Catch wrestling

A hammerlock as demonstrated in Farmer Burns' correspondence course, 1913

In 1871, John Graham Chambers, of aquatic and pedestrian celebrity, and sometime editor of Land and Water, endeavoured to introduce and promote a new system of wrestling at Little Bridge Grounds, West Brompton, which he denominated, "The Catch-as-catch-can Style."[2] Unfortunately, the new idea met with little support at the time, and a few years afterward Chambers was induced to adopt the objectionable fashion of allowing the competitors to wrestle on all fours on the ground. This new departure was the forerunner of the total abolition of the sport at that athletic, and within a short period the wrestling, as an item in the programme.

Various promoters of the exercise, notably J. Wannop, of New Cross, attempted to bring the new system prominently before the public, with the view of amalgamating the three English styles viz. the Cumberland and Westmorland, Cornwall and Devon, and Lancashire.[2] Then the sudden development of the Cumberland and Westmorland Amateur Wrestling Society, brought the new style prominently to the front, and special prizes were given for competition in that class at the society's first annual midsummer gathering at the Paddington Recreation Ground, which was attended by Lord Mayor Whitehead and sheriffs in state.

Wrestling on the "catch-as-catch-can" principle was new to many spectators, but it was generally approved of as a great step in advance of the loose-hold system, which includes struggling on the ground and sundry objectionable tactics, such as catching hold of the legs, twisting arms, dislocating fingers, and other items of attack and defence peculiar to Lancashire wrestling.[2]

When catch wrestling reached the United States in the late 19th and early 20th century it became extremely popular with the wrestlers of the carnivals. The carnival's wrestlers challenged the locals as part of the carnival's "athletic show" and the locals had their chance to win a cash reward if they could defeat the carnival's strongman by a pin or a submission. Eventually, the carnival's wrestlers began preparing for the worst kind of unarmed assault and aiming to end the wrestling match with any tough local quickly and decisively via submission. A hook was a technical submission which could end a match within seconds. As carnival wrestlers travelled, they met with a variety of people, learning and using techniques from various other folk wrestling disciplines, especially Irish Collar & Elbow, many of which were accessible due to a huge influx of immigrants in the United States during this era.

Catch wrestling contests also became immensely popular in Europe involving the likes of the Indian national wrestling champion Great Gama, Imam Baksh Pahalwan, Gulam, Bulgarian world heavyweight champion Dan Kolov, Swiss champion John Lemm, Americans Frank Gotch, Tom Jenkins, Ralph Parcaut, Ad Santel, Ed Lewis, Lou Thesz and Benjamin Roller, Mitsuyo Maeda from Japan, and Georg Hackenschmidt from Estonia.

The British term "catch as catch can" is generally understood to mean "catch (a hold) anywhere you can". As this implies, the rules of catch wrestling were more open than the earlier Folk styles it was based on and its French Greco-Roman counterpart which did not allow holds below the waist. Catch wrestlers can win a match by either submission or pin, and most matches are contested as the best two of three falls. Often, but not always, the chokehold was barred. Also just as today "tapping out" signifies a concession as does shouting out "Uncle!", back in the heyday of catch wrestling rolling to one's back could also signify defeat. Frank Gotch won many matches by forcing his opponent to roll over onto their back with the threat of his toe-hold.[7] Some matches however didn't include pins as a way to win but they were used for control and to get submissions

However, in traditional catch wrestling, hooks are used rather than submissions. Hooks are a form of submission where the submission may be executed so fast that the loser has no time to tap out, and hooks were probably derived from the Rough & Tumble mindset. Therefore, another name for a catch wrestler is a "hooker." A "hook" can be defined as an undefined move that stretches, spreads or compresses any joint or limb. Catch wrestling techniques may include, but are not limited to: the arm bar, Japanese arm bar, straight arm bar, hammerlock, bar hammerlock, wrist lock, top wrist lock, double wrist lock (this hold is also known as the Kimura in MMA, or the reverse Ude-Garami in judo), head scissors, body scissors, chest lock, abdominal lock, abdominal stretch, leg lock, knee bar, ankle lock, heel hook, toe hold, half Nelson, full Nelson and almost infinitely many others. Nowadays Many of such novel techniques came from cross cultural exchanges with Jujutsu proponents. Almost all moves have their own variations and different predicaments they can be pulled off in.

The rules of catch wrestling would change from venue to venue. Matches contested with side-bets at the coal mines or logging camps favoured submission wins where there was absolutely no doubt as to who the winner was. Meanwhile, professionally booked matches and amateur contests favoured pins that catered to the broader and more gentle paying fan-base. The impact of catch wrestling on modern-day amateur wrestling is also well established. In the film Catch: The Hold Not Taken, US Olympic Gold Medalist Dan Gable talks of how when he learned to wrestle as an amateur the style was known locally, in Waterloo, Iowa, as catch-as-catch-can. The wrestling tradition of Iowa is rooted in catch wrestling as Farmer Burns and his student Frank Gotch are known as the grandfathers of wrestling in Iowa.

• Styles of wrestling
• Catch: The Hold Not Taken - a 2005 documentary film investigating the roots of different styles of wrestling.

• Snake Pit U.S.A - Catch Wrestling Association in the U.S.A.