Why Judo

Now that I’ve completed eight of the top ten principles used in the system of martial arts I teach, I would like to answer a question asked by one of my students, which I’m sure has also been asked by other readers of this “blog.”

That question being why I often use judo techniques to illustrate our principles instead of techniques used in Aikido. After all, our techniques, the art that I teach, must have more in common with Aikido than Judo.

Well, yes and no!

Of course, the simple answer is I’ve never trained in Aikido, so I have no idea how their techniques are explained. All I know about Aikido is what I’ve learned at a couple of seminars and from books. That is clearly not enough knowledge to discuss Aikido principles or applications.

There is no doubt that we use similar methodologies akin to Aikido, however I know for a fact our intention and focus behind our techniques is worlds apart from those taught in most Aikido schools.

Yes, it’s true we also believe in the ideals of peace, love and harmony, as sermonized in various Aikido literature. However, we only think that way if the other person has the same intention. When attacked, and forced in a situation where force is necessary, the gloves come off, and our techniques are designed to stop the aggression. If that means serious bodily injury and/or death then that’s what we will do. That’s what we train for, and the intention behind every technique we do. The samurai did not fight to lose, and they used whatever means necessary to accomplish their objective.

While I’ve never formally studied Aikido, I did on the other hand, train in judo for several years. I still keep in touch, and sometimes even practice with, some of my old judo training/coaching partners. (Though I must admit, as we get older we communicate/meet less and less, and unfortunately some have already passed away.)

Since I actually trained in judo, and have read a lot on the topic, I have some actual firsthand insight on how judo techniques work and how they are taught. This allows me to make informed commentary. And no, I don’t claim to fully understand all the intricacies that make up the art of judo. I’m no more than a passer-by, a casual observer of that martial art.

Fortunately, when I trained in judo I was taught techniques by several excellent judoka, some of whom were, or had been on the US Olympic team. I have to assume that if they reached that level they had to know what they were talking about. Many are nationally known and widely respected. Some of my teachers included:


Duke Moore – (seminars only) He made it all look so easy, and had so much technical insight to share. Though better known as a jujutsu practitioner, he was well versed in grappling.


Tim Delgman – (college years and seminars) I knew Tim before he became Soke (inheritor) of Mr. Moore’s system. In college his skills were good, but over the years have even become better.

Willy Cahill – (seminars as well as a few months at his school – right before college) As a teen, I remember Mr. Cahill as a giant of a man who moved with grace and speed. A few years ago, I ran into him again. While he no longer appeared to be a giant, he clearly still has all the skills, maybe even more, that I remembered.


Wally Jay - (Before college and several seminars up until his retirement.)
While known more for his jujutsu skills than judo, he did teach judo skills when I trained with him.


Mitchell Palacio (college) I think he does the best tai-otoshi throw I’ve ever seen. It is so smooth and effortless that you don’t even feel it until you hit the mat.


Neil Laughlin (college) (Promoted me to 1st Dan) (My main judo instructor) He was the first true heavyweight I had the chance to work with. He proved to me that even if you’re a large person, you should still use technique rather than rely just on muscle and speed. I learned a lot about mat work from him, and owe much of my ground skills to his training.


Mike Swain (seminars)


Bill Paul (college) I didn’t know who he was the first time we did randori (free sparring) and he just played with me for a full half an hour. I mean, no matter what I did he countered me instantly and effortlessly, barely breaking a sweat in the process. It was a totally humbling experience, until I learned who he was.

Phil Porter – (seminars) (Offered to promote me to 4th Dan, which I declined out of respect to those that actually practice judo on a regular basis.) I realize Mr. Porter, (I refuse to call him O’sensei) doesn’t have the best reputation in the martial arts community because of his policies regarding issuing rank and his organization's politics, but he is an excellent judo practitioner with a lot of knowledge to offer. His technical skills are amazing as is the openness in which he teaches them.


Victor Anderson – While not an instructor of mine we have spent many hours discussing judo, judo theory, and judo techniques. He has also been invited to teach at several of the Budo seminars I have hosted.


So what is the answer to the original questions and why did I answer “Well yes and no?”

The truth is that many of our projections are very similar to judo. We just do them slightly different, with an intention of breaking our opponent, rather than pinning him. Our projections are clearly designed to snap necks, break shoulders, and damage vital organs.

On the other hand, we use the principles of aiki, (those found in Aikido) to set up these projections, and make them easier to do.

In other words we utilize the best of both approaches. Or, as I tell prospective students, we’re the type of martial art that Judo and Aikido were founded on.

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The Top Ten Principles Of Yachigusa Ryu Aiki Bugei - #7 Feet Always Pull and #8 Hands Always Push

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.

Feet Always Pull / Hands Always Push

(Aka: Feet Never Push / Hands Never Pull)

To be honest, when I started to write explanations for the top ten principles I had no idea how to properly explain this one. I also knew that photographs would basically be useless since on a static image a push can look like a pull, and a pull can look like a push.

In addition, the terminology used to describe these principles may just be a matter of linguistics. Many arm movements that we consider a "push" could reasonably be called a "pull" from other points of view. I speculate that many martial art practitioners, especially those involved with older Budo arts that have a multitude of joint locks and projections, already utilize these principles even if they are unaware of whether the movement they make is a push or a pull—or even why it matters.

I know that in my case, I had never thought about it until I heard Don Angier, Soke of Yanagi Ryu, explain this principle at a seminar. Then it dawned on me why my teacher was so “fanatic” about moving my arms and feet in such a specific manner. Thus, while I knew these principles already, I credit Mr. Angier for the terminology, since prior to him I had no word/phrase to explain these concepts.

Of course, it still took me a few years more of examination before I discovered that these principles were always applicable and yet more years to start to explain them properly. My explanations are often made with physical demonstrations showing the different reactions pushing and/or pulling make on one’s uke (person receiving the technique) during a technique.

Fortunately, while I may lack the skills to adequately explain these two principles in writing on my own, I have some very intelligent senior students (one of whom has a degree in physics) who were patient enough to discuss the best way to explain these two principles based on their personal insights.

Basically, and most importantly, both principles mean exactly what they say. In any given martial arts technique involving a throw or projection, one's feet always pull, and one's hands always push. If you push with your feet or pull with your arms the technique will be more difficult.

According to Spencer, (my student with the physics degree) when you push you increase pressure and make yourself bigger. When you pull you decrease pressure and make yourself smaller.

Per Spencer:

“With Aiki techniques it is vital that you don’t let the pressure you have on the uke’s body with your hands slip, if it does you will lose kazushi. If you pull your arms, you will reduce that pressure and create space inside the technique that the uke can wiggle around in and readjust. Thus you must always push to keep your uke tied up with no space.

With your feet (which are only connected to the uke via your hands) on the other hand, pressure is created by decreasing the space between your bodies, which is accomplished by pulling. In addition, for the same direction of motion, pulling with the front leg is smoother than pushing with the back leg; if you push you risk bumping the uke’s hip away from you.”

Now I’ll be honest, I never thought of it the way Spencer explained it above, but it makes sense.

As for me, I’ve always found that pulling with the arms usually requires too much strength, and that my opponent rarely moves into the position I want him to go to. In fact, in most instances my opponent either falls on me, becomes too heavy for me to move, twists around me, or crowds me so much that I don’t have enough space to position myself correctly. In a life or death confrontation, none of these mistakes, even if they are minor, are acceptable.

When it comes to using my feet, I notice that if I use them to push my opponent, my opponent rarely if ever becomes weighted (grounded to the floor); all I end up doing is either bouncing off him or making him step away, neither direction being good for much. In fact, if I’m bouncing backwards my instability can certainly be used against me, and clearly it makes it hard to recover my momentum. In addition, by not pulling with the legs I certainly need to use more power to be effective.

Since I was taught that in order to be an effective fighter one must first be in control of themselves and their movements, I’ve adopted the principles of Hands Always Push/Feet Always Pull in to make sure that I consistently perform my techniques.

Back in the 80’s when I did judo in college, I rarely questioned my coaches when they said to “push and pull” my opponent to break his kazushi (balance). I always assumed they meant push with the hands, and pull with the feet. However, I once went to a judo seminar where “pulling” with the hands was actually how the instructor described the entry for the throw. Funny thing was the throw was Osoto-gari (major outside reaping throw), which if analyzed is a clear illustration of a push with the hands/pull with your feet technique—more so that almost any other judo throw one could name.

Of course, when discussing how to do osoto-gari, whether one thinks that either or both hands make a pushing and/or pulling motion is really a matter of perspective. I really have no intention of upsetting any judoka who wish to believe in their methodology, terminology, or explanations. If the techniques works, explain it anyway you want to.

However, let me take a moment to explain my assertion.

First of all, I don’t think anyone will argue that the feet pull in this throw. The sweeping motion is clearly pulling the opponent’s leg from underneath them.

As for the hands, I was always taught the hands moved in a sort of steering wheel motion. This is the kind of the motion one would make to avoid a sudden obstacle in the road while driving. It turns out that when we drive, we “push” the steering wheel, few if any of us pull the steering wheel. In fact in the police academy you are specifically taught to move the steering wheel in such a manner.

The fact is when it comes to the handwork used to complete osoto-gari, one hand pushes the uke back, while the other hand pushes the uke down and to the side. Neither hand movement is a pull. In addition, during the pull with the legs, the hands often continue pushing the uke to the ground adding even more force to the throw.

Example:

#1 – Osoto-gari done correctly using the push with the hands/pull with the feet principle.

Click for full size

#2 – Osoto-gari done incorrectly, using a pull with one hand and a push with the second. While the movement might look similar in the photo, in this case the "pull" of the left arm was done with the biceps while the "push" above was done with the triceps.

Click for full size

Note the difference of the uke’s body position in both sets of photos. When osoto-gari is done correctly the hands make room for the tori to pass and enter in. The uke is also leaning less to the side and more to the back, over the foot that is about to be swept. When done incorrectly the tori is forced to come around the uke completely changing the uke’s body position, and making the throw much harder to complete, if it’s even possible to complete at this point.

I could go on and describe several other judo throws in this same manner, but I won't. If you’re really interested you can test the difference pushing and pulling with your hands will make on your own. Chances are you’ve already experienced both results, without even realizing what went right or what went wrong when trying to do a specific technique.

However, I would be remiss if I didn’t give you one last technique to contemplate, which is another aspect of the hands always push principle. In this case it has to do with chokeholds. To illustrate my point I will discuss a commonly taught constriction technique called kata-juji-jime (half cross choke).

The above is an illustration of how most judoka are taught to do this technique, which is extremely effective. It is actually my favorite constriction, and this technique helped me win several matches during my college years.

However, before I did judo I was taught this same technique, the difference being I was never on the ground when I applied it. I was also never taught to pull my hands in order to apply pressure as I was told to do by my judo coach.

The way I was taught was to push/bring my elbows together, which brings my hands together sort of like the working ends of a vise grip. This method not only allowed me to use all of my arms muscles to apply pressure, in a very natural motion, but also placed my opponent in a position where he could be immediately brought to the ground.

Like I said it’s just something to think about, and experiment with. (** Constrictions techniques should never be attempted in practice without a qualified instructor present since they are extremely dangerous. **)

Other Examples

#1

The above photograph is an example of a projection done with a pull of the legs. While the hands form the connection and help direct the opponent to the side, it is the rear kneeling drop that takes the attacker past his triangulation point and to the ground.

If one were attempting this technique with the use of a pull with hands the results would be quite different. Sure, the person would still fall, but he would fall directly into the person doing the technique. Ouch! The technique would also require a lot more force to execute, force that could be felt, and countered.

The sudden rear drop is also unexpected, and allows the tori to use all their weight against the uke.

#2

Click for full size

The above is an example of a projection done with the push of the hands. The right hand is raised and pushes to the left. The left hand goes dead, allowing the uke’s weight to push it back. There is no pulling action, the left arm does nothing but go dead.

Once the uke’s stability is completely broken there is a slight body drop and back-pressure (see forthcoming essay on the principle of Back Pressure) is applied.

Whether the strict accuracy of "Hands Always Push and Feet Always Pull" is a case of linguistic quibbling or not is arguable. I use this terminology because it suits my needs, and I can show what happens in a given technique if I use one or the other method.

My intention in sharing our principles is not to tell others how they should train, or to say I’m so gifted and skilled that my way is right and the only way things should be done. These principles, and the way I apply them work for me, and my students. They are right for us.

Like Bruce Lee stated, his martial art system was all about whatever works for you. Whatever is right for you is how you should practice.

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Navarro’s Martial Arts Championships August 26, 2006 --- A Review

As I left the tournament at about 5:00 PM, all I could keep muttering was: Never Ever Again, Never, Never.

It had been a long day, mostly of waiting around for nothing, and I had had enough. Too much. I had seen too much poor sportsmanship, bad form, lackluster performances, and so much disorganization that they made the Department of Motor Vehicles look like a finely tuned machine.

Yes, all I could think during my whole drive home was Never, Never, Never Again!!!!!!!!

But let me start from the beginning…………………

I received the flier for Navarro’s Martial Arts Championships about two months ago. Now, I like Sifu Navarro and what he teaches. And in the past he has run a fairly decent tournament. Since it had been seven years since I last attended a martial arts tournament I played with the idea of having some of my senior students compete in some form divisions.

The idea wasn’t to go and win trophies; neither my students nor I care about that stuff. Instead I wanted to do a little advertising that the school exits, and to re-connect with some of the local martial art bigwigs I hadn’t seen in several years.

That was the original plan. However plans don’t always work out, and the decision had been made not to go at all. That was until my younger son decided he wanted to go and compete in the grappling division. What’s worst is he had saved his allowance to pay the entry fee, so what was left to argue about.

I woke up Saturday morning semi-dreading spending the whole day at a martial arts tournament I really didn’t want to go to. However, I dug out an old karate uniform I keep for situations such as these, made sure my son and his friend had all the equipment they might have needed for competing, and set off to face the day.

We arrived at about 11:30 AM, and after waiting about 20 minutes in line to register we entered the gym: a single basketball court filled to capacity to with competitors, family, and numerous black belt judges.

The first thing I noticed was that the place appeared to be in chaos. People were standing all over the place, even within the boundaries of the rings where the forms competitions were in full progress. It was so bad that those sitting in the stands couldn’t see what was happening on the floor. Over and over, announcements were made to clear the floor, but no one seemed to hear or care.

Now I can forgive choosing a place that is too small to accommodate a crowd, especially when one has no idea how many people may or may not show up. In addition finding an affordable place to hold any event is extremely hard. So I was ready, willing and able to overlook this issue. Besides, I was there to watch my son and his friend compete.

While waiting for the grappling events to start I distracted myself by watching the forms competition. I wish I hadn’t. If what I saw is an indication of the current state of the martial arts, then we are facing a very serious situation. A situation that calls for an immediate change, otherwise the martial arts will soon become nothing more than a glorified dance method.

As one instructor stated to me, some of the practitioners’ kiais lasted longer than their forms. What was worst was the definite lack of balance, power, focus, and intent almost all the competitors exhibited. I mean, some just flailed their arms wildly in gestures that made them look more like they were on fire than trying to fight an opponent.

Now, there were a few competitors who had skill and exhibited what one would expect to see at a martial arts tournament. However, few of these were black belts, and most were under the age of 15. Scary really, when you think about it.

Fortunately, the forms division ended soon after we arrived and the “fighting” portion of the tournament started. I say fighting portion since there were divisions for Thai Boxing, Savate, Grappling (with uniform and without uniform), Boxing, Kick Boxing, Point Sparring, MMA, Self-Defense, Stick Sparring, and Knife Sparring.

I thought things would get better, but boy was I wrong.

Now I can’t make any comments on the Thai Boxing since these events took place outside the gym and out of my view. All I can say is that a Thai Boxing competition that does not allow elbow and knee strikes isn’t Thai Boxing. However, these rules are most likely for safety and I can understand not wanting to have people hurt at your event.

I also can’t comment on the MMA, since that too was held outside. I also didn’t have a chance to review the rules.

I can however, talk about the Kick Boxing, Boxing, and Savate.

Okay to be fair the Savate never happened, because there weren’t enough people interested. Of course with the event canceled it afforded me the opportunity to talk with the guys who did Savate I learned a lot about Savate history and how some schools still practice the weaponry associated the older form of the art. It was very interesting, and I have to say was the best portion of the day.

Unfortunately, the boxing and the kickboxing were terrible. Now, I’m not saying I would want to be on the receiving end of many of the kicks and punches I witnessed, but almost 90% of the competitors had absolutely no skill. I mean basic skills such as moving off line, or fighting with your eyes open. That’s right, many fought with there eyes closed and just swung wildly. It was really pathetic.

Now, before you start assuming things, I’m not talking about the five to ten year olds. It’s cute to watch them; especially those who don’t seem to have a clue what’s going on, and you know really don’t want to be there. You know the kid who stands there and just becomes a punching bag, or those children who cry even before they are hit. Or how about the kid who charges in like a bull, and misses everyone except the bystander watching on the sidelines or the referee. Yes, I enjoy the kids, I enjoy them a lot, except watching them lose.

Distressingly, my comments were in regards to the older teens and young adults. These are people who should know better, or at least have the ability to be taught better skills. They had no business competing if these demonstrations represented their level of skill. Clearly, their teachers either don’t care about their safety, had no say in their decision to compete, or have lowered their standards so much that this is what now passes for competency.

This of course leads me to my worst observation of the day, and I’m not talking about the grappling events.

Like I said, one of my early reasons for attending this tournament was to re-connect with fellow teachers I hadn’t seen in a long time, instructors who helped me when I first started in the business. I wanted to see the instructors who were old school martial artists like myself, who had learned the hard way: from many, many hours of brutal practice, where blood, sweat, injuries, and tears had been the willing sacrifice we gave to achieve a certain level of expertise.

Anyone who knows me knows that I have a hard time being politically correct or “softening” my opinions when I express them. The truth is that I normally speak my mind, often without thinking about future ramifications or who else might overhear the conversation. This is an extremely bad habit in the martial arts community where egos run rampant. This is a business where when you bruise one person feelings, others judge you solely based on his opinion rather than getting to know personally or learning why you said what was said.

Fortunately, those I talked to during the day mirrored most of my comments regarding my observations of the day’s event. However, agree as they might, they had succumbed to the fact that was just how things are in this day and age. They agreed that it was wrong and was ruining things, but they defended things by saying that was the only way martial art school owners could stay in business.

In other words, they claimed that to run a successful school, standards must be reduced and the teacher has to promote people who really shouldn’t be promoted.

Of course, with the lack of high standards also came a definite shortage of teaching respect for teachers and fellow students, and the ability to even appear as if one had any real skills. If this is what having a commercial martial art school is all about all I can say is, thank God I don’t have a commercial martial arts school.

Now, I won’t bore you by telling you about the grappling events. They were what they were, and many of the competitors were the first to tell you they had very little if any grappling experience or training.

What I will share is this: after waiting almost five hours, my son’s event never took place. By 4:45 there weren’t enough people in his division to hold the event.

Now my son paid $50.00 to compete, and for a 17 year old that’s a lot of money. No, that’s a lot of money period. Of course, we went to the event coordinator to discuss the matter and get a refund. She quickly took down his name and a short description of why we were requesting the refund. Then came the bombshell… We would have to wait for the refund in the mail.

“How long will that take,” asked my son.

“Indefinitely” she answered as she walked away.

“What’s that mean dad?” asked my son.

“I don’t know,” I answered.

“Great, that means I’ll never get it back, $50.00 wasted” he muttered.

“No, I’ll make sure you get it back,” I said, knowing he is most likely right, though I’ll try my best to see that it happens.

So as he left the gym with his older brother and friend, (who also had to request a refund), all I could think of was how I had wasted my day. This day, which should have been fun for my son, turned into a disaster and left him with a negative view of martial arts tournaments.

I left the gym vowing never to go to a tournament again. Never. Ever. Or at least never again until I forget this day, which just might take another 7 years.

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Cartoon

After spending the last two weeks writing nothing but information on scientific principles, and coming to the realization that the hard ones are yet to come, I thought I would just take a break.

Part of that break included catching up on some e-mails I’d been ignoring. One of them included this cartoon I found pretty amusing.

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The Top Ten Principles Of Yachigusa Ryu Aiki Bugei - #6 Indirect Pressure

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.

Indirect Pressure

This is another example of a principle that has both a tangible explanation and an intangible explanation depending on how it is used. In either case, both explanations have scientific corroboration to back them up and explain why they work. However, I’d be the first to argue that the intangible variation is better explained through physical demonstration than written description. But I will try my best in both cases.

Of all the top ten principles I teach, Indirect Pressure is most likely the one my students have heard the least about. It’s a principle we use a lot, but I rarely point out. I’m not exactly sure why that is the case, but it is. The only excuse I can think of is that we use Indirect Pressure so often I really don’t think about it, and take the principle for granted. So much so, that when trying to think of a specific technique to use for this “blog” I was at a definite loss.

The best analogy for Indirect Pressure I have ever found has nothing to do with the martial arts. However, it has a direct application to the aftermath of a bloody altercation when first aid may be required.

According to the American Red Cross indirect pressure is taught to stop arterial bleeding when other methods have not worked. According to the American Red Cross first aid book:

"When there is hemorrhaging, due to arterial bleeding, with blood gushing out in time with the rhythm of the heart, applying the direct pressure method may not be enough to stop the bleeding. In these cases, apply pressure with your fingers to the artery at a position closer to the heart than the wound itself."

In other words in order to affect one area of the body, pressure is applied somewhere else. That indirect pressure has a direct cause and affect on the other part of the body.

In essence that is exactly the way indirect pressure is used in the martial arts. We attack one part of the body in a specific way that has a direct effect on another part, or even on the entire skeletal frame.

Most martial art practitioner’s first introduction to the principle of Indirect Pressure happens when they are taught joint locking techniques. The principle is especially important for joint locks used for projecting/throwing an opponent. Consider, for example, a technique like kotegaeshi (wrist rotation).

In kotegaeshi direct pressure is applied to the wrist in order to rotate it. However, the actual technique works because it locks up the shoulder. The force applied to the wrist “indirectly” affects the shoulder.

Click for full size

However, while kotegaeshi is a good example of the principle of Indirect Pressure it should be noted that not all joint locking methods are. In many cases such as yubi waza (finger techniques) and certain ude waza (arm techniques/locks) they are clearly not.

Okay that’s an example of a “tangible” form of Indirect Pressure. Now let me explain an example of the “intangible” type.

First of all, when I use the word intangible, I’m not saying there is no physical connection between a person and their opponent, or there are not clear forces at work. I basically use the word intangible because there are no outwardly visible signs to show the observer what is happening. There is also no direct connection between point “A” where force is applied, and point “B” where the force is felt.

And no this has nothing to do with the application of chi, ki, or any other metaphysical force. It is nothing more than proper body geometry, and don’t let anyone fool you into thinking otherwise.

On the human body there are four specific pivot points, one on each shoulder, and one on each hip.

These points are used to rotate the body, and to destabilize a person’s balance. However, if they are pushed directly, little if anything will happen unless a tremendously high amount of force is used (diagram #1 below). The chances are that one will never be able to rotate an opponent with direct force on the pivot points.

However if attacked indirectly (diagram #2) the body will rotate very easily, and the person will not even realize what is happening until it is too late.

To test the above-diagramed techniques try the following:

• First test – Grab one hand and pull the arm as depicted in diagram #1. When that doesn’t work, start pushing the hand to the rear of the person and see how far you have to move it until the body moves. Carefully watch how the body moves. Is it pivoting, twisted, or collapsing onto itself?
  
• Second Test – Grab the other hand and push it towards the pivot point, the closer against the body the better. Actually it needs to be close to the body to work. Keep extending the hand forward as depicted in diagram #2. If you do this correctly, the body will rotate with almost no force. The person will actually twist around one leg.
  
• Third Test – Follow all of the instructions for test two, except instead of using the pivot point move the arm somewhere below the chest. Did you get the same results? If you did this test, you’ll discover the person will not rotate, or that it takes a lot more force, and I mean a lot more force, to rotate them.

Example

Click for full size

1. The uke has punched at the tori who has stepped to evade. As the punch passes the tori it is “checked” by both hands.
   
2. The tori drops his right hand over the uke’s attacking arm, and pushes downward back towards the uke.
   
3. The tori continues the downward push placing the arm next to the pivot point of the uke’s hip. (The hand and the hip never touch)
   
4. The tori continues pushing the uke’s arm across his body. Notice how the uke is rotating around his back leg. (The picture makes it look like there is a lot of space between the uke’s arm and body, but this photo shows a point after the rotation is almost complete, not the actual moment when the rotation starts. When the rotation starts the uke’s hand is almost near his back leg.)
   
5. The uke is now fully rotated 180-degrees and so off balance making him fall requires no effort.

Of course the principle of Indirect Pressure can be used in other ways, such as moving around the point of force. For example while you are standing minding your own business a guy grabs your wrist. The guy holding you is 6 foot 7 inches, 450lbs, and is built like a tank. There is no way you can out-muscle this guy, so any effort you make to raise your hand is futile. So what are you going to do?

I know, because I’m describing a cousin of mine and while we were roughhousing I had to figure a way to get away from him besides kicking him in the testicles or eye gouging him—he is family after all.

First of all, you’re never going to move the wrist, the point where this guy is applying “DIRECT PRESSURE.” Even if you can move the arm, which you probably can’t because he is pressing it down, using the old thumb trick to slip your hand out of his hold won't work. His hands are big enough to wrap around. Strike One!

Secondly, you might try striking the arm on a vital point, but if that doesn’t work now you have an angry giant to contend with. The same goes for any other strike or kick you may attempt. Strike 2!

Lastly, you might try to beg for mercy and hope he lets you go. Depending on his mood and his intention that might work. However, there is another way in case this strategy fails.

First of all, let the guy have the limb he wants. That’s the Aiki way. While he is holds your wrist at least he can’t hit you with that hand, making it one less weapon of his to worry about.

Now use indirect pressure to raise your arm and make space. In this case the indirect pressure comes from the shoulder. Yes, the shoulder raises and the arm follows. When done correctly you have basically gone around the point of his force.

Now this won’t get your hand free, but you now have control of your arm, and can move. You have taken his advantage away. Now you can apply other skills in your arsenal to lock up and/or project/throw your opponent to the ground.

This is an example of what happens when you try to move with direct pressure, your arm versus his arm. Notice the uke is still in full control. In order for this escape to work one must be a lot stronger than his opponent, and with that kind of force the uke will know you're up to something and most likely counter you.

This is an example of what happens when indirect pressure is applied. In this case the lift is done only with the shoulder and the elbow pulls the arm back after the lift. Notice the difference in the uke’s posture, and that he has a hard time maintaining his grip on the wrist. In this case very little power is used, and the uke shouldn’t feel any change until it is to late to react and counter.

Chances are that every martial artist, no matter what style, already uses the principle of Indirect Pressure in some form or another. They may either call it something else, or just do it with out bothering to label it all. Of course there are some practitioners who just don’t care, and will never care, as long as they can do the technique, and the technique works.

After all, we all don’t have a giant cousin to play with and see what techniques we can actually get to work on someone who isn’t quite so accommodating or patient enough to allow you to make a mistake and start over.

To be honest I never really thought about the concept of Indirect Pressure on its own or appreciated the importance of it, until my cousin held me, and threaten to pick me up and slam me to the ground. Necessity is clearly the mother of insight as well as invention.

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Video of a Younger Don Angier

As an interlude among all the dense theory, I wanted to link to this old video of Don Angier. This seems apropos; Mr. Angier has been an inspiration for Gary to improve his understanding of aiki principles. In many cases Mr. Angier provided a new way of looking at things or a new vocabulary to use.




This video is truly sublime.

When I have seen Mr. Angier do techniques in recent years, he looks quite different. He has refined his art to a degree that he can now be barely seen to move—ironically, his technique is so good that it now makes for a poor video.

This was put up on YouTube by a former student of Mr. Angier's, Richard Elias of Yoshida-Ha Bujutsu. I highly recommend all of the other videos he has posted as well.

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The Top Ten Principles Of Yachigusa Ryu Aiki Bugei - #5 Double Weighting

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.

Double Weighting

Over the years I have heard other people describe this principle as “grounding,” “anchoring,” “basing,” and “rooting.” Though the names are different, for the most part the applications and effectiveness have been the same.

Double Weighting, simply defined, is a state where one feels their limbs to be too heavy to move. A person is put in a position such that their body, or part of their body, feels rooted to the ground. Either they are unable to change their position without first readjusting or their entire mass is solely dependent on a specific limb for support.

In other words, the body, or part of the body, is manipulated into a position where it seems to become so heavy that the person is unable to move or adjust their position. Often the body is unable to maintain its own balance and must rely on an external force (normally the other person doing the technique) for stability.

In most Aiki, Jujutsu, and Judo arts double weighting is an essential step used to set up projections/throws.

A simple way to think of this principle is to imagine a man who weighs 200 pounds. If you cut him exactly in half, each half would weigh 100 pounds. In this case, both halves even each other out, and there is equilibrium. In this state the man has no problem changing body positions.

Now take that same man, and put a 100 pound dumbbell in his left hand. The left side of his body has essentially just doubled in weight. Every movement he makes will now require more effort, and for many physical actions he will have to make adjustments in order to maintain his stability—if he can move at all. He has essentially become “double weighted” on one side of his body.

Double weighting is used to manipulate stability in the same way judoka use their principle of “pushing and pulling” to place someone in an optimal position for a throw.

Consider the technique Osoto-gari (major outside reaping throw), for example. Osoto-gari is done by using a steering wheel-like motion with the hands to destabilize the uke, and then sweeping the foot from underneath him. When done properly the steering wheel motion of the hands places all the weight of the uke on the leg that is about to be swept.

In this example, the uke is “double weighted” since the majority of his weight is placed on one leg. He is “anchored” in that position until other forces push him back and down to the ground.

Of course applying the principle of Double Weighting isn’t limited to just using the uke’s weight against him. There are times when a person will use his or her own body weight and body position to add mass to the uke.

Example:

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1. The uke is pushed down so that his entire body weight is balanced on his toes. He is now “double weighted:” all his mass is pressed towards the toes. In addition. he also has the weight from the push adding more force to his centerline. In this position he is totally dependant on the tori for his stability. It is almost impossible for the uke to “right” himself and regain his balance, let alone launch a counter attack.
   
2. The tori steps back and lets his right arm go completely dead. The tori’s left arm lifts and pushes the uke in a circular motion to the right. These motions lift the uke and force him to shift all his body weight to his left foot.
   
3. As the uke places his weight completely on his left foot, he is now double weighted on that leg. Once again he is totally dependant on the tori for stability. His hold on the tori's arms are the only thing keeping him from falling.
   
4. (Not pictured) From the position pictured in photo #3 it just takes a small body drop to project the uke to the ground.

Understanding the principle of Double Weighting is one thing, applying it is another. It is not hard to do, but it requires practice and knowledge of how to lock up the skeletal frame.

For beginners, applying the “push and pull” principle of judo is the way to begin. Of course, as one’s techniques become more sophisticated—and one learns that there are specific reactions to every movement they make—other methods will present themselves.

The above statement in no way implies that I believe that the art of judo lacks sophistication. In fact, I have seen many senior judoka apply the principle of Double Weighting so flawlessly that their techniques appeared as soft and effortless as many techniques performed by Aki practitioners. Of course, these were judoka who had transcended from the “sporting” aspect of judo where many judoka rely on muscle, power, and speed, instead of technique and finesse.

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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.

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.

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(* 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.

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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.

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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

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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

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1. tori is threatened by a swordsman while seated in seiza.
   
2. 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.
   
3. 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.
   
4. The swordsman attempts a horizontal cut and tori ducks.We call this “The Turtle.”
   
5. 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

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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.

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Application

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1. The tori is threatened by the swordsman.
   
2. 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

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This is an example of the classic cross step.

Application

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1. The tori is threatened by a swordsman.
   
2. 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

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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

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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.

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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.

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The Top Ten Principles Of Yachigusa Ryu Aiki Bugei - #3 Reflex Action

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.

Reflex Action

Ever heard of Sir Isaac Newton’s third law of physics? That’s the one that states “for every action there is an equal and opposite reaction.” Well the principle of Reflex Action basically means the same thing.

However, a more accurate definition of what a Reflex Actions is would be, for every action (stimulus) there is an equal normally instinctual reaction that produces a specific predictable result. Clearly, when protecting your life the last thing you want is an equal opposite reaction directed towards you.

Basically, Reflex Actions are the reactions one obtains by stimulating various receptors located throughout the body. For example, one of the most commonly known of these reflex actions is the Patellar Reflex (knee jerk). That’s the one where the doctor taps the Patella ligament located just below the patella, causing your lower leg to kick/jerk forward.

Unless you have some medical issue, this reflex is innate, predictable, repeatable, and an example of the Monosynaptic Reflex Arc.

The medical definition of a “reflex” is an action that results from a nerve impulse passing over a reflex arc. This response can be either innate or conscious.

These reflexes are predictable and purposeful. They are intended to either inhibit or reinforce a specific action, such as protecting the body from injury. For example, the corneal reflex protects the eye by closing the lid when a foreign object approaches it.

Reflexes are identified or named in various ways:

1. According to the type of receptor stimulated to evoke a response
   • Exteroceptive – receptors located in surface membranes. They are sensitive to heat, cold, touch, and pain.
     
   • Intteroceptive – receptors located in viscera (the soft internal organs of the body, especially those contained within the abdominal and thoracic cavities).
     
   • Proprioceptive – receptors located in muscles and tendons and the labyrinth of the ear. These reflexes are known as myotic (tendon) or stretch reflexes because of the way in which they are evoked; stretching a muscle, or even slightly tapping a tendon.
     
2. According to the type of muscle response (flexor, extensor, convulsive, and coordinated reflexes).
   
3. According to what part of the body is responding, (knee jerk, ankle jerk, papillary reflex, etc.).
   
4. According to whether the response is natural or conditioned—natural being innate and unconditional; learnt being acquired, such as the voluntary control over one’s bladder.

Of course none of these reflexes would be possible without sense organs. The sense organs of the body are the millions of receptors of the nervous system. Some of these receptors are highly specialized structures, while others are simple, naked nerve bundles.

Stimulation of receptors gives rise to many different sensations, not just to the “five senses” most of us are familiar with. At least eleven distinct sensations are recognized: vision, hearing, taste, smell, equilibrium, touch-pressure, warmth, cold, pain, proprioception (sense of position and movement), and visceral sensations.

For the martial artists we are mainly interested in the function of the following types or receptors:

Classification	Location	Stimuli	Sensation Resulting
Exteroceptors	Skin and mucosa	Immediate environment	Variety – touch, taste, heat, cold, PAIN, etc.
Proprioceptors	Muscles, tendons, joints, and semicircular canals		The sense of position and movement
Tangoreceptors	Skin and mucosa	Pressure and touch	Touch, pressure, and tickling
Nociceptors	Throughout the body	Harmful stimuli	PAIN !

Okay, Warning a lot of anatomical and physiological information ahead.

The nervous system coordinates several activities that bring about a response to a stimulus. The first activity is reception, a process in which information is gathered from the external environment. The next activity is transmission, in which information is delivered by sensory neurons to the central nervous system. Then comes another activity called integration, in which an appropriate response is determined. The final activity is response. In response, a nerve impulse is dispatched via motor neurons to skeletal muscles or glands that will regenerate a response to the stimulus. Muscles and glands are the body's primary effectors.

During nerve activity, nerve impulses travel over a sequence of neu­rons. The sensory neurons, interneurons, and motor neurons are generally involved. These neurons are organized into circuits called neural circuits. In a neural circuit, neurons are arranged so that the axon of one neuron comes close to but does not join directly with the dendrite of the next neuron in the circuit. The junction between two close neurons is called the synapse.

The reflex arc is the simplest unit of nerve activity. It is typified by the knee-jerk reflex, and by the pain withdrawal reflex.

A reflex arc begins when stimulation is detected in the receptor portion at the end of a sensory neuron. A nerve impulse is generated, and the impulse travels over the sensory neuron to interneurons in the central nervous system serving as a processing center. The interneurons communicate with motor neurons, and an impulse is generated for transmission to an effector muscle or gland that will make an appropriate response. In the withdrawal reflex, for exam­ple, when you poke your finger on a pin the finger is pulled away from the pain as the muscles contract.

The reflex arc is automatic and unconscious; it does not involve the brain or any mental activity. It helps maintain homeostasis in the body, and it represents the simplest act that the nervous system can perform.

The components of the Reflex arc

Component	Description	Function
Receptor	The receptor end of a dendrite or a specialized receptor cell in a sensory organ	Sensitive to an internal or external change
Sensory neuron	Dendrite, cell body, and axon of a sensory (afferent) neuron	Transmits nerve impulse from the receptor to the brain or spinal cord
Interneuron	Dendrite, cell body, and axon of a neuron within the brain or spinal cord	Serves as processing center; conducts nerve impulse from the sensory neuron to a motor neuron
Motor neuron	Dendrite, cell body, and axon of a motor (efferent) neuron	Transmits nerve impulse from the brain or spinal cord to an effector
Effector	A muscle or gland outside the nervous system	Responds to simulation by the motor neuron and produces the reflex behavioral action.

The Nervous System: Basic Structure and Function

The nervous system is responsible for directing the complex processes taking place in the body's internal environment, as well as linking the body to the external world. Without the nervous system our bodies would not be able to function and there would be chaos. For example, muscles would not contract in any organized fashion, the body’s temperature would not be regulated, and blood would not be distributed according to tissue needs. Even our emotions and thinking abilities would be impaired, if they occurred at all.

The nervous system is divided into two principal divisions: the cen­tral nervous system (consists of the brain and spinal column and serves as a control center for the entire body), and the peripheral nervous system (composed of receptors in the sense organs and nerves that communicate between the central nervous system and the sense organs)

The Central Nervous System

The central nervous system is the main interpretation center for the human body. It is made up of the brain and the spinal cord.

The Brain
The brain is the organizing and processing center of the nervous system. It intakes information from various nerve impulses it receives, and transmits appropriate responses.

The Spinal Cord
The spinal cord is a white cord of nerve tissue approximately 18 inches in length (in an average adult). It passes downward from the brain and extends through the bony tunnel formed by the vertebrae.

The spinal cord has two major functions in nerve coordination. First of all, it serves as a coordinating center for the reflex arch. Secondly it also serves as a connecting network between the peripheral nervous system and the brain.

The Peripheral Nervous System

The brain and spinal cord are connected to every other part of the body and to the environment by a collection of nerves and cell bod­ies called the peripheral nervous system. The peripheral nervous sys­tem is composed of all the nervous tissue outside the brain and spinal cord. It is composed primarily of the peripheral nerves, the ganglia associated with them, and the sensory receptors.

The nerve fibers of the peripheral nervous system may be afferent (conduct nerve impulses towards the nervous system) or efferent (conduct nerve impulses away from the nervous system).

Nearly all peripheral nerves are mixed nerves containing both kinds of the above fibers. The afferent nerve fibers (sensory) arise in the senses. The efferent (motor nerves) arise in the central nervous system and include the somatic nerve fibers (fibers that innervate skeletal muscles) and autonomic nerve fibers (fibers that innervate smooth and cardiac muscles and glands).

The peripheral nervous system is sub­divided into the autonomic system and the sensory somatic system.

Autonomic System

The autonomic systems operates on an involuntary basis, and functions without conscious control. This system coordinates the functions of the visceral organs such as the cardiac muscle, visceral glands, and smooth muscles (muscle consisting of non-banded muscle cells normally found in visceral organs).

The autonomic system is subdivided into the sympathetic division and the parasympathetic division.

It is the sympathetic division that is responsible for preparing the body for an emergency. In a time of crises, sympathetic impulses duplicate the action of epinephrine, increase the heartbeat, constrict the arteries, dilate the pupils, and prepare the body to deal with the situation (see blog entry for the principle titled “Avoidance Tendencies;” “fight or flight response”).

The parasympathetic division is responsible for returning the body to a state of homeostasis.

Sensory Somatic System

The sensory somatic system carries nerve impulses from the senses to the central nervous system for interpretation. The system also car­ries impulses away from the central nervous system to the skeletal muscles and glands if a response is indicated. The system permits one to be aware of the external environment and to react to it. The awareness and the reactions occur on a voluntary basis.

* * *

By now you may be wondering why I’ve taken so much to explain the anatomical and physiological aspects of the nervous system. I mean, after all, what does all this information have to do with understanding the principle of Reflex Action?

Almost everything!

How the nervous systems works explains why this principle even exists. It is the “how it works” portion of the equation. Now to explain how the principle of Reflex Action is used.

The most common “Reflexes” used in the martial arts are: Accommodation Reflex, Tendon Reflex, Stretch Reflex, Pain Withdrawal Reflex (nociceptive withdrawal reflex), Crossed Extensor Reflex, and the Righting Reflex.

Accommodation Reflex

The accommodation reflex is a reflex action related to the eyes. It is a reflex associated with how the eyes change focus from a close object to one far away and vice versa.

While the actual reflex has no martial context, using the eyes inability to quickly reflex in this manner does. In other words, if one attacks the eyes quickly enough, such that the eyes are unable to maintain focus, two things can occur:

The first possible reaction is the head pulls back in order to place more distance between the eyes and the oncoming object in order to focus in on it. If the head moves back off its base, the entire body starts to become unstable. Further more, with the head pulled backwards the throat becomes exposed.

The second possible reaction is the eyelids close (corneal reflex). This innate reflex is designed to protect the eyes from damage by a foreign body. Clearly if your opponent can’t see he is at a disadvantage.

Another more advanced way of using the accommodation reflex against others occurs when one does “soft blocks”—blocking motions that use no physical contact, yet push the opponent off course from their intended target. In these cases the attacker's eyes focus on a specific movement the defender makes; the attacking limb then tracks that movement. Of course it’s a little more complex than that, but that’s the basic reason why and how soft blocks work.

Tendon Reflex / Stretch Reflex

Okay, this gets a little difficult...

Basically the tendon reflex, or inverse stretch reflex, is a mechanism designed to control muscle tension. It is an innate reflex designed to relax the muscles before muscle force becomes so great that the tendons get injured. When the muscles relax, they extend.

The stretch reflex on the other hand does the opposite. It is a reflex designed to control muscle length by causing muscles to contract, become shorter. This contraction is an innate mechanism geared towards the “flight” response, and helps to reduce the chance of muscle tearing though strain.

Basically the tendon reflex and the strength reflex keep each other in check.

For martial artist we are primarily interested in stimulating the tendon reflex, though the stretch reflex is used occasionally.

Example:
In the technique Gokyu (5th immobilization), there is a moment in the technique were pressure is applied to a point directly above the elbow. This is a specific point on the arm where there are numerous receptors; one in particular is called the Golgi tendon organ.

Basically, the technique works because when muscles contract they produce tension at the point where the muscle is connected to the tendon. The Golgi tendon organ is located at such a point. The Golgi tendon organ registers the change in tension, and the rate of change of the tension, and sends signals to the spine to convey this information. When this tension exceeds a certain threshold, it triggers the stretch reflex (lengthening reaction), which inhibits the muscles from contracting, causing them to relax.

However, because of the position of the arm in the technique, the arm cannot relax fully, and the only way the body can neutralize the threat is by falling forward or downward away from the point of the stimulus.

Because the basic function of the Golgi tendon organ is to help protect the muscles, tendons, and ligaments from injury, and the reaction is innate, gokyu and other similar techniques can be practiced over and over. It can work every time, even if one’s uke is aware of what is about to happen and tries to counter the technique. As long as the stimulus is applied properly to the Golgi tendon the body’s command to fall will override their conscious will not to fall.

This technique is a clear example of the reflex arc.

I should mention that one reason gokyu often doesn’t work is that people will pull the uke’s arm too rapidly, resulting in stimulating the stretch reflex. In this case, the arm contracts, raising the arm at the joint, and changing the alignment between the two bodies. This is another example why hands should never pull. (See forthcoming article on the principle “Hands Always Push.”)

Pain Withdrawal (Nociceptive Withdrawl Reflex / Flexor Reflex)

This is one of the classics, and the easiest to utilize for martial artists. Simply put, when pain is sensed the body moves away/pulls away from the point of the painful stimulus.

The pain withdrawal reflex is triggered by a variety of receptors, primary of which are the nociceptors collectively called flexor reflex afferents. Activity in these receptors results in the activation of all the flexor muscles in the limb, which causes the point of stimulus to move away from the threat.

Example:

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As the uke’s (man in grey) foot is stomped (picture #3) receptors in the foot sense pain. Messages are sent via the reflex arc and the uke raises his foot off the ground (picture #4).

In actuality there is no reason for the uke to raise his foot off the ground since the threat no longer exists by the time he does it. However, to keep his foot on the ground would require conscious thought, which is not an element of the reflex arc. Clearly, once he “consciously” becomes aware that the threat is no longer present the foot will return to the ground.

Cross Extensor Reflex

The cross extensor reflex is very similar to the pain withdrawal reflex, expect in this variation not only does the body pull away from the point of painful stimulus, the opposite limb pushes towards it.

In other words, the painful stimulation causes an equal and opposite reaction.

Understanding how and why this reaction works is very important since it can be used to set up the body for follow up attacks in a predictable manner.

Basic Example:
You stick a pin in the first finger of the right hand. Instantly your right hand pulls away from the point of the needle (pain withdrawal reflex). At the very same time your left hand moves towards the needle and where the pain occurred.

The reason why the left hand moves forward is not perfectly clear, and there are many applicable answers. The first explanation may be to create stability. Due to the sudden movement in one direction the other limb may need to move equally as fast in the opposite direction in order to maintain balance. Correct balance, allows for quicker acceleration away from the point of pain.

Another explanation could be the other limb comes forward to help push away from the point of pain, or to protect the other limb from further pain.

Martial Example:

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The uke is struck on a vital point located above on the arm. As the sensation of pain is felt, the arm that was hit moves away from the tori (person doing the technique) as the other arm moves towards the tori.

Note, in addition to the attacked arm’s movement, the hips have also been pulled back, the left leg has stepped backwards, and the uke has rotated to the left, essentially disabling the uke’s stability. Based on body geometry, the arm moving forward is clearly doing so in order to compensate for the sudden changes in the center of gravity.

Clearly, while the uke is in a state of instability such as this he is in no position to launch a counter attack, and a multitude of follow-up techniques can be applied by the tori.

One of the most interesting techniques I have ever witnessed using the cross extensor reflex was done by Professor Rick Clark, Ao Denkou Jitsu, during a vital point striking seminar.

In his example of this principle he had two people stand side by side. Prof. Clark then struck subject one’s arm at a specific point. In an instant the struck arm came forward while the other arm swung backwards hitting the second subject in the groin.

Talk about a great way to take to bad guys out at once.

At first I thought it was a chance occurrence, but I have witnessed this techniques several times, done in the same manner, always with the same results. It is an excellent example of the cross extensor reflex, as well as the reflex arch, and the righting reflex.

Righting Reflex

Here is another gem for the martial artist: in fact this one works so well that most martial art s practitioners, especially those that do arts with a multitude of joint locks, already utilize this reflex all the time.

The righting reflex, or static reflex, describes any of the various reflexes that tend to bring the body into a normal position in space and resist forces acting to displace it out of that normal position.

The best and easiest example to describe the righting reflex can be found in cats, which have the ability to orient themselves while falling so they "always land on their feet".

However, the martial artist is more interested in how the righting reflex reacts in relation to applied forces. Or in other words, how the body seeks out the path or least resistance when placed in a position that causes pain/discomfort.

Example:
Take the technique called Kote Mawashi (wrist in-turn) (Nikyu in Aikido).

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In this technique the wrist is rotated towards the head, locking up the skeletal frame. While pain is not necessary to make this technique effective, it is often a byproduct produced by the rotation, or the contracting muscles.

When kote mawashi is applied correctly the person receiving the technique will fall to the ground.

The first reason the person falls to the ground is because the skeletal frame is locked up and there is nowhere else it can go. The second reason is that the body is trying to escape the point of discomfort, which is usually above the waistline. The body is seeking the quickest, and what it perceives to be the safest way to move away and “right” things.

Since the forces used to generate kote mawashi are above the midline in this example, the body goes downward. If the forces are directed upwards, a variation of kote mawashi, the body will rise since this now becomes the apparent path to neutralize the force.

* * *

I realize this has been a rather long explanation of the principle of Reflex Action. However it is one of the most important principles to know and understand in order to make one’s martial techniques effortless and efficient.

Of course as long as this is already I would be remiss if I didn’t cover two more aspect of this reflex.

The first is the reflex action that results when a person is “knocked out.” In this case the lack of consciousness, to whatever degree, is the reflex to the stimulus.

I don’t think discussing the various types of knockouts, and the way to cause them is necessary.

The other type or reflex action is a little more esoteric, and involves techniques within the art of vital point striking.

Whether you believe pressure points exist or in the art of Dim Mak (poison hands) is irrelevant. That’s a topic for another discussion. The fact of the matter is there are certain places on the body that when struck, poked, or pressed can produce severe reflex actions, some which can in fact cause death.

Since I don’t want to make this “blog” entry too much longer I will only describe one. This is a point that has a lot of scientific research to explain it.

Cartoid Sinus Reflex

In the art of vital point striking this point is often referred to as Stomach 9. Stomach 9 is located on the side of the neck along the carotid artery, and beside the laryngeal protuberance. It is where the pulsation of the common carotid artery is palpable.

When struck properly it can cause an instance knockout and/or death. It is not a point to strike in practice. DON”T DO IT! Even a light strike has the potential for lethality, and the long-term possible health risks of hitting this point for those who don’t die is unknown.

Stomach 9 is a lethal strike since the point is located on a baroreceptor, which when stimulated triggers the carotid sinus reflex. Baroreceptors in the human body are designed to detect the pressure of the blood flowing through them, and send messages to the central nervous system in order to either increase or decrease peripheral resistance (mean arterial pressure) and cardiac output.

By striking this specific point the body is fooled into believing there has been a change in blood pressure. Basically it thinks that blood pressure is too high. In order to protect the itself, bradycardia (a resting heart rate under 60 beats per minute) occurs, and the body’s blood pressure drops.

This sudden drop in blood pressure is what causes the body to become unconscious, or in some cases to die.

Okay, by this point I’ve most probably said more about the principle of Reflex Action than anyone wanted to know. In a nutshell most reflex actions are a result of the way our nervous systems reacts to stimuli.

If for any reason you need more information I suggest you either take an anatomy class at your local college, or start reading a lot of books that explain the way the body works.

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The Top Ten Principles Of Yachigusa Ryu Aiki Bugei - #2 Triangulation

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.

#2 Triangulation

Triangulation is a method for establishing the distance between any two points, or the relative position of two or more points, by calculations based on the vertices of a triangle, and the length of side of measurable length, (base).

Okay, if you understood the above scientific explanation you don’t need to read on. However if you’re like me you will need to read on. You’ll also want more details, especially how it relates to the martial arts.

Let's start with a less scientific and more martial definition of what Triangulation is. Basically, Triangulation is a geometry-based method of locating the specific point where an opponent's body can be projected with minimal effort. That specific point, is what we call the "Triangulation Point." If force is applied correctly towards that point, the human body will be forced to fall in that direction. This is an effect of physics and balance, and a person cannot prevent himself or herself from falling when this principle is correctly applied.

It’s another way of applying and thinking about Kuzushi, (balance breaking). Or to be more specific, the way in which one learns to use kuzushi for optimal effectiveness.

Before I discuss the specifics of Triangulation lets cover a few other scientific principles one needs to know.

1. All things with weight (mass) have a specific center of mass. This is also known as the "center of gravity" or "center of balance."
   
2. The pull of gravity effectively occurs at the center of mass.
   
3. The center of mass of an object must fall within the boundaries of its base support for equilibrium (balance) to exist. If the center of mass is not over an object's base, that object will fall over.
   
4. Stability is inversely proportional to the distance of the center of mass above the base, all other things being equal. The closer one’s center of mass is to the base the more stable they become.
   
5. Stability is directly proportional to the area of the base upon which a body rests. Increase in area at the base increases stability.
   
6. Stability with respect to a constant force is directly proportional to one’s body weight. All other factors being equal, a heavier person is more stable than a lighter person.
   
7. A straight (standing or prone) human body has its center of mass at a point approximately three inches below the navel. This point corresponds to the tanden or hara of traditional martial arts theory. This means that if you placed a frozen (rigid) human body on a pole it would balance on a point approximately three inches below the navel. (Figure 1)

Using this point as a reference the below formulas occur:

• If the body is placed on a fulcrum anywhere above the center of mass, the head will move towards the ground (Figure 2)
  
• If the body is placed on a fulcrum anywhere below its center of mass, the feet will move towards the ground. (Figure 3)

Happo-no-Kuzushi (Eight directions of breaking balance)

In the arts of Aikido, Judo, Jujutsu, and Aikijujutsu knowledge regarding Happo-no-kuzushi is essential. It is the cornerstone of every projection/throw within these arts. Properly executed, kuzushi disrupts the balance of the subject making any projection/throw almost effortless. Without this proficiency in kuzushi, one must rely more or brute force than finesse.

In order to fully understand the principle of kuzushi, one should first accept the concept that surrounding each individual there is a circle on the ground. The circumference of this circle is determined by the length of the farthest point one can reach with an extended arm or leg without leaning over.

Within this circle there are eight directions one can move (forward, back, left, right, and at 45 degree angles. If a person is forced out of the circumference of their circle in one of these directions (i.e. past their triangulation point), then they will be off balance.

The main problem with the concept of kuzushi is that is often taught incorrectly, superficially, or only geared towards sporting competition. However, a great description of kuzushi was written by Neil Ohlenkamp, 1999 Judo coach of the year, in the essay, “The Study of Kuzushi or 'I'm falling and I can't get up.'"

“Kuzushi is very often thought of as simply pushing or pulling. At more advanced levels however it is much more than that. For example, kuzushi can also be achieved by breaking the opponent's rhythm, fake attacks, strikes, changes of body position or grip, kiai (a shout), or a sudden change in speed or tempo. A critical element in kuzushi is that it should disrupt more than the body. Kuzushi is very much a mental thing. Kuzushi should always disrupt the opponent's concentration, resulting in a momentary opportunity for an attack. This is one of the reasons confidence is such an important factor in Judo. A strong and positive mental attitude can often dominate a weaker state of mind, resulting in effective kuzushi.”

The founder of judo, Jigoro Kano, made the a scientific study of kuzushi a fundamental element of judo training. However, despite Mr. Ohlenkano’s assertion that this study of kuzushi was new in Judo, “distinguishing it from old schools of jujitsu,” Kano basically took an old principle and extrapolated on it. In other words, Kano took esoteric explanations of kuzushi found in old densho (transmission scrolls) and made it more mainstream. He replaced metaphysical language with scientific terminology understandable to the layman.

Triangulation

If kuzusihi is the physical aspect of breaking the balance, then triangulation is the mathematical formula used to determine what distance is needed to break said balance.

In other words, simply knowing how to apply mechanical force to break balance is not enough to execute a proper projection/throw. Often projections/throws fail because the person being thrown is not destabilized to a point where their center of mass is extended past their base. Other times, they are taken too far past their base and are compelled to stumble away before the technique can be completed. This is where the principle of triangulation comes into play.

Basically, to determine the Triangulation Point of a person you start by measuring the distance between a person’s knee and ankle, and then extending that measurement to the front or rear of the person. For example, if the measurement between the knee and ankle equals 15 inches, then that person will be forced to step or fall if they are pulled more than 15 inches past their feet. At this point nothing they do will help them regain their stability.

Example

1. Subject is up right in a fully stable position. His center of mass is over his base. The sticks in front of him represent his triangulation point, based on the measurement of his lower leg.

2. As the subject is extended forward towards the triangulation point, his stability is lost. However at this point in the extension he is not fully dependent on being held up, and could regain his stability on his own by either righting himself or taking a step forward.

3. As the subject is extended even further towards his triangulation point his dependency on the other person becomes absolute. At this point even though his “center of mass” has not crossed the triangulation point there is no way he can regain his stability. If the person holding him would let go he would have to fall.

It is worth pointing out that center of mass of a body is only located below the navel when the body is straight (standing/prone). Once the subject is bent over like the subject in the photo, his mass moves out into the empty space between his center and the triangulation point.


The specific techniques martial artists use to complete a throw or projection depends on the art they study. But despite stylistic differences, we all use the same science to make them work effectively.

Take for example the following six Judo throwing techniques

Each of these throws require specific kuzushi, and all require the uke (person who is being thrown) to be displaced over his triangulation point, whether the throw is to the front, the rear, or the side.

When using Triangulation, it really doesn’t matter how you get there (entering, pushing, pulling, circular rotation, joint lock, body drop, etc.), as long as you take your opponent to the right spot. Once stability is broken, and broken past the point of no return, one’s opponent will have to fall to the ground.

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The Top Ten Principles of Yachigusa Ryu Aiki Bugei - #1 Avoidance Tendencies

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.

#1 Avoidance Tendencies

Understanding "Avoidance Tendencies" means learning the natural and instinctive ways the body will react to perceived danger and/or pain. Some of these natural tendencies are useful; others such as flinching have to be prevented. Some can aid in defense, and some can be capitalized upon when used against others.

Basically, Avoidance Tendencies means understanding how and why the body moves the way it does when threatened, and how to use these movements to your greatest advantage, offensively and defensively.

In a broader definition of the principle, Avoidance Tendencies refers to anything that reduces a threat, even prior to a threat actually occurring. This includes those wonderful maxims you learned as a child like “don’t talk to strangers” and the stuff they teach at most self-defense seminars like "know your surroundings".

However, using this principle in its correct context is the first step in understanding all its broader variations.

One example of a true Avoidance Tendency is the normal reaction to raise the arms and place them in front of the face when the face/head, especially the eyes, is threatened. This is an instinctual “hard-wired” reaction; a reaction few people even realize they are doing at the time. It is a natural movement that when controlled can be used effectively by the martial artist.

1. Bad Flinching


2. The same basic hand movement used effectively

Another obvious Avoidance Tendency is the “fight or flight” response. The “fight-or-flight” response, also refered to as the “acute stress response,” was first theorized by Walter Cannon in 1929. According to his theory, animals and humans react to threats with a general discharge of the sympathetic nervous system, priming the animal/human for fighting or fleeing.

During this response numerous physiological changes occur in the body. These changes include:

• Sweating increases - this helps keep the body cool
  
• Blood clotting ability increases - the body prepares for possible
  injuries
  
• Blood is diverted to the muscles, the muscle fibers tense, and the
  muscles become ready for action
  
• Senses are activated to make one more mentally alert
  
• Breathing rate increases to provide more oxygen to one's body
  
• One's heartbeat speeds up and blood pressure rises
  
• The liver releases sugar, cholesterol, and fatty acids into the blood
  to supply instant energy to the muscles [this is what makes a person faster,
  stronger and less likely to feel pain]
  
• The bladder and bowel muscles close down

Of course even with all these changes taking place, how the subject reacts can still vary. Normally there are four distinct reactions:

I refer to the first reaction as the “Bambi Syndrome.” When faced with a threat the subject will freeze and become motionless. The person will be so scared, that even though all the above physiological changes have occurred they cannot move or defend themselves. All they want to do is hide, and hope the threat goes away.

Basically they try avoiding the threat by hoping they are not seen, or that the threat will simply go away.

The second reaction is what I call, “Posturing.” This basically means the person adopts an a posture or attitude in order to deter the threat. This can include yelling, negotiating, profane language, adopting an aggressive stance, or releasing their bowels. In other words, the subject does something to either shock, intimidate, or disgust their attacker, hoping such action will deter the attack. This occurs quite frequently in nature where animals use body language, coloration, vocal sounds, and scents to defuse/settle confrontations, before actually resort to a violent physical encounter.

The third and fourth reactions are simple: the subject either runs or they hold their ground and fight.

Of course using the word “fight” isn’t always accurate. The person might just flail and thrash wildly, lashing out at anyone and anything in their path. In this state they act on instinct and are unpredictable. For these individuals, the basic instinct to survive takes over, and in most cases they are not even conscious of what they are doing.

What is absolutely certain is that one should never underestimate the instinct to survive. It can make ordinary people do extraordinary things and overcome extraordinary adversity.

While there are four distinct reactions, one must keep in mind that any one person can exhibit a combination of all of the above reactions at any point throughout a threatening situation. Just because someone appears to be running away at first doesn’t mean they won't all of a sudden stop, turn, and fight. After all, appearing to retreat and then turning and attacking one’s enemy is a classic battlefield strategy.

While understanding the theory of Avoidance Tendencies is one thing, using it advantageously is another. This requires a lot more study, and practice.

Leaning to use Avoidance Tendencies defensively

Hopefully, learning to control and override your body's natural inclination to threats is part of every martial artist’s training—especially in those arts that teach life-protection skills. In most cases, this involves simply modifying behaviors: the two most important ones being
to never flinch and to never tense up.

Proper training should also include learning body geometry so that correct avoidance (evasion) movements can be learned. These should be practiced until they become one's natural tendency.

An example of this is learning how to evade an attack to the midline. Many martial art styles teach techniques that use linear or circular footwork to evade this attack. For the most part, these techniques are not bad, just too big. There is too much movement, which often creates too much space between the attacker and the defender.

The truth of the matter is that only a small movement is required.

Using body geometry this is simple to understand. If the distance between the tips of one's shoulders equals 19 inches, then one only needs to move 9.5 inches off the midline to avoid an attack. This formula works since the shoulders are normally wider than the width of the hips, and only half the body has to be moved from the attack zone.

Nine and a half inches is a relatively small movement. The advantage of such a small movement is that it places the defender in optimal striking/grappling distance, while crowding the opponent and making it hard for him to do a follow up strike/attack without readjusting.

These small movements are also optimal for sword techniques, where success or failure is often measured in fractions of an inch.

Clearly, making smaller movements requires faith in the effectiveness of one’s actions, and these movements have to be done with full resolve and determination. Any hesitation, tension, or flinching can be disastrous.

Of course there are those that would argue that Avoidance Tendencies should start even before an altercation has begun. Many techniques to reduce the likelihood of getting into confrontations are taught at self-defense seminars. These include knowing your surroundings, walking on the lighted side of the street, avoiding alleys, taking the long way, etc.

One last, but sometimes overlooked, Avoidance Tendency for the trained martial artist exists in what the Japanese call Kamae. The common definition of the word kamae is "stance", however that is not really accurate; kamae means more than that. It actually refers to a posture that conveys an attitude, normally an attitude of readiness to face the task at hand. In a martial context this often means using body language in a manner that conveys an air of superiority, alertness, and defensiveness.

In fact there are numerous stories of two Samurai dueling, where the duel is settled by no more than just adopting a particular kamae. There are even stories of old Kendo masters whose kamae were so strong that their opponents could not perceive a way to attack them, and yielded the match to them.

If one really studies the human psyche, it really shouldn’t be that surprising that a stance/posture can be an effective deterrent to altercations. Body language can often work in situations where talking has failed.

I like to use the example of two Roosters meeting: as they walk along their heads are low, but when they meet they inflate their chests, raise their heads, fluff their feathers, and try to look as big and intimidating as possible. Normally the smaller of the two—or the less confident—moves aside and gives way.

The same can be said for humans. If you’ve ever witnessed the moments leading up to a fight, there is a lot of posturing that takes place before fists start to fly. Posturing is clearly intended to intimidate one’s opponent.

While I don’t advocate assuming a “fighting stance” when faced with a threat, there are other types of body language I use to convey that I’m not an easy target, or that I’m alert and ready.

One of these goes back to my very first example of Avoidance Tendencies where the arms are raised in front of the face. This is basically the internationally recognized posture of surrender. During an altercation, if one adopts this posture it will often defuse the situation reducing the level of antagonism. It works because the position is one of submission.

However, it is actually a strong defensive posture where the hands are in an ideal position for defense and attack.

The above technique is not only an example of one type of Avoidance Tendency, but also a small lesson in the psychology of fighting and self-defense.

Learning to use Avoidance Tendencies Offensively

Learning to use Avoidance Tendencies proficiently against one’s opponent is much harder and requires more study. Often times, it requires the skill to create an “illusion” of threat such that one can capitalize on the opponent's instinctive response by striking/attacking a corresponding target.

A simple example of this is faking a strike to the eyes. Most people will pull their head away from the oncoming strike. This happens for two distinct reasons: first to protect their eyes from being damaged, and second to maintain visual focus on the rapidly moving hand/object.

As the head pulls backwards, the chest arches forward, and the neck becomes exposed. Not only can the throat be attacked, but due to the unstable body position (the arch), the person can be pushed backwards and downwards towards the ground quite easily.

In many instances, the person will also be “grounded” making it very hard for them to move or counterattack. Even if their hands rise forward in defense, their power is diminished due to the arch that tightens the corresponding shoulder muscles.

Just lean your head all the way back and stretch your arms forward. You will feel the pull in your shoulders and the weakening of the strength of your pectoral muscle across the chest.

Those martial art practitioners that practice the art of vital point striking often have a comprehensive understanding of “cause and effect,” as it relates to striking specific points of the body. Or in other words, using the body's natural avoidance tendencies as it relates to the sensation of pain.

While an understanding of these reflex actions to pain is only one element of Avoidance Tendencies, it should not to be taken lightly. In fact, learning to capitalize on the body's natural reaction and aversion to the sensation/stimulus of pain is extremely important, if not essential, to the proper execution of many martial arts techniques.

Simply put, specific strikes to specific points cause specific responses. Knowing how the body will react and move after being struck makes follow up strikes, joint locks, and/or projections quicker and easier.

Case in point:

Subject “A” grabs Subject “B.” Subject “B’ strikes Subject “A” at the crease of the arm in a scooping motion.

Two things happen at this point: first of all, Subject “A” feels pain; the second thing is that his upper body will come forward in the direction of scoop. This brings the head forward into striking distance.

The sensation of pain is not and should never be the primary goal—just a fortunate byproduct if it happens. It is the directional scooping motion, and the body's desire to “escape” (avoid) the point of stimulus, that makes this technique work so predictably. (See the forthcoming essay regarding "Reflex Action" for more specific information on this reflex.)

For the most part, reactions such as these are predictable and can be duplicated time after time. As long as the proper stimulus is applied, even if the attacker is aware of what is about to happen (such as in the classroom), they can not override the body’s innate reactions.

The body is clearly a wonderful machine capable of wonderful things. However, like many machines there are built in safeguards, which are hard-wired in to protect the machinery from damage. The principle of Avoidance Tendencies, whether used defensively or offensively, is basically about learning to manipulate these innate abilities to their full advantage.

Of all the top ten principles, "Avoidance Tendencies", is most likely the easiest one to understand and develop. All it takes is a moderate study of the human psyche and physiology to start to integrate this principle into techniques one already knows. Chances are that these skills are already part of any martial artist's training, in varying degrees.

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List of Classical Japanese Dojos in the Bay Area

Out of some sense of OCD, I wrote up some notes of mine on various classical Japanese martial arts schools in the Bay Area.

http://www.spencefu.com/martial/dojo_list.html

It seems like people are out there, looking for these types of schools, but since they are small and unable to advertise it is hard to find them if you don't know the exact right questions to ask.

It turns out that there are more schools avaiable out there than one might think. Depending on how you count, there are 20-30 classical-style schools I know of that have something valuable to offer students: ranging from aiki-jujutsu to iaido/battodo to kyudo.

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Yari Vs Sword #1

I hope between the photos and this description I can do this technique justice.

1. A spearman and swordsman meet

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2. The swordsman prepares to draw and the spearman counters by striking the forward hand and pushing the swordsman to the rear and off balance. (Why the spearman doesn’t just kill him outright is for speculation, but this was taught as an arresting technique, so I imagine the attacker had to be taken alive.)

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Once contact is made with the forward arm, this pressure cannot be released. This is how the swordsman will be controlled. From this point onward the spearman must dictate all directional movements of the swordsman. Of course the swordsman cannot be aware that the spearman is dictating the action, and must "feel" that the movements he is making are being unchallenged. This requires subtlety and refinement, and there is a fine line between too much force and too little.


3. Because of the position of the spear, the swordsman must drop his hip back in order to complete his draw. As the sword leaves the scabbard, the spearman applies more downward pressure on the front hand, while at the same time starting to extend the front hand in a forward arch. This is done by pulling the forward elbow back towards the hip, while pushing the forward knee towards the swordsman. These are small movements.

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Note the swordsman’s poor posture, and how he is leaning at a forward angle to the right side of the spearman. Most of the swordsman’s weight is on his rear leg, and his hip is still to the rear. His forward elbow is facing the ground and the arm is not allowed to fully extend forward.


4. The spearman steps around the swordsman, using the force of his rotation to "push" the attacker downward and forward. We call this "back-pressure."

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At this point in the technique, the position of the swordsman’s elbow comes into effect. The push should drive the elbow straight to the ground at the specific point that off-balances the swordsman. We refer to this point as his “triangulation point;” simply put, it is a place where the attacker can’t regain his balance and must fall down.

I cannot overstress the importance of proper extension, or the importance of remaining in contact with your opponent’s wrist at all times. The wrist must be controlled from the very beginning so the swordsman cannot properly grip or use the sword. Note how awkward the swordsman’s hand position is on the draw.

Keep in mind that there is nothing between the swordsman’s sword and the spearman’s body. This is on purpose! You want to make the swordsman believe he can swing and cut, because any forward motion on his part can and will be used against him. In fact, any forward momentum generated by the swordsman will make doing this technique easier.

Of course if you mess up, you are going to get cut. That is one reason the spearman rotates his body. If the spearman rotates properly he should place himself in a safer position. However, I wouldn’t bet my life on it.

I should also mention that if one use to much force the technique will not work. You will lose your connection and the swordsman will regain his stability. The spearman’s motion has to be smooth and light, so that the swordsman doesn’t feel he is being controlled. Any use of force (strength) will be felt and the swordsman can react to it, nullifying the technique.


5. The swordsman is taken all the way to the ground and the spearman’s grip is released. The spear is flipped over, and the swordsman neutralized.

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This technique is not easy to accomplish, but it’s worth the effort to learn. A lot of scientific principles can be found within this technique, principles that can be applied to numerous other forms.

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Naginata Vs Sword #1

Clearly, my teacher preferred the yari to the naginata or sword. However, the curriculum of the school covered all of these weapons, and proficiency using them was required in order to progress within the system.

I’ll be the first to admit that I only have basic skills when it comes to wielding a naginata, however the similarities to the yari are unquestionable. Fortunately, the insights my teacher instilled in me in the usage of the sword and spear, as well as those related to unarmed (aiki) techniques, has helped me develop a more comprehensive naginata curriculum for my students.

This does not mean I’ve made up new techniques, or changed what my teacher taught me. The techniques he taught are still the same, as are the core principles that make them work. All I’ve done over the years is discover variations, and when possible added to my arsenal of techniques by studying with others more skilled than myself.

In this sequence the spearmen is attacked with a horizontal attack to the throat. The attacked is neutralized with a side-augmented block.

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In order to do this block correctly several factors must take place.
1. First of all, the naginata must be at a 45-degree angle.
2. Secondly, the rear bottom hand must be placed against the hip to maintain stability.
3. The forward hand must be kept tucked, elbow facing the ground.
4. In this sequence I have elected to step forward into the attacker’s midline, which helps to reduce the amount of impact from his weapon. This helps prevent the possibility that my blade will be broken due to the impact. In some situations a side step or a back step can also be used, though these motions are not as optimal.
5. When using this block NEVER meet the attacker’s force. NEVER! And don’t flinch either. Either trust the form or don’t do it. CORRECT POSTURE is essential in all forms!!

Use the tsuba push the sword straight up and towards the attacker.

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This movement has to be done quickly and smoothly while there is still resistance against the block.

Note, how the swordsman’s body is leaning slightly backward, and that the sword is now above the head of the defender.

(To make this lift more effective, and harder to perceive, one can raise the rear foot, instead of using a lot of arm action.)

Right before the tension between the two weapons stops, do a dropping motion with the naginata. If done correctly the swordsman will slip off the naginata and fall to the side.

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I tend to use a slight body-drop at this moment, but that isn’t really necessary. In fact, since it is imperative that the position of the arms remains unchanged, I advise against using a body-drop if one cannot maintain their hands while doing it.

It should also be noted that I lean slightly forward when doing the dropping motion and my lead elbow faces my opponent. By knowing where my elbow is positioned I know exactly where the midline of my opponent is, and any follow up motion I make will be a straight line—the quickest way between two points.

In addition, by keeping my elbow forward I reduce the likelihood of letting my arm extend away from my body which would reduce my stability and control. It also keeps me from placing my arm in a position where it could be attacked by my opponent or a possible accomplice.

Those who feel they need to drop in order not to be hit by the sword are wrong—or they are doing the form incorrectly. If the sword is raised properly prior to this movement, the sword will "float" over your head.

The main objective when doing this technique is fluidity. This technique is not effective if not done in one progressive motion. Any pause will give the attacker time to adjust, and possibly attack again. If nothing else you will lose your advantage, and have to start over.

At this point in the technique numerous counter attacks can be done. The obvious one is to make a circular action and cut the attacker down the midline, or across the shoulder. For this sequence I elected to use a strike with the pole/end-cap to the back of the head.

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I find this counter attack to be quicker, and as my opponent stumbles, or recovers from the blunt trauma to his head, I have time to be more selective as to which technique to use to finish him off. Of course, for the more merciful, this attack also allows one the option to not use lethal force (Yes, I’m aware that a hard blow to the back of the head can kill also).

I find that this from is very versatile and I teach it using almost every weapon in our arsenal. The nice thing is that except for distancing, this form requires only slight changes in order to be effective with other weapons.

Basically, the main difference would be that weapons without a tsuba or catch-bar don’t utilize the push up and back, and a proper body drop is essential at the moment the attacking weapon is passed over and downward.

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One-Handed Yari Technique #3

This technique is basically the same as One-handed Yari #1 except this time the rainbow block is done with the spear and not a sword.

The technique starts again with a 45-degree forward step and block. Once the attacking sword is deflected, draw your dagger and stab or cut the attacker.

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Click for full size

It should be noted that maintaining a solid grip on the spear at this angle is not very stable with one hand, so any drawing and stabbing/thrusting action must be done quickly to avoid a counter attack.

Due to the awkward position of the spear it may be necessary to drop the dagger in order to defend against a counter attack, though my teacher taught several variations where the dagger was used to block, and the spear was then repositioned for attack.

One of my favorite variations of this technique starts with the underhand dagger thrust position as depicted in photo #2. After the initial block and thrust, I will re-grip the top portion of the pole in a manner where the dagger blade extends beyond the tip of the end-cap. This grip position basically allows me to have a blade on each end of the spear, and allows me to thrust at my opponent, or use the pole to fracture his shoulder without having to change my position.

This grip requires a little practice in order to be able to fully control the dagger and the spear.

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One-Handed Yari Technique #2

One element of my teachers sojutsu (spear) system was one-handed usage of the spear. This allowed him to wield another weapon, often a short sword or tanto (dagger).

When wielding a spear with one hand, I strongly suggest that the spear be less than 6 feet in length. I prefer to use one just slightly longer than a jo. Of course that decision is up to the practitioner and his ability.

I also suggest when wielding a second weapon that is either lighter than or of equal weight to the spear; this helps maintain stability.

This technique involves a forward 45-degree evasion with a simultaneous spear block, and horizontal cut with the sword. Note: the spear is at a 45-degree angle and slightly angled away from the body. This spear position deflects the attacking weapon—in this case a sword—away from the body and downward. It also allows the practitioner to lower the spear to follow the movement of the attacker’s weapon as it descends.

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Click for full size

Once again for optimal stability the spear-wielding arm should be kept close to the body, and the elbow should never pass the point of the hip.

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The sword cut should be to the neck or other vulnerable points of the body. It is also possible to thrust the sword to the mid-section

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This photo depicts the same technique but with a dagger instead of a sword.

Like the first one handed yari technique this form can be done in various configurations, two swords, sword and dagger, tessen (iron fan) and sword, etc..

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One-Handed Yari Technique #1

One element of my teachers sojutsu (spear) system was one-handed usage of the spear. This allowed him to wield another weapon, often a short sword or tanto (dagger).

When wielding a spear with one hand, I strongly suggest that the spear be less than 6 feet in length. I prefer to use one just slightly longer than a jo. Of course that decision is up to the practitioner and his ability.

I also suggest when wielding a second weapon that is either lighter than or of equal weight to the spear; this helps maintain stability.

This technique involves a forward 45-degree evasion with a simultaneous rainbow block with sword. Note: the spear is thrusting to the attacker’s midsection during the body shift. (The spear side elbow should never pass the point of the hip, and the body must remain square.)

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Click for full size

In order to be successful the spear must be tucked against the body and the body must be used to thrust the spear. Using only the arm would be too weak, and could cause the spear to become unstable if hard tissue such as bone were hit.

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While not pictured, once the thrust is complete the attacker is open for a cut from the sword such as Kesa–geri.

Clearly this technique is not “rocket science,” and it can be done in various configurations, two swords, sword and dagger, tessen (iron fan) and sword, etc..

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Frank 1.5

For a few years I’ve struggled to develop a realistic striking dummy for both sword and spear. I have wanted a striking dummy that could take full force strikes, thrusts, and slashes, and hold up to the abuse various forms of impact can cause.

I’ve played around with several designs, but many were too bulky, and couldn’t withstand much abuse. Or they were not sturdy enough to take blows, and when struck simply fell over and/or apart. In either case none of these designs were very practical.

In addition I wanted my dummy to be average height, (about 5foot 9 inches tall) with various targets one could attack. Basically, I wanted a dummy that was as versatile as possible, but which wasn’t extremely heavy and didn’t take up to much space in the school.

A few weeks ago I finally built such a dummy, I’ve nicknamed “Frank 1.5.”

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Click for full size

Basically Frank 1.5 is made of old used tires, and recycled lumber, however though made of scrap materials he is designed to take almost every imaginable attack one could think of, from the tip of his head, to his legs, (sorry, but I couldn’t figure out how to make feet).

So far since his construction we have tried are best to break Frank 1.5, or at least pinpoint his weaknesses. While we managed to break one white oak bokken, a 26 inch police baton, and a jo while striking Frank 1.5, he has shown no signs of damage or even wear and tear.

I realize that Frank 1.5 might hot be the most handsome dummy ever built, but he is 100% functional and that what counts. I should also note that while I like to build things out of wood, I am in no way shape or form a carpenter. If something can’t be built with a screwdriver, hammer, and handsaw it doesn’t get built. So given my limited abilities and shortage of proper tools I’m very happy with the way Frank 1.5 turned out.

Click for full size

Click for full size

Another nice element of Frank 1.5 is that he is designed so one can also practice thrusting, both with a wooden spear or a real one—though I imagine Frank 1.5 will most likely need to have his face replaced if we use a sharp sword to often.

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Like I said Frank 1.5 is still is still under evaluation, but so far he seems to working out just fine.

Total Cost - $ 0.00 (All materials were scrap and donated.)
Total time – Approximately 25 hours most of which was used to cut and drill holes in the tires.

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