FLEXIBLE WEAPONS

Brian Pike of Silat Suffian Bela Diri provided an introduction to the scarf as a flexible weapon.

Equipment first

Flexible weapons as a generic category can include a wide variety of everyday objects – most of which were once readily available objects or farming tools, such as the latigo (whip), chains, rope, and daily dress (sarong). The use of flexible weapons is not exclusive to the Filipino arts.[1] The very phrase cloak and dagger alludes to skulduggery which etymologically points to street fighting techniques of 17th and 18th century Europe. What were once traditional tools and common clothing now are specialized martial arts tools. This is antithetical to the very spirit of flexible weapons. They were flexible because found catch as catch can in the environs as well as being non-rigid.

The shemagh was introduced to the US by soldiers returning from Afghanistan where it was a functional article and now has an ironic cachet as a fashion accessory. Brian Chilton found a shemagh, sold by a charity which provides education for Afghan children, and is an excellent (and tacticool) scarf to use everyday. Or consider the tactical bandanna from Comtech. Either can be adapted for your EDC kit.

Orientation

A flexible weapon can be deployed with a snapping whip action on a line to hit targeted points and have the distinct advantage of being able to bend over a block (and therefore still hit) as well as trap limbs and weapons to immobilize and off-balance opponents.

When training the strike, flexible weapons are snapped like a towel. It doesn’t take long to recognize that to deploy a snapping hit, every attack requires full commitment. You cannot feign a strike and the strikes cannot be repeated quickly – each one must go to its full extension, then retract to load for the next strike.

Augment a scarf (load it with shot, line it with hooks, etc.,) and it will hit with more power and do more damage, but for EDC, the scarf is a tool to distract and harry the adversary, to gain you time and positional advantage in the conflict.

Break the adversary’s initiative and get ahead of their OODA loop and you can use the gained time to either escape or close distance as the situation dictates.

Closing the gap then affords you the secondary use of the flexible weapon as a binding tool. Here skillful deployment is critical and the typical focus of workshops and seminars.

Wearing and deploying the scarf

To use a scarf quickly in a self-defense situation, it has to be worn correctly. Place the midpoint of the scarf in front of your neck, then drape each free end around the opposite side behind your head so the tails hang on your chest. To deploy the scarf, grasp the mid point under your chin and pull out and down.

Holding the scarf

The scarf is a binding tool. Once deployed grab the scarf knuckles up, hands shoulder width apart, then roll your hands forward, look at the palms so the scarf makes one wrap and grasp the fabric with your fingers. The scarf can be pulled taut and held firmly while still allowing you to release it quickly in the event that someone counter-grabs your scarf.

Snapping the scarf

Drop one end of the scarf so it hangs loosely. Twirl it as it hangs to tighten it, the tighter the bind, the easier it will be to snap. Snapping the scarf is then like using a whip, or throwing a frisbee and can be done with a side throw or on the vertical. You have to practice distance to know the range of extension. Because it is a whipping action, it is most effective when the tip is at terminal velocity and close to the end of its maximum extension. Because the scarf does not have much mass, you will need to use considerable effort to accelerate it and once snapped, to bring it back to you. Its light weight means no rebound energy and a slow redeployment.

Trapping and blocking

At long range the scarf can be used to ‘block’ by creating a moving barrier. The good ol’ figure eight is your friend here. Just like the flourish with a jo or a weaving sinawali, create a constant motion between you and your opponent. As your opponent enters you have a chance to bind their weapon as it enters the continuous loop. Be careful. Your opponent can also grab or if his weapon is bound perhaps use the scarf against you (binds go both ways…), hence be prepared to release your end.

At closer range, with the scarf held with both hands, the scarf taut, it can substitute for any short baton for blocks.[2] The advantage of a scarf over a rigid baton is that once the strike is blocked, the scarf can wrap over the opponents weapon to trap it and potentially eject it. See the video links below.

Reminder: as a general rule to start the bind, the long part of the scarf orients opposite the opponent’s weapon. If the opponent’s knife if blade up, then start the wrap at the bottom.

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YouTube Links

The bandanna as flexible weapon

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[1] Nearly every culture developed flexible military-grade weapons (usually derived from agricultural tools). Some examples: European flail, (southern) India’s urumi, Japan’s kusarigama and kusari-fundo, bolas (boleadoras) used by the gauchos of south America, and the slungshot (monkey fist).

[2] The basic expanding baton techniques as taught to police departments all follow the same generic patterns. ASP, Monadnock, all have their variations, but generally follow the same manuals.

Dracula as Historian

I admit to being a fan of the vampire genre: books and movies. Most recently, the BBC produced Dracula released in 2020 on Netflix.[1] It starts as a smart retelling of Bram Stoker’s novel with visual homages to classic movies along the way, but quickly takes new narrative turns. Unfortunately the series had a very short three-episode run despite quality production.

More episodes please!

My favorite scene in the series: Dracula is awakened in the current era after an entombment of a hundred years. His first encounter with the modern age is with a modest home owner. He has feasted on the husband and confronts the wife Kathleen in their house. Looking around the cluttered home:

Dracula “You are clearly very wealthy”

Kathleen (incredulous) “Wealthy?”

Dracula “Yes. Well, look at all this stuff. All this food. The moving picture box (nods to the television). And that thing outside, Bob calls it um … a car. Is that yours?

Kathleen (nods and breathlessly answers) “Yeah.”

Dracula “And this treasure trove is your house!”

Kathleen “It’s a dump.”

Dracula “Its amazing. Kathleen, I have been a nobleman for 400 years. I have lived in castles and palaces among the richest people of any age. Never … never! Have I stood in greater luxury than surrounds me now. (Scanning the cluttered room.) This is a chamber of marvels. There isn’t a king, or queen or emperor that I have ever known or eaten who would step into this room and ever agree to leave it again. I knew the future would bring wonders. I did not know it would make them ordinary.”

I love that line! A poignant reminder that we do in fact live in an age of abundance and ease. And we take it all for granted and anticipate even greater convenience in the future. The irony is that our modern conveniences make daily labor rare so that we have to pay to exercise. We struggle with obesity not famine.

And watching history unfold from a disinterested perch (mere humans are food after all) grants a vampire the ultimate perspective of the longue durée. The vampire is very aware of the changes through time.

With a nod to Neil Gaiman, I amuse myself thinking about how such perdurable creatures might manifest now. Think about the Moirai (Fates): Clotho spun the thread, Lachesis drew it out and Atropos cut it. I smile to think that they now own DNA testing laboratories thinly prognosticating our moment of death. Protein chains as the thread of life.

How the hell does this pertain to Aikido and the martial arts?

This morning we covered sword basics. In describing the fundamental use of the katana and how the blade must be stopped by wringing the hands inward, my observation was that we moderns do not have the necessary grip strength. We do not daily work with our hands or engage with the sword often enough to wield it with effective ease. What should be normal is now specialized activity.

I recall reading about a history professor skeptical of Herodotus’ assertion that at the Battle of Marathon, “The Athenians advanced at a run towards the enemy, not less than a mile away.” The incredulous professor asked the college football team to don hoplite gear and replicate the run. None accomplished it. The professor concluded that Herodotus yet again got the facts wrong; the Athenians could not possibly have run to engage the Persians and then battled them to prevail.[2]

The arrogance of moderns! That football players could not replicate the martial feat should come as no surprise. A bronze panoply weighs nearly 70 lbs, approximately 50 lbs more than football gear. When not in annual battle, the ancient Greeks were in the fields plowing rocky soil and walking everywhere. No modern conveniences, no mechanical advantages beyond the basic lever and wheel. Everything was toil and, yes, people were tougher then: Because life was harder, people had to be.

So, when thinking about techniques and how they are applied, understand that we are all under-conditioned. When dealing with weapons and control techniques, hand strength is a pre-requisite to efficacy. And mental toughness is mandatory. We now label grit as if it’s a trait to be curated and not a byproduct of life-as-lived. When was the last time you slaughtered an animal to fill your larder? I have had to ‘process’ pigs and chickens in the past but have only ever hunted for ‘fun’ and never out of necessity. I relish the convenience and ease I take for granted. As a result, I am weaker for it.

The point is this: better nutrition, education and training methods are no substitute for the raw experience of daily exertions.

Dracula marveling at our material gains and highlighting the creature comforts we all enjoy also gave me a twinge of guilt; a reminder that easy is not qualitatively better. I have to remind myself: If the goal is improvement, we must do what does not come easy!

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[1] BBC’s “Dracula” was created by the same visionary team that created the earlier BBC series “Sherlock.” See the footnotes in >Mining the Moon<

[2] I found the proper citation while reading Victor Hanson’s The Western Way of War and correct my imperfect memory of the study in that post.

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Update – >here< is a brilliant essay on Dracula, time and economic growth

OKAMOTO SENSEI – JANUARY 2020

Yoko Okamoto returned to Portland Aikikai for a workshop. This was the first visit to the new location after a four-year gap. It was not a publicized seminar so she was able to concentrate on Portland Aikikai students.

Okamoto sensei is much in demand and we are fortunate to have a familial connection to enjoy her undivided attention.

The highest expression of Aikido’s art is the connection between the players and the movement around the axis of the encounter. Okamoto sensei focused and drew upon exercises to develop that sensitivity and understanding of the art.

To develop that sensitivity, Okamoto sensei worked from gyaku hanmi katate dori and specifically on moving around the axis of the encounter without disturbing uke’s initial grab.

The point is that without information uke has no reason to change the connection. Uke should grab with sincere intention and nage must move around the point so as not to create a secondary action in uke and thereby create a cascade of reaction-action-reaction.

Hence a quiet connection but one where both players maintain their respective intentions. Therefore, once uke grabs (and properly with the lower three fingers primarily) and if the grasp is opened as a result of movement, then uke re-grabbing is a fiction. Uke needs to move with continuity through the engagement, not stop, grab and snatch again. Smooth engagement. Progressive training is the focus. Start from static and build slowly: slow is smooth, smooth is fast.

Superior position is nage’s intent and Okamoto sensei demonstrated this at first by controlling uke’s elbow. Starting from compression, Okamoto sensei’s demonstration and explanation is less polemic, but the function is what I call bone locking.

The second presentation was extension – a leading action. By extending uke’s elbow, uke’s balance is taken forward.

The techniques that follow from each of the entries are genuinely far less important than the means of gaining the position that makes a technique possible.

First principles!

Proper position is necessary for any and every technique that follows. That is the key take-away from the workshop.

Virtūs et Honos

1995 was a few years ago…