KOTF weekly.

[kingoftheforest]

Very good point my friend. It is a most basic principal of fighting with weapons to know it can be dislodged from your grip with ease. For retention purposes it is wise to understand disarming... Knife hand and hammer fist may be colorful titles but the meaning does not escape those who understand it's intent.

Kudos to KOTF.

Thanks for the update!

Definitely a plus to have stick on stick contact or to have your arm struck while holding any weapon. Shock can dislodge it quickly, a well placed shoulder strike can do the trick.

In The Book of Five Rings" Musashi discusses drawing while shoulder striking the opponent or just plain shoulder striking him to death. He says "These things must be learned in practice."

Just like being hit with a stick is not something you want to feel for the first time in the mix.

[kingoftheforest]

http://www.defend.net/deluxeforums/urban-street-combatives-r-b-m/34194-edged-weapon-tactics-counter-tactics-2.html#post341380

go here for this weeks.

[kingoftheforest]

I have been training with one of these Hickory Bokken for a few years, so I just ordered one of these

http://www.bladecenter.com/paul-chen...to-SH1016.aspx, because it is the same dimensions.


It'll be while before I actually pick up the sharp one and swing it. Which will give me time to make so wood or possibly G10 handles for it. Re wrapping an ito is a pain in the ass. And G10 is so, so pretty.

[kingoftheforest]

Here is a nice article that covers some ideas on open hand strikes, as well as points on other subjects.

I especially like this excerpt :

Open hand techniques can become grabs, finger pokes, or fists faster and easier than fists can become something else. An open hand can also be used to defend against an elbow or knee while a fist would be powerless against such a strike.

The soft open hand molds itself around the hard parts, and the force of the hit is transmitted through the skin and into the hard inner core. Stylists use boards, bricks, hand-held striking pads and heavy bags to check the power, speed, and accuracy of their techniques. They have found out that the small bones in the fist will not stand up to the power that the vast majority of open hand strikes can generate. This is not to say that the fist will always be weak and slow. It is just that all things being equal in the paper- scissors, rock game, the fist looses to the open hand most of the time.

Open Hand Basics - Part 1 Of 2

[Tom Yum]

Open Hand techniques

Long time member (huh huh, I said long...member) and part-time contributor here

Nice post, enjoy the topic. What you posted is EXACTLY what I was thinking about using open handed strikes, before reading the excerpt. Hands move marginally faster than boxing gloves and have greater range of motion than MMA gloves, which is important since fingers are not only used for grasping, but for striking, tearing or hold escape/weapon disarm as well. Hell fingers/hands/wrist can be targeted too in grappling and weapons.

A palm heel strike that misses a chin/nose via defensive slip, can still grab an ear (or hair) or penetrate for partial clinch, plumb into full clinch or stay on for strikes. Hands are more important than fists alone; for example hands work together (in push-pull fashion etc) in stand up grappling (a range that is not as frequently exploited in MMA as in more combatives systems from south east asia, Chinese systems of qinna or traditional muaythai). Just my quick 2 pesos.

I'm always going to appreciate the realistic dynamics of MMA/boxing and love to mix it up in the ring when I can but its time to get to the root because martial arts is more than just a sport for me.

Miss you guys (Everyone - including Tim Mousel, Excessive Force, Cake Girl, Tanto, TTE Escrima, KOTF.... even the grappling/sumo/forum jokes of jubs lol ). Great community. When I get into my running or swimming zone, sometimes I'm whisked away to defend.net forum discussion topics.

Later

[kingoftheforest]

A palm heel strike that misses a chin/nose via defensive slip, can still grab an ear (or hair) or penetrate for partial clinch, plumb into full clinch or stay on for strikes. Hands are more important than fists alone; for example hands work together (in push-pull fashion etc) in stand up grappling (a range that is not as frequently exploited in MMA as in more combatives systems from south east asia, Chinese systems of qinna or traditional muaythai). Just my quick 2 pesos.

We use a lot of this concept in what we do. It's good to know that you have a secondary target if things don't work out "quite right". Training concepts seems to cover this more than training rigid forms.

I'd like to point out that hand conditioning is highly important if you are going to use open hand strikes.

Your input is always appreciated Tom glad to hear from you again.

[Kenjifujima]

if it works for you that's great, but for me, I love the teeth and protect them

[kingoftheforest]

This is a pretty long article so I thought I'd post it in segments. If you use any kind of weapon especially, but even for the empty hand, learning some of these tricks can be invaluable in a fight.

Subliminal Gestures by Master at Arms James A

Subliminal Gestures
by James A. Keating

Subliminal Gestures Part I



Part One: Subliminal Gestures ("SG" throughout the rest of the text.) are not really so mystical as they may initially seem. Agreed, they are not something found being taught in common dojos and studios. But, they are out there, if you care to look hard enough, they are out there in a large way. So much in fact that I bet you’ve experienced one of them without even knowing it! No kidding, more on this later as I explain the effect and cause of a well executed SG. A truly well-timed (Timing is everything) SG first catches the attention (Vision). The doorway to the mind.

The mind is the key to the body. Now, it’s time to deceive the adversary’s mind. An SG is a fake or feint, a misdirection or draw. The SG is an exploiter of human psychology that has its roots embedded deep into our "Survival DNA." So deeply that medical science is not fully aware of what these hidden trigger mechanisms are capable of in life or death situations.

An SG must pose a threat to the well being, a problem that must be solved, an obstacle that must be overcame or something that leads their mind to the wrong conclusion or position to where they are easily taken. It will, for safety reasons, always be a part of an existing system. Acting as an augmentation to that existing system or an auxillary back-up system or method. But almost never do you see an SG operating by itself. When you do, it’s a given the person doing it is one badassed SOB! Think of a timed move which has as its main goal the surprise or startling of the opponent (without touching them) and you have the basic concept of the SG.

Theatrics are involved with the execution of an SG. So are body language (position), facial expressions, direction of gaze and tonal inflections of the voice. (Hell, even something as simple as a well-timed and placed puff of air can be enough to augment an SG so that the opponent goes crashing). An SG may be performed with the hands-arms, legs-feet-footwork, fingers, eyes, weapons or clothing.

An SG must not touch the opponent. Once the SG makes physical contact with something (hand, foot, etc.) then it must by nature, automatically become either attack or defense. You may only touch the mind of the adversary with this sort of weapon.

Homework

Think of some commonly experienced SGs and then compare them with some I’ll provide you with in the next segment.

[Da Pope]

This reminded me of the idea of micro gestures. Will hold comment until I've read the rest of the article though.

[kingoftheforest]

Subliminal Gestures Part II



Earlier I mentioned that some of you have probably already experienced the effects of some sort of subliminal action and you just did not recognize it. A classic example of this:

You are in your car at a stoplight. Fully stopped, unmoving and foot on the brake. Other cars all about you. The vehicle next to you lets the clutch out and rolls just a few inches backward. At that moment, in your car, you are seized with the feeling of this movement you perceive. You react, you push down on the brake but your car still seems to be moving...whoa...whoa...whoa...but it’s all an illusion. The senses have been tricked inadvertently. A well performed SG works off of the same covert manipulation of the peripheral vision. If you have felt this example (the car), then this should tell you, "Yes, this is a real phenomenon." Now, take the concept and apply it.

More Homework



Some simple to grasp, easily found SGs are:

The action of tossing something toward the eyes or face.
Serpentine motion of any kind.
A backhand blow.
A lowering of the head and looking out the tops of the eyes.
Straightening or crouching the body.
Specific breathing patterns or breath related noises.
Making a "capturing" action with hands or arms.

SGs done in combination work well also, but that is a very advanced level. The basic concepts above work on a man or beast…largely universal in affect. Explore some! In installment III it gets stranger, you’ll get some real tools to work with.

[chengliu]

Too busy with finals this week but will comment in near future!

[kingoftheforest]

Lifting both hands palms forward in a sign of surrender before you drive an elbow home? I got nothing. Crude fundamentals at best.

Hush that's the next section lol. You're already into framing. I'm betting you have stuff built into your training you might not realize.

[kingoftheforest]

Subliminal Gestures III



Here is something you can experiment with. Be mature, give honest feedback and train safely (intelligently). This is not a test of any kind, it is a method to try these principles and concepts out. Then you build upon this understanding. This is an academic exercise, train together…do not compete.

Frame Shifting is a unique skill and it’s also a method to do a few reality checks. In other words, if you’re asking if this stuff is really workable or not, here is the check. Everything and everyone has to have a start somewhere…somehow. And this start is as good as any to introduce you to the general idea of what we are hunting for.

First, raise your hands (like a stick-up) and create a "visual framework" as your Guard. The Great Mas Oyama actually advocated this Kamae as one of the best! The two hands should be somewhat in front of your facial/upper torso area. The idea is to make the opponent see through this framework created by your arms. Yes, like a TV screen or picture frame effect! (You have seen the Photographer(s) put their thumbs together and hold up their hands to get a "picture-like" effect. Just do the same on a larger scale with your arms and hands.) The adversary sees you in this frame (Or on the TV, whichever analogy you prefer). This is where the fun starts!

Shift the "Frame."
Shift the "Picture."
Shift the "Frame and Picture," opposite directions.

OK, this is the picture…the "Frame" is the first step. Raise both hands just like you were being stuck-up. Hold the hands in front of you outstretched. Look at the opponent through this "Frame." This unconsciously becomes his perceptual portal to you. You must remember that all of this is happening very fast. The opponent must not be touched, if you do, it becomes a physical parry (and the enemy can react or recover from such a cue).

To shift the Frame you employ a quick, lateral jerk of the frame as he punches. Always send the Frame in the direction of the body’s natural curve (inward). He will miss you by mere inches if done correctly. First passing by your ear. Learning this builds confidence. This leads to further sophistication of the skill. Be ready to parry if the Shift fails to draw them off target (your face). At that point…FIGHT!

To shift the Picture/Target means you leave the Frame still. It’s the Target that shifts in a sideways manner, out of the Frame. You duck out. They go through the Frame because they are visually bound to play that Line.

To shift Target and Frame in opposite directions is to employ both Frame Shifting concepts. Leads and Draws are similar. Found in the Aiki Arts more than other Arts, such techniques are unique in their benefits offered to the Practitioner. Kali utilizes leads, palm leads to be exact. Kali in fact teaches the empty hand fighting Guard not as a Boxing Guard, but just like a Frame Shifting Guard…could it be? Yes, it could, the higher adepts of Kali are also aware of this skill. (Nothing mystical, just sound science at work). Again I advocate your using Stage Magic as a study to enhance your knowledge of human psychology, illusion and of skills such as Frame Shifting.

[kingoftheforest]

This and one more segment make up the whole article which once again can be found here.....


Subliminal Gestures by Master at Arms James A

Subliminal Suggestions IV



Here is a progression formula for you to monkey around with. It’s logical and produces multi-level results with sincere, controlled practice.

The three methods of using Subliminal Gestures:

Block with SG.
Block and SG.
SG and block.

Progression:

Blocking.
Blocking with Circle.
Block with SG.
SG only.
SG with tonal inflection (scream in specific key and tone).
Voice only, tones, Kiaijutsu.

Pumping forward motion with the hands cause imbalance and unsettles the spirit.

Use in-computable circles to overload the CNS Survival Center.

The low growl immobilizes and stops, cause the opponent’s body to sink.

High, yipping screams cause the adversary to go upwards, sometimes they flip in the air, fish-like.

SG:

Foot placement.

Circle.

Steal the balance at all times.

Overload the senses.

An SG can be hidden behind another movement (this may or may not touch, either way it will play). This type of action creates a "Startle Response" in the opponent. These SGs are directed to the vision-eyes, but again do not touch unless they must. Whatever touches should be punished, either by destroying it or controlling it.

You can find fertile ground to discover more applicable SG-like movements in simple drills like Hubud-Lubud, most Traditional Kata and in some types of Sword Play. Consider that all things have a light side and a dark opposite (shadow). Please conceptualize the total yin side of what you already know in the Martial Arts. If a blow normally hits hard, then this yin type must not hit at all! OK, if an arm normally contacts the opponent’s arm on the outside of the forearm…then it must, in the yin phase lead the blow with the inside of the arm in a wave of capturing energy, towing the blow behind in a vortex of invisible energy. Like a very vigorous and controlled miss. Over-do the SG when you use them, we need the bad guy to really see it for the gesture to rack’em up deep in the mind-body-reaction-danger-vision zone like we want. Can you use an SG on a pet during play? Where are circles in The Big Picture of using magic, SGs and combat?

[123456lQq]

I'll be looking around a great deal as need all the help I can get