Most of our arts contain some form of this lock. This is your standard standing wrist lock, where the other guy reaches in, you parry and using the same side hand, grip his hand around the base of the thumb and apply a bent wrist lock.
Example (only given to define which lock I am talking about... the throw part is extra):
In this thread I am hoping we can share and discuss the details of this lock. What are things you commonly seen done incorrectly? And what things do you do to correct those problems?
I will start with one of the most common problems I see when people attempt this lock. One of the problems I commonly see with this lock is that the person doing the lock, tries to make the lock happen outside of their own power zone. The lock is not done on their own centerline, they are reaching either to the side, or way to far forward or bring the lock up near face level. Once they get the lock out side their power zone, it becomes very hard to get enough power to apply the lock... and most of the time, uke is in better balance than tori, thus easily able to resist the lock.
To correct this, I have students parry the reach, apply their grip and then bring uke's wrist to their own belt. The back of uke's hand needs to be against tori's belt, on his centerline. This ensures that uke's balance and structure are compromised and makes it easier for tori to have good structure. Tori can then apply the lock using his hips to directly apply the power to lock. As the student gets better, he can allow space between the hand and the belt... but he must keep the lock on his centerline and about belt level and drive the power through his hip motion.
I would love to hear common problems you guys see and solutions. The idea here is to discuss how to improve the finer details of this common lock, across arts.
Example (only given to define which lock I am talking about... the throw part is extra):
In this thread I am hoping we can share and discuss the details of this lock. What are things you commonly seen done incorrectly? And what things do you do to correct those problems?
I will start with one of the most common problems I see when people attempt this lock. One of the problems I commonly see with this lock is that the person doing the lock, tries to make the lock happen outside of their own power zone. The lock is not done on their own centerline, they are reaching either to the side, or way to far forward or bring the lock up near face level. Once they get the lock out side their power zone, it becomes very hard to get enough power to apply the lock... and most of the time, uke is in better balance than tori, thus easily able to resist the lock.
To correct this, I have students parry the reach, apply their grip and then bring uke's wrist to their own belt. The back of uke's hand needs to be against tori's belt, on his centerline. This ensures that uke's balance and structure are compromised and makes it easier for tori to have good structure. Tori can then apply the lock using his hips to directly apply the power to lock. As the student gets better, he can allow space between the hand and the belt... but he must keep the lock on his centerline and about belt level and drive the power through his hip motion.
I would love to hear common problems you guys see and solutions. The idea here is to discuss how to improve the finer details of this common lock, across arts.