This Japanese technique is written using two Chinese and one Japanese ideogram - with all three ideograms being routinely used in the Japanese written language - and two ideograms ('1' and '2') being used in the Chinese written language:
腰 - Japanese - Koshi (Chinese: yao1) = waist, hips and midsection
投 - Japanese - Na (Chinese: tou2) = throw, blend, redirect and reject
げ - Japanese - Ge = down, low, depth and ground
Interestingly, with regards the ideogram '腰' (Koshi) - both the Japanese and Chinese language dictionaries give an identical (and exact) physical location. Therefore, 'Koshi' represents the 'waist' (or the anatomical 'space' between the hips) situated toward the front of the body - whilst the back of the body corresponds 'Koshi' to the 'small of the back' or the 'lumbar' region. Although neither dictionary mentions the centre of gravity of the body - or the 'lower dantian' (both situated three-inches below the naval) it seems clear that such a 'special' area is implied. I think this assumption receives support as 'Koshi' is also used to refer to the 'kidney' area - perhaps slightly higher than the lumbar a 'cold' area significant within traditional Japanese and Chinese medicine.
Although 腰 (yao1) is prevalent within Chinese martial arts (used to counter an opponent through penetrating their technique, blending with it and redirecting it) - 'Koshinage (腰投げ)' is a 'distinct' Japanese physical interpretation not found in China. When the Chinese government took Sō Dōshin (宗道臣) [1911-1980] to a Japanese Court in the early 1970s (an event covered in one of Donn F. Draeger's books on 'Modern Budo') - part of the evidence accepted by this Court that his style of 'Shorinji Kempo' ('Shaolin Gongfu') was NOT of Chinese origin - is that nearly all of its techniques include 'Koshinage' (the BBC chose to omit this Court verdict in its 1980 'Way of Warrior' series). Cooperation of this type is a Japanese cultural development - and is not found in China's traditional arts - even though the concept is present (and used in a different manner). However, I would note that the use of squat-kicks is found in Chinese arts and are used in exactly the same manner as this documentary suggests - although our Hakka style places a great deal on toughening the legs to take continuous impact (similar to Muay Thai fighters in Thailand) and keep effectively moving. The only Karate-Do style I have encountered that has squat-kicks is Goju Ryu.
Interesting - Thank for drawing my attention! The following is what I can Tell you.
搂 - lou3 = A mother spreading her arms (and hands) to embrace an object - pulling it close to her body (like a mother embracing a baby). This might be described as 'grappling' in English - just as grappling-hooks were once used in the Royal Navy to grip-hold of enemy ships (preventing their free movement) and 'pulling' these structures close so that 'Marines' could then jump onboard, neutralise the enemy crew and take control of their ship!
子 - zi3 = Son, off-spring (children) or 'Master' and 'Teacher' (I think this derives from the legends stating that Laozi - one of the founders of the Daoist religion - was born as an old man with white hair. Daoism advocates a rejuvenating wisdom that purports to create the state of 'Immortality').
Stepping inside the opponent's critical distance and thus 'taking away' their ability to respond effectively. Furthermore, the manner in how the opponent is tripped and thrown involves the deliberate 'hurting' of their body through impat with the ground. This exists within all traditional Chinese gongfu and involves the breaking of fingers and toes, joint dislocation, eye-gouging and groin-kicking. Punching the nose and throat is a basic requirement. A practitioner gets inside the opponent's guard (seen in this video) and takes control of the limbs and torso.
A Master of this art 'prevents' the opponent initiating the smooth rolling seen within modern Judo, Aikido or Jiujitsu - as 'falling' in this context must inflict damage upon the opponent - a punishment considered 'just' within ancient China for starting a fight! This why training in this type of in-fighting requires the ability to roll on an unpadded floor. The inner art is to prevent the intended damage from the fall - by 'countering' its intent through 'correct' placement (usually at speed). This is a key factor within traditional Taijiquan practice.
Wikipedia is a wealth of sagely advice – much of it misleading, incomplete and out of context. For instance, the author dealing with the ‘Tai Sabaki’ page - states that the usual interpretation of Tai Sabali in the West which involving ‘evasion’ is ‘wrong’. However, if an individual can ‘read’ Chinese and/or Japanese ideograms – it is obvious that whatever this concept is - ‘evasion’ forms a central aspect of it. The author in question does not fully comprehend the entire concept of Tai Sabaki and is attempting to join the two ends of an idea together whilst omitting a (vast) theoretical centre-ground!
1) 体 (Tai) - Japanese Equivalent of Chinese ideogram ‘體’ (ti3) = ‘body’
This is related to a body (comprised of - and structured by - its internal bone structure) which is augmented in the physical world through musical rituals (involving drumming) and the adornment of jade of jewellery. The body is enhanced by the placement and alignment of its inner structure and the means (rituals) through which this body traverses the outer world. That which is ‘detrimental’ is avoided and that which is ‘nourishing’ is embraced. There is an implication in the Japanese language that ‘体’ (Tai) refers primarily to the trunk and the abdomen – and only secondarily to the limbs. It is the ‘centre’ of the body which has priority over the ‘periphery’ of the body.
2) 捌 (Saba) - Japanese Equivalent of Chinese ideogram ‘捌’ (ba1) = Disentangle
This ideogram - (in its Chinese interpretation) can mean ‘eight’ - an alternative form of ‘八’ (ba1). A ‘hand’ which expertly uses a ‘knife’ - cuts through the flesh and bones of a fish so that it is separated into ‘eight’ clean parts (probably a generic term meaning ‘many’). There is also the central idea of ‘disentanglement’ - so that no unnecessary error (or resistance) is met. This is because ‘entanglement’ means ‘hindrance’ - and the skill referred to here involves the ‘avoidance’ of such self-imposed difficulty. Evading ‘resistance’ is the correct path that leads to such a skill. The blade of the knife skilfully feels its way around (and along) the natural contours of the bones – and does NOT cut directly (at right-angles) into the bone-structure at any time. There is a ‘going with’ rather than a ‘going against’. This ideogram is the central element of this Karate-Do principle - and probably means slightly different things within the various styles which make use of it.
3) き(Ki) - Japanese Equivalent of Chinese ideogram ‘幾’ (ji3) = Skill
There is an indication of ‘quantity’, ‘measurement’ and ‘refinement’ within Japanese language dictionaries. The suggestion is that the correct manipulation of exact amounts is a great skill which has to be mastered in any successful avenue of life. This idea spans both the material and the spiritual world! An individual can carefully follow the established criterion laid down by those who have gone before – or if such an individual possesses the correct (and right) amounts of psychological insight and physical strength – then they might set out on their own path and become an inspiration for those who are to come!
When taken as an integrated whole – the martial principle of Tai Sabaki (体捌き) suggests that the physical body (its central core and not just its periphery) is skilfully used (manipulated) in a combat situation so that there is no direct conflict between the defender deploying this technique - and an attacker ignoring this technique. Tai Sabaki (体捌き) is NOT just the skilful movement of the arms and legs in ‘protection’ of the central core (the torso). Tai Sabaki (体捌き) is a ‘centre-out’ technique that requires the core and periphery to work in concord. Strength does not clash with strength. The ability to assertively ‘give-way' is the key to this technique. Indeed, when the timing is perfect - ‘giving-way’ becomes far stronger than the momentary strength associated with a dramatic (but short-lived) show of strength! Giving-way, at its highest manifestation, not only ‘absorbs’ and ‘nullifies’ ALL incoming power – but when performed correctly, generates the basis for ‘greater’ power to be produced that is not reliant upon linear (muscular) strength – but rather the ‘circular’ movement associated with the structures of the bones and joints! The bodyweight ‘drops’ into the ground through the shaft of the (aligned) bones and rebounds upwards through the centre of the bone-marrow – producing a seemingly endless supply of ‘muscle-free’ power! As this power is greater than that associated with the muscular ‘tension’ of thuggery – the defender occupies a unique time-space frequency within which the attacker cannot access (or penetrate) regardless of the willpower exhibited. The linear attacks cannot land on an object continuously moving in perfectly timed circles. Once such a level of mastery is achieved – the defender can decide the level damage perpetuated upon the attacker depending upon circumstance. Should the body of the attacker be temporarily or permanently disabled? Should the body of an attacker be only (gently) nullified as if in play? Someone who has mastered Tai Sabaki (体捌き) possesses all these choices. This is why the Wado Ryu Style of Karate-Do posits the highest ideal of a defender possessing the ability to prevent damage to both their own body AND the body of the opponent! An ideal of the highest nobility!
I have been looking through the Chinese language internet for 'Ju Jitsu' (or 'Jiu Jitsu') information and found a very good historical article which I have fed through a universal translator:
The early history of Ju Jitsu (Rou Shu) - or 'Giving-Way Art' is described as follows (I have translated this extract exactly):
'The origins of Ju-Jitsu can be traced back to around 2000 BCE (in Egypt). There are hundreds of murals in the famous Khufu Pyramid in Egypt depicting Ju Jitsu-type combat techniques. These North African martial arts techniques appear very similar to modern-day Brazilian Ju-Jitsu. The combat techniques that define Ju Jitsu are found (today) throughout the world within the traditional fighting systems of China, Japan, India, Greece, Egypt, Russia and Mesopotamian, etc. Some scholars speculate that Asian Ju-Jitsu developed separately (and parallel) to its African variant - and is a martial art that originated in ancient India. This Indian martial art then spread to China - where it was consolidated - before being spread across the world by migrating monks and soldiers. It is currently unknown whether there is a direct link between the Egyptian and Asian variants.'
Shifu Adrian Chan-Wyles (b. 1967) - Lineage (Generational) Inheritor of the Ch'an Dao Hakka Gongfu System.