I hope between the photos and this description I can do this technique justice.
1. A spearman and swordsman meet
2. The swordsman prepares to draw and the spearman counters by striking the forward hand and pushing the swordsman to the rear and off balance. (Why the spearman doesn’t just kill him outright is for speculation, but this was taught as an arresting technique, so I imagine the attacker had to be taken alive.)
Once contact is made with the forward arm, this pressure cannot be released. This is how the swordsman will be controlled. From this point onward the spearman must dictate all directional movements of the swordsman. Of course the swordsman cannot be aware that the spearman is dictating the action, and must “feel” that the movements he is making are being unchallenged. This requires subtlety and refinement, and there is a fine line between too much force and too little.
3. Because of the position of the spear, the swordsman must drop his hip back in order to complete his draw. As the sword leaves the scabbard, the spearman applies more downward pressure on the front hand, while at the same time starting to extend the front hand in a forward arch. This is done by pulling the forward elbow back towards the hip, while pushing the forward knee towards the swordsman. These are small movements.
Note the swordsman’s poor posture, and how he is leaning at a forward angle to the right side of the spearman. Most of the swordsman’s weight is on his rear leg, and his hip is still to the rear. His forward elbow is facing the ground and the arm is not allowed to fully extend forward.
4. The spearman steps around the swordsman, using the force of his rotation to “push” the attacker downward and forward. We call this “back-pressure.”
At this point in the technique, the position of the swordsman’s elbow comes into effect. The push should drive the elbow straight to the ground at the specific point that off-balances the swordsman. We refer to this point as his “triangulation point;” simply put, it is a place where the attacker can’t regain his balance and must fall down.
I cannot overstress the importance of proper extension, or the importance of remaining in contact with your opponent’s wrist at all times. The wrist must be controlled from the very beginning so the swordsman cannot properly grip or use the sword. Note how awkward the swordsman’s hand position is on the draw.
Keep in mind that there is nothing between the swordsman’s sword and the spearman’s body. This is on purpose! You want to make the swordsman believe he can swing and cut, because any forward motion on his part can and will be used against him. In fact, any forward momentum generated by the swordsman will make doing this technique easier.
Of course if you mess up, you are going to get cut. That is one reason the spearman rotates his body. If the spearman rotates properly he should place himself in a safer position. However, I wouldn’t bet my life on it.
I should also mention that if one use to much force the technique will not work. You will lose your connection and the swordsman will regain his stability. The spearman’s motion has to be smooth and light, so that the swordsman doesn’t feel he is being controlled. Any use of force (strength) will be felt and the swordsman can react to it, nullifying the technique.
5. The swordsman is taken all the way to the ground and the spearman’s grip is released. The spear is flipped over, and the swordsman neutralized.
This technique is not easy to accomplish, but it’s worth the effort to learn. A lot of scientific principles can be found within this technique, principles that can be applied to numerous other forms.