Taijutsu: Basics of Hand Control and Lapel Grabs. Part 1.

Описание: In the very beginning of this martial art, one of the first areas of training is centered on te-waza (hand techniques), and how one becomes proficient in weakening an opponent’s controlling grip and compromising their hand's ability to work in the moment.

Within the te-waza (Dakentaijutsu), the very first application is against a simple lapel grab. This is not because there’s some high probability in reality-based scenarios that an assailant will walk up and initiate a lapel grab - we are all very aware that this is not how things work, so let’s put that nonsense to rest first.

Rather, for beginners, it’s vital to understand and feel how the hand secures and releases. The lapel grab is an ideal focal point to start from, as the other areas of the body are not pre-occupied and can learn maneuvers based on the outcome of grip-release. Once there, the very first grappling technique both within the te-waza, and the torite-kihon (Kosshijutsu and Koppōjutsu) is found in 'lateral deviation' of the opponent’s gripping fingers.

That one point alone is incredibly important to get from the beginning of your taijutsu training, as it carries over to weapons, retention, grappling, sword …

Twisting the hand one way or another simply does not do this. Period.
Every technique of the Kihon Happō employs proper flexion of the hand and fingers. Each of the striking techniques mandate proper use of the wrist and fingers, each of the torite demand lateral deviation of the opponent’s attacking grip … If you don’t get this, or are not properly taught this from the get-go, you are missing a massive cornerstone of fundamental taijutsu.

In this short video, I try to explain this contextually to the unique lineages in our art, and why they use different movements and counter mechanics. I’m not sure how often this is taught, based on what I’ve seen online, but I can assure you that if you’re not zooming in on the truths of situational relevancy (determined for us by historical context) and functional bio-mechanics, you are training (or worse, teaching) something not in alignment with this art. That is simply my own opinion, and I welcome input from more seasoned instructors who can steer my minor points toward greater accuracy. Criticism welcome, always.

However, I trust what I’ve been taught by my teacher and have no problem offering my reflections if it supports the preservation of our art, and the elevation of our collective standards and dialogue.

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About Jissen Kobudo Jinenkan: Developed by Lieutenant Colonel Fumio Manaka, the international Jinenkan organization is a complete martial art system characterized by it’s traditions of authentic Kobudō, the classical fighting forms of Japan’s Samurai.