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.
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.
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.
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.
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
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.
Great to see Marc back in the class after being away working is miserable Brunei…
Shadow boxing warm up.
TRAPPING:
Pak sau and punch, he covers the centre with a palm block, you then take centre control with the eye jab. Come under your own punch and replace with the eye attack. Make sure the elbow is down and not raised at all as this will keep your attack tight and afford him no gaps to exploit. Have the fingers pointing to the far side eye as this will ensure control of the centre.
Short lap sau and punch, pak sau and punch to eye attack.
Pak sau and punch – he sends the energy across the centre, you use this for the jau sau (hooking palm strike to the face or jaw trying to get the thumb to the eyes). Make sure to step off line to get outside the arm to have a better angle for the strike.
Lap sau and punch, he catches the punch at the shoulder, drive the lap hand forward off his forearm to trap the catching arm against the chest as you rip out your punching hand. As the punch comes out you also need to step behind (in contact) to control his leg and ultimately, his base and balance. With the forward pressure in your motion, chop to the neck with the arm you ripped out and then cover and chop to the neck with the other hand.
CONDITIONED SPARRING
One person jabs and the other person responds or attacks (depending on the timing) with a trapping method:
• Catch the jab
• Pak and punch before he jabs
• Pak and punch as a response to his jab
• Pak and punch as the jab retracts
• Lap and punch and step off line
KNIFE SUMBRADA (COUNTER FOR COUNTER)
Continuing to get flight time into the drill. Tonight, we were working smaller and tighter motions with the knife and increased control of the partner with the empty hand. As the motions become tighter, the ‘defender’ needs to move much more to get the body out of the way.
We revised the strip against the stab that was worked in the last class too; continuing to work it in the drill as opposed to a static technique learning situation. A further reminder was about not watching the knife as this will take your awareness away from all the attacking options and tools he has, not just the one you’re dealing with.
5 ANGLE DRILLING
downward forehand - upward backhand - upward forehand - downward backhand - stab to the abdomen
on a partner
mirroring with a partner
The focus was keep the motions tight and nothing wasted or needlessly extended.
8 ANGLE DRILLING
as above but adding lateral backhand - lateral forehand - reverse stab on the high line
on a partner
mirroring with a partner
passing - slashing then stabbing after each attack. The key here is to be behind your blade and always zoning offline so you are controlling the centreline and he is trying to reclaim it with his attacks.
One person feeding the angles (do not allow the defender to grab the knife), the other defending
8 ANGLE SUMBRADA
any 8 angle non fixed sumbrada. This added an extra aliveness to the drill because he and you can attack along any line of your choosing so you are both on your toes and moving a hell of a lot more.
4 METHODS OF USING THE HANDS
- dagger pass against angle 1
- palm up pass against the angle 5
- bong sau to rolling forearm against angle 1
- palm stop / back of the palm to scoop against angle 2
Then any angle attacking and any defence and counter 1 for 1 sumbrada. Knife work certainly is physically and psychologically intense, it is also incredibly humbling. If we had been using markers pens, I know that my arms, neck and shirt would have looked like spaghetti junction. There is no hiding in knife work
50/50
Somehow, you both end up hold each other's weaponised hand. Here we practised having a strong grip but being lose through the arms and shoulders so you can feel the energy. If I go strong arm them I am gifting him the lock or break. We looked at using the knee to break the grip from the outside. The same type of motion used in catch wrestling to break his wrist control when standing grappling.
BOXING
Tonight, we were using the stick as a training tool.
Jabbing (singles)
Partner held the stick vertically whilst moving around the room, the puncher threw single shots at the stick. Aim was to have sound hands, always - elbows in, hands up, piston-like punches in and out, chin down, extending the jabbing shoulder and looking through the eyebrows. In this drill, the puncher was in control as it was up to them when they threw the punches. The stick holder could add occasional angle 1 and angle 2 (slip against it) or high line angle 3 or 4 (bob and weave)
Jabbing (singles and doubles)
In contrast to the previous drill, the stick holder was in control of when the punches were thrown. The stick holder was paying particular attention to the balance and motion of the puncher. His job was to call 1 (single jab) or 2 (double jab) whilst moving in all directions and trying to make the call when the puncher was in motion and not 'set' to throw the punches. Again, it was about sound body mechanics and punch delivery as well as snap to get the stick moving when contacted. Similarly, the stick holder could feed the 4 angles for the puncher to practise slipping and the bob and weave.
Hook and uppercut
The stick was held vertically at shoulder height; the puncher was pointing the shoulder to simulate the slip followed by the bob and weave with the body hook followed by the uppercut. The key was the bob and weave coming from the legs and sound body mechanics. The punches needed to be tight and integrated with the body motion, especially the uppercut. Each side was done alternatively.
Lateral motion plus two punches
The stick was now held at a slight diagonal angle with the tip above the puncher's head. This acted as the centreline for the puncher to continually move under laterally, just as we practised throughout the boxing section in Tuesday's class. Likewise, the punches being thrown were the long uppercut then jab/cross or the other way around; jab/cross then long uppercut. To emphasise, the key learning theme running through this class and Tuesday was body mechanics; the punches were an integrated body motion not just lazy arms making punch shapes.
Out of range sparring x6 rounds
The first thing we had to be cognisant of was motion, lateral motion. Steve has been explicit in his desire for us to develop the ability to move and hit simultaneously. Constant work rate coupled with throwing any punch combination at the person in front of us (as they punch at us too). Not all of the southern softies in the room maintained a high work rate for all the rounds #powerfulnorthernmonkeys. In all seriousness, there was a really positive energy and tempo in the room, everybody was pushing everybody.
EMPTY HAND V KNIFE
Ice pick grip knife tapping against the 5 angles
As Tuesday, getting off the angle of attack more than the hammer grip attacks. An additional point for me was the passing. Having partners giving feedback and critiquing your work is most valuable and luckily for me, working with Adam, he could feel gaps and errors when I was passing the knife. I need to ensure that when passing, his knife arm goes towards him as opposed to taking it around and then towards him.
Empty hand against any 5 angles
The knife feeder this time could feed any of the 5 angles, in any order. So, aliveness and alertness was key; dying was obligatory.
Strip against angle 1 ice pick grip
Intercept and eye strike as per usual but instead of passing the blade, rev the left wrist away from you and downwards ending either with his hand on your side or his elbow against his side. This motion breaks his structure considerably as his elbow is in his centre but the hands is outwards of the centre. This causes a breaking of the structure as he must bend laterally to ease the pressure on the elbow and shoulder. Your right hand comes up behind the crook of the elbow to 'salute' against your eyebrow then straightens towards his shoulder as you strip the knife with the left hand.
Strip against angle 2 ice pick grip
Get deep to the outside for the interception and eye strike. Slide the left arm under but along his arm and clasp your left hand over his knife hand; your hand will cover the whole of his grip. As this happens, your left shoulder is tight to his to ensure there are no gaps that the knife could 'slip' through. You now pivot right to end up facing him as you torque his arm so that the forearm is now horizontal (elbow over wrist), maintain the twisting motion as you take the knife from the hand. This is one of those moves where the person holding the knife wants to drop it due to the torqueing but can't because their hand is being clasped shut. Out of the corner of my eye, I noticed lots of people holding knives, who at the end of the defender’s motion, were high on their toes. The signal that the twist was 'on'.
Tonight, we had a special guest down, Ben Richardson from https://www.candomartialarts.co.uk/Home Long-time friend and training partner of Steve.
SHADOW BOXING WARM UP
THAI STRAIGHT KICK DRILLING
Crushing the grapes - shifting the weight left and right on the toes with high hips. Each person taking turns to deliver a left then a right kick to the abdomen. Need to make sure the kicks aren't telegraphed and 'go' when the weight is on the supporting leg.
THAI 4 COUNT
Left lead straight kick (abdomen) - shift offline to the left and throw the jab - right round kick (outer thigh) - Thai clinch.
It was then broken down into a layered attack and counter sequence.
Counter to the front kick - as it lands, scoop it with the left hand, make sure the elbow is high. Push the leg down and away, not so much as he turns away and can throw a spinning technique. As his leg lands, he is partially turned away and you throw the round kick to the back of his legs.
He throws the lead straight kick but you don't manage to scoop the leg, he steps off line and throws the jab, you catch/parry or waslik the punch and move left and throw your own jab followed by a round kick (outer thigh).
He now throws the front kick and jab and he then throws his own round kick to the leg. Crush it with the left leg, step down and forward and attack with a long right knee. Make the crush strong and rooted so you can step forward on the strong ankle.
This time, he gets all three techniques in then goes for the clinch. As the clinch lands, drop your weight as you push up and away on his triceps. Keep the level you are at as you attack with the straight kick (abdomen) then the round kick (outer leg).
Finally, the drill was one person tries to complete the 4 count. The 'defender' the picked any of the defences to do. Tricky and challenging, just what the learning process should all be about.
GRAPPLING
AGAINST HOOKS
As you crash in, cover the head (palm on back of the hand on the of the head, forearms are covering the sides of the face, lose the neck) put the ear on the chest as the right steps forward and the right arm goes around to get the far hip, the left hand has wrist control. Apply forward pressure to get him backing up. Your head is under the chin, perhaps so much under his chin that the head is lifted, thus adding to the unbalanced sensation he will be experiencing. Hip throw: From the clinch, step the left foot across to get inside his left foot then step the right inside his right foot as your hips are square into his. Straighten the legs and he will become ‘light’, bow forward and over he goes on to the floor. Keep hold of the arm when he hits the floor, control him with knee-not-on-belly-but-on-ribs.
From the hip throw into the arm bar (elbow extension):
Keep a tight hold of the arm and lift it. Jam the right foot and shin behind his shoulder blade, the left foot steps (stomps) in front of the face and pulls back so you have him tight between your feet and legs. As you sit the hips to the floor, pull the arm up so your hips can almost get under his shoulder. Pinch the knees, hip up and lever the wrist down for the submission.
AGAINST THE JAB
Shoot in for the takedown by driving the shoulder into the abdomen as you pinch the knees together, double underhooks at the lower back and takedown into mount. to take him down whilst maintaining the control of his arm and upper torso. Left knee is tight to his back, right hand hammerfists the face. Step over with the right foot and use the calf against his face to tighten to control. Control the arm tight to your body and turn to your left for the shoulder submission.
AGAINST THE JAB CROSS
Parry and cross over the parry to the chin, sandwich grip the hand as you plant the back of the hips to him, you now have his arm (elbow up) on the top of your shoulder, maintain the grip as you drop under the arm and rotate and turn the wrist outwards for the takedown. From here, put his palm on your hip and turn to the left for the wrist submission or break.
Steve talked at length about the theory and concepts behind the RAT system. Below are excerpts taken from a couple of websites giving the outline.
Rapid Assault Tactics or R.A.T. is a proactive, professional level self-defense system that can be effectively utilized by all men and women, regardless of athleticism or physique. R.A.T. was designed by the internationally renowned Progressive Fighting Systems (P.F.S.) founder Paul Vunak when commissioned by the U.S. Navy to teach the S.E.A.L. teams in Virginia. Today, R.A.T. is also taught to the F.B.I., D.E.A., and more than 50 police departments across the United States, as well as to thousands of civilians interested in learning realistic, streamlined self-defense in a short amount of time. R.A.T. is an offshoot of Bruce Lee’s Jeet Kune Do Concepts. Its core is based on the fundamentals of entry, pressure and termination of a fight. Nerve destructions, straight blast, head butts, knees and elbows are the methods emphasized in this fighting system, as are basic trapping techniques from Wing Chun Kung Fu and Filipino Kali. Sensitivity drills are then taught to complement the trapping techniques, making them more effective. R.A.T. a quintessential "crashcourse" in street fighting.
Rapid Assault Tactics
Rapid Assault Tactics was created by Sifu Paul Vunak at the request of SEAL Team Six. It is strategic system of fighting designed to neutralize attacks through destruction or interception, to provide forward pressure to off-balance the attacker, and enter and terminate the threat as quickly as possible. Because the military units it was developed for do not have years to devote to develop effective fighting technique, Rapid Assault Tactics was designed to provide the maximum amount of combative skill and ability in the shortest possible time. Rapid Assault Tactics dispenses with the trappings of traditional martial arts, such as belts, uniforms, and ritual, as well as the rules and restrictions of sport competition. Rapid Assault Tactics is focused solely on developing real-world, realistic self-preservation skills.
Rapid Assault Tactics focuses on the two goals of self-preservation and self-perfection. Practitioners learn to defend themselves against real world attacks, while using their training to develop themselves mentally and spiritually. Designed by a man considered one of the world's foremost street fighters, Rapid Assault Tactics covers the full spectrum of possible combative scenarios, including unarmed attackers, armed attackers, as well as multiple attackers. Students learn to deal with punches, kicks, throws, takedowns, grappling, and weapons.
Rapid Assault Tactics developed out of Jeet Kune Do, the martial path pioneered by the late Bruce Lee. It is a streamlined fighting system, drawing from arts such as Brazilian Jujutsu, Boxing, Dumog, Kali, Muay Thai, Pananjakman, Panantukan, Savate, Taijiquan, and Wing Chun. Beyond physical techniques, Rapid Assault Tactics also incorporates combat training exercises called Stress Innoculation, to get your body and mind used to the crash of adrenaline, fear, and other intense emotions surrounding combative situations. Keeping a cool head in a violent confrontation is the most important skill you could ever learn.
Tonight, our focus was on the high line only - destruction or interception of punches, the straight blast, eye rake to head-butt
DESTRUCTION drilling: Lifting the elbow up the centre to cover the centre, palm tight on the head being able to brace the arm against the punch. The aim is that they hit the elbow for a pain response.
INTERCEPTION drilling: Against hooking or haymaker punches - intercept and eye jab.
STRAIGHT BLAST drilling: in the air and then against the Thai pads. Developing the instinct of running through the person as you strike.
HEADBUTT drilling: on the Thai pads - tucking the chin, looking at his waist and 'exploding' down pulling the pad on to the top of your head.
PUTTING IT ALL TOGETHER: Destructing or intercepting punches, if they mimic the pain response you then straight blast, eye rake and head-butt. Make sure that after the eye rake (thumb across and above the eye brows), the forearms go deep past the neck to pull back on the neck, cupping your palm technique.
THAI KICK MASTER CLASS
An energetic warm up, jogging in all 4 directions, arm swings, hip circles, forward folds, arm circles, lateral bends, lunges, Cossack squats; all to get the blood flowing for the kicking master class.
In the mirror drilling technique: keeping the stance tight so there were no tells to show the kick was coming, Steve was also continuously ensuring foot placement and angle were correct to set up the second kick, as well as the improtance of the hips push through when using the knee.
• Lead knee
• Rear front
• Lead leg straight kick
• Rear leg straight kick
• Lead knee then rear straight leg kick
• Lead straight kick then rear knee
• Lead straight kick then rear round kick
• Lead knee then rear round kick
DRILLING KICKS WITH A PARTNER, TWO FOR TWO
Always making sure that we are covering/protecting the head when throwing kicks and making sure we are out of punching range
• Rear knee (solar plexus)
• Lead straight kick (waist line) to rear round kick (outer thigh)
• Lead straight kick (lead knee) to rear knee (solar plexus)
• Rear straight kick (waist line) to lead round kick (inner thigh
• Rear straight kick (lead knee) to lead knee (solar plexus)
CONDITIONED KICKING ROUNDS, TWO FOR TWO
Any two kicks. Lots of changes of partners to feel different energies and body types.
CRASHING IN FOR TAKEDOWN FOR SUBMISSIIONS (KNEE WRENCH, ARM BAR, TRIANGLE WITH THE ARMS, TRIANGLE WITH THE LEGS)
Building on last Thursday; crashing into him as him throw punches for the clinch, get him moving backwards and throw him with the hip throw. We again drilled going for the arm bar by jamming the right foot and shin behind his shoulder blade, the left foot steps (stomps) in front of the face and pulls back so you have him tight between your feet and legs. As you sit the hips to the floor, pull the arm up so your hips can almost get under his shoulder. Pinch the knees, hip up and lever the wrist down for the submission.
KNEE WRENCH:
From the standing clinch, he pulls the arm back that you had wrist control on. The following actions happen at once – swap the feet so the left leg is in between his legs, the left ear is now on the outside of his torso, your right forearm is on the near side hip crease and your right-hand cups that Achilles of the lead leg. Push the left forearm forward as you pick up the ankle, this will sit him down. Whilst keeping hold of the foot, turn 180 degrees so that your right leg is tight against his left leg (which is in your hands). Cupping the heel with your right hand and the instep with your left hand, turn to your left causing the left knee to rotate. In application, this would be a very fast and aggressive motion to tear the knee apart. Obviously, we can’t do that in training so our motions to apply the submission were precise and considered.
SUBMISSIONS FROM YOUR BACK.
HEAD AND ARM TRIANGLE
He is in your guard, you have him wrapped up tight with his posture broken and his head is on your chest. He pulls out an arm and puts it across the neck and postures up. This will put lots of pressure across your neck. Use the same side hand to push his tricep across your chest at a diagonal angle as you wrap around the back of the neck to close it all off. Steve demonstrated the wrapping arm position is the same as the rear naked choke, but from the front. The crook of the elbow needs to be at the base of the neck so the forearms can scissor closed on the sides of the neck to cut off the blood supply to the brain.
LEG WITH ARM TRIANGLE
1. Pull his R. arm towards you and push his L. arm into his stomach.
2. Throw both legs up high (R. leg over his L. shoulder) so your hips are high and you’re on your shoulders, ankles crossed (L. over R.).
3. Use your L. hand to grab your shin (this stops him posturing up), put your L. foot on his R. hip and then rotate to the R. so there is no gap between his L. shoulder and your R. knee,
and your calf is across his neck (not his back).
4. With your R. toes pointing up, bring your L. leg over your R. ankle and bring your L. heel to your butt as you squeeze your knees and shift your hips back and raise your pelvis up.
5. For more pressure you can push on the top of your R. knee OR pull down on his head OR slide your hips back OR turn the bottom of your L. leg out as you move your heel to your butt.
6. To prevent him posting up and trying to open the legs by pulling on the knee with both hands, you can underhook his leg you are closet too to keep his posture broken. Make sure the crook of the elbow is behind his leg.
Thanks to James for the triangle detail, these notes were taken from a Rick Young seminar he went to where the sole focus was the triangle.
CONDITIONED BOXING SPARRING ROUNDS
Jab v jab
jab v 2 hands (any attacks)
Knee to knee
Focus was on staying relaxed, footwork, head movement, body mechanics, keeping the hands up, shoulder lead and not being square, staying busy and playing with the range and timing.
8 COUNT ATTACHMENT DRILL
Simultaneous interception and eye strike followed by passing, turning the head and controlling the elbow, thus giving yourself enough distance for the next attack.
SCARF HOLD DEFENCE
T bar (upper forearm against the jaw sitting on top of the lower forearm which is acting as a support as you get on your side), 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.
MOUNT DEFENCE
Cover from the punches then hip up and elevate him with a knee to disturb his base. He will post and wrap up one of his arms and tuck the head into his chest. Hip up to 12 o'clock then to 2 o'clock and sweep over into his guard. Secure his biceps and keep the head on his belly. Posture up, if he tries to punch then put the fingers in his lower abs, this prevents elevated punches and keeps them away! Post up on one leg, keeping the spine erect, then step up on the rear leg. Begin to strike the groin, this should open his legs, pass the leg and go to knee on chest with his arm pinned. Strike then escape.
PANANTUKAN (FILIPINO BOXING)
Against the jab and the cross: split entry (get the head off the line of the shot), so against the jab short parry with the right and the left goes straight down the centreline to the throat or face, left gunting to the bicep followed by pak sau with your right to the forearm and left hammer fist to the neck.
On the right side against the cross, short parry left and send the right down the centreline, right gunting, left pak sau and right hammer fist as you step with the right leg. The forward pressure puts them on the back foot.
Steve talked about the functionality of trapping. It is merely a way to isolate or move a limb to facilitate a strike. Nothing more, nothing less. If there is no barrier then hit, if there is a barrier, remove it and hit.
The next phase was adding a punch combination, so after the hammer fist it was cross-groin hit/hook-cross
The following phase was him stopping the hammer fist. You turn the body to create a tan sau (just enough space to clear the line for the strikes) and hit followed up by low covering pak and hit.
The final phase was him giving too much energy and pushing the hammer fist across the centre line, from here you lap sau and hit, low line trap and hit.
Steve earlier on talked about the use of the gunting, not every shot is a KO and some strikes are major and some are minor. The gunting (bicep attacking strike) falls into the minor camp. Minor does not mean useless, it merely means having less reaction and effect than a major one.
Below is an interesting video of Vunak doing his thing. He seems to like the use of the gunting in its various guises in this short video. Also, it hints at some of the work we did tonight.
PAD TRAINING
ROUND 1: Feeder throws a jab, 'pad hitter' split entry, pak and hammer fist, cross-hook-cross
ROUND 2: Feeder throw a jab, split entry, pak and hammer fist, feeder puts up the pad, hitter uses lap and hammer fist and again lap and hammer fist followed by cross-hook-cross. The feeder needs to get the pads and energy forward for the hammer fists. Thankfully I had little Nick, several times my pad was too close to my head and the weight of his shots caused me to hit myself on the forehead. What it did teach me was to give strong energy on the pads when power and weight are coming forward.
HUBUD
The basic roll where the initial attack to to get the neck for the clinch. Steve talked about this drill being excellent to work out of motion and find things with lots of movement and aliveness.
Each person took it in turns to feed the energy for the attacks.
On the first defensive motion (hand inside the neck attack and towards the eyes), step back, extend your left hand so you are inside his forearm, load the right ready to punch with the cross, step and punch with the cross. As the punch comes in, he will short parry left and gunting with the right, the right hand then pistons back as the left hand presses down to clear the path for the right punch along the centreline, from here the hubud drill continues.
The second energy we worked was being on the outside of the arm and attacking with the right cross. To get to the outside of the arm, on your third motion or pak/slap to the arm, rotate the palm down and push your arm long against his elbow. As your right cross comes in, he will this time will short parry left and biu jee/ eye strike with the right, followed by a lap sau with the right and punch with the left. From here, the hubud drill continues.
Like most aspects of training in JKD, hubud is something I love to practise. Yet again, another great session at the Academy. Perhaps the highlight of the night was the fact that it was eventually decided how we end the class and say thank you to each other. There is now a simple solution. Praise Odin. Grading has been set for 17th November at 8pm sharp.
SHADOW BOXING
High energy, no breaks with lots of changes of specifics:
- body motion only
- jab only
- jab defences
- cross defences
- hook defences
- 4 punch combos
- forward pressure
- pivot then L step
- 5 second high intensity bursts
- putting it altogether
THAI BOXING
BODY MECHANICS DRILLING
Corkscrewing the body/hips/legs to prepare for the kick, preparing the delivery system. Next we used these mechanics to put the shin on our partner's leg
THAI 4 COUNT
4 count - rear kick to outside of the lead leg - left hook - right cross - rear kick to outside of the lead leg
DEFENCE 1: against the his rear leg kick - crush across followed by rear round kick.
DEFENCE 2: the rear kick lands, as they throw the left hook, simultaneous cover and uppercut against the hook followed by your own rear leg kick.
DEFENCE 3: the rear kick lands, cover the hook, they throw the right cross - you cut punch then rear round kick.
DEFENCE 4: the rear kick lands, cover the hook then the cross then shift laterally to kick the inside of his supporting leg.
Making it come alive: Each person throws a four count. On any attack, the receiver can chose the counter. If the person throwing the four count does with accuracy and proper technique, then this will enable the receiver to reply against good energy. I really like this drill because whilst there are parameters, it provides time to practise combinations at speed and to not panic under fire, in addition, the heart rate gets pushed nicely.
Interestingly, Steve always has music on in the background in class, yet sitting here I can't recall any of the songs. I don't think my eclectic playlist of Pink Floyd to 90s Indie rock to uplifting trance would inspire quality movement. I love having the music on, the BJJ and MMA clubs used to play music. I think it further helps to shut you off from the trials and tribulations of real life.
NO-GI GRAPPLING
Tonight we were fortunate to have a visit from Ben Richardson, a good friend and training partner of Steve who has a club up in Abingdon.
https://www.candomartialarts.co.uk/Home
Firstly, Ben took us through a flow with a series of positions from scarf-hold side control - to side control - to mount preparation. The person on the bottom was working sound defence - arms in tight, trying to get on your side, looking for underhooks. When the person on top goes for mount, hip up and pull on his hip so you reverse the position and end up in scarf-hold side control. From here, the flow continues.
Attacking from mount.
Start in regular mount, wrap the top of his head with your forearms and shuffle up his body forcing his elbows high. Put your feet on his hips so you are in a very high (up the torso) mount.
From the source
Another from Dean Lister who is a very accomplished competitive grappler
Bas Rutten is a bad mother fucker. Here he is applying the same move but from side control, the positions we looked at originally tonight. But for me what is key, is the details are similar to Ben's. Especially what your near side elbow is doing to his head.
Head and arm triangle/choke
He escapes the figure 4 arm lock by getting his head under your armpit and against your chest. From here you transition to the head and arm. No words are necessary from me when a 3rd degree is explaining.
Right off the bat, if you have any details or notes you want to add, email me and I will insert them citing you. It would be great to get different perspectives and experiences from those in attendance.
Email: pcaswe1@elp.rbksch.org
James has already sent me his notes. Please find them after my partially coherent ramblings.
The day started off with warm ups based on mobility and flexibility. Mobility work is pretty generic and we ran through the main joints. I have my own mobility program I do and will put that up in a later post. He then ran through the opening postures of the Bikram sequence of yoga. On a side, this is something I have become interested in over the summer and have incorporated Bikram Yoga as part of my own training schedule.
I love it, give it a go.
Part 1 of the day was following where we left off yesterday and working with the sticks. There was a variety of co-ordination drills followed by in-depth punyo focus. This was followed by redondo and abanico strikes against the 5 angles. My actual recall of these, even a few hours removed, is poor. What I will take away, as with the whole weekend, is that I am now a tiny bit better than I was on Saturday morning. Maybe I am more aware of my feet, or lowering my posture or have gained an improved understanding of the punyo. What I can say with certainty is, had I stayed at home, I wouldn't be that one step closer to getting better. This blog is called Kaizen JKD as Kaizen is a Japanese concept of continual improvement. For me, that is what all this is about. Getting better through practise.
After lunch it was silat time. Many moons ago I trained in Harimau which brings back painful memories of leg conditioning. Thankfully, Daniel gave us an insight into applications off the lead punch. We entered in the same way but ended with with the opponent's arm in 6 variations yet each variation took us to the same place - in control of the arm and away from other striking tools. I have watched many silat videos and have been fascinated by this art and how things just seems to be there for the next technique and then next technique and so on. I really enjoyed the flow and feel of the motions to the sweeps to the takedowns and to the finishes, which relative to the rest of the weekend, were particularly violent. Daniel gave the context of the silat material, obviously it was born out of a need and society very different to ours. I do however, think it is a valuable study.
Daniel also talked about the 5 targets in silat:
Hand - that is the first target as that is the thing usually attacking you.
Eyes - can't see, he can't fight.
Airways - can't breathe, he can't fight.
Groin - pain
Legs - transportation system. With a rye smile, Daniel said so he can't use them, changed his mind to, so he can't run away!
It was watching him move in the silat section that it was apparent how skilled he is in movement and has absolute mastery over his body. This is not because he was born gifted or special, but because he has spent time working, making mistakes and learning from those mistakes. They say a black belt is white belt who never stopped going to class. Failure is a significant part of our journey and for me it is a great way to keep the ego in check. In my mind, I am THE shit, if you train with me, you know I'm just shit! But I'm happy with that because meeting people like Daniel and seeing all the people there at the seminar this weekend helps to reinforce that idea. Chael Sonnen says 80% of winning is just turning up. For me, that is turning up to class but also turning up to my yoga mat or kettle bells and putting the time in.
The day ended with some delightful pummelling for double underhooks. For me, some of the best times I've had in martial arts has been grappling. I just love it. I love the honesty of it, the effort, the problem solving and the struggle.
Daniel talked about relative truth, he mentioned silat, not a critique but as an assessment. I think the point he was making was that arts like this, don't appear to have contested or non-compliant work and would benefit from developing more of this. I loved my time in Aikido but felt the training methods, not the techniques, were not honest enough. I even thought that when my shoulder was 'accidentally' dislocated.
I guess it is all about balance and find what is what you want and what you need. It was a pleasure to be in the room for 8 hours with Daniel and his most able assistant Anton. It was just friggin awesome.
JAMES' NOTES. As yesterday, many thanks James. This is quite a piece of work.
Double Stick
With partner, starting in open guard do the following in sequence:
1. Cobb cobb x4.
2. Angle 1, angle 2 on right then left.
3. Angle 1, low backhand watik, angle 2 on right then left.
4. Switch to closed guard and heaven 6.
5. Standard 6.
6. Earth 6.
7. Forehand, backhand as you umbrella, forehand on right then left.
From closed guard:
1. Partner feeds an angle 1, hit his stick with a right forehand, then right Redondo, left backhand, right backhand in the air.
2. Partner feeds an angle 2, hit his stick with a left forehand, then left Redondo, right backhand, left backhand in the air.
3. Partner feeds an angle 3, hit his stick with a right forehand, then right Redondo, left backhand, right backhand in the air.
4. Partner feeds an angle 4, hit his stick with a left forehand, then left Redondo, right backhand, left backhand in the air.
5. Partner feeds an angle 9 (forehand to knee), hit his stick with a left forehand, then left Redondo, right backhand, left backhand in the air.
6. Partner feeds an angle 10 (backhand to the knee), hit his stick with a left forehand, then left Redondo, right backhand, left backhand in the air.
7. Do 1-6 as above but this time partner feeds for both the forehand and the Redondo and so you hit his sticks for those two strikes then do the two backhands in the air. For example partner will have both sticks on his right shoulder and will feed two angle 1’s with the left stick first then the right.
8. As (7) but mix the angles e.g. first strike high, second strike middle; first strike middle, second strike high; first strike low, second strike high; first strike high, second strike low.
9. Partner feeds an angle 5 with the right stick, abanico 3x (left, right, left; hitting stick, hand, elbow) then Redondo twice, backhand, backhand (in the air). Do same on left side.
10. Partner feeds an angle 6 (reverse thrust to head) with the right stick, deflect with your right stick by flicking your wrist to the right (so your palm faces up) then Redondo twice, backhand, backhand (in the air). Do same on left side.
11. Partner feeds an angle 7 (forehand thrust to head) with the right stick, deflect with your right stick by flicking your wrist to the left (so your palm faces down) then Redondo twice, backhand, backhand (in the air). Do same on left side.
Stick Hubud
1. Start with standard hubud.
2. Pass the angle 1 like a dagger pass (switch to left lead). Guide the path of the stick so it does not hit your leg. Partner does the same.
3. Raise, trap and backhand (keep the stick under your armpit). Partner parries it down and feeds back the same strike.
4. One side does (2) and the other side does (3).
5. Raise, trap and feed an angle 3 (leading with the punyo), partner stops with his left hand, hits the inside of the elbow with the punyo, hits the bicep with his elbow then flips the stick to hit you on the head, you shield then raise, trap and go back into the drill.
6. Raise, trap underneath your right arm and feed an angle 2, partner blocks, raises, traps and goes back into the drill.
7. Raise, trap above your right arm and feed an angle 4 partner blocks with L. hand (palm up) or with the outside forearm of the stick arm, raises, traps and goes back into the drill.
8. Pass the angle 1, backhand hit the hand/knuckles, retract your left hand to allow you to bring the punyo back up to feed the angle 1 then put your left hand back on.
9. Pass the angle 1 and inside gunting under the arm and feed the angle 2, partner stops it, raises, traps and hits.
10. Feed the angle 1, partner blocks in the normal way and as he does this you throw a left vertical punch, partner parries with his left hand to the right, hits the inside of the elbow with the punyo, hits the arm with the stick by flipping the stick up and can feed a straight punch to turn the drill into punching hubud or he feeds the angle 1, partner passes and goes into one of the options off the pass.
Sumbrada Flow 1
1. Pass the angle 1 and feed back the angle 1.
2. Partner passes the angle 1 and feeds the angle 3.
3. Stop with left hand and guntin the arm right to left with punyo and feed angle 4.
4. Partner passes the angle 4 with the back of his hand (his stick should be chambered over the top of his left arm) and feeds the angle 2.
5. Stop the angle 2, raise and feed the angle 1 and the flow starts again.
Sumbrada Flow 2
1. Pass the angle 1, backhand hit the hand/knuckles, retract your left hand to allow you to bring the punyo back up to feed the angle 1.
2. Partner passes and guntings underneath and feeds the angle 2.
3. Vertical gunting and throw the left vertical punch.
4. Partner parries with his left hand to the right, hits the inside of the elbow with the punyo, hits the arm with the stick by flipping the stick and feeds the angle 1 and drill starts again.
Silat
Partner throws the jab. You parry inside with the left and monitor his right hand with your right hand then:
1. (Arm over) Wrap your right arm over his left arm as you step your right leg forward in front of and between his legs, shoot your right leg back to sweep his leg then step your right foot behind his right foot, as he loses his balance and posts on his hand, bring your right foot towards you to sweep his leg and stamp on his knee with your left foot, keeping control of his arm step around his head and sit back for the arm bar.
2. (Arm under) Shoot your right arm under his left arm above his elbow as you step your right leg forward in front of and between his legs, shoot your right leg back to sweep his leg then put your left hand on the back of his neck and reinforce it with your right hand on top, push down on his neck and feed his head through so he ends up sitting with his back to the front of your legs, keeping control of his right arm feed your left arm behind his neck (palm against his neck) and push down on his neck as you twist his arm.
3. (Both arms over) Circle your hand over his arm and feed it to the left then roll your right arm over (like the way you roll for the wave and hack switch from hubud) as you step your right leg forward in front of and between his legs and use your right forearm above his elbow to bend him forward (your left hand should be on top of his wrist), shoot your right leg back to sweep his leg, use your stomach to walk him forward at a 90 degree angle so he ends up face down on the floor, place your right knee on his tricep and pull up on his lower arm.
4. (Right arm under, left arm over) Circle your hand over his arm feed it to the left then shoot your straight right arm underneath his arm (keep your left hand on top of his wrist) as you step your right leg forward in front of and between his legs, shoot your right leg back to sweep his leg then step your right foot behind his right foot and use your right hand to pull on the back of his knee, as he loses his balance keep control of his arm as you pick up his right foot with your right hand, right knee drop his groin and squeeze your knees together around his right leg as you put his right foot under your right armpit then heel hook.
5. (Right arm over, left arm under) Circle your hand over his arm and feed it to the left and roll your right arm over and put your left hand under his wrist as you step your right leg forward in front of and between his legs and use your right forearm above his elbow to bend him forward, shoot your right leg back to sweep his leg, put your right hand on the floor and then slide your right knee through so he goes face down onto the floor and you’re controlling his arm in a keysa position with your right arm over and left arm under his arm, apply pressure into him and arm bar.
6. (Both arms under) Circle your hand over his arm and feed it to the left as you put both hands under his arm and go to step forward but as you do so he puts his right hand on your head, pop his left arm up as you step his right leg behind him and put your right elbow on his chest, posture up and use your right elbow to unbalance him over your leg and spin clockwise keeping control of his left arm then go into a suitable finish.
Tonight, the sole focus was knife. We did lots of partner swaps to feel different energies and simply to get lots of reps in. I am sure that errors in the following will be plenty as there was a constant refinement tonight. The main lesson was time. We can't spend enough time exploring this type of work.
Tonight, the sole focus was knife. We did lots of partner swaps to feel different energies and simply to get lots of reps in. I am sure that errors in the following will be plenty as there was a constant refinement tonight. I will endeavour to explain the techniques but these need to be felt . The main lesson was time and drill, drill, drill. We can't spend enough time exploring this type of work.
Eye jabs
Feeder give constant angle 1 and angle 2 and defender uses female footwork coupled with the intercept and eye strike brush. Wearing the safety glasses affords putting the fingers at the eye.
Eye jabs with passing and hits
As above but this time keep striking the feeder after passing each feed, control the elbow to ensure his centreline way away from yours, hit the head so it stays looking away from you. These will make it harder for him to use the blade effectively and force him to constantly reset.
Main focus of the class was the following 4 techniques.
Against angle 1: female step to the inside with left intercept and right eye jab, left hand moves in a circle and whipping action, grab the base of the wrist and the thumb of the hand. You end up off his centreline, his arm is extended so his base is high and grabbing the meat of the thumb. From Aikido, this position is similar to the set up for shiho-nage in terms of body angles and centrelines. With a flat hand against the blade, strip it.
Against angle 2: female step to the outside of the forearm, intercept right and eye jab left, crocodile (left palm facing up securing the elbow, right forearm in contact with his as you eye jab. There must be no gap). Slide the right down for thumb control, bring it to you not away from you. Several options from here were
- flat blade against the left forearm and return the blade into him by stepping in with your body. Avoid extending your arms.
- cup under your left tit with the left hand, your right hand has the knife hand gribbed and in/on the centre of your chest. To strip the blade out, cup the knife hand with your left ‘tit’ hand, turn the torso away, your shoulders and chest will enable the strip.
Against angle 1: female step to the inside with left intercept and right eye jab, then as above from crocodile.
Against angle 2: female step to the outside of the forearm, slide down to control the thumb, turn the arm over for sandwich grip or the #4 wrist lock. You hold both sides of the hand, your thumbs are pressing into the back of the palm in between the index and middle finger, his arm is straight and extended. I guess this could be labelled a wrist extension. Step into him, left arm over his elbow (keep that grip on the knife hand) and sink your weight. This then becomes an elbow extension. Strip the knife.
Free flow
Working any and all 4 of the techniques.
Here are a few videos of knife work. From my current level of understanding, I am not sure how 'effective' the work is. Some of the movement looks really interesting.
A few things from last night that Steve talked about were:
Hit first and last. This will give a tremendous psychological edge.
Work the basics until the last day you train. Make sure you pressure test.
Following are a selection of videos showing different arts and the arts being pressure tested.
Lethwei is an unarmed Burmese Kick Boxing also known as Bando Kick Boxing. It is similar to related styles of Indochinese kickboxing, namely Muay Thai from Thailand, pradal serey from Cambodia, Muay Lao from Laos and tomoi from Malaysia.
Techniques
Aside from punches, kicks, elbows and knee attacks, Burmese boxers also make use of head-butts, raking knuckle strikes and take downs. This may be due to the fact that lethwei was more strongly influenced by musti-yuddha than the other styles were.
Rules
Matches today are carried out in both the traditional manner and a more modern offshoot called "Myanma traditional boxing" which started in 1996. The latter was based on the sporting outlook of Muay Thai and uses a point system. If a knockout occurs, the boxer is revived and has the option of continuing the bout. In traditional fights, the winner is the first to draw blood which may be wiped away three times before victory is declared.
pressure testing of weapons - higher consciousness through harder contact!!
An interesting insight into using 2 attackers and how quick it can go wrong. I assume the purpose is to feel the pressure rather than being clean and effective in application?
Strategy 1 = Creating distance by use of pushes, strikes, anti-grappling and evasion
Strategy 2 = Closing distance by use of covering and grappling
There are many variations on this type of pressure test. It differs from sparring in that the people involved have different objectives. S1s play the role of the "defender", an individual trying to avoid contact with a would-be attacker. S2s play the role of an "attacker", their role is to capture. By defining the different tactics of these two people you create more intensity than you would find in a typical sparring bout (although we also train full contact MMA as well).
You will note in all the S1 vs S2 drills that the S1s are instructed to keep going after the headcage with everything. Other parts of the body are legitimate targets, but the head is preferred if it is within range.
Other variables on this type of training include multiple S1s and S2s, practice weapons and sensorary deprivation
