Body slam to opponent
Note: After a quick dispersal of attackers, set up each opponent separately for each spectacular technique.
Chokes
1. Rear chokes
2. Lean-over stranglehold
3. Side stranglehold
Foul tactics
1. Hair pulling in infighting (for control)
2. Foot stomps in infighting (to hurt)
3. Skin pinching (to hurt) or ear pulling (for control)
4. Groin grabbing
Target areas
The body is the easier target to hit for the simple reason that it covers a far larger surface than the jaw (the groin might be a better target and is definitely harder to block) and is less mobile.
To intercept a head lock, or a head-immobilization attack by your opponent block the locking arm with the arm that is furthest away from your opponent, while simultaneously slipping your left leg in behind his right leg. With a quick twist to the left, lift your opponent's right hand and trip him by pushing him over your left knee.
Progressive charts
1. Progressive target
2. Progressive tools
3. Lead side
Progressive target factors that all martial artists should consider
1. Distance and footwork (see sections on distance and footwork) in long-range fighting
2. The importance of fluid [interchange of] long-range fighting and close-range fighting and vice versa
The choice of stroke
1. Should deceive opponent’s stroke
2. Offensive action should move in the same direction as those of the defense. Otherwise the blades are bound to meet while turning in the opposite circle.
To find out the reaction of habit in your opponent
1. Quick simple attack
2. Feints preceded by attacks on hand
3. False attack with a half lunge
The role of techniques
Though they play an important role in the early stages, the techniques should not be too mechanical, complex, or restrictive. Remember, you are expressing the techniques and not doing the techniques. When attacked, your response is not technique 1, 2, 3, 4, 5—rather you simply move in like sound and echo, without any deliberation. React as when I throw something to you, you catch it. Nothing else.
In most cases the same tactics for each maneuver must be drilled on the opposite side of the body for the proper balance in efficiency. When your feeling is more involved in the technique your technique improves.
The three stages of a technique
Stage I (synchronization of self)
a. Correct form
b. Precision (augmenting speed progressively)
c. Synchronization of the whole
Stage II (synchronization with opponent)
a. Timing—the ability to seize an opportunity when given
b. Distance—correct maintenance of space
Stage III (application under fighting conditions)
a. Mobility
b. The physical ability to lengthen movements of arms and legs, in other words to increase reach
c. Resistance to fatigue, i.e., stamina
d. Spring and resilience
e. Physical and mental alertness
f. Imagination and anticipation
g. Courage to take chances
h. Speed progression • Strength progression
Repetition of the same parry can spell disaster.
Observe, deduce, and apply.
Speed and cadence
Speed must be regulated very carefully to fit in with the speed of execution of the opponent.
The regulating of one’s speed to correspond with that of the adversary is known as cadence.
With each adversary the first thing to find out is his cadence, as even a simple attack can fail if that has been ascertained.
It is a great advantage to be able to impose one’s own cadence on the opposition.
Men of experience often change their cadence, and effectively hinder the opponent in his effort to regulate his.
Certain styles and tactics
The Golden Principle: Each movement of yours must correspond to those of the opponent.
On the need to vary your attacks
The stronger man will be he who, if necessary, is able to vary his strokes and kicks.
The more experienced the opponent, the more varied will be the strokes and kicks.
Sometimes PIA works, sometimes HIA—in other words, depending on the opponent’s tactics and reaction. It takes two to play.
When you are in range, in order to be safe:
a. You can apply the pressure by attacking (well-covered attacking!)
b. You can lodge yourself in blind sides of opponent
• Both sides—HIA
• Boxing safety position (to shoulder—attack groin—leg immobilization attack)
• Gap pressing
c. Sidestep to both sides to limit opponent’s direct rush—be watchful of all possibilities to counter from the positioning relationship—like rear cross, spin kick, etc. (immediate) and the opposite hand and kick (secondary).
d. Watch your opponent with “all-inclusive playful seriousness.”
Question
A good artist is one with:
a. An all-inclusive attitude without gap—playfully serious
b. Totality in equipment
c. Ability to supply and regulate with the object (opponent) C with (a) and (b)
It is impossible to vary one’s offensive actions if the adversary does not vary his parries.
Watch for the opponent’s styles, habits, and movements and use them for your advantage.
When faced with an opponent who has a decided advantage in reach, it is often a mistake to try to keep still