OUTSIDE KNEE/CALF SWEEP
ANALYSIS
This throw resembles the throw hiza guruma in modern judo. If it were pammachon, it would be executed as a kick instead of a sweep.
Figure 3.59. Pankration. Panathenean amphora, 480 BCE, Hood Art Museum, Dartmouth University, Hanover, New Hampshire. (Drawing based on photograph from the museum.)
CONTEMPORARY APPLICATION
The athlete on the right, after having broken his opponent’s balance, controlling the upper part of his body (A–B), sweeps the knee area of his opponent with the sole of his foot (C), throwing him on the ground, where he controls him (D).
OUTSIDE FOOT/ANKLE SWEEP
Figure 3.60. From tomb 15 at Beni Hasan, Egypt, 2000 BCE. (Drawing by P. E. Newberry, from the publication Beni Hasan, London, 1893.)
ANALYSIS
This throw resembles the move known as de ashi harai in contemporary judo. The athlete on the right (the dark figure) sweeps his opponent’s ankle, after having already broken his balance, controlling the upper part of his body.
ELBOW CONTROL
Figure 3.61. Pammachon. Part of the ornamentation of the temple of Zeus at Olympia, Olympia Museum.
ANALYSIS
This is a control and disarming lock, which was well known to the ancients, but was used more in pammachon than in pankration. This is logical, because trapping the arms—when not followed by immediate execution of throws (a characteristic feature of combat sports)—denotes control and disarming of one’s opponent. The defender, turning her body accordingly, traps the centaur’s hand ideally, thus controlling his elbow and hand, neutralizing a possible attack with a hold or a stab with a close-quarter weapon (such as a knife). This is a joint “lock,” an immobilization and attack on the joint, which will lead to a direct elbow dislocation if the pressure continues. At the same time, we see the counter technique to this application: the centaur grabs the woman’s leg with his free hand. This hold, combined with lifting of the body, would neutralize the elbow hold and would cause the defender to fall to the ground, so, in the ornamental frieze, another Lapith villager intervenes and places a knife at the centaur’s throat.
CONTEMPORARY APPLICATION
Elbow Control (Pammachon)
Such locks are very difficult to achieve in pankration, as an athlete’s arm is unlikely to be exposed long enough to be trapped.4 This type of move, however, can happen quite frequently during a real attack. During an actual fight, emotions run high and we rarely encounter two well-prepared athletes who are psychologically prepared to battle one another. At the same time, the commitment of all of one’s efforts in a single attack, in an attempt to quickly penetrate the opponent’s defenses and finish him, occurs quite frequently in conditions of actual fighting, armed or unarmed.
The attacker on the right holds the other one’s throat and prepares to attack with a punch to the face (A).
The defender reacts by holding his opponent’s arm and executing a backward turning step (B).
At the same time he traps his opponent’s elbow and hand (C).
But, as he presses his opponent’s arm, the combatant on the right starts defending himself by grabbing his opponent’s leg (D).
He raises his body and lifts the leg of the combatant on the left, disrupting the power of the elbow lock (E).
LIMB LOCKS WITH DIRECT AND COMPLEX DISLOCATIONS
Figure 3.62. Pankration. Hellenistic bronze statue, British Museum, London.
Figure 3.63. Pankration. Hellenistic bronze statue, Antikensammlungen Museum, Munich. (Drawing based on a photograph from the museum.)
ANALYSIS
In figure 3.62 we see that the athlete on the left has trapped one of his opponent’s arms under his own arm and is holding his opponent’s other arm by the hand, extended. At the same time, he has stepped in front of his opponent, intending to sweep and throw him to the ground. With his arms trapped, this fall would be painful, as he would land on his head.
In figure 3.63, the hold presented is similar to the one in figure 3.62. Here, too, the wrestler on the left has trapped one of his opponent’s arms under his arm and holds the other one extended. At the same time, while standing behind him, he obstructs his opponent’s efforts to escape by placing his leg in front of the other’s. This shows a refined technique of immobilization, possible throwing, and even an application of a finishing hold (a hold designed to force the opponent to submit due to pain or pressure).
In figure 3.64, we have another excellent representation. This time, immobilization is not accompanied by arm trapping but by a leg hook. At the same time, the attacker has passed his opponent’s outstretched arm in front of his waist, trapping it. With his other hand, he pushes his opponent’s head downward. This technique shows that the ancients had profound knowledge concerning the principles and kinesiology of the human musculoskeletal system.
Figure 3.64. Pankration. Egyptian bronze statue, Hellenistic era, British Museum, London.
Recapitulation
These three representations lead us to the following conclusions:
All three statues belong to the Hellenistic era. This means that athleticism had not yet become highly specialized. Athletes still fought in the wrestling ring in a way that was also applicable in actual battlefields, striving to finish off an opponent before having to go with him to a prolonged fight on the ground.
Although all three presentations depict athletic contests, control of the limbs is a technique used more in martial arts than in combat sports.
In addition to controlling the opponent, all three sculptures show situations where, should the pressure of the locks being applied persist, the opponent would suffer a limb dislocation, either with direct dislocation of the hyper-extended elbow joint or shoulder joint, in the case of the “straight” joint locks, or a complex dislocation of the shoulder and elbow joints, in the case of the secondary “bent” joint lock. Please note that in the first two depictions it is very simple for the wrestler on the left to snap the elbow joints with a dynamic movement utilizing the full force of his body.
CONTEMPORARY APPLICATION
The attacker (on the left) places his arm inside his opponent’s and twists, trying to hold his opponent’s same side shoulder (A–B).
He lowers his arm, having trapped his opponent’s bent arm (C–D).
He finishes by exercising pressure, holding his opponent’s head and pushing it the other way, while restricting his opponent’s mobility by countering with his knee (E).
CIRCULAR SACRIFICIAL THROW
ANALYSIS
This is the throw known in judo as tomoenage.
Figure 3.65. From tomb 15 at Beni Hasan, Egypt, 2000 BCE. (Drawing by P. E. Newberry, from the publication Beni Hasan, London, 1893.)
CONTEMPORARY APPLICATION
The athlete on the left enters under the center of gravity of his opponent (A–B).
After placing one or both of his legs at the base of the pelvis of the other athlete (or between his legs), he abruptly stretches his legs with a vertical move, throwing his opponent above him (C).
He continues with a roll and mounts the opponent to finish him. Note the control of the opponent’s arms with his body. (D).
HEAD LOCKS
Figure 3.66. Wrestling. Theseus is wrestling with Kerkyon. Attic vase, 510 BCE, Museo di Antichita, Torino. (Drawing based on photograph from the museum.)
ANALYSIS
In figure 3.66, the athlete on the left executes a hold on the neck of his opponent, trapping his arm at the same time. His intention is probably to force him to the ground by making a backward turn with his left leg, which would turn his opponent so that his back was to the ground. The closing of this hold is effected with the fingers; it is the so-called Maeandrian grip. After the throw, he may transition to ground fighting and proceed with a “strangulation using the opponent’s arm.” This is a basic technique in submission wrestling.
In figure 3.67, we have another presentation of a headlock performed while trapping th
e opponent’s arm. The athlete on the ground has trapped the arm of his opponent and is trying to force him to the ground. His opponent is trying to escape, hitting at his ribs with hooked punches.
Figure 3.67. Attic pot, 500 BCE, Metropolitan Museum of Art, New York. (Drawing based on photograph from the museum.)
Figure 3.68. “Hercules vs. Antaeus.” Attic red-figure vase, the Louvre Museum, Paris.
In figure 3.68, we have a show of advanced technique by Hercules. He has Antaeus in a headlock, while at the same time he has trapped Antaeus’s arm between his legs, executing a perfect direct elbow dislocation.
CONTEMPORARY APPLICATION
Head Lock with Arm Trap Leading to Strangulation
The attacker controls his opponent on the ground with a headlock (A).
The defender manages to free his arm with a “pump move.” The defender pushes his opponent’s chin with his hand, trying to create added space in the hold, in which to maneuver. The attacker holds his arm below the elbow (B).
Ideally, the attacker pushes his opponent’s arm in front of his neck. He then closes in with his head and his arms clasping his palms, pressing hard (C).
While it, in fact, requires some skill to effect a strangulation with this technique, in conditions of close-quarter combat, it is sometimes important to remove the opponent’s arm from your centerline of attack. This technique is primarily designed for this purpose. In addition, it is possible to safely attack the cervical vertebrae while using a modified version of this technique in unarmed close-quarter combat.
HEADLOCKS, THROWS, AND LEG HOLDS
Figure 3.69a, b, c, d, e. From the tombs at Beni Hasan, Egypt, 2000 BCE. (Drawing by P. E. Newberry, from the publication Beni Hasan, London, 1893.)
ANALYSIS
In submission wrestling, as depicted in the Beni Hasan images, the headlock is used mainly for two reasons:
As an entrapment leading to a throw.
As a reaction to a throw or a leg hold.
In figure 3.69a–d the athlete on the right is trying to execute a throw with a headlock and the athlete on the left reacts with a leg hold. In figure 3.69e we see one more headlock on the ground. In figure 3.70a and b attempts by an attacker have been blocked by holds on one or both of his legs; the reaction is a headlock. From these representations, we can deduce that when one contestant attacks the head, the defender reacts by holding his opponent’s base, in order to neutralize the moves that would lead to a throw. Also, when one athlete attacks his opponent’s base, mainly one leg, the correct reaction is a headlock, so that the defender could take the attacker to the ground with him after the throw. This high standard of detailed knowledge of the techniques of combat sport was indeed impressive in Egypt in 2000 BCE.
Figure 3.70a and b. From the tombs at Beni Hasan, Egypt, 2000 BCE. (Drawing by P. E. Newberry from the publication Beni Hasan, London, 1893.)
CONTEMPORARY APPLICATIONS
Headlock and Throw
The attacker has grabbed his opponent’s arm high on the triceps and, entering, he executes a headlock with his other arm (A–B).
He places his hip in front of his opponent and throws him with a powerful twist of his body (C).
Throwing him to the ground, he follows him, pressing him down with his body (D–E).
He consolidates by controlling three points: his opponent’s head is in a headlock; with the same hand he holds his opponent’s shoulder; with his other hand he controls the triceps, keeping the opponent’s hand trapped under his arm (F).
Headlock and Leg Hold
The reaction of the athlete to the attempted throw in the archaeological document shown in figure 3.69 can be seen in photographs A–D.
Headlock, Leg Hold, and Counter Throw
The athlete on the right has executed a headlock on his opponent, in a standing position (A).
The defender reacts with a side body hold and by holding his opponent’s near leg from the inside (B–C).
Next, he lifts his opponent off the ground, holding him from the hip as well, and drops him to the ground, fighting for control from a side hold-down position (D–E).
FRONT BODY CLINCH AND LIFT
Figure 3.71. From tomb 17 at Beni Hasan, Egypt, 2000 BCE. (Drawing by P. E. Newberry, from the publication Beni Hasan, London, 1893.)
Figure 3.72. Attic red-figure amphora, Staatliche Museum, Berlin.
ANALYSIS
Attacks on the opponent’s body using body clinches (front, side, rear) were powerful tactics, mostly in wrestling contests (this technique is also called a “bear hug” in modern times). By executing such a hold against an opponent, the attacker would gain the advantage, because he could throw the opponent to the ground, often with devastating results. After a clinch, the main way to throw the opponent to the ground was either by lifting him up or by trapping his legs, with or without hooks. Both figures 3.71 and 3.72 depict a front body clinch and lift. In figure 3.72 the lifted athlete is attempting to free himself by “husking,” a characteristic move in such cases.
LIFT AND TURN TO THROW
Figure 3.73. Attic cup, 530 BCE, Archaeological Museum, Florence. (Drawing based on a photograph from the museum.)
Figure 3.74. From tomb 2 at Beni Hasan, Egypt 2000 BCE. (Drawing by P. E. Newberry, from the publication Beni Hasan, London, 1893.)
ANALYSIS
In figure 3.73 the athlete on the left attacks, crossing his arms as he seizes his opponent’s body, in the opposite orientation to a frontal body clinch. This is the correct hold for the technique described in classical texts as “raise him to the heights,” which ends up with the opponent landing on the ground on his head.
Throws from body clinches may also take place by one athlete turning his opponent backward over his own body, as in contemporary wrestling today.
Figure 3.75. From the temple-tomb of Ramses B1 at Medinet Habu, Egypt, 1150 BCE. (Drawing based on a photograph from the University of Chicago, published in Combat Sports in the Ancient World by Michael Poliakoff.)
CONTEMPORARY APPLICATION
Lift to the Shoulders and Throw (Judo kata guruma, “fireman’s carry”)
The attacker penetrates with his front leg between his opponent’s legs (A–B).
Next, he ducks suddenly, bending his knees, and passes his arm as a hook between his opponent’s legs (C).
He rises, having “loaded” his opponent onto his shoulders, and prepares to throw him to the side or to the rear (D).
HEEL “HOOKS” AS MEANS TO THROW AND AS COUNTERS
Figure 3.76a, b, c. From tomb 15 at Beni Hasan, Egypt, 2000 BCE. (Drawings by P. E. Newberry from the publication Beni Hasan, London, 1893.)
ANALYSIS
When wrestling in a standing position, heel “hooks” play a decisive role in controlling an opponent. They are used for two reasons:
As an obstacle, in order to drive the opponent to the ground, that is, as a means of attack (shown in figure 3.76).
As a defensive measure, in order to neutralize a possible lift or turn of the opponent’s body, aiming to throw the defender to the ground (shown in figure 3.77 on page 138).
In figure 3.76a, we see the athlete on the left attacking his opponent’s body, trying to force him to the ground by placing a hook on his front leg. In figure 3.76b, the athlete on the right has grabbed and is holding up the leg of his opponent, who reacts by holding the attacker’s head. Next, aiming to drive his opponent to the ground, the athlete on the right places a hook on the base leg of the athlete on the left.
In figure 3.76c, the athlete on the right attacks his opponent’s body with a front body clinch and tries to throw him by placing a hook on his front leg.
Figure 3.77a, b, c. From tomb 15 at Beni Hasan, Egypt, 2000 BCE. (Drawings by P. E. Newberry from the publication Beni Hasan, London, 1893.)
In figure 3.77a, the athlete on the left has caught his opponent between his legs with one arm, lifting him, and holding him with his other hand below his head. This is the technique known
in contemporary judo as kata guruma. The athlete on the right reacts by placing a double hook with his calf on his opponent’s thigh and his foot inside his opponent’s knee joint. This way, he neutralizes the throw and can proceed with a choice of many counterattacking techniques.
In figure 3.77b, the athlete on the left attempts a lift following a rear body clinch. The athlete on the right reacts by placing double hooks on his opponent’s legs. Next, in figure 3.77c, while his opponent lowers him down, he maintains the hook on the rear leg, at the same time grasping his opponent in a head lock. This will enable him to follow up with the “sweeping hip” throw (harai goshi) seen earlier.
CONTEMPORARY APPLICATIONS
Hooks as Attack
The attacker passes his arms inside and executes a front body hold (A–C).
Next, he presses his head against his opponent’s chest and places an outside hook on his opponent’s front leg (D).
He sweeps the leg, while at the same time he squeezes him (E).
On the ground he secures a mounted position on his opponent’s body, taking care not to be caught in half guard (F–G).
Hooks as Counters
The attacker has executed a rear body clinch (A). He lifts his opponent off the ground (B). However the defender neutralizes the lift with a leg hook (C).
”Sweeping Hip” Throw (harai goshi) as a Reaction to a Wrestler’s Lift
This is the technique shown in figures 3.77b and c. The attacker has executed a rear body hold (A).
Against his opponent’s attempt to lift him, the defender counters with a leg hook, neutralizing the attempt (B).
Next, as he steps down, he holds his opponent by the arm and the head (C).
The Martial Arts of Ancient Greece Page 9