A seasoned karateka like you might dismiss the juji uke (or cross block) as one of those traditional karate artifacts you can't figure out: why go through the trouble of crossing your arms to block an attack when dodging or stepping away will do? You might even question committing both arms to a defense against what very likely would be a feint before the actual strike. If you are among the minority of seasoned skeptics, take heart, this video clip is for you.
The ju in juji-uke refers to the number 10, which is rendered as 十 in Japanese. You can see where this is going. The crossed arms in the "block" are represented rather conveniently by 十. Much confusion arises over how the block is applied. Tradition would have you cross the arms simultaneously as is done in kihon and kata. That tradition, I argue, would have you struck square in the face. A worthy opponent would fake and get you to commit everything, like the Maginot Line, to a defense that is easily circumvented.
Consider what the video clip above offers, a clever defense against a jab-cross combination, that utilizes position, control, and leverage to defeat the attacker. You are not merely waiting for the blows to rain down on you as you cover: you are setting up your opponent to walk into an ambush. If you are wondering where the crossed arms come in, the defender does cross arms, though not simultaneously. In the basic application, it's the attacker's arms that get crossed. That's art. That's a better juji -uke.
Putar Kepala means to swivel or turn the head. In Silat, it refers a family of takedowns by turning your opponent's head. Representations of this technique can be found in karate (osae uke and mawashi uke). Now there are several versions of osae uke and mawashi uke floating around out there, so be forewarned. The two we are concerned with accomplish the same thing: to apply torsion to the spine of your opponent in order to breakdown his structure. The principle of the technique, like many others, is to bend and twist. In karate you will recognize the technique as up and down pressing blocks (osae uke), or the mawashi uke (with artfully curved pinky and ring fingers and ostentatious ibuki).
"Wait a minute, these are two totally different technique," you are thinking. Think again. With this application of Putar Kepala your opponent's head is down (torso bent at the waist) and one of his arms is up in the air. The curved little fingers of mawashi uke are a clue that you are grasping your opponent in some fashion. In fact, you are grasping him behind the neck and by the elbow. Using the principle of the force couple (equal and opposing forces on a parallel path) you cause your opponent to twist and thereby lose his balance. Osae uke is representative of the force couple principle. Mawashi uke is a descriptive representation of what is going on (rotation).
Take a look at Lorenzo Bagnai putting Putar Kepala in action. Notice the use of forearm strikes to the neck, elbow strikes to the face, and knee kicks to the body to get the opponent into position. By advancing, retreating, or moving to one side or the other, he is able to direct his opponent in a variety of directions.
For some, Karate is principally about striking. Mechanically, we would be talking about collisions. It is kicking and punching, and also managing the kicks and punches. Kata, the dance so misunderstood, would then be a catalogue of such technique. The footwork and body mechanics, from this perspective, is oriented towards facilitating collisions between fist and nose, foot and ribs. This, however, is a limited perspective. Karate is not only about collisions, but also about couples: force couples (a system of equal and opposite forces on parallel paths).
"GTFO," you say. Hang on. The force couple is the foundation of many martial arts. You will recognize it in the Yin-Yang symbol- the circle with swirls of black and white. When you combine equal and opposite forces on parallel paths you get rotation. You will also see force couples in kata if you know what you are looking for. Here are some clues: simultaneous pulling and pushing actions; pivoting and turning (obviously); certain actions and poses to which no application can be attributed other than "chambering."
In this excellent demonstration by Maul Mornie (SSBD), we see a force couple in action at the 1:16 mark. There are several names in karate for this move, gedan bari and manji uke, come to mind. Traditionally, gedan bari, although a compound move, is thought of as a downward sweeping block, and little consideration given to what the other arm is doing besides simply chambering. Similarly there is a kata move most interpret as a violent removal of the male genitalia- again hardly a thought to what the other arm is doing. What Maul Mornie demonstrates by the simultaneous pulling and pushing is a force couple which rotates his opponent around the horizontal axis.
Force couples abound. Not only can they be applied to torsos as in the previous example, but also to limbs. Here, Lorenzo Bagnai (Isam Firenze) demonstrates an arm-bar. Lorenzo once said to me, "Se non c'è coppia di forze non c'è nessuna tecnica." (no force couple, no technique) To which I replied,"Huh?. . .you mean like gunting in FMA (scissors)?" "Esatto!"
Speaking of scissors ("hasami" in Japanese) there is the infamous crab claw takedown (kani "basami") of Judo. This just to illustrate how pervasive the principle of the force couple is. Look for it in your kata and you will have a better karate.
