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.

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.

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.

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.

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

2/3/17: knife v knife masterclass

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.

Yet another staggeringly great class.

28/2/17: double stick masterclass

The main principles that were reinforced all night were:
Eyes on his eyes
Keep the same level
Use the last 4 inches of the stick
Extension through the arms, be long
Use the stick like a sword

2 COUNTS
From the open position (stick on each shoulder)
forehand - backhand (R) then repeat on the left

or

high (R), high (R) high (L) high (L)

high (R) low (R), high (L) low (L)

3 COUNTS
From the open position (stick on each shoulder)
forehand - backhand - backhand (R), repeat on the left

or

high (R) low (R) high (R) high (L) low (L) high (L)

Upward figure 8s - upward forearm, upward backhand, upward forearm then repeat on the left

4 COUNTS
From the chambered position (both sticks on one side of the body, if the right side, right hand on the shoulder and left hand under the shoulder)

Do the following 3 times from the right chambered position, switch then repeat on the left
forehand (R) - backhand (L) - backhand (R) - forehand (L). The final backhand, after the hit, sits on the right shoulder. The final forehand hits through and finishes under the left shoulder.

ODD SERIES
From the chambered position
Forehand (R) - backhand (L) and right roof - forehand (R) then repeat on the left

Putting together the initial 2 count plus adding the odd series

HEAVEN 6
In pairs and in the square. People on the 4 corners of the square were solo drilling the heaven 6 pattern. The person in the middle of the square would start the paired version of the drill as they were 'swinging'. The person in the centre was dictating the speed but also the length of the drill before moving on to the next person occupying a corner.

7 COUNT
Initial 2 count on each side followed by a short series of 3 strikes, Person A with an angle 1, Person B responds with a roof, Person B then attacks with an angle 1 and Person A responds with a roof, finally, Person A with an angle 1, Person B responds with a roof.

Strips:
After the final roof, roll over his weaponised hand and abanico with the left to his neck/jaw/face, scoop down with the left as you zone off line to be out of the line from an attack with the stick in his left-hand. The right punyo goes over the wrist and scissor your hands with the sticks for the strip and finish with a heaven 6.

He then attacks with the left hand, intercept with your two sticks, roll over and abanico with the right hand, scoop down with the right as your left hand opens to capture his hand. Make sure you move the right hand down his arm so you can clasp the wrist using your thumb. Strip the stick out and finish with a heaven 6.

21/2/17: Panantukan and single stick (redondo focus)

PANANTUKAN methods against straight punches (the jab and cross)

1: Against the jab: Parry right and hit to the body with the left, left hand slides back along the arm to monitor as the right shovel hook goes into the body, the right hand then slides back along the arm to monitor as the left hand hits straight to the body.
Repeat with the cross working on the other side of his body.

2: Against the jab: Parry right and split with the left down the centre. Dumog pull the left forearm into his elbow crease and clasp with the right to secure the arm. Continue to pull his arm in and down so that his elbow ends up on your body. Turn the left palm down and away from yourself (to the left) to put pressure on the shoulder and compress his structure followed by a right body hook then a right head hook. Keep the arm wrapped with your left as you strike.
Repeat against the cross working on the other side of his body.

3: Against the jab: split and stick - parry right and eye jab left, slide the left arm down his arm as the right eye jab goes in, right pak sau on his arm coupled with the left fist. Reach over with the left to take the crease of his arm, the right hand is going to wheel his wrist to the right as the left hand moves the crease in the same counter clockwise motion. Your right arm will now slide into his elbow crease, your palm is facing you, and the left thumb is in his neck to prevent turning back into you.
Repeat against the cross working on the other side of his body.

4: Against the jab: Upper gunting into the salute with the left. From the left salute, slide the left hand down for wrist control as use wrench/break the arm with your right elbow then follow up with the left horizontal elbow to the head.
Repeat against the cross working on the other side of his body.

5: Against the jab: left elbow destruction followed by a series of hammerfists (Left backhand, right forehand-right backhand - left forehand - left backhand). Keep the tight and fast.
Repeat against the cross working on the other side of his body.

6: Against the jab: Parry right and salute with the left then uppercut with the right or go for the arm wrench/break instead. He then throws a shot with the other hand, you will need to keep shifting away from his right hand, intercept inside his attack with your right hand and use the back of the hand to wheel his wrist (and thus arm) in a counter clockwise circle. You end up with both his arms crossed at the elbows and balanced terribly compromised.
Repeat against the cross working on the other side of his body.

7: Against the cross only as the left leg forward and the torque of the right cross allows the offsetting for the throw. This can't be accomplished off a jab with a left lead.
Right elbow destruction the go straight in over the top with the right hand fingers to the eyes. Step in (keeping control of the left arm) and get your left shoulder tight to the back of his, or as close to the top of the tricep as possible. This will already have his balance off, As you step through with the left leg, the left hand is going to clasp the outer side of the leg on the other side of his body. The 'block' of his leg coupled with your step through will have him off balance and unable to attack with anything.

SINGLE STICK

Solo drilling in the mirrors

1-2-1 (right hand) step back, feet together, swap hands and repeat with the left

2-1-2 (right hand) step back, feet together, swap hands and repeat with the left

1-2-1 Redondo

2-1-2 Redondo

As a whole sequence: 1-2-1-redondo-2-1-2-redondo

Numerada: Feeder gives the 5 angles with the stick, 'defender' applies the 4 hits whilst continuously moving. Each hit was targeted on the weaponised hand.

1/12/16: double stick, takdowns into submissions and positional rolling.

DOUBLE STICK PARTNER WORK
All the following with female footwork. All the double stick work gets the brain firing because you constantly crossing the centreline with alternate hands and the feet are moving. The more I did it, the more rhythm I felt I got despite the constant mantra in my head of what strike or numbers or patterns we were working.

FIGURE 8’s
Open posture, right hand figure 8 then left hand figure 8 as a continual loop drill.

HEAVEN 6
Right forehand, left backhand, right backhand, left forehand, right backhand, left backhand.

We then put the 2 drills together as a loop – figure 8’s on the right followed by half of the heaven 6, figure 8’s on the left hand followed by the rest of the heaven 6.

8 COUNT
Right forehand (high), right backhand (low), left backhand (low), right backhand (high), left forehand (high), left forehand (low), right backhand (low), left backhand high.

We then put all 3 together as a loop drill:
Figure 8’s left and rights sides into complete heaven side then full 8 count.

CARENZA (shadow boxing with sticks)
Using double sticks and adding footwork.

SINGLE STICK
3 count high box sumbrada

5 count sumbrada. My first time in a while but managed to fumble along. Looking forward to putting the reps in. I still, to this day, find it fascinating how each person has a different energy to feel to the work they do. It always takes me a few minutes to adjust to the feel of a partner change because we all attack from slightly different angles, or check with slightly different energies or have small adjustments in range. Plus oddly, I appear have a tiny stick compared to everyone else. They must be compensating for something…

Adam was working double stick gunting against whoever was working the 3 or 5 count. I think Charlie and James might have been doing some cheeky punyo variations as well in their corner of the room.

TAKEDOWN TO SUBMISSIONS

AGAINST THE JAB
Parry and eye jab on the outside of the arm, overhook to had on the shoulder and step up to him, step back with the right 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.

Parry and split entry, 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.

From here, depending on the response from the person on the bottom, there were 3 options we looked at.
If he blocks and covers the head, go for the Americana.

If he extends an arm, go for the head and arm triangle.

If he tries to push away and make his arms long, go for the arm bar from s-mount.

Although the Olympic judoka and world champion is not pinching her knees together you can see how tight her hips are to the shoulder of Meisha Tate; escape was futile.

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.

Parry the jab and split entry off the cross onto into Alien / head tilt takedown, knee on belly to possible pull up wrist lock. Thanks Steve for the edit.

POSITIONAL ROLLING
Giving and taking positions, no submissions. When Steve said rolling my eyes must have lit up as I saw James’ grin from across the mat. This was about getting a position of dominance and then allowing them to escape and find their own position of dominance. Almost like a counter for counter drill. A lovely activity of movement and feel. You get a chance to flow and breath with no need to worry about control or things getting ripped. Steve did show a variation where you look for submissions as a counter for counter but that is for another day.

Once again, a bloody great class. This is class and the instructor is clearly the best kept secret in martial arts despite my best intention to advertise and promote the Academy through this blog. In addition, the senior students are always so accommodating and patient with the lumpier work from those of us with less experience. A great place to be, to learn and to grow #SMFAA

13/10/16: Single stick masterclass

STRIKING FAMILIES

Lots of reps in both hands.

1: Cinq Teros; 5 count - on the 5 angles: 1-2-3-4-5, 1-4-3-2-5, X followed by a 5

2: Figure 8's
downward, upwards and in different orientations

3: Florete (cones)
3 upwards and 3 downwards, two sides of the triangle - up for 3 and down the other side of the body for 3, the floating triangle
Also, small circles on a big circle to control the tip - c/wise circles on a c/wise circle, cc/wise circles on a c/wise circle, c/wise on an cc/wise circle, cc/wise on a cc/wise circle

4: Umbrella (used to re-chamber the stick)
Number 1 (forehand strike), wrap the arm around and over the head for another number 1. Same for the number 2 (backhand strike)

5: Redondo - circular power striking. Usually Redondo is a repeated circular strike done from the same side of the body over and over. Redondo on the 5 angles, 1-2-1-redondo, 2-1-1-redondo

6: Abanico (fanning)
High - high, high - low, low - high, low - low.

7: Sunkiti (Stabbing and whipping)
5 stabs on the high, lower part of the half circle.
Add the whipping hooking strikes after each stab.

8: Jabbing
12-6, 9-3 lines. Putting them both togetherLet it go, fast single power strikes

Punyo sumbrada

3 count high box pattern

Kali

Daniel Lonero seminar, day 2

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.

Daniel Lonero seminar, day 1

There was much banter today from my 'friends' from the club at the lack of ability to blog in detail. Well they were right. Lots of material was covered in our 4 hours with Daniel. At the end of my blog post are the notes and reflections made by James. He puts me to shame, many thanks James.

Daniel is an inspiration in the way he moves and the way he teaches. There was a combination of actual martial arts material but also a healthy dose of cultural contextualisation.

Kickboxing session.
Warm up with evasion methods - maintaining striking range
Form training of kicks using a partner to take care of your balance so you can focus on the legs: lead leg round kick to the chest, to the inner thigh, chest then thigh, double kick to the chest.

The main theme of this part of the seminar was ripost -
noun
1.
a quick, sharp return in speech or action; counterstroke:
a brilliant riposte to an insult.
2.
Fencing. a quick thrust given after parrying a lunge.

- and being able to ripost to after your opponent attacks.

Daniel built the learning in layers, I stayed at the lowest layer because quite quickly the brain was filling with information and unable to process.
-4 evasions of the jab, then the cross then the hook. The idea was to use footwork to get out of range, coupled with the footwork were a variety of parrys or connections with his punches.

Kicks were then added. So the idea was to evade the punch attack and ripost with a kick.

Then came the ripost work against kicks. There were 6 riposts (after evasive footwork) to the lead kick to the inner thigh and 6 riposts to the round kick to the outer thigh. I
Ripost kicks -
side kick to lead leg,
round kick to rear leg
round kick to the mid line,
stomp the thigh,
follow the kick with a kick,
heel stomp (looks like a crush),
gay gordon (lift the heel to the arse to block the kick)
round the world (going over the top and with the energy of the kick)

Putting it altogether - Partner A feeds punches and occasional kicks. Partner B has to control the punches, look for ripost kicks to the arm attacks as well as trying to use the ripost counter kicks.


Double stick session.
'Walking lines' with flow and exaggerated motions. Daniel talked about going slow to restore or cultivate energy in the body.
Doing different examples of Heaven 6. walking forwards, backwards, sideways, quarter turing. Also inserted was different ways of doing the Heaven 6. I don't know the names but there were X versions, more vertical versions and then one where the final strike goes around the head.

Paired Heaven 6 - forwards, backwards and sideways.

Triangles of Heaven 6 - one person going backwards as the two walking forwards are constantly throwing their strikes. The uniqueness of the drill was that each person going forwards only makes contact with 3 of their strikes.

4s of Heaven 6 - whilst moving down the hall, to your face partner, then shoulder partner, then corner partner.

This is when it all really fell apart in terms of details...

Double stick v single stick - gunting against the 6 angles (angle 6 looked to be upward backhand?), 6 or so different strips of the angle 2. The strips were the same, how he got there was different hence blankness in me.

We then moved on to using the punyo (the butt, the base, the bit sticking out from under your fist). We looked at hubbub using the punyo and inserting strikes on the 4 angles. This evolved into a counter for counter drill attacking on the 4 angles. More tomorrow.

Intermittently, Daniel talked a lot about culture and the differences between high culture and pop culture, the hierarchy of traditional (pre-industrial) Japanese and Chinese society. Interestingly, at the bottom of both were the merchants. In our society, making money seems to be the goal. There was also talk about solo training in Kail and the importance of it, not only for the practitioner but also in other contexts - for demonstration purposes, for ceremonial purposes and for assessment of skills and ability purposes.

Today wasn't just about techniques, it was about martial arts. Really excited for day tomorrow. I am going to try and be, feel and absorb.

In summary, today was a remarkable experience to see a master of movement (of self and others) in action.

Below are the extensive and detailed notes from fellow classmate and seminar attendee James

Savate
Evasion Warm-Up
1. One side holds arm out and moves around – the other side has to maintain range.
2. Slip C. slip J, B+W RH, B+W LH, lean back from RC, bounce back RC.
3. One side throws L. or R. round kicks to body (kick with foot – extend leg so at long range – keep torso upright), other side moves sideways away from kick.
4. One side throws inside leg kicks, rear leg kicks or jeet-teks and the other side evades by bouncing back out of range using both feet.
5. One side throws a mix of punches of kicks as above and other side evades.

Leg Warm-Up
Both sides in left lead hold each other’s left hands or balance. Chamber left leg, keep the torso as upright as possible and:
1. Roundhouse to liver / solar plexus 7x without putting leg down.
2. Roundhouse to inside thigh 7x without putting leg down (bend supporting leg each time you kick).
3. Roundhouse to liver / solar plexus then roundhouse to inside thigh 7x.
4. Roundhouse to inside thigh then roundhouse to liver / solar plexus 7x.
5. Double roundhouse to liver / solar plexus (second kick only partially retracts) 7x.
Do the same from a right lead.

Ripost
Partner jabs:
1. Catch, pause then jab back.
2. Catch and jab back on the half beat (ripost).
3. Jab back as you catch (simultaneous).
4. As you see his punch start to come you jab (interception).
Aim is to use your legs to control range and timing. When you parry maintain contact with partner’s arm so you can feel his energy.

Partner jabs:
1. Step right leg back and out at a 45, and parry outside with right hand, left roundhouse to body on the half beat.
2. Step right leg back and out at a 45, and parry outside with left hand (bridge), left roundhouse to body on the half beat.
3. Step left leg back and out at a 45 (so you are in a right lead), and parry outside with right hand, right roundhouse to body on the half beat.
4. Step left leg back and out at a 45, and parry inside with right hand (bridge), right roundhouse to body on the half beat.
Partner crosses:
5. Step right leg back and out at a 45, and parry inside with left hand (bridge), left roundhouse to body on the half beat.
6. Step right leg back and out at a 45, and parry outside with left hand, left roundhouse to body on the half beat.
7. Step left leg back and out at a 45 (so you are in a right lead), and parry outside with left hand, right roundhouse to body on the half beat.
8. Step left leg back and out at a 45, and parry outside with right hand (bridge), right roundhouse to body on the half beat.
Partner long hooks (to determine your long hook range, put your fists together then open your farthest knuckles so a triangle appears between your knuckles. When your thumbs touch that’s the angle of your fist for the long hook):
9. Off left hook, step left leg back and out at a 45, and parry outside with right hand (bridge), right roundhouse to body on the half beat.
10. Off right hook, step right leg back and out at a 45, and parry inside with left hand (bridge), left roundhouse to body on the half beat.
11. Off left hook, step right leg back and out at a 45 and tight cover the hook so it just brushes your guard then left roundhouse to body on the half beat.
12. Off right hook, step left leg back and out at a 45 and tight cover the hook so it just brushes your guard then right roundhouse to body on the half beat.
Do 1-4 above but off a jab, cross, jab combination. This time though you have to start moving your foot on the cross in order to land the ripost – leaving it for the final jab will be too late.
One side feeds punches and the other side covers in boxing range then starts to implement 1-12 above off the punches. You want to be continuously changing range – like a rubber band.

Evasion / Interception

Partner inside leg kicks. Evasion is always by hopping both legs back out of range:
1. Evade then pendulum or hop-in lead roundhouse to body.
2. Evade then jump in rear leg kick.
3. Evade then hop-in lead leg side kick.
4. Intercept with rear leg jeet-tek then lead roundhouse to body.
5. Intercept by lifting lead leg up and then pushing kick down on his quad then right roundhouse.
6. Lift lead leg up and circle it clockwise so it scoops outside his kicking leg the right roundhouse.

Partner rear leg kicks:
1. Evade then pendulum or hop-in side or front kick to body.
2. Evade then jump in rear leg kick.
3. Evade then hop-in lead leg side kick.
4. Intercept by lifting lead leg up and then push kick down on his quad then front kick to body (don’t put leg down between interception and kick).
5. Intercept by blocking kick with the sole of your left foot then spinning crescent kick.
6. Bring your left heel to your butt then scoop his kick with your left instep then right roundhouse.
One side feeds punches and the other side covers in boxing range then starts to implement riposts, evasions and interceptions.

Double Stick
Solo (slow and smooth – can be like a meditation):

Walking forward – closed guard:
1. Heaven 6.
2. Forehand, backhand, Redondo, forehand, backhand, Redondo.
3. Forehand, umbrella as you backhand, forehand, forehand, umbrella as you backhand, forehand.
4. Heaven 6 sideways – the shoulder doing the forehand should lead – requires cross-step footwork.

With partner who has a single stick:
1. Partner feeds angles, 1, 4, 3, 2, 5 then a 12 (vertical upward backhand). Gunting each strike and then insert a watik after each gunting (a backhand for angles 1, 3, and 5, a forehand for angles 4, 2 and 12).
2. Do (1) but drop to one knee. Ensure the supporting foot is to the side or behind the knee not in front of it.
3. Partner feeds angle 1, you gunting, both sides backhand watik then partner feeds an angle 2. Zone left and backhand hit the hand, step left leg forward and use the punyo of your left stick (stick facing down) to scoop on the inside of his arm (elevator), strike the body/left hand with your right stick and insert the punyo (stick facing down) inside his arm (almost replaces where the left stick was), use left forearm to strip the stick.
4. As (3) but as partner feeds the angle 2, zone left and hit his hand with a left forehand, hit the head with a right forehand then insert the right stick punyo inside his arm as in (3).
5. As (3) but as partner feeds the angle 2 shield block (like in punyo sumbrada) then go into left then right elevator strip.
6. As (5) but after shield zone left and hit his hand with a left forehand, hit the head with a right forehand then insert the right stick punyo inside his arm as in (3).
7. As (3) but as partner feeds the angle 2 outside deflect with the right stick, hit the hand with a left forehand, hit the head with a right forehand then insert the right stick punyo inside his arm as in (3).
8. As (3) but as partner feeds the angle 2 inside deflect with the left stick, hit the hand with a right backhand, then go into left then right elevator strip.

4/8/16: Knife masterclass

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.