|
Chambering
By Victor Smith and Christopher Caile
| If you are a karate
student you probably chamber your non-striking hand. But why do
you do this, and what is the position of the chambered hand?
Also, why do different systems do things differently, and why
isn’t chambering explained by instructors?
There are many who disbelieve the
worth of traditional technique, including chambering. For in
many fighting arts and styles the non-striking hand is kept up
to protect the head. Within their narrow vision of combat, their
interpretation is quite correct. |
|
|
|
|
In this
historic photo Gichen Funakoshi, considered by many to be the
father of Japanese karate, demonstrates how a chambering action
by one arm pulls the opponent into his punch. |
So in explaining chambering it should be
noted that there are vast differences between fighting an opponent
(practice fighting or in competition) and the use of karate as
self-defense against a random attack. Also, there are vast differences
between what is taught to beginners in terms of technique and its use,
and more advanced understanding of technique and applications.
Unfortunately the latter has been largely lost as karate has expanded
and evolved world-wide. The result is that entire generations of
students never learned, or looked to uncover, applications of
chambering.
Why do students just accept chambering?
In my mind, if you as a student do a technique and it isn’t effective,
or the technique itself can’t be used in the way it is practiced, you
should view the technique as wasted effort. My own assumption, however,
is that there is a value to everything within the ‘traditional’ karate
vocabulary, regardless of whether my instructor could or did tell, show
or teach me. So let’s amble through the layers of what I see as the
value or uses of chambering. But, first it should be noted that pulling
back one arm into chamber as done in practice as well as kata only
indicates the direction and method of an application. When actually
performed as part of a technique the chambering arm may only pull back
partially.
 1.
Against a sudden grab from the rear. Every kata technique where you
move forward with one technique (including those where you move
rearward) and chamber one hand is building an automatic response against
a grab from the rear. The sharper you chamber, the sharper you strike
back (a rear elbow can be combined with a rear leg foot stop to the
attacker’s instep). Likewise double strikes become double rearward elbow
strikes. They don’t necessarily finish an attacker, but they have the
potential to create an opening for further response. The rear elbow
attack is often a staple of many jujutsu and self-defense systems
against a rear attack, or to create a momentary opening. Thus chambering
should be re-examined by karate-ka for similar potential applications.
 |
 |
2.
Against a sudden wrist grab from the front or the side. Traditionally
the first self-defense technique taught by Isshinryu karate’s founder
was to counter a wrist grab by sharply turning the arm over (against the
thumb which is relatively weak) to release the attacker’s grip and then
pulling the arm back into a chamber position. Here the defender add a
powerful knife-hand strike to a pressure point on the attackers inner
arm (very painful and can numb the arm) to assist in the release.
3.
Destroying an attacker with one technique. Here, chambering often
implies a technique using the retreating hand. This is a concept many
have a real problem with today. It’s often corrupted to “one punch won’t
stop a real attacker.” Of course they ignore the reality in boxing,
where, on occasion, a fight is finished with just one punch to the jaw.
So, one technique can stop a fight in the right circumstances.
Of course there is the issue of what is
“one technique.” A piece of a movement, one movement or one series of
movements all can fit that quantification. One’s intent should be to:
try and do it with one technique, yet be instantly ready to go
the distance if you’re less than perfect.
Here it should be noted that chambering
is more than just retracting the hand. It’s retracting the hand while
using correct body mechanics and then looking at the rest of the body’s
technique. Thus, if you chamber one hand while punching with the other,
chambering (pull back of one hand and shoulder) can add power into the
punch. But the chambering movement also promises much more.
 Hence
if you grab somebody’s jacket collar, or wrist (of an opponent who has
his arms raised in a fighting position, as shown in this illustration)
and then sharply chamber that hand (pulling back) as you strike them
with a reverse punch or backhand into the jaw/neck/side of the head, you
first pull the person off balance, into your zone of attack, and use the
grab as a force multiplier to the strike. Your opponent’s body isn’t
free and can’t move away from the force of the punch, so more of the
impact is imparted into his body, creating more shock.
This applied force multiplier has as much
to do with chambering to create stronger strikes, as the reciprocal
nature of the chambering motion. This force multiplier may not result in
finishing an opponent with one technique, but it certainly goes a long
way towards that goal.
 4.
Another view of chambering is in conjunction with a block and punch,
something found in many Chinese arts as well as some older forms of
Okinawan karate. (1)
For example, in Northern Mantis (Tai Tong Long), Northern Eagle Claw (Faan
Tzi Ying Jow Pai) and in the tuite (the art of grasping and grappling)
taught in Okinawa by Hohan Soken
and others, their methods include simultaneous blocks, grabs and
restraints. For example, a block is often used to parry and set up a
grab (immobilization or pulling-in) before a strike. The hand returning
to chamber after a block simply slides down the arm to grab it and yank
backwards, or locks an arm in place as seen in this illustration from
the Bubishi.
 |
 |
In another illustration the defender
first traps the attacker’s punching arm between his own (the forward arm
moving inward and the rear hand moving in and back toward a chamber
position). This scissoring action can break or injure the attacker’s
elbow. The defender then opens his forward hand to grip pressure points
on the attacker’s bicep (seen from the opposite side) while also pulling
that arm backward (toward chamber). The other hand attacks the
aggressor’s eyes using a finger technique.
The difference between those arts and
modern karate is that the manner in which they grab is more defined.
Where in modern karate simply grabbing and pulling is used, many Chinese
arts and Okinawan Tuite practices use more specific grabbing techniques
(the fingers of the grabbing hand attacking pressure points to create
pain as well as to create a stronger grip) to help maneuver or
immobilize the opponent into a better lane or position for striking.
5.
Based on the above Chinese and/or Okinawan tuite model, I believe that
chambering in kata is used as a strength building tool. There are
several forms of strength being used. First, there is strength from
using the body in a more coordinated manner. A weight lifter needs
correct technique to lift heavy weights as well as body power. Likewise
precise kata practice enhances strength.
 The
second more hidden strength building technique is actually the way you
tighten the hand as you chamber. This builds a stronger grip. This, it
should be noted, is not simply pulling your hand back. If you ever had
the chance to train with somebody doing Eagle Claw for many years, you
discover the great hand strength they have in their locks (grips). Here
a double hand Eagle Claw grip is shown. One of the primary training
tools is actually the correct use of the hands in their complex forms.
Correct use of chambering can strengthen the grip.
In the same manner, those karate systems
which include Kobodu (Okinawan weapons such as the sai, tonfa, bo and jo)
have actually followed the Chinese model (likely unknowingly), as the
practice of weapons actually is also an incredible grip development
tool.
Of course there are other ways to enhance
kata practice. Drills with partners, up to free sparring practices where
grabbing and pulling while striking are permitted, do so too. The study
of karate isn’t as simple as one tool; instead there’s an entire tool
box involved.
 |
|
This arm bar demonstrates how the rear arm can be
used in a semi-chambered position. |
|
 |
|
In
this historical photo the famous karate pioneer
Choki Motobu attacks an opponent’s ribs with one arm
while simultaneously pulling back on the attacker’s
other arm. |
|
6.
Likewise, a great range of karate’s potential block, grab and chamber
while striking moves don’t involve striking into the body. Instead the
strikes can be shearing planes of force across the tricep’s insertion to
become variations of arm bars, attacks to the ribs, or as shearing
planes of force across the neck. Each of these examples strike with the
forearm sliding across the target instead of the punch into the torso.
For example, the opponent might punch at
you, and you as a defender might respond with a technique that redirects
that force in such a way as to control the opponent and his attack. The
result may be a projection technique or one where you control the arm
(as in the arm bar illustration here) or head of the opponent.
This article represent only a small step
into a very large body of material.
Many don’t see these things, or won’t
address these possibilities. Perhaps, it’s simply that most students
become comfortable in their own practice or beliefs. This makes things
easy. You aren’t challenged and forced to stretch.
In my opinion, however, you can
eventually see the Okinawn arts as a vast grappling system of study
(where chambering points the way) if you choose to see what is actually
there.
|
Speed Your
Martial Arts Training
by Craig S. Kiessling
Historical
Outline Of Karate-do, Martial Arts Of Ryukyu
by Sensei Chojun
Miyagi
Translated by San Zinsoo
Kata Training Part
One
by Dave Nielsen, Soke
Kata Training
Part Two
by Dave Nielsen, Soke
Chambering
By Victor Smith and Christopher Caile
|
