10/8/17: double stick

Thanks to James for the following blog post

Double Stick

Odd Series:

From closed guard (R. stick on shoulder, L. stick under R. armpit):

R. forehand, roof with the R. as you L. backhand, R, forehand follow through so your R. stick is under your L. armpit, your L. stick resting on your shoulder. Do the same on the other side.
R. forehand watik (like a jab) so as you L. backhand your R. stick retracts back onto your R. shoulder. R, forehand follow through so your R. stick is under your L. armpit, your L. stick resting on your shoulder. Do the same on the other side.
R. forehand, umbrella with the R. (turn your L. shoulder side on and keep the stick tight) as you L. backhand, R, forehand follow through so your R. stick is under your L. armpit, your L. stick resting on your shoulder. Do the same on the other side.
Do (1) to (3) in order.
A1, A2 (make sure you turn your body) then go into (1). Do the same on the other side.
A1, A2 then go into (2). Do the same on the other side.
A1, A2 then go into (3). Do the same on the other side.
Do (5) to (7) in order.

Empty Hand to Takedowns

Slip outside the J., step R. leg up and move to the back controlling his hips with your hands (L. ear against his back) and then pivot anti-clockwise and hook his R. arm in the crook of your R. arm (point your hand up to the sky), pull his elbow into your body, grab your R. wrist with your L. hand and drag him down towards your L. foot (or where your L. foot was as you will be moving your L. leg anti-clockwise), stretch his arm up and step L. leg over his head & stamp and then bring it back close to his neck, step over him (like a lunge) and your L. knee rests on the floor and arm bar then sit your butt back for the choke.

Parry and eyeswipe the J. over the top, lap and R. vertical fist, using your L. arm on his tricep to bend his arm, hook R. arm under his L. arm above the elbow and use a knife hand and point your finger to the floor. Quarter turn L. leg counter clockwise and put L. hand on top of his neck, thumb digging into the side of his neck. Step your L. leg behind your R. leg, gable grip your hands and drive him head first into the floor. Put knee in kidneys and shoulder lock (use your bicep to make sure his arm does not straighten).

Catch the J, waslik the RC and step in with your R. leg as you continue the circular motion of your L. hand and grab around his neck so your fingers are digging into the L. side (his L.) of his neck. His head should be pressed into your L. shoulder (this would be a shoulder smash) and the L. side of your head should be pressed against the L. side of his head. Bring your L. elbow towards your hip as you step your L. foot in a small anti-clockwise circle, keeping control of his head for the takedown. Finish with R. knee on belly/chest and throw hammerfists.

8/8/17: boxing and knife hubud

BOXING: the conceptual theme was attacking by changing levels.

As last session, changing levels to counter attacks.

• Changing the level and throwing the jab
• Changing the level and throwing the cross
• Blocking and respond against the jab and cross
• Changing the level and throwing the jab followed by the right body hook
• Changing the level and throwing the left body hook
Always be in balance and positional control or dominance and being ready to fire the next shot or combination.

On the pads:
Several rounds of:
• Changing the level and throwing the jab followed by the right body hook
• Changing the level and throwing the left body hook
As well as adding a 3 punch combo on the end

Conditioned sparring rounds
Feeding threw the 4 punches at half speed to develop the correct mechanics for what we were learning. We were supposed to lock out any other ingrained responses to straight attacks – hence the half speed, to allow flight time for what was being learned.
4 attacks – jab or cross to body or head.
4 responses – forearm block and respond, change level and jab followed by hook.



HUBUD: the conceptual theme was seeing, feeling and flowing

The basic roll with a knife in ice pick grip. The main attack comes in a wider angle than the regular hubud so the initial interception uses the palm to cover the wrist (as opposed to the outer wrist and finger strike to the eyes).

Each of the following attacks were inserted into the drill. When completed with a response or counter, the drill would continue. Each attack was built on the last and inserted into the drill assuring the development of seeing and feeling.

• 12 o’clock attack – counter: fold the arm (similar to a collapsing bong sau) and roll controlling the elbow and press his arm into him followed by a stab on the angle #1 line.
• pak and backhand stab on the high line – counter: mirror with a pak and stab. Do this for several repetitions then flow back into the drill.
• pak and backhand stab on the low line – counter: as above
• gunting slash on the high line – counter: I don’t think there was one?
• hooking stab on the low #3 line – counter: pass and slash across the arm followed by backhand stab on the outside of the arm to the body

3/8/17: boxing and hubud

I am starting to think more about concepts and attributes and how they apply to the techniques being taught. This is because I know I will not remember every technique yet if I can consider the concepts or attributes, then I can apply these transferable skills to different aspects of the system. I will continue to recount the lessons being taught but will also attempt to summarise by having an umbrella concept or attribute for each phase of the lesson. Sometimes, Steve talks about them and sometimes not. Until ‘edited’, the conceptual and attribute themes are based on my understanding at my current level. Meaning, if I have misunderstood the concept or attribute, please let me know.

BOXING: the conceptual theme was attacking by changing levels.

Changing the level and throwing the jab: Drop the weight first then jab by moving forward on the low line, then move back out after the jab. Make sure you drop the level and not slip or bend forward.

Changing the level and throwing the cross: As above but with the right hand

Blocking the jab and cross: keep the elbows tight to the body and use turn the torso to divert the attack. Ideally, block the same side punch – if he jabs, use your right forearm by turning to the left. The cross, use the left forearm by turning to the right. Again, tight and precise motions whilst avoiding
• Bowing motion
• ‘chopping’ down in place of turning,
• over turning

Block and respond: This was almost like a pak and punch but using the forearm instead of the hand against his jab and cross to the body.

Change level jab to right body hook: Person A threw a jab, Person B changes the level and jabs then steps out to the right and throws the body hook with the right hand.

Change level jab to left body hook: Person A throws the jab, Person B changes the level and jabs then jump steps left and throws the left body hook.

HUBUD: the conceptual theme was breaking the structure by locking out of motion

The basic roll, putting in flight time.

Attack 1: lap and punch (lap with the right hand on the motion after the pak with the left, zone off), dumog pull into wrist lock #1 on his right hand

Attack 2: high lap and deep jab (by stepping through) to put your arm pit on his tricep, with his thumb facing down go to 2 hands to 1 to arm wrench. Add the ripping lunge as this will force him to the floor.

Attack 3: wrist lock #1 on the left hand after a strong and committed attack (to the neck) with the right hand which is your final motion of the three in the drill. Step on the foot and left elbow in his chest to beak his structure. Insert the left arm under his forearm and clasp the wrist for a wrench

Working all 3 in any order

1/8/17: single stick master class - range, footwork and body mechanics

INOSANTO BLEND #1-17
1: downward forearm slash to the neck/side of the head RFL (right foot lead)
2: downward backhand slash to the neck/side of the head RFL
3: horizontal forehand to the body LFL
4: horizontal backhand to the body LFL
5: stab to the abdomen RFL
6: stab to the head RFL
7: reverse stab to the head LFL
8: redondo on the backhand LFL
8: redondo on the backhand LFL
9: downward forearm slash to the knee RFL
10: downward backhand slash to the knee RFL
11: upward forehand LFL
12: upward backhand LFL
13: abanico high to the left RFL
14: abanico high to the right then chamber on the right shoulder RFL
15: small umbrella redondo on the right LFL
16: large umbrella redondo on the right LFL
17: jabbing diagonal uppercut from lower right to over the left shoulder RFL

Numerada –defang the initial attack then continually moving to zero pressure as you move through a figure 8 followed by a redondo making it a 4 count.
Conceptually, the key learning points were that the defender (D) must focus on:
• Range – when you hit him your stick, he must not be able to contact you, use the full range of your weapon and body combined.
• Footwork – continually move and zone to zero pressure. The is an intrinsic relationship between range and footwork. Both need to be effective, you can’t have one without the other.
• Body mechanics – to enable fluid use of the weapon.

The above concepts were continually refined in the drills below.

1: Single stick (A) feeding the 5 angles v single stick (D)

2: Single stick (A) feeding the 5 angles and followed by a knife stab v single stick (D)

3: Single stick (1 hand grip) (A) feeding the 5 angles v single stick (2 handed grip) (D)

4: Single knife (A) feeding the 5 angles v single stick (D)

5: Single stick (A) plus another (A) feeding the knife attacks – stabs or slashes v single stick (D). Essentially it was 2 v 1. The third person comes in occasionally so the D has to add peripheral vision and awareness to the concepts of range, footwork and body mechanics. The second attacker moves with ‘Walking Dead’ pace, not ‘28 Days Later’ pace

6: Double stick (A) v single stick (D)

7: Single stick (A) v single knife (D). The D now needed to apply more aggressive forward energy to crash the range of the stick.

13/7/17: boxing fundamentals and single stick fundamentals

BOXING

Shadow boxing rounds
• Evasion (no hands)
• Jab only
• Forward pressure
• Two steps back and pivoting
• Pivoting
• L-stepping
• Moving around the outside of the opponents lead leg
• Pivoting inside the opponent’s movement
• 3 punch combo
• 5 punch combo
• Counters to straight punches
• Counters to hook punches
• Free flow – putting it all together

Doing the drill out of motion to make the drill have aliveness.
Person A – jabs
Person B – catches and returns with a jab
Person A – catches and replies with either a jab or a cross
Person B – counters with any of the following the options

Counters to the jab
• Catch and jab
• Pak and cross
• Inside parry and cross
• Outside parry and jab
• Cut punch
• Slip and uppercut
• Scoop and uppercut
• Split entry
• Outside deflection
• Lead hand salute to arm break

Counters to the cross
• Catch and jab
• Pak and jab
• Inside parry and jab
• Outside parry and cross
• Cut punch
• Bob and weave with hooks
• Gunting
• Lead high elbow into hammerfist
• Split entry
• Parry overhand right

In addition, we were working distance awareness; make sure that we started at least arm’s length when the initial punches in the jab-catch or jab-cross catch drill were delivered then moving in with footwork to apply the counters with short, relaxed and fluid hands. Steve talked about how a pro boxer will drill and practise punching – the arms stay bent, the punches are ‘let go, no brakes’ with lots of body motion. Furthermore, to make it more alive, we were doing the above drill alternatively but adding all the counters to jabs and crosses.

SINGLE STICK

3 beat high box sumbrada – exaggerating the motions:
• Dropping on the roof block
• Zoning
• Treating the stick like a sword and using sweeping and slicing motions
• 3 strips

Striking families:
Feeder gives angle #1 and #2, defang followed by:
• Downward figure 8s
• Upward figure 8s
• Abanico (4 variations)
• Redondo
• Cinqo-teros

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.

25/5/17: syllabus focus for all

SHADOW BOXING WARM UP (ALL)

RED BELT SYLLABUS FOCUS

Jab defences:
1: catch and jab

2: slip and uppercut

3: cut punch

4: outside deflection

5: split entry into dumog pull

6: lead high elbow cover into hammer fist

Jab-cross defences:
1: catch and jab

2: bob and weave

3: outside deflection

4: split entry into dumog pull

5: parry left and overhand right

6: cut punch

PAD ROUNDS: (ALL) the focus was defending the clinch then striking
1: against the single arm clinch - shrug off with the elbow followed by cross-uppercut-cross

2: against the single clinch - inside gunting - followed by cross-uppercut-cross

3: against the double clinch - bob and weave - followed by cross-uppercut-cross

4: against the double clinch - drop the level and push up against the triceps - followed by teep-cross-hook-cross

5: against the double clinch - arms over and push against the chin - followed by overhand-uppercut-overhand

6: THAI PADS - right rear leg round kick-left hook-right cross- rear leg round kick

SINGLE STICK:

Downward figure 8

Upward figure 8

Cinqo teros patterns:

1-2-3-4-5

1-4-3-2-5

1-upward backhand-upward forehand-2-5

Putting them all together in a loop drill

ADVANCED SYLLABUS WORK

As always, thanks to James for the detailed notes

Thai 4 Counts

Partner steps in to J, as he steps in front leg teep, step down with a hard ankle and rear leg thai (RLT), LH, RC, step-off inside leg kick (ILK).
Partner steps in to J, as he steps in rear leg teep, step down to the R. and ILK, RC, step-off LH, RLT.

Clinch

Cover the J with R. forearm (L. elbow cover your face) and immediately move R. hand to the crown of his head (hit his neck with your forearm on the way in) and the L. hand to his R. bicep or his forearm if his guard is tight, then put L. hand on top of R. (palm to palm), before the forearms are completely pinned together your partner bob and weaves out (keeping the forearms low and horizontal to cover the knee) then RC, step-off LH, RLT.

Cover the J with R. forearm and cover the C with L. forearm (R. elbow cover your face) and immediately move L. hand to the crown of his head and the R. hand to his L. bicep or his forearm if his guard is tight, then put R. hand on top of L. (palm to palm), and bring forearms together and sink weight down, your partner moves his hips in tight to yours then shrug his shoulders up to trap your arms, brings both arms over the top and pushes against his chin (one hand on top of the other) as he straightens his arms and brings his elbows together then pushes out and RLT.

Double Stick

From open guard step out to the right and A1, A2, swing the L. stick under your R. armpit then do heaven 3 (alternatively, you can swing the L. stick at the same time as you A2) & go back to open guard; step out to the left and A2, A1, swing the R. stick under your L. armpit and heaven 3 then go back to open guard.

Do drill (1) then step out to the right and A1, A2, step out to the left and A2, A1 then heaven 6.

From open guard step out to the right and A1, low backhand watik; step out to the left and A2, low backhand watik, then standard 6.

From open guard step out to the right and A1, low backhand but this time follow through and at the same time swing your L. stick under your R. armpit then heaven 3 & go back to open guard; step out to the left and A2, low backhand follow through and at the same time swing your R. stick under your L. armpit then heaven 3 & go back to open guard.

From open guard step out to the right and A1, A2, step out to the left and A2, A1 then heaven 6 and go back to open guard; step out to the right and A1, low backhand watik, step out to the left and A2, low backhand watik, then standard 6 and go back to open guard; step out to the right and A1, low backhand watik, A2; step out to the left and A2, low backhand watik, A1 then earth 6 and go back to open guard.

23/5/17: syllabus focus plus humility on the Thai pads

Red belt syllabus group

Below are extra or further refinements in terms of learning points that Steve was exemplifying.

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.

Humility on the Thai pads
My first time on the Thai pads and learned many valuable and ego shredding lessons. The beauty of them, they expose, very quickly, gaps. Here are just a few that I noticed within 20 seconds of hitting them after doing the four count (lead leg round kick - cross - hook - rear leg round kick).
Structure is poor and unsound - there was no turning the hip over in the kicks
No flow - I was throwing 4 techniques and not a flow of 4 as 1.
Barely any power - bouncing off the pads.
Hands were dropping after each 4 count.
Staying in range after each 4 count.
Shot my load very quickly - as Conor McGregor would say, I was inefficient with my energy.

Pad rounds alongside the Thai pads had a clinch focus
1: Pad holder puts right hand on shoulder of puncher, simulating the single arm clinch, puncher shrugs off the clinch with the left elbow/shoulder shrug then follows up with a cross - hook - cross.

2: Pad holder puts right hand on shoulder of puncher, simulating the single arm clinch, inside gunting followed by cross - hook - cross

3: Pad holder puts both hands on shoulders of puncher, simulating the double arm clinch, puncher bobs and weaves followed by cross - hook - cross.

4: Pad holder puts both hands on shoulder of puncher, simulating the double arm clinch, puncher drops their level and pushes up on the triceps of the pad holders then follows up with cross - hook - cross.

3 count sumbrada plus 3 strips

STRIPS:
Snake against angle #1
Roof and shoot the left-hand arm/hand straight and wrap from there (rather than trying to cover the hand and wrap). Wrap with the left thumb up and high. Your hand and his should be at eye level. Add the rotation and hitting his stick arm for the strip.
If it does not go, insert your stick to the other side of his wrist as you slide you left hand down his stick. Continue the opposite direction motion to strip the stick and flow with a combination of strikes.

Vine against angle #1
Inside sweep and check the stick, moving to the left and away from the empty hand that could strike, jab to the eyes with your stick and lever his stick vertical. This angle was key for an effective strip. If this doesn’t work, take your stick out and put the tip in your left hand, you will now have his and your stick tips in one hand. Using the right hand, use the similar rotating motion as in the snake strip to take his stick. We were also shown a nasty variation where the hand is trapped and crushed between the two sticks.

Vine against the angle #2:
Drop stick and check the hand but control the hand by grapping the thumb. Insert your punyo over his hand and affect his structure by extending his arm. If this does not work then jab to the eyes with the stick then loop under and behind his forearm for an elbow extension and stripping of the stick.

18/5/17: functional trapping masterclass

The function of trapping is to hit. If the hands are low; hit. If there is a gap in their guard; hit through. If they have a tight and alive guard; trap and hit. The two drills below were an opportunity to get flight time in the motions meaning no power, heavy paks or punches with depth.

There are many classical variations of using pak sau and lap sau, here are a few we looked at.

Pak sau cycle
Person A pak (R) and punch (L) (to get the attachment), Person B short parries across the centreline, with the rear hand, Person A comes under their punching arm to get an attachment on Person B’s arm. This could be a tan sau type shape or a biu type shape, so long as it moves his arm off the centreline to enable pak (L) and punch (R). And the drill continues.

Pak - lap cycle:
Person A does short lap (L) and punch (R) just to get the attachment but not a reaction from the rear hand, this is then followed by pak (R) and deep punch (L) and from here the drill continues in the above fashion.

Trapping applications in gloves and motion:

3 pak and hits against the jab
1: Before – ‘nothing’ is happening apart from movement, range finding and an alive guard from both people. No strikes are being thrown until you attack with pak and punch.

2: During – as above in terms of movement then he jabs, and as he jabs, you pak and punch.

3: After – as he jabs, you lean back like a shoulder roll and catch the jab and follow it back with pak and punch.

Lap and hit:
Send the left arm long, like an eye strike then pull with the lap to clear the arm for the simultaneous punch. There was also some triangular footwork in stepping right as you punch to give a clearer shot to the head.

Trapping into locking. The ‘locks’ below are wrenches, throws or breaks. We train slowly to be technically sound but the intention, which comes from the Filipino arts, is destruction and immobilisation

Pak and hit – wheel the arm and go edge on – chicken wing control and thumb in the neck. Ensure his arm is bent, elbow is tight to you and blade of outer wrist is across his elbow crease.

Lap and hit – dumog arm pull – his elbow tight to your chest – wrist lock #3 (figure 4 over the shoulder)

This is an interesting illustration of trapping in Muay Thai. Move the arm and hit, it is neither pretty nor classical but clearly effective.

13/5/17: Guro Terry Barnett seminar - boxing fundamentals and double stick fundamentals

Thanks to James for putting the time into to compiling the notes from the seminar today. Top quality instruction from Guro Terry Barnett to a room full of people wanting to learn, improve and evolve their skill set.

Boxing

● Hands by eyebrows, constantly moving.
● Elbows in.
● Rear heel up.
● Circle in both directions and move laterally so you’re not predictable.

Rhythm Drills:

1. J (partner catches), you catch partner’s J, J (partner catches). Then your partner initiates the drill. Vary distance - so at longer range you would move in as you J and move out as you catch. At close range there is less footwork. Aim for the face not the glove.

2. As (1) but add a RC after the final J.

3. As (2) but add a LH after the RC.

4. Do drill (3) but with a third person who stands behind your partner and slowly walks to the L. or R. and you use your footwork to ensure your partner remains between you and the third person.

Off the Final Jab of the Rhythm of 3 Jab Drill:
1. Catch the J.

2. Zone L. and RC to the chin (your L. hand can either cover the L. side of your chin or the R. side of your face).

3. Switch leads using female triangle footwork but done as more of a Superman punch and LC to chin.

Off the Final Cross of the Rhythm of 3 Jab, Cross Drill:

1. Catch the J, catch the RC.

2. Catch the J, slip outside the RC and RC down the middle (like a split entry).

3. Catch the J, slip deeper outside the RC and keep your R. elbow tight to his R. ribcage, LBH, recoil then LH, recoil, then pivot off clockwise.

Sparring:

● 20% of full power.

● Have a gameplan and stick to it. Decide what you want to work on in an environment where you need not worry about being hit hard.

● You can put a pair of focus mitts under your elbows to ensure they are kept tight to your body. It also forces you to use body mechanics when punching.

● Use your shoulders to create space when on the inside - same motion you would use for a J or a RC.

Double Stick

From Closed Guard

1. Heaven 6. From a neutral stance - point your R. toe (like a cat stance) when doing the first 3 strikes then shift your weight and point the L. toe when doing the next 3 strikes.

2. One side feeds heaven 6 then when they want to the other side uses the R. stick to hit a forehand, forehand, backhand then the L. stick to hit a forehand, forehand, backhand. These are quick shots with short retractions. The non-hitting stick can be chambered on the shoulder like in open guard or just by your side. This drill develops timing and rhythm.

3. Heaven 6 then Standard 6.

4. Heaven 6, Standard 6, Earth 6. When doing Earth 6, when doing the first 3 strikes bend your L. knee so you’re in a lunge position then for the next 3 strikes bend your R. knee in a lunge position on the other side.

5. Start doing heaven 6 standing then continue as your partner drops to one knee, then both knees, then drops his hip and lies on his back. Maintain the correct distance to allow you to keep doing the drill then start to circle him while he is on his back and he will follow you. He then makes his way back to both knees, then single knee, then standing. Then you do the same.

From Open Guard

Drill 1:

1. Partner hits an A1 with the R. stick, you gunting (scissor motion with both sticks hitting simultaneously, the R. stick is lower and would hit the hand, with an A1 the L. stick is higher and passes the stick) as you zone L. Your arms with be crossed in the finishing position. Then both sides backhand watik.

2. Partner hits an A2 with the R. stick, you gunting ( the R. stick is lower and would hit the hand, with an A2 the L. stick is higher and passes the stick) as you zone R. Your arms with be open in the finishing position. Then both sides forehand watik.

3. Both sides switch leads by moving their R. foot to the bottom R. of the triangle and their L. foot to the point of the triangle.

4. Partner hits an A2 with the L. stick (forehand), you gunting (the L. stick is lower and would hit the hand, with an A1 the R stick is higher and passes the stick) as you zone R. Your arms with be crossed in the finishing position. Then both sides backhand watik.

5. Partner hots and A1 with the L. stick (backhand), you gunting ( the L. stick is lower and would hit the hand, with an A2 the R. stick is higher and passes the stick) as you zone L. Your arms with be open in the finishing position. Then both sides forehand watik.

6. You then feed for your partner.

Drill 2:

1. Your partner feeds either an A1 or A2 with the R. stick or L. stick in a random order. You gunting based on the angle of attack, not on which stick is hitting. For example, you could treat an A2 with the L. stick (forehand) in the same way as you would an A2 with the R. stick (backhand). Be economical.

5 Count Sumbrada

Drill 1:

Exactly the same as empty hand but the second stick replaces the checking hand. If ever you’re unsure of the placement of the stick, think of where the checking hand would be. This should be practised on both sides.

1. Partner feeds A1, you roof.

2. You feed A1, partner inside sweeps.

3. Partner feeds A3, you either drop stick (other stick comes underneath in a sandwich motion) OR wing block and pass it with the other stick.

4. You feed A5, partner wing blocks (other stick should be horizontal on top of his wrist with the tip facing you).

5. Partner feeds A2, you shield then feed an A1 and the drill starts again.

Drill 2:

1. Partner feeds A1, you roof.

2. You feed A1, partner guntings.

3. Partner feeds A3, you either drop stick (other stick comes underneath in a sandwich motion) OR wing block and pass it with the other stick.

4. You feed A5, partner guntings (hits over the top with the R. stick and passes with the L.).

5. Partner feeds A2, you shield then feed an A1 and the drill starts again.

11/5/17: 8 angles of the knife, long range knife sparring and side control/scarf hold escapes.

KNIFE

8 angles of the knife
1: Downward forehand slash
2: Upward backhand slash
3: Upward forehand slash
4: Downward backhand slash
5: Stab to the abdomen
6: Backhand horizontal slash
7: Forehand horizontal slash
8: Backhand stab on the high line to the head

No wasted motions, keep it all tight and smooth. One person at a time working the motions on their partner.

Mirroring:
Facing your partner, using them as the focus for the knife and both partners performing each angle in sync.

Defanging:
Cutting the weaponised hand or wrist as one partner feeds the 8 angles, this was a long range practise.

Checking range:
Cutting and passing or cutting and checking the 8 angles. In this drill, footwork, controlling the knife hand, being zoned off behind the knife hand were key teaching points.

Long range knife sparring
8 or 9 rounds. The target in the early rounds was the knife hand and lead leg, in later rounds, the abdomen (if available). A constant mantra from Steve was keeping the knife out in front of you as well as always pointing it towards him coupled with staying edge on. High work rate and repeated change of partners made the drill both challenging and tremendous fun.

GRAPPLING

Back break fall:
Sit the hips low, rock back, keep the chin tucked and slap the floor with both arms.

Tactical get up:
Base out with the left behind you, have the right arm up in front defending the head space. Swing the left leg back to get both feet flat to the floor and keep that right hand up and extended. Now step back and around with the right to create distance between you and him.

Scarf hold escape to side control escape loop drill:
Building on the learning from the last two weeks but this time the drill was modified to contain both elements of practise.
Person A has Person B in scarf hold, Person B escapes with the T-bar then sweeps and moves into side control. From here, Person A escapes with the shrimping then bridging escape (Person B must drive back into Person A to receive the right direction of pressure) and once again moves into scarf hold. Repeat.

Scarf hold escape to back take sweep:
As you get the hips moving away from him whilst escaping the scarf hold, if he is canny, he will try to follow you to limit your space to escape. If you’re on your left side, throw the right leg over to get the hook in his inside thigh and put the right hand around his shoulder and take the bicep. From here, pull down and back on the bicep as this open his chest and torque his body which will enable you to simply sweep him over. He will end up face down on the matt. Apply pressure through his shoulders to stop him getting up as you take the leg out and get to the feet.

Back take sweep to face crank:
This is if he holds tight to the head on the above sweep. Step over with your leg that is at his hips, not his head, then pull it in tight to his abdomen. Adjust yourself to get tight behind his head and shoulder and use the blade of your forearm to grind into the jawline or cheekbone – imagine you are trying to press the forearm into the floor. But do try to regain a strong spinal posture as pushing his face through the floor. This will at worst cause discomfort and provide space for your next option, at best, he will give into the pain quickly and release his grip of your head.

2/5/17: shadow boxing rounds, thai 4 counts, conditioned sparring and strips using the single stick.

Shadow boxing/carenza

Working the following rounds:
Evasion
Jab only
Forward pressure
Moving backwards
In close and tight
Counters
Moving left
Moving right
Pivoting
L-stepping
3 punch combinations
I’m certain there were a few more variations too…
Putting them all together

Thai 4 counts
All the kicks were targeted at the lead leg of the opponent, the left leg hit the inner thigh and the right kick was on the outer thigh.
1: Jab (lead hand) – cross (rear hand) – left round kick (lead leg) – right round kick (rear leg).

2: Uppercut (lead hand) – cross (rear hand) – right round kick (rear leg) – left round kick (lead leg).

3: Step off and left hook or jab (lead hand) – right round kick (rear leg) – step off right and right hook or cross (rear hand) – left round kick (lead leg).

Then, conditioned sparring rounds doing any of the 4 counts, 1 for 1.

Pad rounds x3:
Pad holder was the coach and caled the number of punches to be thrown from 1 - 5. the pad holder was also responsible for checking if the hitter's hands were up as well as ginving them motion - enetering the range and holding the pads in different angles so that the hitter had to moce round the holder to be in a sound position to launch attacks from.

Single stick strips against the angle #1

These were worked from long range with the mind-set of crashing in. Both the strips were worked from a static stick being held by the partner to enable flight time, they were then worked out of motion.

Snake:
Roof and shoot the left-hand arm/hand straight and wrap from there (rather than trying to cover the hand and wrap). Wrap with the left thumb up and high. Your hand and his should be at eye level. Add the rotation and hitting his stick arm for the strip.
If it does not go, insert your stick to the other side of his wrist as you slide you left hand down his stick. Continue the opposite direction motion to strip the stick and flow with a combination of strikes.

Vine:
Inside sweep and check the stick, moving to the left and away from the empty hand that could strike, jab to the eyes with your stick and lever his stick vertical. This angle was key for an effective strip. If this doesn’t work, take your stick out and put the tip in your left hand, you will now have his and your stick tips in one hand. Using the right hand, use the similar rotating motion as in the snake strip to take his stick. We were also shown a nasty variation where the hand is trapped and crushed between the two sticks.

27/4/17: single stick sumbrada, hubud and grappling positional work and escapes

The mighty Josh Barnett applying a devastating scarf hold

SINGLE STICK

3 beat high box sumbrada
Getting flight time on the drill. Extra teaching points were: zoning off; using the stick like a sword – flowing motions. This was aided by the no clicks version of the drill.

Flowing into punyo hubud
After the roof block on the angle #1, grab/control his wrist holding the stick and step in and strike to the head with the punyo of your stick. From here, because you are crashing from medium to short range, he will insert the initial hubud motion and the punyo hubud drill begins.

Snake strip off angle #1
Against the #1: use the roof and crash in, wrap the checking hand around his attacking arm, his arm will now be tightly held under your left armpit. You are using the arm to wrap his arm, not the hand – your left thumb is pointing up and your right elbow/forearm is covering in front of your face: ready to strike with the butt of the stick or simply to protect the face. To complete the strip, turn towards his weaponised arm and ‘punch’ his wrist (punyo up) to complete the strip.

Vine strip of angle #1
Against the #1: block and check, step to the outside of his stick hand as you stab on the outside of his attacking arm, sliding the tip of your stick towards his face. Ensure you have taken hold of his stick. From this position, lever the stick down for the disarm.

GRAPPLING

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 – 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.
Steve was very meticulous in his teaching as always, showing us how to move slowly through each position whilst maintaining pressure on the opponent and limiting their potential options to move or defend the positions being sought.

Josh Barnett showing the possibilties from the scarf hold position:



T-bar escape loop drill
Scarf hold escape using the T bar - upper forearm against the jaw sitting on top of the lower forearm which is acting as a support. The upper forearm looks like the top of a capital T, and the lower forearm looks like the spine of the capital T. This happens as you get on to your side, that lower elbow must be on the floor. Shrimp the hips out and tuck the head into his ribs, as his head is forced back, lift the leg over the face and reverse the position to take you to the scarf hold.

Side control escape and reversal
Get on your side, place your lower hand at the hip and upper hand at the neck. Straighten the arms and shrimp the hips out. If the arms are straightened, you’re using your structure to maintain distance control, the more the arms bend, then you’re relying on muscle power. We must assume that we are working against a bigger and stronger opponent. There is no way to out muscle someone bigger and stronger which is why straight arms is the preferred method. As he pushes back in to you to close the range and distance, drop the left hip to the floor and use his momentum to sweep him over.

JKD grappling mind-set this is not a sport grappling mind-set. We want to be able to escape damage, escape the position and get to our feet. This is something I need to focus on, because when I’m on the floor, my mind-set is still sport grappling (as my grappling background is based in competition and sport, not survival). Obviously, it is very easy in class not to consider the possibilities of the real world: concrete, shit on the floor, awkward clothing, more than one attacker, weapons, alcohol. These considerations are new for me and so time spent in the positions, whilst being cognisant of the mind-set, is something that I must spend more time practising.

20/4/17: single stick master class

SINGLE STICK MASTERCLASS

Downward figure 8 with female footwork. Steve likened the body mechanics for angle 1 like the jab and angle 2 like the cross and throughout the whole night, kept reminding us to use the body mechanics in all stick motions.

Upward change: After the backhand, for example with the right hand, insert the stick upwards alongside the outside of the left forearm. Catch the stick in the left hand, take a grip, make sure there is the punyo available then continue the striking family with this hand.

6 count plus change and footwork in the mirrors: Putting it all together by stepping out on the right to do a 6-count strike with the right, do the upward change and swap to the left. Repeat.

Against the stick: As previous but now against the stick that the partner was holding laterally. Now that impact was part of the drill, it was key to let the stick flow and for the motion not to ‘break’ or ’stop’ on impact. Or to be caught trying to hit the stick. Use the body mechanics and letting the stick flow was the mantra to stay focussed on.

Upward figure with female footwork: Whilst still considered a figure 8, both the upward strikes are very close to vertical. Lots of body mechanics once again, rhythmic fluidity.

Downward change: The Bruce Lee Nunchaku change – you pass the stick down past the outside of the forearm and catch the stick under the lower upper arm. Catching it in the position, allows you to go straight into the upward backhand strike smoothly.

You will notice both Bruce and Guro Dan doing said motion at the start of the video, then nice and slowly around the 1:10 mark.



6 count plus change and footwork in the mirrors: Same as the downward figure 8 practise.

Against the stick: Partner held it laterally, facilitating working the upward striking family.

Abanico in the mirrors: Upper arm parallel to the floor, lower arm vertical and the stick is mostly parallel to the floor (as he were working the high line abanico).

Against the stick: Feeder held the stick vertically to enable connection from the movement.

Angle #1 – half beat abanico on the high line– angle #2 in the mirrors. This was tricky and requires lots of work. We were working the angle 1 and 2 slowly to enable an explosive half beat abanico. Really challenging.

Against the stick

Numerada: Feeder feeds, slowly, angles 1 – 5, strike from long range using the angle #1 – half beat abanico – angle #2. Footwork, proper range, distancing – using the end of the stick to attack his hand.

18/4/17: boxing evasion methods, pad rounds and hubud

Shadow boxing warm up, no hands; evasive motions only.

Boxing evasion methods:

PARTNER A: Jab - hook or cross – hook.
PARTNER B: Slip to the outside against the jab, bob and weave against the hook.
With counters:
PARTNER B: shovel hook (with the outside arm) after the slip, body shot (with the same hand) on the bob and weave.

PARTNER A: Jab - hook or cross – hook.
PARTNER B: Duck on the jab (drop the weight but stay vertical as possible) and roll back on the hook, (as the rear heel is up in your stance, use the dropping of this to enable sound balance and evasion distancing).
With counters:
PARTNER B: duck and jab to the mid-section against the jab or cross, roll back and hook over his right hook, roll back against the left hook and counter with straight punches.

Shadow boxing using and applying evasive motions practised previously whilst facing our training partners.

Pad training – building combinations using the cross and hook.

1) & 2)
Cross
Double left hooks
Cross

3) ( pad holder throws left hook )
Bob and weave with hit through
Cross
Left hook

4) ( pad holder throws another left hook )
Right Elbow cover while long left arm covers their right shoulder
Due to right shoulder forward, we
Left hook
Right cross

5) ( pad holder throws a Right cross )
We slip to outside,
Left hook
Cross
Left hook

And breathe.

Hubud:

Lower grades were working neck clinch hubud, higher grades were working punching hubud.
Wave and hack change – off your initial defensive motion, roll the elbow over his elbow to control the position and hack forward with the chop to the neck. He will insert a barrier to block the attack, pak sau to remove the barrier seek the neck, this will then continue the drill.

Chi sau change -

Salute to arm break – On the second motion (when you use the back of the hand to pass his arm to clear the centreline), salute with your nearside arm to get under and control the arm, zone to the outside and slide the saluting arm down his limb to catch the wrist. Your other arm now acts as the fulcrum on his elbow for the wrench or break. Remember to apply pulling pressure through his wrist.

He counters the arm break by bending his arm, transition into a dumog arm pull into wrist lock number 1.

Higher grade hubud notes from James

Punching Hubud

1. Both in a R. lead, partner throws a lead, vertical punch, you parry slightly across centre line with your left, raise with your R. (can be a knuckle shot to the forearm), pak with the L. & R. vertical punch. The drill should have a ‘rocking’ back and to motion.

Switches From Punching Hubud

1. Out of R. lead, waslik with L. hand and step right foot back, partner steps forward and punches with L. you're on opposite side.
2. Out of R. lead, R. horizontal elbow destruction, and R. backhand, partner holds centre and you zone and wedge with L. (should be an eye jab), pak with R. and step forward and L. punch and you're on opposite side.
3. Out of R. lead, inside to outside gunting with R., pak with L. and feed R. backhand, partner holds centre you zone and wedge with L., pak with R. and step forward and L. punch and you're on opposite side.
4. Out of R. lead, L. cut punch over the top of his punch, he catches or holds centre line, pak with the R. and step forward and L. punch and you're on opposite side.

Wrenches and Locks From Punching Hubud

1. Out of R. lead, parry the punch with your L. and salute with your R. (take his arm of the 12 o’clock, ideally above his elbow) and flow into the arm wrench (L. arm wrenches as R. hand controls his wrist, pak and feed the R. punch again back into the drill.
2. As (1) but partner bends his arm so you cannot get the wrench, instead slide your R. hand so your last 2 fingers are controlling his thumb and the other fingers are on his wrist and use your L. forearm to dumog pull him into you then slide your L. hand down to control his thumb as your R. hand pushes down on his hand (like the #1 lock from the lockflow). You should either push his elbow against his body or bring it to your body before applying the lock.

4/4/17: hubud, pad rounds plus stick and knife sumbrada

HUBUD
Basic roll – left and right sides

Chi sau pass – arm on the inside blocking the attack to the neck, rolls out to in, back of the hand wedges onto the two arms, pak sau then hit to the neck to continue the roll. The lower hand also moves in a circular motion to enable the crossing of his arms for the wedging pin and control.

Dagger pass – as he attacks going for the neck, snatch the attack with same side arm by pulling it towards you, follow up immediately with the same arm, slide up his to attack the neck for the clinch. The partner then yields and folds his forearms back in a bong sau fashion to then enable the continuation of the drill.

Dagger pass to clinch – as above but he does not get the elbow up in time, and so you clinch on the near side of his neck, the rear hand monitors his other arm, pinning it to his torso momentarily before joining the other hand at the back of the head for full clinch.

Clinch defence 1 – lose the neck, drop the weight yet posture up as get the hips as close to his as possible and step a leg between his; interlock your hands behind his back just above the hips to enable control of his base.

Clinch defence 2 - Lose the neck, arms over the top compress and face push. Keep it all tight to allow no slippage or simple escape from him.

PAD TRAINING
Thai 4 counts

Lead switch kick to the front leg – cross – hook – round kick to the rear leg.

Lead round kick to the front leg – cross – hook - lead switch kick to the front leg.

STICK AND KNIFE
High box 3 beat sumbrada, using the knife to replace the checking hand

5 beat sumbrada – as above

Stripping the knife – building on the work of last lesson:
Application of the motions:
Person A: attacks with angle #1
Person B: zone off line, inside sweep with the stick and use the knife to check the weapon hand followed by angle #4 to the lower torso.
Person A: straight stab to the abdomen
Person B: zone right and drop stick right against the stab, maintain stick pressure on his arm as you stab over your arm to his ribs. Small redondo with the right hand followed by a stab over the top to the neck. From here, slide the knife holding hand down his arm to where the stick is monitoring his wrist, pinch the wrist and have the back of the blade against his wrist. Strip the blade out from this control position.

30/3/17: rounds and rounds of conditioned sparring; stick and knife

SHADOW BOXING WARM UP

CONDITIONED SPARRING ROUNDS
Even though numbers were smaller than usual tonight, everyone got to work with everyone in all the rounds.

1: Jab only

2: Lead hand only (any punch) – there might have been the occasional cheap shot with the right hand from a sneaky move to right lead. No names mentioned.

3: Body shots only

4: Lead hand v rear hand (both in left leg lead)

5: Both hands v both hands

The sparring rounds were constant hard work with very little rest. They were incredibly taxing as the rounds went on but bloody good fun. A true feeling of aliveness and being in the moment. A personal thanks from me to all the lads who were at training tonight as this was hard work that required trust and respect and thanks to Steve for facilitating so well whilst reminding us of:
• Footwork
• Head movement
• Hands up and chin down
• Control
• Pressure
• Being edge on
• Using the right pak to set up the right hand
• Controlling the range with jab
• Constant work rate
• Changing levels of attack

STICK AND KNIFE (KALI)

Footwork:
The right-hand side of the diamond – start in neutral, step out at 45 degrees with the right, the left then comes to meet the right but does not touch the floor, it moves out 45 degrees.

Drilling the footwork pattern and adding the stick and knife mechanics
1: angle 2 backhand strike (right-hand) with stick, while stepping off to the right
2: left hand high line stab with the knife, on the same 2 line, followed by
3: angle 2 backhand redondo (right-hand) with the stick
4: reverse stab on the angle #1 line

Drilling the 4-count pattern mirror fashion with a partner

Preceding the 4-count with other striking family patterns
1: Figure 8
2: Heaven 6
3: Angle#1 forehand – low backhand watik
4: Abanico

Application of the motions:
Person A: attacks with angle #1
Person B: Step off line, inside sweep with the stick and use the knife to check the weapon hand followed by angle #4 to the lower torso.
Person A: straight stab to the abdomen
Person B: zone right and drop stick right against the stab, maintain stick pressure on his arm as you stab over your arm to his ribs. Small redondo with the right hand followed by a stab over the top to the neck.

Steve illustrated the concept of hitting the hands regardless of what shapes the attacks take or when they come. Hit, hit, hit and hit; it’s the Filipino way.

28/3/17: boxing 3 counts, sumbrada plus stick and knife

BOXING 3 COUNTS

GLOVE WORK:
The following 3-counts were all about learning to develop and drill different options:
• Options to attack with variety in combinations.
• Options to crash range
• Options to fight at long range
• Options to break rhythm
• Options to attack from different angles
We need the different options so that we are not one dimensional or predictable or avoid getting stuck in doing our favourite attacks or strategies.

Long jab – long cross – long left head hook

Long jab – long cross – long left body hook – jab on the way out. These 2 techniques were worked with the longest punches you could throw; keeping the left shoulder forward and not being square. There was no stepping or moving the front foot as this would give him something to read. The image below is a good illustration of the length and body turn that Steve was requiring. Make the initial jab believable.

Jab – tight left head hook – right cross

Jab – tight left head hook – right cross to the body – jab on the way out. The tight left hook was all about sound body mechanics and tight hand motions. Once the jab was completed, (this time step in to throw the jab) do not retract as you would conventionally for the hook. The jab is completed and moves back a tiny amount so the arm can bend. From here, everything rotates as one for the hook. Make the initial jab believable.

Jab (slide and step to cover distance) – right body hook – right head hook

Cross – left body hook – left head hook. You must move in deep as either he jab or cross are thrown to get you in the correct position for the hooks. It was important to get deep next to, almost past them yet close enough to have the nearside elbow on him. This will minimise his ability to throw punches but also facilitate maximum positioning for your hooks.

Jab – right uppercut –left head hook. In between the jab and uppercut, bring the back leg in then lengthen the front leg to make sure you have a sound, short uppercut, not a long and looping one.

Conditioned sparring using the sumbrada idea – counter for counter
The first 4 in any order, 4 for 4.
Counter for counter – any 3 count whilst practising the different options.

STICK AND KNIFE (KALI)
The main flow of motions was a four-count using alternate stick (right hand) and knife (left hand) attacks. This might need some editing...
1: angle 2 backhand strike ( right hand ) with stick, while stepping off to the right
2: left hand high line stab with the knife, on the same 2 line, followed by
3: angle 2 backhand redondo ( right hand ) with the stick
4: reverse stab on the angle #1 line

In the mirrors and then mirroring with a partner.

Angle #1 (stick) - Angle #2 (stick) - Angle #1 (stick) - then 4-count pattern
Abanico backhand – abanico forehand – abanico backhand then the 4-count pattern.
Heaven 6 – Angle #1 (stick) - long backhand cut with the knife then into the 4-count pattern

23/3/17: jab and cross defences, high intensity pad rounds and guard passing into arm submissions

JAB/CROSS DEFENCES
Scoop and round kick
Jab: scoop right and cover with his right with your left hand, step out and round kick with the right leg to the outer thigh.
Jab-cross: catch the jab then scoop the cross as you round kick to the inner thigh with the left leg.
Three punches were then added as a follow up once the initial defence was given some flight time.

Split entry
Jab: parry right and split left followed by right uppercut then straight left.
Jab-cross: catch the jab then parry left and split right followed by left uppercut then straight right.
It was at this point Steve talked about how some of us were putting the brakes on our movements by either going slow and stiff. Steve was encouraging faster and lighter by letting the attacks flow.

Pak sau
Jab: right pak followed immediately by the right cross-left uppercut-right cross
Jab-cross: catch the jab, left pak against the cross followed immediately by the left jab-right cross-uppercut-cross

6 for 6
One person fed all six attacks and the other worked all 6 defence varieties. Lots of changes of partners and energies.

PAD ROUNDS

4 stations, 3 reps of each before moving on.
1: jab-jab-cross-body hook-head hook
2: uppercut-uppercut-uppercut-hook-hook
3: jab-cross-uppercut-cross-hook
4: jab- uppercut-uppercut-uppercut-hook

Tabata style rounds
1: jab-cross
2: cross-hook
3: uppercut-uppercut
4: overhand-uppercut

GRAPPLING – GUARD PASS TO ARM LOCK SERIES by guest instructor Marc Stock.
Guard pass
Grab the shorts at his hips and punch the hips down to the floor – one knee into the arse as the other leg posts out. Not too far away to lose balance and not to close so that he can grab it. Drive the elbow into the inner thigh of the posted leg - this will open his guard. As the legs open, drive the shin across his thigh and staple the leg to the floor. Pass the left arm under the neck and move into side control.

Americana (shoulder rotation)
With good chest pressure coupled with left shoulder pressure, take out the left arm and drive (GRIND) the forearm across the face or neck, he will want to defend this by pushing you away with the arm. As he does, clasp his wrist with your left hand, and with the aid of gravity, force it to the mat. The right hand slides under his bicep and clasps your right wrist. Rev the wrists straight then slide his arm down to the hip; then lever his elbow up with your right arm for the shoulder submission. Make sure chest pressure is maintained throughout.

Straight arm lock (elbow extension)
As you attempt the Americana, he will defend by straightening the arm. Maintain your figure 4 grip but modify by sliding the left arm under the elbow and using the right to turn his thumb to the sky. Additionally, your weight will slide forward across the chest, that is natural and will aid securing the position. To apply the submission, ensure the left arm is the fulcrum and add downward pressure on the right wrist to extend the elbow beyond it’s acceptable range of motion.