Colby Pender wrote:
You're absolutely right about it being possible for me to be my own worst enemy, with me you have to move my wrist through WAY more range of motion before it comes on, making it harder for an inexperienced person to put the lock on, however, when it does come on it comes on really fast, and really, really hard - my wrist is being hyperextended way more than a normal lock extends a joint. I could keep resisting and trying to stuff nage up, but if I did I WILL screw up my wrists. I have to do the opposite and be very forgiving with resistance to certain techniques.
Personally, I'm more flexible than many people -- enough so that it would be very difficult to cause "joint locks" on me for many different techniques without, as you put it, putting my joints at risk. For instance, although I can't quite fold my palm onto the inside of m arm, I can have all four fingers and thumb touching it at once.
There is a difference, in my mind (and body) at least, between being resistant and being resilient. I believe that you can move in such a way to keep your joints safe without going "against" nage's movements.
One thing I've been working on as uke is to try to have my entire body receive the technique -- whether it's iriminage, kotegaeshi, or nikyo. So, even if my partner is trying to apply the technique on my hand/wrist, I try to keep a connection between that point and the rest of my body -- kind of like the same way that one might keep connection between my body and my partner's during a technique.
For example, if someone applies nikyo onto my wrist, rather than trying to resist the technique with my arm/hand/wrist or even just go down a bit by bending my waist, I use my legs to lower my body (ie bend my knees) or even let my legs go "free" in the direction of the nikyo -- in effect, receiving the nikyo with my entire body. So, in this case, rather than keeping my wrist "limp" (which would enable nage to go through the entire range of motion in my wrist) or tensing up to resist the nikyo, I keep a sort of "extension" through the wrist (which enables my partner to put on a nikyo) and move my entire body instead. (Kind of like some place in between a stiff piece of spaghetti and an overcooked piece, I guess. Al dente?)
You can also think of it in the way you might think of applying a technique as nage. You wouldn't want to try to throw someone, say, using kokyunage with your arm. Rather, you connect your arm to the rest of your body (or, as some might say, your center, your hara, your one point) and let that power your movement. As Chuck Clark says, "Your arms are connectors, not affectors." The same applies when you're uke as well.
Hope that helps some.