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Throws for Strikers: The Forgotten Throws ofKarate, Boxing and Taekwondo

Copyright © Iain Abernethy 2003

1st EditionAll rights reserved. The right of Iain Abernethy to be identified as theauthor of this work has been asserted in accordance with theCopyright, Designs and Patents Act of 1988. No part of this book maybe reproduced by any means, nor translated into machine language,without the written permission of the publisher.

Published by: NETH Publishing, PO Box 38, Cockermouth, CA13 0GS,UK.

In association with Summersdale Publishers Ltd, 46 West Street,Chichester, PO19 1RP, UK. www.summersdale.com

Cover illustration and photographs by Peter Skillen

Typesetting by My Word!, 138 Railway Terrace, Rugby, WarkwickshireCV21 3HN.

Printed and bound in Great Britain by Bookcraft (Bath) Ltd, MidsomerNorton, Somerset.

A CIP Catalogue record for this book is available from the BritishLibrary.

ISBN: 0 9538932 2 7Important note: The author, publishers and distributors of this bookdo not accept any responsibility for any prosecutions or proceedingsbrought or instituted against any person or body as a result of the useor misuse of the information or any techniques described in this bookor any loss, injury or damage caused thereby. Some of the techniquesand training methods described in this book require high levels of skilland physical fitness. The techniques and methods described within thisbook must only be practised by those in good health whilst underqualified supervision.

Acknowledgements

As I sat down to write these acknowledgements (thank youfor not skipping past them by the way), it occurred to me

that it would be possible to save a little time by ‘cutting andpasting’ the acknowledgements from my previous books! Notthat I ever would, but it does show how supportive everyonehas been when I find myself thanking the same people timeafter time. Their continued support means a great deal to me. Ifit weren’t for their kindness and generosity this book wouldnever have become an actuality.

The following people have been a massive help with myliterary endeavours and their support is hugely appreciated: Myfamily, Doug James, Peter Skillen, Murray Denwood, Rob Gate,Fred Moore, Jim Hopkins, Gary Herbert, Craig Strickland, PaulCartmell, Geoff Thompson, Peter Consterdine and Dawn,Stewart Ferris, Rosalind Hart, all at Summersdale Publishers,Bob Sykes, Moira Spencer, all at Martial Arts Illustratedmagazine, Roddie Grant and the team at My Word, TonyMottram, Martyn Goodfellow, Dan Redmond, Paul Clifton andall at Traditional Karate and Combat Magazines, all those whopurchased my previous material, and everyone who so kindlywrote to me to voice their support for my efforts.

Above all I’d like to thank my beautiful wife Helen for all herlove, unerring support, and for the happiness brought to me byher and our much-loved sons, David and Rhys.

Warning

The methods described and demonstrated in this book are

potentially dangerous and must not be attempted by

anyone unless they are under expert supervision. Any persons

attempting any of the activities described in this book do so

entirely at their own risk. All readers are encouraged to be

aware of, and adhere to, all appropriate laws relating to self-

defence.

v

Contents

Introduction 1

Chapter 1 – The use of throws in the striking arts 7

Chapter 2 – Theory and practise 13

Chapter 3 – Sweeps 25

Chapter 4 – The hip throw 29

Chapter 5 – The cross-buttocks throw 31

Chapter 6 – The shoulder throw 37

Chapter 7 – The neck throw 39

Chapter 8 – The double-leg-lift throw 41

Chapter 9 – The outer-reaping throw 45

Chapter 10 – The inner-reaping throw 47

Chapter 11 – The winding throw 49

Chapter 12 – The tackle 53

Chapter 13 – The shoulder-wheel throw 55

Chapter 14 – What if it all goes wrong? 59

Chapter 15 – Conclusion 67

Appendix: Examples from the forms / katas 69

Introduction

In recent times, more and more martial artists are critically re-evaluating the effectiveness of their chosen art. The need for

skills at all ranges of combat is now more widely understood.You could be the best kicker in the world, but if you don’tknow how to grapple you will be easily defeated if youropponent gets inside kicking range (which isn’t that hard todo). Also, just suppose that you’re a great wrestler, but havehad no exposure to striking. It may take you longer to defeatan opponent (strikes being a quicker way to end fights), youwill be very vulnerable to strikes and, most importantly of all,you will not have the ability to ‘stun and run’, which is vital foreffective self-protection.

A chain is only as strong as its weakest link. To be a trulyeffective fighter, you will need to be conversant with all rangesof combat. This realisation has lead to strikers learning how tograpple, and grapplers learning to strike. However, onequestion that needs to be asked is, ‘why doesn’t the art youalready practise have those missing skills on its curriculum?’ Ifthe original martial arts were designed for use in real combat,then why are there such glaring omissions?

Over the last century, the martial arts have undergone manysignificant changes. Most important of all has been afundamental change to the goals of training. The original goalof all the martial arts was the defeat of an opponent in militaryor civilian combat, but the focus of many systems has nowchanged. Most practitioners of the martial arts, whether theyrealise it or not, now train for physical development or sport.

For the practitioner who trains in the martial arts to stay inshape, it does not really matter if all ranges of combat arepractised. All that is needed is for the training to be physicallytaxing enough to improve their level of fitness. Likewise, if thesame practitioner has the necessary muscle control, flexibilityand physical strength to perform the various physicalmovements, katas, forms, prearranged techniques etc, it isirrelevant whether they have the skill to actually apply thosemovements in live combat. In today’s martial arts, mastery ofphysical movement is often all that is required to advancethrough the grades. Hence, we have the situation where many

1

Throws for strikers

higher grades, though technically competent, are not actuallyable to apply what they have learnt in live situations.

The other modern trend in the martial arts is the shift towardssport. In this instance, the goal is the acquisition of trophiesand titles through the defeat of practitioners of the samediscipline in a rule-bound environment. This evolution has seenthose techniques that are not associated with sporting successfall by the wayside. Karate, boxing, taekwondo etc have alwaysfavoured striking methods, and that is why their sportingversions have evolved into solely striking affairs. Judo, on theother hand, has always favoured grappling. Judo did originallycontain striking techniques. However, the rules of competitivejudo prohibit striking, hence you would now find it fairlydifficult to find a judo club that teaches striking. The olderversions of karate and taekwondo contained throws, joint-locks,strangles etc. Again, many of these techniques are now bannedin the modern sporting versions of karate and taekwondo, andtherefore very few schools now teach the grappling side ofthose arts.

Not only do these modern evolutions limit the techniquesavailable to the art’s practitioners, they also increase theirvulnerabilities. For example, because wrestlers never have toface kicks and punches in a competitive bout, they are neverexposed to strikes and are therefore unlikely to be able to dealwith them effectively. Conversely, the modern boxer will behighly skilled at dealing with punches, but will be vulnerable tokicks, throws etc.

The original fighting arts were for use in real combat, andtherefore they covered all ranges. The karateka of the pastcovered throwing, grappling, locking etc in their training (seemy books, Karate’s Grappling Methods and Bunkai-Jutsu: ThePractical Application of Karate Kata). So did boxers, kung-fustylists and practitioners of what became known as taekwondo.A quick look through the history books, and an examination ofthe traditional forms, reveals grappling techniques inabundance.

Karate was strongly influenced by many differing styles ofChinese boxing. This included the methods of Shuai Jiao (aform of Chinese wrestling that is said to date back to 2000 BC)and Chin-Na (seizing and joint locking). Karate has also beeninfluenced by the native Okinawan grappling art of Tegumiand, to a lesser degree, the Aiki-Jujitsu systems of the Japanesesamurai.

2

3

Introduction

Boxing also used to contain many grappling and throwingtechniques. It is believed that modern boxing (and wrestling)evolved from the Greek art of Pankration (meaning ‘allpowerful’). This art contained strikes, holds, throws, groundfighting and submissions. Greek mythology states that bothHercules and Theseus were skilled in the art of Pankration.

In more recent times, there is an abundance of records thatrefer to boxers using grappling and throwing techniques. As anexample, James Figg – who was the first ever bare-knuckleboxing champion of England – defended his title against NedSutton in 1727. It is recorded that Figg winded Sutton bythrowing him on his back, and that Figg eventually won thebout by knocking Sutton down and pinning him until hesubmitted! These techniques are now never seen in the modernsport of boxing. However, they were a part of the originalsystem. Boxing was taught as a self-defence system to societygentlemen. The first gloves were developed so that they couldpractise the art without picking up bumps and bruises that werenot befitting their status. Throwing was also considered to bean important part of the self-defence side of boxing.

Taekwondo is a relatively modern art, the name ‘taekwondo’first being used in 1955. However, it is said that its origins goback much further. Taekwondo is based on the warrior art ofTae Kyon, which was formulated by the warriors of theKoguryo kingdom and was then spread to the whole of Koreaby the Hwarang (warrior class) of the Silla kingdom. TheKorean arts of Subak, Kwonbop and Cireum (a wrestling artbased on Chinese and Mongolian systems) are also said to haveinfluenced the development of what became taekwondo.Chinese kempo and in particular Okinawan and Japanesekarate have also influenced modern taekwondo. Indeed, manyof the original taekwondo forms were based on the karatekatas. These ‘common forms’ mean that taekwondo will alsohave been influenced by Okinawan and Japanese grappling andthrowing techniques. Whilst grappling is not a commonlypractised part of the art today, we can see that grapplingtechniques were a part of the systems upon which the modernart of taekwondo is based.

Although many styles of kung-fu are now practised as strikingonly systems, wrestling and joint-locking are traditionallyregarded as a standard part of all Chinese martial arts.Traditional kung-fu is said to be made up of four sections:striking, kicking, wrestling and joint-locks. We have already

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