rotation locks can be subdivided into internal and external rotation. Internal rotation refers to rotary movement towards the midline of the body. External rotation refers to rotary movement away from the midline of the body. The internal rotation locks can be further subdivided into adducted and abducted arm positions. Adduct refers to movement towards the midline of the body. Abduct refers to movement away from the midline of the body.

Where do we start? We start with the Apley scratch test. The Apley scratch test is a test that is used to measure shoulder flexibility. The subject reaches behind their back from the top and bottom and tries to get the fingers of both hands to meet behind their back.

The lower hand in the Apley scratch test is used to test the internal rotation of the humerus in the shoulder joint. This position describes a basic shoulder lock that is often referred to as a hammer lock. It is also the classic police 'come along' technique. With this shoulder lock, the person’s hand is forced up between their shoulder blades.

Jan de Jong was not a fan of the abovementioned shoulder lock because of the flexibility of some people. Some people can reach up behind their back and touch their hair line without experiencing pain. In addition, the method of holding a person in this technique is relatively insecure.

De Jong taught what he called ude garami henka waza (variant arm entanglement). In this lock, uke's (person who the technique is done on) hand is placed in the crook of tori's (person doing the technique) elbow, and tori's hand is placed in the crook of uke's elbow. Tori then moves uke's hand away from uke's back while keeping uke's elbow stationary. This movement internally hyper-rotates uke's humerus in their shoulder joint.

As it turns out, De Jong's ude garami henka waza is relatively unique within the martial arts world. The more common technique is a variation of this technique taught by Jan de Jong but which was little understood in his school.

The variation is similar to ude garami henka waza because it goes by the same name and has similar hand positioning. It is different in that tori's hand is placed on uke's shoulder and uke's upper arm is lifted away from uke's back. This movement hyper-extends uke's shoulder rather than hyper-rotates it.

In both variations of ude garami henka waza, the forces applied encourage uke to move in a particular way. Rotate back towards tori in the original version and to bend over in the variation. In both cases, additional forces are applied to resist this tendency and maximally stress uke's shoulder joint.

Hyper-extending a subject's arm is a common method of torture. It was known as strappado during the medieval Inquisition and has mysteriously been called 'Palistian hanging' even though torture monitors say it is used neither by Israel nor the Palestinian Authority. The same techniques are seen in some jujutsu systems where the opponent is lying on the ground as both arms are hyper-extended above their shoulders.

The top hand in the Apley scratch test resembles what De Jong taught, and many others, as ude garami (arm entanglement). The arm is abducted, the elbow is flexed 90 degrees, and the hand is superior (above) the elbow. It's in a position that resembles waving 'hi' or signalling to stop. With this technique, uke's hand is rotated to the rear while the elbow is held stationary resulting in an external rotation of the humerus in the shoulder joint.

This ude garami is referred to by the same name in judo, and is also referred to as key lock and figure four lock. Reverse key lock, reverse figure four lock, kimura, and gyaku ude garami (reverse arm entanglement) are similar to ude garami in that tori's hand position is similar, uke's arm is abducted and their elbow is flexed at 90 degrees. They are different in that uke's hand is inferior to their elbow and movement when applying the lock results in an internal rotation of their humerus in the shoulder joint.

The abovementioned gyaku ude garami is similar to De Jong's ude garami henka waza in that both techniques result in internal rotation of the humerus in the shoulder joint. They are different in that in the former uke's arm is abducted while in the latter their arm is adducted.

When teaching these techniques in my 'shoulder lock master class', I have found it useful to use a maglite torch to simulate the humerus. The bulb represents the head of the humerus and cupping the bulb represents the shoulder joint. I then move the torch in the direction of the internal or external rotation, or extension, to illustrate the intention of the technique to the students. I have found this visualisation assists the students in applying the forces correctly when they execute the technique.

Four further things to note. Firstly, judo competition rules forbid any kansetsu waza (joint-locking technique) that targets any joint other than the elbow joint. They consider these techniques too dangerous for competition. They specifically allow ude garami and suggest it targets the elbow joint. Given the same arm configuration and force application is used by clinicians of various disciplines to test shoulder flexibility, it would appear the technique is designed to target the shoulder joint and not the elbow joint.

Secondly, there have been some, relatively few, who have attempted to anatomically describe certain locks. They incorrectly refer to hyper-flexion as being a mechanism of dislocation of the shoulder and/or elbow.

Thirdly, the classification is an ideal. When the techniques are applied, they may include both extension and rotation.

Lastly, other injuries other than shoulder dislocation have been reported. The kimura is named after a famous judoka who beat one of the founders of Gracie jiu-jitsu using this technique (gyaku ude garami). It is said that he broke Gracie's radius and ulna, and dislocated his elbow using this technique. Antonio Rodrigo Nogueira's humerus was reported to have been fractured by Frank Mir in a UFC match when the latter applied a kimura to the former. A person trained in Jan de Jong jujutsu engaged in security work applied the variation of the ude garami henka waza which resulted in a fractured humerus in the subject.

The last point is intended to head off criticism of the above classification and description based on reported injuries other than shoulder dislocations. Unfortunately, accurate and detailed reporting of injuries while executing these techniques has not been forthcoming to date. Given the shoulder flexibility tests, it is safe to assume the shoulder joint is the target of these techniques. It is open to correction, based on future studies, if other injuries are more likely when executing these techniques.

Best of Kojutsukan Posts

Yes folks, it's time for a 'best of' post. What are the top 10 Kojutsukan posts?

Before the top 10, it is an opportune moment to reflect on the Kojutsukan mission. Yes, over the years of research a mission has evolved. That mission is to use theory to inform practice. To use theory to facilitate practice. This concept is relatively unique in the martial art world which is generally a bastion of anti-intellectualism - to its detriment. Many instructors attempt to provide theoretical support for their methods. Those same instructors should often refrain from attempting to explain the whys and stick to the hows. They have not done the work, nor have their instructors, into understanding the whys. My work is about providing the whys. Whys that have practical use; that facilitate the understanding and study of martial arts techniques and those used in violence generally in a practical way.

No. 10 Women Self Defence Courses: Effective or Not? Pt 1.

This blog was posted in December 2011 and the fact it made the top ten reflects the interest in women self defence and violence directed at women. These blogs have attracted the greatest amount of comments both on the blog site and to my personal email. Many from women thanking me for airing issues that they've experienced but did not understand or that they thought others did not understand.

No. 9 Can Martial Arts Falling Techniques Prevent Injuries?

In this blog I introduced the readers and the martial arts world to the work of Brenda Groen whose PhD thesis was on the use of martial arts falling techniques to prevent injury when landing from a fall. This technique has been included in a broader fall prevention program that has been rolled out in Holland, and which has recorded success according to various studies.

No. 8 Domestic Violence

Given statistics generally suggest that one if four women experience abuse or violence, it comes as no surprise that there is a great deal of interest in this issue.

No. 7 Jan de Jong Pt 3 - The War Years

Jan de Jong and myself would walk the streets of Rotterdam and Amsterdam when we were visiting Europe for his annual seminars. He would point to various buildings or locations and tell me this happened or that happened there during the war years. Standing in the same place he stood 50 years before made it all the more poignant.

No. 6 Women Self Defence Courses: Effective or Not? Pt 2.

My interest in WSD was increased after becoming involved with a woman who has recently emerged from a long-term abusive relationship. My work over the past few years in researching for my various books and articles provided me with the tools to understand, explain, and help this survivor. I suppose another project to add to my already existing projects is a WSD book and course. This book and course would be different than most others in that it would be based on knowledge of the problem.

No. 5 FOOSH Injuries

My first blog. Fall On OutStretched Hand injuries. I introduced the martial arts world to the concept of FOOSH injuries. Over 85% of all injuries to the upper limb are produced by falling on an outstretched hand. One consequence arising out of this fact is that there is very little information available concerning the physiological explanation of injuries that may be produced when executing kansetsu waza (joint-locking techniques) because the forces are applied in the upper limb in completely different directions in each case.

No. 4 The All or Nothing Law of Strangulation

I recently obtained a copy of another study on shime waza (strangulation techniques) or the more politically correct term neck restraints. There is a bit of controversy over the actual mechanism that causes unconsciousness or death in the case of these techniques or strangles generally. Four mechanisms are often cited, even in the coroners reports I've read which include reports by forensic pathologists or medical personnel. It's often a choice of one of the four mechanisms. I need to do more work on this issue because I am tending towards a combination of two. Stay tuned.

No. 3 Jan de Jong Pt 19 - What Does a Black Belt Mean?

It is interesting there is so much interest in this blog. This might reflect a general confusion about what the black belt qualification signifies. In some striking based martial arts you can obtain a black belt in 1 1/2 to 2 years. Does that imply a lowering of standards? Not necessarily. If you only have a few blocks, kicks, and punches to learn, and if black belt simply signifies proficiency, then not necessarily. For Jan de Jong, a black belt tended toward the teaching side of things rather than proficiency. For myself, anyone who I grade black will most definitely be a world class instructor. They may not be the world's best exponent, but they will most definitely be a world class instructor.

No. 2 O Mae Ukemi aka Bridgefall

This was the first blog I included YouTube vision. The YouTube vision came from a demonstration Greg Palmer put on as part of his 2nd dan gradings. I'm fascinated this polled so well.

I recall a seminar in Stockholm where Jan de Jong was teaching a hip turn which is a technique where the partner/opponent is dragged over your hips and made to fall to the ground. In a previous seminar, a participant shattered both radius and ulna when landing on an outstretched hand. I saw in the Stockholm seminar that people did not know how to land safely from this technique. I asked some of the instructors who were hosting the seminar why they were not using o mae ukemi or bridgefall technique to land safely. They didn't know the technique. I suggested to De Jong that we teach this falling technique, to which he agreed reflecting a certain open mindedness. However, he was reluctant to spend too much time on teaching this technique as he thought the participants wouldn't think they had got value for money from the seminar. In the mid-time break I had half a dozen of the senior instructors come up to me and ask for more instruction on this falling technique, not on any of the defences we were instructing.

This is what I found throughout my national and international teaching experience. It is the fundamentals that are lacking; the fundamentals that are of greatest interest to senior students and instructors.

No 1 'Shorter People Have Certain Advantages in Fighting and Warfare'

Sadly, I suspect the number 1 spot reflects the insecurities shorter people may have rather than an interest in strategy or tactics. I would suggest that shorter people embrace their height challenged status and stand tall, but they can't.

Straight Arm Lock/Arm Bar/Ude Kujiki - Take Two

I originally posted this blog using a particular image of what appeared to be the defender stepping toward the attacker when executing the technique. I used this image as it highlighted a particular issue I wanted to explore, however, it was pointed out to me that the technique in question, while looking similar to the straight arm lock under review, was actually different and is the applied forces are intended to produce a different affect. I take that comment on board and apologise unreservedly for taking licence with that image. This blog recasts the previous with a more appropriate image. For those who have already read this blog (and there have been quite a few of you) the amendments are contained in the end part of this blog. This has also given me the opportunity of including a little more information which I neglected to include in the original of this blog.

I've recently been contacted by a group of fellow martial artists who are interested in the biomechanics of the martial arts. The interaction reminded me of the work I commenced on understanding joint-locking techniques (kansetsu waza).

The photograph to the right is of a straight arm lock, also commonly known as an 'arm bar', and in Japanese as ude kujiki. The photograph is not the greatest, but it was taken at the late Greg Palmer's dojo with two of his former junior students. Greg was a senior instructor of Jan de Jong, was one of my instructors, had a depth of understanding and love of jujutsu possibly second to none at the Jan de Jong Self Defence School, and became a friend and training partner of mine. Out of respect and in memory of Sensei Palmer, I'll use this photograph for illustration purposes.

The straight arm lock is a technique taught by many, if not most, martial arts. It is one of the few kansetsu waza which is permitted in judo competition, and is often seen in mixed martial arts competitions. It can be applied using the arm, as in the photograph above, or the hip while lying on your back, as in the photo to the right. It can also be applied with the leg, hip while standing, stomach, hand, forearm, shoulder, neck, head, and with weapons.

Jan de Jong included theory gradings in his dan (black belt) grades. These are oral gradings which examine the candidates knowledge of techniques and tactics, the proficiency being taken as given. If a black belt represents a teaching qualification, as it most definitely does in Jan de Jong jujutsu, the candidate's theoretical knowledge should most definitely be examined.

How do you study for this theory grading? Unfortunately biomechanics in biomechanical or martial arts texts will not be of much help. Vieten (2008) provides an overview of the English-language martial arts literature related to biomechanics. He found the percentage of biomechanics papers among the literature in martial arts is very low compared to some popular sports and suggests ‘the biomechanics of the martial arts is still in its infancy’ (562). Too true. My work is about growing that infant. This blog is about growing that infant, and possibly encouraging others more qualified than myself to take up the challenge.

Welcome to your theory grading, or part thereof. A typical question De Jong would ask, and which Palmer often referred to when explaining the theory examination, was: What are the forces involved in ude gatame ude kujiki (arm set arm breaking; the first techique illustrated above)? This, as it turns out, was a very insightful question. The problem was that De Jong and the candidates only had a layperson's understanding of 'forces'. If they'd have had a mechanical/biomechanical understanding of forces, the answers would have not be so convoluted.

Kreighbaum and Barthels (1996; K&B) explain that 'because forces account for the motion and changes of motion of all things in the environment, including the body and the body segments, it is important for the movement specialist to understand what forces are and how we can picture them as they are applied to or by the body' (80). Firstly, 'a force is something that causes or tends to cause a change in the motion or shape of an object or body' (80). It's not just a change in motion which forces cause; they also cause a change in shape which is referred to as 'deformation' in mechanics. If the deformation of the body's tissues is significant enough, it will lead to injury. Secondly, given the preceding explanation of forces, it is important for martial arts instructors and students to understand what forces are and how they can picture them as they are applied to or by the body. The beauty of it all is that it is so easy - 'easy peesy Japanesey.'

'A force can be thought of as a push or a pull; ... a blow or impact, or gravity' (K&B 1996: 80). Forces have four unique properties: magnitude, direction, point of application, and line of action (K&B 1996). In initially answering our theory question, all we need to do is identify all of the points of application and describe their direction and whether they are a push or a pull. That is it - easy peesy Japanesey. Forces are what makes the technique work. They are the essence of the technique.

See: http://www.kojutsukan.blogspot.com.au/2011/06/using-forces-to-understand-and-explain.html

With the ude gatame ude kujiki, there are three points of application. The right hand is applying a pushing force to the back of uke's (receiver of the technique) flexed hand back towards uke; the left hand is grasping and applying a pulling force on uke's wrist away from uke; and the elbow is applying a downward force to uke's elbow. That is it - easy peesy Japanesey. Next question.

What is the purpose of ude gatame ude kujiki, or any kansetsu waza for that matter? Kansetsu waza is a seperate class of technique. This can be seen in numerous texts and in numerous systems. For instance, the Kodokan Judo classification of techniques initially classifies all their techniques as nage waza (throwing techniques), atemi waza (striking techniques), and katame waza (grappling techniques). Katame waza is subdivided as osae komi waza (immobilisation techniques), shime waza (strangulation or choking techniques), and kansetsu waza (joint locking techniques).

The kata gatame ude kujiki (shoulder set arm breaking) illustrated to the right can be turned into a shoulder throw. In jujutsu, throws often involve initially locking up the joint in order to throw an opponent. They are also used to take an opponent to the ground without causing both the opponent's feet to leave the ground. This is my biomechancially-based definition of a takedown technique. Kansetsu waza are often used as immobilisation techniques, as is often seen in aikido. They are also used as kuzushi* (unbalancing) techniques. They are used as pain compliance techniques, and, which is probably the first explanation that would most likely be given, they are used to disable an opponent by injuring their joint. If I was examining a candidate and they gave me the last answer, I'd immediately ask them how often is the ubiquitous wrist twist used to disable an opponent by injuring their wrist. The humble wrist twist is most often used to take an opponent to the ground (takedown technique not a throwing technique as is so often described in aikido and many jujutsu systems)in order to execute another technique, a 'finishing' technique.

Firstly, it can be seen that kansetsu waza is a class of technique which overlaps with many other classes of techniques. It has multiple personalities. Secondly, so what? So what? The technique may look the same, that is to say it has the same points of application of the forces, but the direction and magnitude of the forces will differ depending on the purpose of the technique.

What is the physiological effect of applying forces to the extended elbow when executing ude kujiki? Here there is no authoritative answer. I was astounded, when researching the science behind joint locking techniques, that I could find no detailed explanation of the effects of kansetsu waza when forces are applied and the joint is moved beyond its range of motion. If any reader knows of such information, and only authoritative information is of interest, I'd appreciate it being forwarded to me and I will duly share it with the world via this blog.

Why not refer to medical or forensic texts? I did. However, between 80% and 90% of all injuries that occur to the upper limb are the result of a fall on an outstretched hand (FOOSH injuries; see http://http://www.kojutsukan.blogspot.com.au/search/label/FOOSH). Consequently, the medical and forensic literature focuses on these types of injuries. The forces are applied in a different direction when landing on an outstretched hand compared to when forces are applied at right angles to the posterior aspect of the elbow when executing an ude kujiki.

The bones of the elbow joint are the humerus, radius, and ulna. The olecranon of the head of the ulna fits into the olecranon fossa of the humerus which limits the hyperextension of the forearm and provides stability to the joint. Dislocation refers to the complete disruption of of a joint so that the articular surfaces are no longer in contact. Dislocation of the elbow results in, among other things, extreme pain and inability to move the elbow. Elbow dislocations are classified with reference to the position of the ulna relative to the humerus following injury. Dislocation of the elbow can be posterior or anterior:

• posterior – the forearm bones are displaced posterior to the distal part of the humerusand accounts for the majority of all elbow dislocation injuries.
• anterior - the forearm bones are displaced anterior to the distal part of the humerus and are extremely rare. Consequently the data on these types of injury are likewise rare.

In layperson terms, with a FOOSH injury more than 90% of the dislocations of the elbow involve the ulna sliding up the back of the humerus because the forces are being transferred from the hand to the forearm and to the elbow. The forces are applied in a different direction when an ude kujiki technique is executed; they are applied to the posterior aspect of the elbow, which means the injury may be different. After all, Whiting and Zernicke (2008) include in their seven factors which combine to determine the nature of an injury, the tissues injured, and the severity of an injury, 'direction (where is the force directed?)'.

Anterior dislocations are often described as occurring when the elbow is flexed and it receives a blow. The olecranon can lever the humerus and slide in front of it, or, it can be fractured. This is often referred to as a 'fracture-dislocation'.

I apologise for not being able to identify the source of the following quote. It is included in my notes without reference, and I need to go back to my notebooks to identify the reference. However for the purposes of this blog I will proceed without the reference.

Given elbow dislocations are the one joint technique allowable in judo (wrist, shoulder, and knee techniques were forbidden due to the risks of injury associated with the techniques), a sport practiced around the world for a century, and there is no reference I can find in the literature on extreme elbow injuries as in the case of a fracture-dislocation in judo, I might hypothesise that the abovementioned dislocations without fractures are not uncommon when an external force is applied to the posterior aspect of the elbow.

What type of dislocation and injury occurs when executing ude kujiki? Given they are permitted and used in judo and mixed martial arts, you might have thought there would be information published on this issue. You might have thought wrong. If I am mistaken, I'd appreciate reader's directing me to the source that would correct my misunderstanding. This blog is, as stated above, a call to arms to encourage others to study these most basic of questions: What injuries are intended to be inflicted when a joint-locking technique is executed? In the case of ude kujiki, in my mind it is the comparatively rare anterior dislocation with a possible fracture of the olecranon

The technique to the right is described as a 'step in arm lock.' Comment on the technique? This is a question which De Jong would often pose using photographs from books, etc? Firstly, a tactical issue. Stepping toward the opponent while applying this technique exposes the defender to the risks posed by the attacker's free hand. Secondly, stepping forward changes the forces applied by the hand at the wrist. Now it is pushing rather than pulling. This has the effect of 'close packing' the elbow joint increasing rather than decreasing its stability (increasing rather than decreasing its resistance to forces). Thirdly, I would hypothesise that should the combined forces result in a dislocation of the elbow, it would result in a posterior dislocation whereas when forces are applied to stretch the elbow joint and then forces applied to the posterior aspect of the elbow, they might result in an anterior dislocation and/or a disclocation-fracture.

Notes

*Interestingly, Jigoro Kano explains that 'the basis of kuzushi is pushing and pulling' (1986: 42). Kano, the originator of the use of biomechanics to understand and study the tactics and techniques of the martial arts - to a degree and possibly unwittingly.

References

Kano, J. (1986). Kodokan Judo. Tokyo: Kondansha International

Kreighbaum, E. and K.M. Barthels. (1996). Biomechanics: A qualitative approach for studying human movement. 4th edn. Boston, Massachusetts: Allyn and Bacon.

Vieten, M.M. (2008). Application of biomechanics in martial art training. In Handbook of biomechanics and human movement science, edited by Y. Hong and R. Bartlett. Abingdon, Oxon: Routledge.

Whiting, W.C. and R.F. Zernicke. (2008). Biomechanics of musculoskeletal injury.2nd edn. Champaign, Illinois: Human Kinetics.