The Top Ten Principles Of Yachigusa Ryu Aiki Bugei - #4 Zones Of Defense/Protection
Since I first stated that the techniques taught at my school were based on principles, and that we focus more on understanding the principles that makes things work than the techniques themselves, people have e-mailed me asking me if I could explain these principles in more detail.
Unfortunately, trying to explain many of these principals in writing is very difficult, since many can’t be explained in words alone. However, I will try my best to describe these principles for the “blog” readers, using words, charts and pictures.
Keep in mind though, that in order to sometimes fully understand a principle you have to also understand other principles that relate to it. Most principles aren’t fully useable on their own, and have to be integrated with others.
Let's start with the basics. The body is divided into three "gates": lower gate (base line to medial line), middle gate (medial line to torque line) and upper gate (torque line and above). Each of these gates is divided in half by the centerline, and each section is broken up into quadrants.
(* Using quadrants and understanding their importance is much more necessary when it comes to offensive techniques rather than those related to defense. In regards to defense the application is clear, if you’re attacked in quadrant 6 all you need to do is move that portion of your body out of the way (and yes, there are 6 of them, but quadrant sounds clearer than "sextant"))
Surrounding each body is a zone of attack, and a zone of defense. As with the principle of kuzushi (balance breaking), these zones are divided into eight sections, each a 45-degree sector.
In my case, (not the guy in the photo), this measurement is approximately seven inches, which means any attack that penetrates past this seven inch zone of my body needs to be addressed, either by evading the oncoming force, redirecting it, or neutralizing it.
This “seven inch” zone represents my “personal space” and the amount of time I have to react when the bounds of my personal space are crossed. If I move before this barrier is breached, I can be tracked and possibly countered. If I move after the seven-inch barrier is breached chances are I will not have time to completely move my body out of the way.
Of course, one’s skill level is also a factor in the distance one needs in order to react to an attack, beginners normally requiring more, and “experts” sometimes needing less.
Needless to say, few martial art practitioners actually ever measure the distance of an oncoming attack, or how close it is in proximity to our bodies before we react. There’s a simple reason for this: we are taught to use the attackers corresponding body geometry to judge when they are fully committed to their action.
This measurement, while basically the same, can at times be a lot harder to put a quantitative amount on. That’s because it varies whether or not one is discussing empty hand combat, or combat with weaponry. However, like I said there are mathematical formulas, which are not significantly different.
Unfortunately trying to give generalized measurements, or even basic formulas for every possible attacking method, would require too much writing, and in all honesty would most likely leave more people confused than satisfied. However, with that said here is one example hopefully a lot of readers can identify with.
I’ve always been told that when facing a swordsman preparing to make a downwards cut from the jodan position, I should wait until his front hand (or the tsuba (hand-guard)) passes his eyes before I make any counter movement.
If I measure my hand's position at this point when I am executing such a cut, it is a little over 12 inches from my body This, coincidently, is almost the same as the length as my humerus, (or the distance between my torso (midpoint of pectoral) and elbow joint right before I reach the point of extension). Interestingly enough this distance mirrors my zone of defense. Or in other words, almost the same distance I need to move off-line to avoid being cut.
For those who want to learn more, let me start you off on the right path: The humerus is a very very important bone when it comes to the martial arts, for many reasons.
(** For some of you I just saved you thousands of dollars, sharing this “secret.” I know of at least one individual who paid a few thousand dollars to learn this secret when he was promoted to 5th Dan in a jujutsu art in Japan. And before you think otherwise, what I shared is all this person learned, he received no explanations or techniques to illustrate what this phrase meant—nice to have expendable cash.)
The zone of defense is any point beyond the length of my Adam’s Apple to the tip of my shoulder. To obtain this measurement just take a ruler and place one end in the center of your neck, and measure out to one tip of the shoulder.
Or you can measure from the midpoint of your pectoral (nipple) to the tip of your elbow.
In my case both these measurements equal approximately 10 1/2 inches, which means in order to evade most attacks I only need to move my body 10 1/2 inches away from the point of attack.
In other words if someone is trying to attack me along my centerline, all I need to do is move approximately 10 1/2 inches (half my body) in any direction (besides the direction where the attack is coming from) to avoid being hit.
Ten and a half inches is a relatively small movement. Yet, depending on which movement I choose, it should put me in a position where I can easily counterattack while my opponent cannot attack me again. At least, he can’t attack me without either taking time to reposition himself or destabilizing himself as he extends to reach me.
Of course, just like with the Zone of Attack, beginners may need to move more to avoid being hit, while experts will need to move a lot less—and for some defenses not at all.
This is an example of avoiding a midline attack from a kneeling position. As you can see, it takes a very little movement to take the entire body off of the midline.
Application
Obviously this evasion is done very rapidly.
This is an example of a standing evasion. In this technique the feet are not moved, and the body simply rotates around the hips. This rotation, when done properly, takes the upper body completely off the midline.
Application
This technique requires a lot of timing and faith in the form. The object is to draw in the attacker and keep him close. In addition this small rotation, when executed properly, will not be tracked by the opponent; the tori seemingly disappears. It’s an example of a true Aiki technique.
This is an example of the classic cross step.
Application
There are several advantages to using the cross-step. First of all, it gets one off the midline. Secondly, when done properly (no upper body rotation) it can’t be tracked. Lastly, with the weight properly shifted one can move into a multitude of follow up positions.
Both of the above techniques are an example of a 180-degree rotation. These rotations are completed by pivoting around the axis of one foot. Though the result looks like a major movement, it is fact a small one. Once again only the half of the body needs to come off the centerline.
This last example is a 45-degree forward step. Like all the others, only half of the body is moved off the centerline
All of the above examples were based on midline attacks. However, the same rule applies to attacks from all directions. Also notice that none of the above-depicted techniques utilize “blocks.”
In the system of martial arts I teach, we never ever “block” an attack. We evade the attack, strike it, blend with it, crowd it, re-direct it, or extend it. “Blocking” as described in many modern karate texts will not work. The term “to block,” and the mindset it implies is a relatively modern concept.
Trying to meet force with force will often destabilize the “blocker.” Worse yet, if the attacker’s limb is better conditioned (able to absorb more punishment) than the defender’s limb, a "block" can result in serious injury.
I always tell my students there is no reason to believe you have to do things quickly in the martial arts. Speed is great, but one only needs to be slightly faster than his opponent in order to be effective. Accuracy is the key element.
This is one reason why moving to specific angles which neutralize force is such an important element within the concept of zone of defense.
If the reader is wondering why I specifically selected to only depict centerline defenses the answer is simple. Most attacks are directed towards the torso and the head, which make up the bulk of the center of mass. These defenses are the most important to know initially.
Of course understanding the above theories and definition is meaningless if one doesn’t know proper tai sabaki.
I tell my students that if you can’t avoid (evade) an oncoming attack, then it makes no difference how skilled you are at applying offense. Once you have been struck, and struck hard with the intent to really injure/kill you, chances are you will be at such a disadvantage (physical and/or psychological) that you won't be able to launch a counter attack. That is especially true when it comes to fighting with weaponry.
I don’t want to beat a dead horse, but I see too many martial artists who have no understanding of proper tai sabaki. Sometimes I even see this in very high ranking individuals who should know a lot better. I mean, I have almost 35 years of training, and I still have to constantly work on my tai sabaki skills and I know I always will. It’s one of the first skills I lose when I don’t practice regularly.
So what exactly is tai sabaki?
Tai sabaki [teye sa-ba'kee] can be translated in various ways. In many systems it refers to turning and/or evasion motions, while in other systems it can refer to body positioning. I translate it as “body movement,” since we use it to describe all these elements.
Defensively, tai sabaki means moving ones body out of the way of an attack while at the same time placing oneself in a safe position where the attack can be countered and no follow-up attack can be delivered.
Offensively, tai sabaki means using one’s body in the most optimal position to maximize power and focus, while maintaining a strategic body position which prevents counter attack, or resistance to the techniques you are trying to apply.
Basic tai sabaki movements include:
In order to execute proper tai sabaki several elements must occur:
Initially, one must start by being in a stable position that allows one freedom of movement in any direction. Depending on the situation, this may be one of the hardest factors in tai sabaki since one does not always have the opportunity to prepare for an attack.
However, in the cases where one is prepared for an altercation, most kamae (postures of readiness) are specifically designed to prepare one for such movements. In fact the proper application of a kamae can often dictate how one is attacked. After all, manykamae are designed to appear as if there is a flaw in the defense, which an attacker believes he can capitalize on.
Secondly, movements must be made with the proper weight distribution. Depending on the movement, this can involve raising or lowering the body, pivoting on the ball or heel of the foot (yes it makes a big difference), placing one's weight on one or both feet, or a combination of all of the above.
Correct posture, foot placement, hip alignment and balance must be maintained in order to keep proper weight distribution,. This can only be accomplished by practice.
Lastly, movements should be limited to only those necessary for the action selected. In other words, one must have and maintain control over one's own body in order to avoid extra, nonessential movements. The intention and commitment of one's movement must be made decisively—with strength, speed, and proper angles; yet movement must also be small and controlled enough to avoid creating wasted space or weaknesses within the action taken.
This last element can be a very hard to achieve on its own, and even more so with the additional force of the attacker’s energy, weight and strength.
Learning proper tai sabaki will help a student not only learn to control their own body movements, but it will also help them learn how to take control of another persons body, and use improper shifting against their attacker. This is very important in joint locking techniques and projection/throwing techniques. In fact many joint locks and projection/throwing techniques cannot be completed without proper tai sabaki.
There are no short cuts in learning proper tai sabaki. It is one element of training that must be refined over and over again.
Like most of the principles we utilize, learning proper Zones of Defense/Protection requires the study of numerous other principles, scientific theories, physics, and mathematical formulas. In other words few, if any, principles we utilize stand alone on their own merits. It is only by understanding them all, and their integration with each other, that one can become a true martial artist.
Unfortunately, trying to explain many of these principals in writing is very difficult, since many can’t be explained in words alone. However, I will try my best to describe these principles for the “blog” readers, using words, charts and pictures.
Keep in mind though, that in order to sometimes fully understand a principle you have to also understand other principles that relate to it. Most principles aren’t fully useable on their own, and have to be integrated with others.
Zones Of Defense/Protection
This is not a very hard principle to understand. Basically, it's all about using body geometry to evade an oncoming attack.Let's start with the basics. The body is divided into three "gates": lower gate (base line to medial line), middle gate (medial line to torque line) and upper gate (torque line and above). Each of these gates is divided in half by the centerline, and each section is broken up into quadrants.
(* Using quadrants and understanding their importance is much more necessary when it comes to offensive techniques rather than those related to defense. In regards to defense the application is clear, if you’re attacked in quadrant 6 all you need to do is move that portion of your body out of the way (and yes, there are 6 of them, but quadrant sounds clearer than "sextant"))
Surrounding each body is a zone of attack, and a zone of defense. As with the principle of kuzushi (balance breaking), these zones are divided into eight sections, each a 45-degree sector.
Zone of Attack
Basically, the zone of attack extends from the midpoint of the humerus to the torso in all directions around the body. You get this measurement by extending your arm straight forward and placing a ruler on midpoint your pectoral (nipple).In my case, (not the guy in the photo), this measurement is approximately seven inches, which means any attack that penetrates past this seven inch zone of my body needs to be addressed, either by evading the oncoming force, redirecting it, or neutralizing it.
This “seven inch” zone represents my “personal space” and the amount of time I have to react when the bounds of my personal space are crossed. If I move before this barrier is breached, I can be tracked and possibly countered. If I move after the seven-inch barrier is breached chances are I will not have time to completely move my body out of the way.
Of course, one’s skill level is also a factor in the distance one needs in order to react to an attack, beginners normally requiring more, and “experts” sometimes needing less.
Corresponding Body Geometry
Needless to say, few martial art practitioners actually ever measure the distance of an oncoming attack, or how close it is in proximity to our bodies before we react. There’s a simple reason for this: we are taught to use the attackers corresponding body geometry to judge when they are fully committed to their action.
This measurement, while basically the same, can at times be a lot harder to put a quantitative amount on. That’s because it varies whether or not one is discussing empty hand combat, or combat with weaponry. However, like I said there are mathematical formulas, which are not significantly different.
Unfortunately trying to give generalized measurements, or even basic formulas for every possible attacking method, would require too much writing, and in all honesty would most likely leave more people confused than satisfied. However, with that said here is one example hopefully a lot of readers can identify with.
I’ve always been told that when facing a swordsman preparing to make a downwards cut from the jodan position, I should wait until his front hand (or the tsuba (hand-guard)) passes his eyes before I make any counter movement.
If I measure my hand's position at this point when I am executing such a cut, it is a little over 12 inches from my body This, coincidently, is almost the same as the length as my humerus, (or the distance between my torso (midpoint of pectoral) and elbow joint right before I reach the point of extension). Interestingly enough this distance mirrors my zone of defense. Or in other words, almost the same distance I need to move off-line to avoid being cut.
For those who want to learn more, let me start you off on the right path: The humerus is a very very important bone when it comes to the martial arts, for many reasons.
(** For some of you I just saved you thousands of dollars, sharing this “secret.” I know of at least one individual who paid a few thousand dollars to learn this secret when he was promoted to 5th Dan in a jujutsu art in Japan. And before you think otherwise, what I shared is all this person learned, he received no explanations or techniques to illustrate what this phrase meant—nice to have expendable cash.)
Zone of Defense
Understanding the principle of Zone of Defense is extremely important because it is the mathematical formula for avoiding attacks. By learning to calculate how far the body needs to be moved away from any given point of attack, you can make your evasions smaller and more efficient.The zone of defense is any point beyond the length of my Adam’s Apple to the tip of my shoulder. To obtain this measurement just take a ruler and place one end in the center of your neck, and measure out to one tip of the shoulder.
Or you can measure from the midpoint of your pectoral (nipple) to the tip of your elbow.
In my case both these measurements equal approximately 10 1/2 inches, which means in order to evade most attacks I only need to move my body 10 1/2 inches away from the point of attack.
In other words if someone is trying to attack me along my centerline, all I need to do is move approximately 10 1/2 inches (half my body) in any direction (besides the direction where the attack is coming from) to avoid being hit.
Ten and a half inches is a relatively small movement. Yet, depending on which movement I choose, it should put me in a position where I can easily counterattack while my opponent cannot attack me again. At least, he can’t attack me without either taking time to reposition himself or destabilizing himself as he extends to reach me.
Of course, just like with the Zone of Attack, beginners may need to move more to avoid being hit, while experts will need to move a lot less—and for some defenses not at all.
Examples of evasions used for defense against centerline attacks
#1
This is an example of avoiding a midline attack from a kneeling position. As you can see, it takes a very little movement to take the entire body off of the midline.
Application
- tori is threatened by a swordsman while seated in seiza.
- As the swordsman attacks, the tori does a kneeling evasion off the midline, evading the cut. In most of our forms the tori would draw his dagger during the turn and then stab the swordsman, however in this case he is unarmed.
- tori rotates 270-degrees off the midline, creating more distance between the attacker and himself. However at this point he is not safe and his back is exposed.
- The swordsman attempts a horizontal cut and tori ducks.We call this “The Turtle.”
- The tori raises up and grabs the swordsman’s hands. From here a multitude of finishing moves is possible.
Obviously this evasion is done very rapidly.
#2
This is an example of a standing evasion. In this technique the feet are not moved, and the body simply rotates around the hips. This rotation, when done properly, takes the upper body completely off the midline.
Application
- The tori is threatened by the swordsman.
- The swordsman thrusts to the throat of the tori, who evades the oncoming attack. (Normally the tori would do a replacement step and move towards the swordsman, closing the gap, thus preventing any further attack. Or, if tori is armed, he would draw his weapon while rotating and attack the swordsman.)
This technique requires a lot of timing and faith in the form. The object is to draw in the attacker and keep him close. In addition this small rotation, when executed properly, will not be tracked by the opponent; the tori seemingly disappears. It’s an example of a true Aiki technique.
#3
This is an example of the classic cross step.
Application
- The tori is threatened by a swordsman.
- As the swordsman attacks the tori, the tori cross-steps off line evading the cut.
There are several advantages to using the cross-step. First of all, it gets one off the midline. Secondly, when done properly (no upper body rotation) it can’t be tracked. Lastly, with the weight properly shifted one can move into a multitude of follow up positions.
#4
Both of the above techniques are an example of a 180-degree rotation. These rotations are completed by pivoting around the axis of one foot. Though the result looks like a major movement, it is fact a small one. Once again only the half of the body needs to come off the centerline.
#5
This last example is a 45-degree forward step. Like all the others, only half of the body is moved off the centerline
All of the above examples were based on midline attacks. However, the same rule applies to attacks from all directions. Also notice that none of the above-depicted techniques utilize “blocks.”
In the system of martial arts I teach, we never ever “block” an attack. We evade the attack, strike it, blend with it, crowd it, re-direct it, or extend it. “Blocking” as described in many modern karate texts will not work. The term “to block,” and the mindset it implies is a relatively modern concept.
Trying to meet force with force will often destabilize the “blocker.” Worse yet, if the attacker’s limb is better conditioned (able to absorb more punishment) than the defender’s limb, a "block" can result in serious injury.
I always tell my students there is no reason to believe you have to do things quickly in the martial arts. Speed is great, but one only needs to be slightly faster than his opponent in order to be effective. Accuracy is the key element.
This is one reason why moving to specific angles which neutralize force is such an important element within the concept of zone of defense.
If the reader is wondering why I specifically selected to only depict centerline defenses the answer is simple. Most attacks are directed towards the torso and the head, which make up the bulk of the center of mass. These defenses are the most important to know initially.
Definition of terms specifically related to the formulaic process of defensive/offensive actions.
| Acceleration | Physics - The change of velocity. To cause to move or act faster. |
| Force | The capacity to do work or cause physical change; energy, strength, or active power. Power made operative against resistance; exertion. The use of physical power or violence to compel or restrain. |
| Inertia | Physics - The tendency of a body to resist acceleration; the tendency of a body at rest to remain at rest or of a body in motion to stay in motion in a straight line unless acted on by an outside force. Resistance or disinclination to motion, action, or change. |
| Mass | A unified body of matter with no specific shape. A grouping of individual parts or elements that compose a unified body of unspecified size or quantity. The physical volume or bulk of a solid body. Physics. - The measure of the quantity of matter that a body or an object contains. The mass of the body is not dependent on gravity and therefore is different from but proportional to its weight. |
| Momentum | Physics.- A measure of the motion of a body equal to the product of its mass and velocity. Also called linear momentum. Impetus of a physical object in motion. |
| Rotation | The act or process of turning around a center or an axis. A single complete cycle of such motion. Mathematics - A transformation of a coordinate system in which the new axes have a specified angular displacement from their original position while the origin remains fixed. |
| Trajectory | The path of a projectile or other moving body through space. A chosen course, or a course taken. |
| Velocity | Rapidity or speed of motion; swiftness. Physics - A vector quantity whose magnitude is a body's speed and whose direction is the body's direction of motion. The rate of speed of action or occurrence. |
Of course understanding the above theories and definition is meaningless if one doesn’t know proper tai sabaki.
Tai sabaki
Tai sabaki means, “body shifting.” It is one of the most important elements in the martial arts, and one too many people take for granted. While it certainly relates to offensive movements, one must fully understand all of tai sabaki's intricacies in order to use proper body shifting when it comes to defense.I tell my students that if you can’t avoid (evade) an oncoming attack, then it makes no difference how skilled you are at applying offense. Once you have been struck, and struck hard with the intent to really injure/kill you, chances are you will be at such a disadvantage (physical and/or psychological) that you won't be able to launch a counter attack. That is especially true when it comes to fighting with weaponry.
I don’t want to beat a dead horse, but I see too many martial artists who have no understanding of proper tai sabaki. Sometimes I even see this in very high ranking individuals who should know a lot better. I mean, I have almost 35 years of training, and I still have to constantly work on my tai sabaki skills and I know I always will. It’s one of the first skills I lose when I don’t practice regularly.
So what exactly is tai sabaki?
Tai sabaki [teye sa-ba'kee] can be translated in various ways. In many systems it refers to turning and/or evasion motions, while in other systems it can refer to body positioning. I translate it as “body movement,” since we use it to describe all these elements.
Defensively, tai sabaki means moving ones body out of the way of an attack while at the same time placing oneself in a safe position where the attack can be countered and no follow-up attack can be delivered.
Offensively, tai sabaki means using one’s body in the most optimal position to maximize power and focus, while maintaining a strategic body position which prevents counter attack, or resistance to the techniques you are trying to apply.
Basic tai sabaki movements include:
- Koshi Sabaki - concentrating on the placement of the hips and pelvis
- Ashi Sabaki - concentrating on the placement of the feet and legs
- Te Sabaki - concentrating on the placement of the arms and hands
- Tenkah-ho - movement of pivoting the body
- Tsugi Ashi - steps
In order to execute proper tai sabaki several elements must occur:
Initially, one must start by being in a stable position that allows one freedom of movement in any direction. Depending on the situation, this may be one of the hardest factors in tai sabaki since one does not always have the opportunity to prepare for an attack.
However, in the cases where one is prepared for an altercation, most kamae (postures of readiness) are specifically designed to prepare one for such movements. In fact the proper application of a kamae can often dictate how one is attacked. After all, manykamae are designed to appear as if there is a flaw in the defense, which an attacker believes he can capitalize on.
In most cases I teach Hachiji Dachi as the starting stance for most techniques. As a neutral stance, with equal balance on both feet, it allows the most freedom of movement, without giving the appearance of any martial art knowledge or “aggressive” intent.
Secondly, movements must be made with the proper weight distribution. Depending on the movement, this can involve raising or lowering the body, pivoting on the ball or heel of the foot (yes it makes a big difference), placing one's weight on one or both feet, or a combination of all of the above.
Correct posture, foot placement, hip alignment and balance must be maintained in order to keep proper weight distribution,. This can only be accomplished by practice.
Lastly, movements should be limited to only those necessary for the action selected. In other words, one must have and maintain control over one's own body in order to avoid extra, nonessential movements. The intention and commitment of one's movement must be made decisively—with strength, speed, and proper angles; yet movement must also be small and controlled enough to avoid creating wasted space or weaknesses within the action taken.
This last element can be a very hard to achieve on its own, and even more so with the additional force of the attacker’s energy, weight and strength.
This is a basic example of stepping forward off the centerline. Note the relationship between the defender and attacker in #2. This small movement is enough to move the body off the midline, however if done incorrectly the forward force and foot placement of the attacker (even without contact) is enough to destabilize the defender.
Learning proper tai sabaki will help a student not only learn to control their own body movements, but it will also help them learn how to take control of another persons body, and use improper shifting against their attacker. This is very important in joint locking techniques and projection/throwing techniques. In fact many joint locks and projection/throwing techniques cannot be completed without proper tai sabaki.
There are no short cuts in learning proper tai sabaki. It is one element of training that must be refined over and over again.
Like most of the principles we utilize, learning proper Zones of Defense/Protection requires the study of numerous other principles, scientific theories, physics, and mathematical formulas. In other words few, if any, principles we utilize stand alone on their own merits. It is only by understanding them all, and their integration with each other, that one can become a true martial artist.
Labels: Essays, Principles, Technical
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