Protective Arts

JODAN TSUKI to USHIRO RYOTEDORI

Playing off the fencer’s lunge, we have moved back to jodan tsuki with the emphasis on the role of the attacker – using the straight blast effectively. An explosive attack is a pre-requisite to honest training. Repetition – correct form repeated until the attack is both accurate and powerful is our homework.

Thrust counter kick — There are other options of course….

Most of class was spent on material we have covered previously (review) but now I hope the ranged attack of the foil will inform the practice. From the straight punch we do a cross check, slip inside, counter trap and the strike to the side of the attackers head with a 90-degree pivot to the line of approach. A 3-beat counter to the punch. You have seen this numerous times – it’s shomenuchi kokyunage. Because shomenuchi telegraphs intention more than tsuki, nage’s response to a thrust requires a crisper timing. So the presentation this morning was more staccato than connection.

From the kihon 3-beat direct kokyunage we played with beats.

In a 3-beat the pattern when uke attacks with the R, nage’s pattern is R intercept, exchange for L – L exerts control, then finishes with a R to uke’s neck. Add a beat – go to 4: uke attacks with R, nage intercepts R, exchanges L, R strikes uke’s inside elbow (where nage’s L was a moment before), then nage strikes uke’s neck L.

As a concept the more beats, the more time required. Therefore, nage’s movements must be crisp, linked, and properly targeting uke so as to not allow uke to regain the initiative.

Decrease the beats. A 2 beat exchange can be done several ways. The most common response in Aikido is similar to yokomen uchi kokyu nage direct. Uke attacks R, nage intercepts L and strikes R. A very straight forward response that requires responding in true time and with a subtle inside slip so that the nage’s lead hand can properly intercept the attacking fist. I also showed an elbow compression in a 2 beat response:

Aikido presumes the sword, so most of the attacks and responses have the primary point of articulation at the shoulder. Shorter ranged weapons allow for the more prominent use of the elbow.

Uke attacks R, nage intercepts R and while keeping connected at the distal part of the limb while the elbow flows over to uke’s elbow to collapse it allowing nage to strike with the L. This will resemble the 4-beat response but done with just 2-beats. It requires greater sensitivity, flow and tighter proximity.

We did not cover today, but it should be obvious, that other 2-beat variants are cross-block (RvR) then shoot straight under the low gate to a counter thrust.

Jodan tsuki countered by a standard cross-block leads to the general kihon response matrix: on the cross-body line – ikkyo through sankyo; inside to outside – kokyu nage direct; outside line – irimi nage, kaiten nage; complete the responses.

For the more advance play we added a pak sao feed with the front hand – this is a half beat feed to the cross hand.

Uke attacks jodan tsuki with the R – nage uses lead L to slap feed the attacking arm into nage’s R – this could be a power assist to drive to irimi nage direct, the front arm-trap & choke by selecting either the high or low gate.

After these parry-riposte plays of attack, block/blend, counter, we then moved to more complex – compound exchanges. One player initiates with a straight thrust – the responder then starts a cross block to execute a technique, which is defeated by the attacker pulling back to counter strike. Recall the concept of beats. If nage is executing a 3 or 4 beat response to uke’s one attack, nage must be moving at a multiple of uke’s quickness. Review the Types of Speed. As we allow for the possibility that uke could attack and if blocked then attack again. Uke will therefore re-chamber, so nage must learn to follow the attack back. As nage follows the initial jodan tsuki back, nage has closed to the shikaku. Uke’s back is now presented to nage, as is uke’s second arm – so grab it! Now the players are in ushiro-ryote-dori’s position. Uke is now in nage’s role.

Ushiro-ryote dori as typically presented is entirely devoid of martial content. The budo of Aikido is not on the surface and I rarely see it explicated in a sensible manner. Nage presenting an arm that floats in the air for uke to grasp. Balderdash and nonsense!

uraken (1) — Uraken – back knuckle strike

Keeping it real, if we keep to the kihon presentation – nage will initiate the action with a back knuckle (uraken) to the temple/neck which uke must intercept – and then does a press trap to enter to nage’s back in order to arrest both nage’s hands. The standard responses now ensue.

Or the more complex (compound) set up described earlier from the jodan tsuki. But keep in mind these are concepts to provide proper context to the ushiro attack. The grasp/attack could just as easily be ushiro ryokata, ushiro ryote dori, ushiro kubishimi, etc. The logic chain to get to the position is the focus. The responses from the ushiro relationship will be the next focus.

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The ushiro relationship is dramatically different from an eridori attack. As discussed here – ushiro is a secondary response (i.e., your first plan failed). A primary attack from the rear is eridori, which is a sentry removal technique.

The simple fact is: you never want anyone to get behind you. Your inattention is your demise.

An attack from the rear is a thuggee favorite (remember etymology) – with a garrotte

As a preview – the responses to eridori are far more explosive that any ushiro precisely because the eridori grasp is an imminent threat. Study the early presentation and look at the dramatic movement O’Sensei achieves from the intial to the terminal position. Do not allow adversaries to approach from the rear and if they do be decisive and immediate in your responses!

FOIL: THE USE OF THE POINT

Saturday we were able to do a private seminar on the use of the point with Master Foiler Vincent Camillo at Northwest Fencing Center.

The use of the point – the straight thrust is a critical skill to add to one’s arsenal and foil is a great introduction. The limitation of the torso as a target forces point discipline – aim small miss small – and the rules of right away forces the players to clearly separate the roles of attack and defense.

The constraints of the strip and the limitations of target forced us to play with ranges – how to close and bait with leg movement and keep control of the center with small movements of the hand.

Right of way is a valuable tool to teach the attack – parry – riposte sequencing. As Aikidoists the idea of awaiting a committed attack before acting should be familiar and it was great to see the level of patience everyone displayed.

Brian on the Hunt — Brian S. on the hunt

The gamesmanship and ploys in fencing to create opportunities for action shows the contextual limitation of Aikido. Because our art focuses entirely on the last committed action we miss the baits, feints, and general deceptions that are the very heart of personal combat (monomachy).

Michael and Kumiko as Master Camillo watches

Everyone well acquitted themselves and readily adapted to a single-handed weapon. The thrust and its ability to control the center by simply not moving is a powerful tool to keep in your arsenal.

The techniques in Aikido at a casual glance favor the edge – shomen uchi and yokomen uchi are prominent edge attacks. The kumi-ken is edge dominant.[1] Even the kumi-jyo is heavy on clearing sweeps.

But look deeper and you should see that the use of atemi is nearly universally a thrust. In the Hombu-style the atemi is not emphasized because if done properly it stops uke’s action – thereby making the blend, kimusubi, irrelevant. Atemi is what JKD would call a stop-hit (neutralizing the attack) or a straight-blast.

its not a jab — It’s not a jab – it’s a thrust

I point back to JKD because Bruce Lee was a brilliant student of human motion and developed JKD as a response to the shortcomings he found in traditional eastern martial arts and therefore added elements of western combat systems that he found effective: incorporating Jack Dempsey’s approach to boxing and the fencing style of Aldo Nadi.

Review The Tao of Jeet Kun Do and Bruce Lee’s other works and make a study of them with a new appreciation of a fencer’s use of point. The power and speed of a straight thrust. It is not a boxer’s jab.

31190007_1731968813508268_1723937565523836928_n — Yes – a thrust: weapon, hand, body, foot

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[1] The katana is a shallow-bellied saber wielded with two hands (look at the design consistency of the blade). As such its use emphasizes the edge over the point: the slash over the thrust. The edge vs the point is one of the oldest debates and western vs eastern methods of fence is just as pernicious. Search the web and you will see polarized and emotionally charged opinions – as vociferous as the 9mm v 45 debates in the handgun world. The simple fact is, when there are ‘best’ methods then those cultures with ascendant technology and strategies do in fact dominate – just read your history. But that is a macro-scale review. In monomachy it isn’t a contest of arts but of the individual skill of the combatants. A good summary of the recorded clashes between western swordsman and samurai indicates as much. Also make sure to review the excellent articles posted by Maxime Chouinard

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Additional resources can be found at Martial Arts New York on the importance of fencing (their banner photos show an excellent use of the thrust with and without weapon).

A nice comparison between ‘old school’ and ‘modern’ fencing flashing steel (1926)

To get closer to the origins – the Italian method from circa 1600 on rapier use.

A great example of the principles: study Charlie Burley (thank you Master Keating for that reference as well as for this article!)

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One could argue the most successful armies have preferred the point. The Greek hoplite with the overhand thrust of the spear, the bristling-layered phalanx of Alexander, in close quarters the Roman Legionaries used the thrust of the gladius, the Parthians and Mongols were experts at mounted archery, the advent of the stirrup allowed the charge of the lance, and Patton’s calvary saber design emphasized the point. And it should go without saying that projectile weapons are nothing but the logical conclusion.

Fencing with Vince — Master Camillo misses me on purpose

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Lessons from the Knife Coach – James A Keating

Le POINTE! There are times in life that require the edge of a knife to cut and there are other moments when you need the point of that knife to pierce. Commonly most people who have little or no training wield a knife much like they would a club or axe. Meaning they more or less hit (chop) with the knife rather than cutting (drawing) with it as they should. Believe it or not cutting requires more skill to execute than does the simpler, more intuitive thrust does. The cut can be disabled by a jacket or heavy coat. Also a cut requires a sharp edge (most men’s knives are dull as hell) in order for it to work effectively. A thrust has none of these issues or limitations, the point does its magic under nearly any circumstances that you may encounter. Ripping, tearing, picking and piercing. These are the ways of the point and this then is the topic of this session. Point Work and thrusting with point! The deadly “thrusting triangle” of Kali is a well-known example of the knife man’s usage of the point. In his quest for victory the knifeman must thoroughly understand the many levels of the mysterious thrusting triangle. Sumkete, sonkete… yes, good old thrusting mixed liberally with enganyo (faking). Also add a dash of slashing interspersed with the three thrusts, connect the dots so to speak. That should round out the game in your favor quite nicely. Now you have quite a sophisticated web of defense. It contains the elements of deception, the threat of the point, slashes that seem to appear out of the thin air! Now add the checking hand into the mix – Presto! You have the makings of a great means of personal protection from start to finish. Mind you, it’s not just the Filipino arts which employ these methods. All forms of edged weaponry share these traits. Sure they vary slightly from style to style, from teacher to teacher, but generally they are known by all methods and by all men. They are somewhat “instinctual”. Men will perform these actions with or without prior training. Unique to which we speak is the conceptual depth that these methods encompass. It is that very “depth” that many miss and settle instead for the most basic of understandings and applications (edge-ucated idiots). Stop looking AT the exercise and instead look INTO it. And just what are those things which you might find by looking deeply into the thrusting triangle method? Right off there are a myriad of disarms which await your study. They hide and reside within the thrusting triangle’s matrix of motion my friend. The retraction of the six and seven thrust actions are the key aspects. Right after the thrust is completed (or even if it is blocked) – now is the time to extract their blade from their trembling grip! And then follow-up with another thrust and a line clearing slash. The deed is done, you’ve won. Either exit the area in victory or apply aid to the injured as swiftly as possible. A thrust (Point) can be given in a fight for a specific reason. A case in point is armor. An armored opponent has taken away some of the better and more accessible targets. By doing so he has gained an advantage. The six and seven lines have the capacity to defeat armor. The line of attack itself can find and exploit an opening or gap in armor, modern or ancient armor, it matters little. The number five thrust or a common slashing cut do not have the same ability as the other two lines of your triangle. They struggle when armor is present. You must practice and understand “skidding” thrusts. They are meant to skid off the breastplate, gorget or forearm. They seek their targets by sliding over the surface of the body (in this case armor). In Kenpo such an action would be categorized as “contouring” (following the surface to your target). Such actions like contoured cutting will seek the bone and follow it in fights that lack armored combatants. Even the visceral vaunted backcut of the Bowie knife fighter can be performed upon the thrusting triangle. I know so for a fact for I’ve taught it successfully for years. Bill Bagwell himself also states that the backcut is “pointwork” (point oriented) and that it is not really a cut at all, but instead a form of ripping with the point. Like a raptors (eagle, hawk) beak. I totally agree. And I’ll also add that you must understand the true reason of the fighting design of the weapon’s butt. Some knives have spikes or sharp ridges on their butt ends. Hell yes, this then is another available point of contact / damage to employ upon the enemy in close quarters using “point” techniques. (Remember not all knives are suited to butt strikes. Use the right unit eh?) You must try the thrusting triangle with only butt strikes, then only with knife point, next with both point and edge (connect the dots). Lastly you may add a live hand check to the chest or shoulder (in lieu of the face or stomach) – once the live hand begins tossing 1/2 beat strikes on the triangle matrix as the knife simultaneously delivers full beat motions on the same triangle you’ll have reached a zenith of timing, skill and ability. It’s not about force, it’s about timing. The edge & point of the weapon are force enough. Learn this tried and true material in graduated levels, one step at a time. I’m looking forward to seeing your development soon. The prime directive of the KNIFE COACH is to help you achieve your goals and to make you better at whatever blade art you do. I am sincerely honored to work with you. Whether it be in person or via DVD or over YouTube, I know that together, we can do this! Please learn & never forget this knife fighter’s mantra from times past: “If your blade goes forth, withhold your anger. If your anger goes forth, withhold your blade.”

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An homage to the spike – the point of self defense!

A blade has greater utility, but the simple spike has advantages. An spike could be any acutely pointed metal rod – so it could be chopsticks, knitting needles, a screw driver, an ice pick. The purpose of a spike is penetration. A narrow point will punch effortlessly through clothing, including heavy motorcycle jackets and most body armor. With sufficient force, a metal spike will puncture bone and once through can be levered in a rotating pattern to cause tissue damage. Importantly, a small entry wound is a clean hole and vascular constriction means that a puncture does not bleed profusely. A slash will cause more external bleeding and therefore make a mess. Puncture wounds cause internal bleeding and are therefore cleaner. A puncture will hurt considerably and should persuade an assailant to stop his unlawful action.

RYOTEDORI 4

We have been exploring ryotedori as an indexing concept – using examples from the repertoire of techniques to extract principles

As an additional concept I related nage’s use of shyuto to the 5 basic knife retention methods.

Linking the two concepts: remember that the first knife retention technique shows the grasped knife hand rolling at the wrist so that the knife edge is used against the inside of the assailant’s arm (flexor tendons) or the outside. So the final combination to explore is the double-inside ‘roll’ whereby nage keeps the inside line but only to roll over from the inside to the outside (snaking). But the goal here is for nage to capture both uke’s elbows bringing them to uke’s center line.

This could in itself be a control technique if nage is well versed in its use.

More frequently it will be a momentary lock to a flow* which will resemble udekiminage except that both uke’s elbows are in a hyper-extended position – making the throw similar to koshinage and seionage.

Because of the elbow lock the variant that I am describing is more easily damaging to uke – so train appropriately and judiciously.

If uke manages to release one arm from this control, then retain a firm grasp on the one remaining – the flow should lead to udekiminage, shihonage, etc., when your arm is controlling the low gate but kokyuho, iriminage, etc., when you enter by the high gate – as uke’s escape/counter dictates. The responses are numerous but finite and dictated by the context of the encounter. Learn to see the patterns to cut through the confusion of the specific variables.

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[1] Lockflow. The link takes you to Master Keating’s meditation on its mastery, which is also copied here to ensure it will remain available:

The Six Simple Tricks to Mastering Lockflow:

1. Interaction between partners is a critical aspect of flow training. It is that specific energy that creates what we define as “flow.” As in Japanese martial arts there is an UKE and a TORE (IE: the thrown and the thrower, etc). But flow goes deeper than uke-tore type training. If you are the one doing the lock series, then you must be sensitive and aware of the opponents intentions and be there when he arrives. By this I mean, you read the vector of his force, the pressure of it or not. You must intuit the answer to that force or energy he is displaying, you yield to it. This is a type of focus known as “listening energy”. It is not done with the ears. Need I say more? It is your touch and intent which listens and responds like an echo in an empty theater. It is of the moment, spontaneous and unpredictable. We “know” where to go or to be because the opponent tells us himself. To do this a calm spirit is required. Fear and anger cloud this ability. To flow, seek calm through interaction.

2. Speaking of “yielding”, let’s define this aspect and why so many arts value yielding as a way to sure victory. To yield is like setting a trap. To yield does not refer to a “defense only” strategy. That is to misunderstand the principle. What we mean is more like the old saying “give’em enough rope and they’ll hang themselves.” We let them commit, they do as they wish. Then in an instant we turn the tables on them. At that moment we take the lead and turn their attack into our victory. The minute they commit to a course of action we can understand. Alpha and omega, from beginning to end. Try going with their energy and making it yours in the process. To yield isn’t a weak strategy, it is a clever strategy. In the combat field, it’s their force you’ve stolen, all through the magic of yield.

3. A “universal entry” is always a handy item to have on tap. You must have something that allows you to enter the fray with authority. Entry skills are quite diverse (meaning there are many of them out there). So pick one that can do many jobs, attack, defense or counter fight – it must serve all and be simple to pull off as well. Enter strongly with a dash of deception and go for the goal. The goal is basically to get your mitts on this guy and use your skills to either lock (submit) him or snap the damn joint (break it). The universal entry you decide upon must be good for both static and ballistic threats. It must have a dual nature in order to work on weapons and empty hands alike. It should be some type of universal entry that will apply whether you are on your feet or laying on the ground. Armed or unarmed, ready or not. Time for rehearsal of things universal!

4. Two way pressure! Here is something I cannot stress enough! The constant interplay of two way pressure is a serious factor to incorporate into your locking skills. Why? Because without it not one thing will work. It will all just go back to force on force, no flow, no skill. Just force. So the two ways are subtle and simultaneous. Never one at a time. Some people can’t sense the pressures, others can. It is about pressure and vectored force. The so-called strength of a good lock flow man derives from proper skeletal structure more so than from muscle. Yeah, it is a difficult thing to understand. But, it is more than do-able once you get the concept down and play around with it for a few days. Sometime when we are together just ask me, I can demonstrate how this works and pass it along to you. In order to play just keep the pressure two way!

5. Keep the number of locks down to a reasonable number at first. Five or six will do. Now make them work off one another, add a strike here and there as a half beat. The six locks should be ones you can do, one’s you know. Remember we are seeking FLOW, lockflow. So you must already have some prior knowledge of locks eh? Then the locks you already know fit into the matrix of the “lockflow”. That’s the idea. The number of joint manipulations is not too important, you can always add or delete a lock here and there. As your partner pushes away, flow back with them. Perceive what is available to you at that point. Slow it down, this is about learning. With each of the locks remember to apply footwork and body mechanics as part of the package. Grip strength is an important element for a locker. Learn about improving your grip strength, learn too the different kinds of grips and the applications. Choose wisely your locks, let them flow between blocks, give his head a few knocks, choose wisely your locks.

6. Counters to the six locks are important. The counters are what your training partner does – the counters are the drive motors of the Lockflow itself. So the counters must be appreciated as much as the locks themselves ok? You both have duties to perform so that you get the idea of how to flow. The physical locks are simple when compared to the intangible, elusive nature of flow. The counter should be smooth and gentle. No one wins, this is a drill to teach sensitivity and movement. Work together, coach one another, do not compete. To compete makes learning most difficult. There are many kinds of counters you should try. Some are based on a physical technique that counters another physical technique. Others like “bump and dissolve” or “shiver and release” work on all locks. Such counters are more principle than technique. Slow down, stay on it, make the flow of flowing yours! OK, both partners should alternate roles at regular intervals. Know several counter methods, change them about some, challenge the set flow with new elements and it becomes real. Soon the slower flow will becomes fast and your abilities improve. Just don’t “fight” stay smooth, allow the counters, learn to flow not fight. A counter-move in a lockflow groove is what we seek.

Lockflow is only a part of the greater whole that makes up close quarter fighting. Lockflow must be part of the strike, throw, cut, stomp methods you would normally use. If your attempt to lock breaks down then flow with the opponent until another lock can be found. Or simply break off lock-contact and smack the heck outta them as best you can. Flow is a recognized aspect of understanding the force ladder. The force ladder is a flow chart of actions, thoughts, tactics and tools. Lock flow is sensitivity and total integration of your abilities.

Never forget all locks are disarms, all disarms are locks: “Kunsea is augow, augow is Kunsea” / see the marvelous duality here. Really awesome!

Many times I have heard that only the FMA actually teach the concept of true limb targeting hits and limb destruction’s. I see the idea there, but we must also realize that a joint lock taken to the extreme leads to joint breaking (destruction). This is also considered a limb destruction action. Any “lock” when done fast and hard can and often does destroy the joint, bones, sockets or nerves (or all of the above together). To find some combative value know both sides to this issue. Know how to control but not destroy. Know how to destroy and use the locks as deadly weapons.

Thanx for reading!

Keating 8/22/15

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Cliff Lenderman was one of Master Keating’s teachers and this is Lenderman’s presentation of lockflow and as a concept we can interpret Aikido’s series (responses 1-5) as a hand dexterity and flow sequence as well.