arresting techniques

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Understanding Torite from the Perspective of the Aggressor

As an objective of growth for 2023, my training group will be focusing on more close-quarter combat. One concept related to this is torite (捕手). Torite can be translated as grappling, catching, or arresting. In many ways it is similar to judō as a form of grappling system, but has many differences due to the purpose of usage, techniques allowed, as well as tools that can used to assist.

When learning the methods of torite, usually practitioners train in katageiko (型稽古), which is a drill that features one person as a defender and another as an attacker. The scenario used in katageiko generally consists of an attacker initiating a confrontation by grabbing the defender, while the defender reacts using specified techniques to defend against & defeat the opposition. It is very common for a student to learn the specifics regarding how to apply torite to defeat an attacker’s technique, as well as subdue them with their own. However, what is not covered in detail at the beginning of one’s training are the advantages the attacker has when performing their initial torite (grapple) technique. In theory, the initial action of a skilled attacker would prove difficult to stop if timed correctly, which is why the #1 effective defense is not to be there as a target.

For today’s article, I will cover various grapples an attacker may attempt that we train to defend against, and explain briefly the advantages of these if an attacker is successful in pulling this off.

SINGLE HAND WRIST GRAB

With a forward or downward pull, you can take a person’s balance as they stumble forward, leaving their upper body vulnerable to attacks. There is also a double hand wrist grab version.

Grabbing an opponent’s sleeve can be used as another variation of this. In similar fashion, you can manipulate an opponent by pulling downward, forward, or to the side. Depending on which hand you use, an opponent’s arm can be pulled across their body by their sleeves, leaving their side vulnerable and unable to defend themselves.

SLEEVE GRAB NEAR ELBOW

Grabbing the sleeve closer to the elbow gives more control in manipulating an opponent’s upper body, especially along their spine. Pulling here downwards to your hip, or outward, can take their balance, and leave them open for strikes or throws. Similar to the sleeve grab near the wrist.

SINGLE LAPEL GRAB

Seizing the lapel from the front with one hand isn’t just limited to a strike with the other hand. One can still manipulate an opponent by pushing or pulling while gripping the lapel to take balance, and can administer more weighted control by pulling  downward at the same time. Of course, this is not done through just the strength of one’s arm, but has to be coordinated with movements by the entire body. Depending on if you grab the lapel on the same side as your hand or go for the opposite side, you can push or pull the opponent right or left.

DOUBLE LAPEL GRAB

A much more secure version, this offers the same results as the single lapel grab, but with even greater control. Shoving and pushing can greatly take balance, along with lower body techniques that are difficult to anticipate. It is also easier to execute throws and take downs since you are using both hands.

BEHIND LAPEL GRAB

This is usually done at an opponent’s blind side, which is typically from the back. When done correctly, one can quickly pull down the opponent to the ground, or push the opponent forward by striking with the same hand that grabs. Outside of this, one can use their free hand and legs to deliver strikes.

SINGLE SLEEVE-LAPEL GRAB

This is a familiar set up for specific throws, such as seoi nage (背負投げ, shoulder throw). Of course, we have to set up prior to make throws work effectively. As the aggressor, the hand that grabs the lapel can strike into sensitive areas around the face and neck to create opening, while the hand that holds the sleeve manipulates by pulling to take balance in different directions.

In closing, understanding the strong points of an attacker is critical in martial arts. It is often stated that the one who throws the 1st punch wins a confrontation. The same can be said with well-timed & well-executed grapples. That being said, there is a lot of value understanding how an attacker cam truly use the initial grapple to win. From this can we learn how to effectively defend against this.

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Hobaku: Visual Presentation of Edo Period’s Capturing Methods

In an article earlier this year I covered the numerous listings of Bugei Juhappan, which consist of essential 18 skills key to being a martial artist. In a few of these different versions were skills related to capturing and subduing, which fall under a category called hobaku (捕縛).

Hobaku is a term describing systematized skills for arresting and subduing criminals used by the policing force established during Edo period. Those who worked for the police and were responsible for apprehending criminals were high-ranking samurai and low-ranking warriors. Some of these skills used include torite (捕手), hojōjutsu (捕縄術), and using the mitsu dōgu (三つ道具). These skills originate from groups specializing in bujutsu training, thus training for the sake of proficiency was a must.

There is a famous illustration book called “Tokugawa Bakufu Keiji Zufu” (徳川幕府刑事図譜) published in 1893, which gives a visual presentation of various crimes that were committed during the Edo period, along with the punishment which criminals would face. There are several images that demonstrate how the methods of hobaku were used by those in the policing force, which give an idea why they were deemed important to those versed in martial arts. The scenarios in which hobaku was performed are specific to those involved, from petty theft by a commoner to treason by a nobleman. In some cases the criminal was apprehended discretely, while in other cases the arresting officers had to use force especially when others try to intervene.

For today’s article, select images that represent hobaku will be used to highlight specific skills and weapons listed on some Bugei Juhappan listings. Japanese text found on the top of these images will be posted in type print, and followed by English translations done by myself. To view the entirety of this illustration book, you can access it at the Meiji University Museum by clicking the link here. Note that while there is English provided to understand the contents of the images, the Japanese text on each image has no English equivalent present.

IMAGE #14

BACKGROUND: A temptress, who’s an accomplice of some criminal, weasels her way into the home of a rich merchant. The merchant is tricked into allowing her to stay in his home, while his wife is forced to cook and serve the temptress. The wife and her child are treated poorly, while the merchant is at odds of how to deal with the temptress’ schemes. (reference image #2)

In the picture above, an officer who was informed of the situation makes a sudden entry and quickly apprehends the temptress.

Not bearing his standard ropes, he uses an improvised method where her hands are brought behind her back, with strings tied to her thumbs and attached to the back of her hair.

One can imagine that being subdued in such a method would make any attempts to escape painful.

TEXT ON IMAGE

“In this image, a magistrate is able to make use of a short string, twine, and the like for capturing when a criminal needs to be immediately subdued, but standard torinawa (捕縄, binding rope) is not available. The capturing technique “Tabo*” is applied, where both hands are twisted behind, and both thumbs are joined together tightly.”

*This name is written only in kana, thus meaning is obscure

IMAGE #15

BACKGROUND: The hideout for a group of thieves. After a careful investigation by a constable from the magistrate’s office, a well calculated raid was set into action. This was successful in putting a halt to any further schemes by the thieves. (reference image #3)

In the picture above, the leader of the thieves is arrested. A woman, who’s affiliated with the thieves, tries to interfere with a knife in hand. One of the arresting officers uses a jutte (十手, truncheon) to knock the knife out of her right hand.

Other than their diligent work in completely subduing the main culprit, this image expresses the effectiveness of the jutte’s non-lethal strength.

On a separate note, certain groups had an influence on the jutte techniques used by different policing forces at the time, such as Ikkaku ryū (一角流), Edo machikata Dōshin (江戸町方同心, Edo town officials) and Kyōto machi Bugyō (京都町奉行, Kyoto public authorities). Meiji University Museum has images of the types of jutte used up on their site, which can be accessed through link 1, link 2, and link 3.

TEXT ON IMAGE

“The striking area of the jutte is shown. The jutte is made out of steel. It measures around 1 shaku 5 sun (57 cm) in size. It also has a hook on the side which can be used to stop incoming attacks from weapons such as a sword.

When there are individuals who are willing to prevent the arrest of a criminal due to prior fondness, the 1st thing to do is to strike them in the right upper arm with the jutte. This method of capturing allows an arresting officer to render a target’s dominate arm useless. “

IMAGE #16

BACKGROUND: Illegal gambling is taking place openly in a field. Gangsters and thieves are putting money and goods up for bets. (reference image #4)

In the picture above, policing officials rush the area to break up the gambling ring, and apprehend those involved. They are using standard arresting tools for this, which include the uchikomi (打ち込み, rod with a loop on the end), yoribō (寄棒, baton), and kaginawa (鉤縄, rope and hook).

TEXT ON IMAGE

“(A) To make a capture, a loop is used to snare (a criminal) by the throat.”

“(B) The method for capturing the criminal is used during pursuit. To overtake the criminal, a stick is thrown inbetween his legs to knock him down. “

“(C) The capture here involves prepping a hook. When the hook is attached onto the criminal’s clothing, a rope is pulled against the throat. Utilizing a rope to pull down a person when their limbs cannot be tied is situational-based.”

IMAGE #20

BACKGROUND: A criminal brandishes a sword in order to resist arrest. He is extremely dangerous, and difficult to take alive.

His pursuers attempt to make an arrest in a non-lethal manner by forming a cage around the criminal with four ladders linked together. Others use barbed implements known as mitsu dōgu (三つ道具, 3 tools for arresting & capturing)* in order to pin him down. These are the following:


Tsukubō (突棒, pinning tool)

Sasumata (刺股, immobilizing tool)

Sodegarami (袖搦, sleeve [clothing]-entangling tool)

*Also called torimono dogu (捕物道具, arresting tools)

TEXT ON IMAGE

“When dealing with criminals using martial techniques that make capturing difficult than normal, ladders are utilized to surround their target. From outside of the encasement are those with arresting implements that will be used to subdue the criminal.

The arrangement of the ladders are as shown in the picture. Four ladders are used in the formation where 2 are held sideways, while one is held above and another held below*. This pattern called i no ji (井の字, well formation) can defend against a criminal’s attempts to jump over and escape by being raised higher.

This capturing method involves gradually falling upon the criminal by closing the space in on him. Then they are able to use their arresting tools by thrusting them upon him to knock him down.”

*Description is based on how the ladder formation appears visually in the image. In reality all 4 ladders are on the same level.

These four images give a glimpse of how hodaku was utilized. Keep in mind that as a whole, the specifics of hobaku were considerably vase and layered; while those who were in the policing force were authorized to use arresting techniques, they still had to follow specific protocols related to an individual’s title and/or societal position. As an example, the manner in capturing a commoner could vastly differ to that of an elite family or of samurai status. This included the type of arresting ropes used and how the knots were made.

This concludes the visual presentation of hobaku used during Edo period. As an elementary approach on such a topic, I hope that the contents were informative for all. For those who want to view the entirety of Tokugawa Bakufu Keiji Zufu remember to visit Meiji University Museum’s website, which can be accessed here.