Kevin

Hi-

I plan on focusing on the dumog/buno(?) that grabs one of the opponent's biceps with both of your hands. With this dumog you can push forward (into the shoulder joint) and move your man backwards, or you can pull on his arm to either move the man forward or to the side. One of my favorite versions is pulling on his arm and dropping to one knee taking the man to the ground (stay aware of the live hand, and zone if you have to!).

Anyone work this dumog the way Paul Vunak does on his Dumog video? He starts with both hands on his opponents bicep. His opponent is wearing boxing gloves. He moves the opponent around while the guy tries to get off some punches with his free hand. Every time the guy tries to fire his free hand Paul would pull on his other bicep... this stops the guys from rotating his trunk, stopping him from getting a good punch off.

Anyone had much luck in utilizing the different dumogs while sparring? I think this might have some promise out of the clinch. Come to think of it... Marc Denny made the comment that he was only really able to make alot of his Silat work from the clinch. Hmmm....

I haven't had much luck with working the head turn (...think steering wheel) from a distance, but out of the clinch?

*Btw... I've heard the whole dumog terminology argument before. Please focus on the idea of what I'm talking about, and not so much on my terminology. I'm not sure how else to label it so the majority understand.

Comments?
~Kev

Chad W. Getz

Kev,

Hi, I've had alot of success using some of the dumog, especially, if not exlusively, out of the clinch. The bicep push you've used, and also the wrist grab and pull into headbutt that Paul shows. Arm drags can adapt to utilize dumog principles. Bicep pushes open up nice groin shots, if you can catch his leg while he attempts to knee, or can get a single leg for the takedown, you can utilize dumog principles by treating the leg as an arm and effecting a 'arm'bar on the leg to takedown. Dumog control points include the hips, shoulders, knees, etc., etc., and these points can all be played with various tools out of the clinch. Here's an post I had at a cane list the other day:

Begin

> I am not familiar with the dumong push points. Are they the same
> as the pressure points in Dillman's books, etc.???

Dumog is a wrestling sport in the PI. More specifically in certain
provinces, in the Visayas, there is a game played similar to sumo
wrestling where the objective is to move your opponent out of the
ring (there is so much controversy to this, and I only explain my POV
because there is always someone that says there is no such thing,
etc.) Anyway, more importantly is understanding how the body works,
and "dumog" is only a name, so I'll use "control points" to also
describe what I consider dumog.

The hips are one of the main control points on the entire body. One
on each side. You can use the tip of your cane, or elbow, or fist,
or palm, etc. to push one side of the hips and this will kind of send
the body into a spin. You can actually spin the body around rather
quickly if you are tugging on the other hip control point.
Experiment with this by spear hand pushing your traiing partner on
various points near the hip, on the front of the body. You've found
the point once your partner either spins, or his hips are sent back
with relatively little strength by you. Once you find the point, it
can also be pulled from the back with the hook of the cane around the
body. That is a brief description of how dumog principles work side
to side.

Another way that it can work from up to down is by understanding
other control points. For example, two other control points are the
shoulder and the knee. If you push the hip back, than you can also
bring either the shoulder or the knee forward at the same time.

Whenever you are monitoring or pushing an arm by the elbow across
his/her over their centerline, you are using dumog/control point
principles. With this particular technique, remember that you can be
pushing/monitoring with your left hand, right hand, ridge hand,
elbow, shoulder, shaft of stick, fist while holding stick, tips of
stick, etc. It's about principles.

A basic way to play with dumog principles is to know that the head,
shoulders, and hips are main "control points". Ultimately which ever
way you twist the head, the body will follow. The head is connected
to the shoulders and hips by the spine, and so they will all affect
each other when worked correctly. The secondary points that affect
the three primary points are attached in one way or another to the
primary points. For example, standard wrist locks, etc. usually
involve an indirect control of the elbow or shoulder. If you can
picture this in your mind now, or see it later when you are training,
than try to duplicate the principles of the same wristlock or move,
whatever effect it had on the next joint up, to that joint(probably
elbow for most twisting locks, and shoulder for most pulling and
pushing locks). Even standing arm locks are intended to limit
movement of the shoulder which in turn affects the other points and
the entire body. These standing arm locks are really good because it
controls wrist, elbow, and shoulders. Of course, the hard part is
doing it because you are working threee factors other than just one,
and the more factors you involve into a technique, the lower the
chances of success in percentage terms.

Anyway, the heads, shoulders, and hips are the main points. Points
can be pushed, pulled, bumped, etc. with any weapon, foot, hand,
elbow, etc. The head is the rutter to the body, the shoulders
connect you to the elbows and wrist. The hips connect you to the
knees, and feet. The feet are also a base, so affecting the base
will help you almost anytime you work control points. The standard
standing front sweep, where you pull your opponents shoulders towards
you and sweep out his same side foot backwards utilizes dumog
principles. You can also push your opponents right shoulder with
your left hand while hooking behind his right foot with your cane
hook and pulling. This makes one control point(shoulder) go back,
while another (foot) goes forward, which throws off his balance. And
last example. This last tech could also be a varation and evolved
one step up. Same move, but instead of hooking and pulling near the
ankle, try behind the knee while stepping on the foot, this way you
control three points.

Sorry for being so long winded, I meant to keep it short, but it is
hard to describe over the keyboard. Most of you probably know the
techniques already, but understanding the principles can make the
techs crisper and maybe open the door to new variations.
End

__________________
Chad W. Getz
Full Contact Hawaii - http://www.fullcontacthi.com
Stickfighting Digest - http://groups.yahoo.com/group/stickfighting

The grappling arts imply most fights end up on the ground. The striking arts imply all fights start standing up. The clinching arts imply the clinch can stop the striker from striking, and the grappler from taking it to the ground. The weapon arts imply the they can stop the unarmed man. A complete martial art implies any fight can go anywhere...be ready and able to go everywhere.