27/6/17: stick master class

Thanks to Adam for all the detail in the following notes. Whilst us minions were working away on our material, the big boys were working single and double stick.

Stick work:

All from open guard

1) (RH) High, high (fore hand back hand) LH HIigh, High (fore hand back hand) Heaven 6 count
2) RH low, low ( forehand, back hand -can either cut in a slightly upward motion of slightly downward), LH Low low, then Earth 6 count
3) RH high low high (forehand cutting through, back hand watik, backhand on high line) LH high low high, then standard 6 count
4) RH – high high – as you hit with the back hand the left hand follows through so you end up in the closed guard ready to do heaven sinwali motion. Then you do half of heaven (3 count), come back to open position and repeat with left hand (but this time the right hand follows through after the back hand)
5) RH low low –as you hit with backhand left hand follows through so you end up in closed guard ready for earth sinwali motion (3 count). The do half of earth (3 count) come nack to open position and repeat with left hand
6) RH high low high including follow through as detailed above, half standard, end in open position and repeat with left hand
7) Heaven 6 count into standard 6 count into earth 6 count (you and play any variation of these six count e.g heaven, earth, standard, earth heaven standard etc etc)
8) Odd series 6 count, pull back, roof block and umbrella (try not to hit your own funny bone.. it hurts, lots)

Try and make the 6 count a six count… not two sets of 3 (you can hear the gap when you are hitting sticks) – try and play around with foot work. I see a lot of people stepping forward doing the first 3 motions THEN changing leads for final 3 hits. I find if you start changing lead on your 2nd hit in the heaven drill you are ready to flow automatically into the next three without a pause as such (eventually it won’t matter what your feet are doing you will just flow)

Stick hubud:

Motion is the same as normal hubud, make sure blocking hand is covering the hand holding the stick like an octopus.. your fingers help to slow or stop sudden twisting motions of the stick

After getting a rhythm we started to experiment with various entries and hits, not competitive just playful and concentrating on the sensitivity aspect. Examples of these include:

Watik low line strike to thigh (flick your wrist when your partner has “trapped your arm” for a strike to the leg)

Cut through – you block partner strike then cut your stick across their belly then do your puno strike to continue flow

Cut stab cut –as above but cut across belly, stab eye with point of stick, cut belly again going back to start of drill

Wrist control disarm –grab wrist/thumb pull towards you and strike your stick down hitting partner in head while tearing stick form their hand with your forearm

Punch through strangle – using the hand that hits the stick, after you hit the stick use that hand to “punch through” hitting partner on the head with your stick, then (grabbing both ends of your stick)push down on the shoulder and punch the stick (still holding both ends) into partners throat. You then, keeping the stick on the throat, tuck one end under your shoulder, reach round behind their head to grab the far end of the stick, control there free arm with yours then Squeeze the stick (hard to explain better to show)

Throw away strangle – when you block strike instead of continuing with drill use your blocking hand to throw away there stick arm, radondo strike to the head then stab stick past one side of the neck reach round with free arm on the other side of the neck and squeeze.

Arm wrench – using your sensitivity, when partner paks your arm BEFORE THEY HIT remove/lop the arm that is trapping yours (pull then to you) radondo strike to the head (stepping off line a little to avoid follow up strike) use your elbow to guide there forearm onto your stick grab the top of your stick and then use a squeezing motion combine with stepping back and turning to drag partner to the ground (again hard to explain better to show)

Trapping – during flow hammer fist instead of usual puno strike, partner catches the hit, remove barrier on inside line and follow up with a hammer fist again to the head, trapping partners arms as you do it. IF partner blocks with a lot of force and pushes you over centre line lop the blocking arm radondo type strike to the head and you can flow into an arm lock/throw

There are loads more but they are all pretty tricky to try and explain. Please remember to zone and of set when doing all of these actions and keep an eye on the free hand!

RED BELT SYLLABUS NOTES

Jab defences
- Catch and jab:

- Cut punch:
dominate the line of his punch, step off line slightly.

- Split entry to dumog drag:
Don't bring him down but bring him towards you.

- Slip and uppercut:
Lead with the left shoulder, lose your neck and make it one smooth movement not two separate ones.

- Salute to arm break:
Affect his structure

- Scoop and lead uppercut:
Be dynamic

Cross defences

- Cut punch:
As above: shift off line and dominate his line and structure of the punch.

- Bob and weave, body hook:
Avoid just going under the punch, it is more like a forward corkscrew motion.

- Lead high elbow to hammer fist:

- Split entry:
Dumog pull needs to be in to your centre to affect his balance and base.

- Slip and uppercut:
Lead with the right shoulder.

- Parry and overhand right:
Drive the overhand straight down his centre.

TRAPPING
From an unattached reference point (gloved):

Pak sau and hit when the feeder throws a jab.
• Before – high he has a strong guard, you can’t see a route to the head clearly, use the pak sau to create an opening followed by the hit.
• During – very similar to a catch but use the pak sau on the forearm to clear a path for a hit with the left.
• After – he jabs and rechambers the arm, on the way back this is when you ‘go’ with the pak and hit.

Lap sau and hit when the feeder throws a jab.
• Before – as above with the pak sau and hit.
• After – as above when the punch is returning to his chest.

Classical trapping (no gloves) from unattached reference point
• Pak sau and hit.
• Lap sau and hit.
• Pak sau and hit into lap sau and hit.
• Lap sau and hit into pak sau and hit.

SINGLE STICK
Redondo drilling – consider recharging of the weapon to strike on the same angle

Abanico drilling of the 4 variations:
1: high – high
2: high - low
3: low - high
4: low – low

3 beat high box sumbrada
The strips – using the arm, they referred to as are ‘snakes’, using the stick, they are referred to as ‘vines’. More detailed notes are elsewhere, these notes here are acting as visual and visualisation reminders only.
Off the roof – snake under and strip with the turning thumb.
Off the #1 – inside sweep and vine along the outside of the arm to scissoring strip.
Off the #2 – drop stick and pick up the thumb and use the punyo strip, if not, vine to the outside of the arm to strip the stick.

22/6/17: Kali masterclass - empty hand v knife

At all times tonight, the defender had to:
• Weight is forward on the lead leg as well as keeping the heel of the rear foot off the floor to allow for evasive body motion.
• Edge on with the body so you present as a smaller target.
• Both hands up, the rear hand is always alive too.


INTERCEPTION AGAINST STAB TO THE HEART
Motion drilling – cut diagonally across the arm with the blade of the forearm (similar to a cut punch but on the inside of the arm not the outside) with the right

INTERCEPTION AGAINST DOUBLE STAB TO THE HEART
Motion drilling – cut diagonally across the arm with the right and then with the left; as you cut across with the left, go into the cat stance to allow the turning of the hips and shoulders. This will maintain your balance.

INTERCEPTION AGAINST STAB TO THE HEART
Cut diagonally across the arm with the right - capture his elbow with your left and eye jab right (keep it tight so there is no gap and he will not be able to turn into you with the blade) – lap right and hit left (have the right hand on you so it is not in you).

INTERCEPTION AGAINST DOUBLE STAB TO THE HEART
Cut diagonally across the arm with the right – cut diagonally with the left (remembering the cat stance) – step in shoulder to shoulder

This was then added to by adding 2 on 1 – right hand at the knife hand and left thumb to the eyes followed by the left hand clasping the bicep and his elbow on your body, and the elbow being the fulcrum of the hold. It is vital that you drop the weight on the arm to disrupt his base by owning that arm.

ADDING STRIPS and DEFENCES

INTERCEPTION AGAINST STAB TO THE HEART
Cut diagonally with the right - capture left and eye jab right – lap right and hit left (have the right hand on you so it is not in you, pass the knife towards him with the back of the left hand – strike the head plus adding a turning of the head the zone off to enable the capture of the elbow. The will greatly limit his ability to turn back into to you.

INTERCEPTION AGAINST DOUBLE STAB TO THE HEART
Cut diagonally with the right – cut diagonally with the left – step in shoulder to shoulder – 2 on 1 – right hand at the knife hand, left hand clasping the bicep – take the flesh of the thumb and step back, but without gaps, pull his hand to your left forearm and the flat of the blade is against your forearm, which is tight to the body. Step forward to return the knife by either raising up and give it back or strip with the left.

INTERCEPTION AGAINST STAB TO THE HEART THEN SLASH ON THE ANGLE #1
Cut diagonally with the right – lean back out of slashing range and follow straight back in – cover with the right hand and eye jab with the left – then same as above from stepping in shoulder to shoulder.

INTERCEPTION AGAINST DOUBLE STAB TO THE HEART
Cut diagonally with the right – cut diagonally with the left – circle after the left one and pick up with the right as he goes to retract the hand, circle the arm for the #4 wrist lock – maintain the grip with the right hand and strip with the left with a horizontal left arm – this will put the knife in your hand with a pick axe / reverse grip. Step on his foot and if the knife is stripped, move in for the 2 on 1 position as worked previously.

KNIFE SPARRING ROUNDS
Key learning tips:
keep the knife poiting towards them - they have to get past it to get to your
be like a fencer - edge on, light on the feet
use your footwork

15/6/17: the art of ripping and tearing limbs

Tonight, was building on the back sweep series from Tuesday in that each technique involved a finish with the opponent on the floor. Furthermore, we were practising by looking after each other to ensure the technique was correct but also because the intention is aggression and speed. If we practised in this format, there would be no one at training for several months.

The principle behind this series of techniques was always to complete the first one. If that fails then move to the second and so on.

1: Against the jab – parry and salute to move his 12 o’clock, step forward with the right to take his weight top heavy. Step back with the left then sweep with the right. He will go down onto a knee but get him belly down by dragging him into his void and away from his based out arm. Essentially this is a #4 straight arm wrist lock but on a different plane. Take the arm vertical (perpendicular to his body) and apply the small circle principle to the wrist – it goes up as it folds for full extension of the joint. Step over the shoulder to simulate a stomp to the head, have the arm braced against your calf for a finish.

2: Against the jab – same as above up until he is face down on the floor. Somehow the arm bends. Slide your right hand to tricep so that your forearms are parallel whilst pinning him with your knee. The knee pressure must be heavy as that alone is grim. Lift the tricep and rotate to the left, trying to get his hand to the back of his head. The finish is due to the rotation of the shoulder muscles.

3: Against the jab – as above but he steps back to avoid the sweep. Transition to the #3 wrist lock (figure 4) take down. As he hits the floor, pin with both knees – one across the ribs and the other across the ear. Again, sound base and lots of pressure driving him into the floor to ensure he can’t move. Your left hand is folding his wrist as your right hand is clasping your left forearm. In addition, his elbow and forearm are glued to your abdomen. Posture up, push the hips forward and lift the wrist for the wrist extension.

4: Against the jab – as above but you can’t get the #3 because he is strong and stable. Step over and behind with the left leg bent and straighten by stomping, almost against his hamstring, for the takedown. Also make sure you are using the elbow close to his chest to apply pressure and help with the leverage for the takedown. When he hits the floor, same finish as the previous technique.

5: Against the jab-cross – split entry followed by the left eye jab and straight into the dumog arm pull so that his arm is pinned to your chest and his balance and base are compromised. Take the flesh of the thumb and rotate using the #1 wrist lock into the takedown. As he goes down, kneel on the bicep, make sure your centre is pointing down his body as this is the safest place to be. If you kneel ‘inside’ the bicep, he can easily reach around roll you to your back. As you kneel on the arm, the upper arm is perpendicular to the body, the forearm is vertical and 90 degrees to the upper arm. Apply the small circle principle to the wrist – up and down and over!

6: Against the jab-cross – as above but as you go for the dumog pull the arm slips out. Change levels and drive straight for the ankle pick with the right and left forearm drive into the hip, drive the hip to the floor so he goes down not away from you as you scoop the foot up. Place the foot under his hip and rotate 180 degrees whilst keep the foot held tight. Wrap tightly with an overhook or underhook. Ensure the leg is close to you, extend by raising, this will ensure no gaps and rotate to your left for some horrendous damage to the knee.

13/6/17: the back sweep series masterclass

The back sweep series



Bob Breen is the foremost authority on JKD in the UK and in the above video, his demonstrates the application of a back sweep. First, the motions, then with implied aggression and torque.

The martial romanticism of silat – for me, there is something about the fluidity of movement that is very attractive about some styles of silat. I used to train in Harimau (tiger style) which was physically very demanding plus it hard all this amazing flow and one technique seamlessly moving to the next one. However, for us in JKD, the problem with this training methodology is the training partner’s role. What are they doing when you apply your techniques? YouTube is awash with silat videos where either the attack is unrealistic or not there at all. The class tonight was about functionalising the back sweep series of silat. So, we used a blend of tactics from Thai, Panantukan and Jun Fan to functionalise and add an aliveness to the silat material.

Footwork drilling and prep
Left lead stance – step forward with the right – pivot and step back with the left (still looking forward) – then long step back with the right (this is simulating the sweep or reap motion).
• Be fluid in the motions and ‘slide or glide’’ through each step
• Turn from the hips
• Don't look down as you sweep, be scanning for the next threat
• Slide your foot along the floor for the sweep, don't lift your foot/leg up as you would for a throw

The below video is a clearly classical example of the foot work pattern we were using and not a representation of what we were doing. It merely acts a simple framework to act as a reminder for all the drilling people will be doing in their gardens after work during this warm spell. It is taken from Aikido and called irimi tenkan (entering and turning). This clip does not show the final sweeping step with the right leg.



As you can see from the above bullet points in terms of our learning points, the Aikido practionner is doing those attributes, whereas our motions were on our toes with more leaning (not bending) of the spine.

Each of the 5 techniques were drilled in isolation and then as a group in that, by the end of the class, we were working all 5 methods consecutively.

Against the jab
Salute then step forward with your right leg as you arm wrench and continue the rolling and rotating motion on his arm to break his posture. Ensure you step between his feet (not in front of them as I was, thanks Marc and Adam for the reminders). Whilst maintaining the straight arm bar, step just behind his left leg with yours then immediately step back with the right for the sweep.

Against the cross
Split entry – left parry and split down the centre with the right hand. Maintain control by immediately following up with the left eye jab (Adam, thank you for the lumpy top lip) and then apply pressure to his right arm to clear a gap for you to control his right shoulder. As you push the right shoulder, this will bring his left shoulder forward but you enter with a high elbow cover on the right as you step into a right lead. Either overhook or underhook his arm, wrapping tightly, pivot and step back with your left followed by the right sweeping step. If you underhook you can slap the back of the head as you sweep.

Against the jab-cross-hook
Against the straight punches, use the long Thai guard covers and the high elbow cover on the right against the hook. As the hook is covered throw the left hand to his throat. Continue your forward motion by slipping the left hand from the throat to pushing the right shoulder away and wrap your right arm over his left arm as you drive the top of your head into the side of his neck/jaw. This tightness and positioning prevents any type of attack to the head from him. Also, make sure the eyes are forward and not down. ‘Putting’ the eyes to the floor will likely break the integrity of your spinal structure, so scan the eyes around. Step back with the left then the right for the sweeping action. Make sure the arm you have on him is used to guide or drive his body where you want it to go.

Against the rear leg round kick
Crush with left leg and reach with the right hand to begin the initial disturbance of his balance (this can also be a finger jab to the throat), step down with the left leg and push his right shoulder back with your left hand as you control his left bicep with your right hand (keep your head tilted down to prevent being headbutted). Wrap an arm (under or over) as you step with the right between his legs then pivot followed by the left back step then the sweeping right step.

Against the lead snap front kick
Attacker throws the kick and intercept with the jeet tek (Stop kick) and push his right shoulder back with your left hand as you step down with a hard left ankle and throw the long right knee (don't try to control his upper body as you knee). Wrap an arm (over or under) as you step down with the right between his legs then pivot followed by the left back step then the sweeping right step.

6/6/17: syllabus work

Nige was giving lots of excellent guidance for Ian and myself tonight, after each skill practised are the improvements for us.

GLOVE WORK:
In all the defences, ensure full body mechanics in the punches – extend the shoulder
defences from jab
1: Lead hand salute to arm break to ABC
• Check the capture connection
• IW: Salute and arm break to be one smooth move
2: waslik to lead hand uppercut to ABC
3. Rear hand cut punch to ABC
4. slip to the outside, rear uppercut to ABC
5. split entry, arm drag to ABC

defences from the cross
1: lead hand cut punch to ABC
• For me, use a higher Thai guard and drop the cut punch into his line of attack and just touch his face
2: bob and weave, body hook to ABC
• Hit the body off the weave
• IW: make sure you drop down at knees with guard up, and after body hook step off to attack from angle
3: lead high elbow, hammer fist to ABC
• Forward pressure on the hammerfist and make it one motion.
4: rear hand split entry, arm drag to ABC
• Pressure on and off his elbow to allow the torqueing of the body
• IW: Make sure the attacker arm is rolled into defenders’ body to break attacker shape
5: parry, overhand right, uppercut to ABC
• As the parry touches the overhand should at least on its way and close to completion

KICKING:
kick for kick:
• Break the rhythm
• Attack both sides of both legs plus the torso

TRAPPING
pak to hit
• As a loop drill or one person working both sides alternatively?
• IW: need to confirm with Steve... Speaking with Marc we were doing punching hubud with is an attached form, syllabus says unattached
lap to hit
• Check the length of the lap – is it short to not get a reaction or a full lap and long punch
• As a loop drill or insert the lap and punch out of the pak and punch drill?
• IW: need to confirm with Steve... Speaking with Marc we were doing punching hubud with is an attached form, syllabus says unattached

ENERGY DRILL
basic hubud:
• Keep it tight
• Keep the elbows in and control/monitor the elbow
• Finger tension
• Strike the neck as opposed to some general high hand attack on the initial motion
• Keep it high

1/6/17: grappling syllabus work

FANNING ROUND AN OPPONENT
Partner A is simply acting as a body on the floor for Partner B to practise and refine the fanning motions.
Scarf hold on the left (hip to the armpit) – to side control on the left – to reverse scarf hold on the left – to mount – to reverse scarf hold on the right – to side control on the right – to scarf hold on the right.

ESCAPING FROM TAKEDOWNS
1: Person A throws the jab, Person B does the outside deflection. Overlook the arm and step around to his 3/4. Person B’s head is now tight to the back of his shoulder and his right arm is around on his right trapezium. As Person B steps back with the right, he takes him down maintaining arm control and move to side control. Person A now needs to create space to swim an arm under Person B's side control. Person A will use the torso of Person B as a handle to assist pulling and swimming out to escape to then take side back control.

2: Person A jabs, Person B drop their level and strikes to the abdomen in the left. They then continue the forward motion as the clinch at the lower back and squeeze the lead leg of Person A with both their legs. Continue the forward pressure for the takedown and move into mount. Person B then simulates ground and pound. Person A passes the punches to one side and then wraps to clinch around Person A's body, thus giving no space for him to work. As the clinch happened, so did blocking one of his feet. For me, it was passing the punches to the right and blocking with the left foot. This left him empty on his right side. From here, Peron A bridges and reaches to the left for the reversal.