FIGHTER-ART.CO.NR

MARTIAL ARTS : TAI CHI 1

2008-01-15T22:52:00.000-08:00

TAI CHI : BLOCK LOW TO THE RIGHT

This posture is sometimes done in the slow form with the lower arm in the palm up position; this is only done to allow beginners to understand where to place their hands. The correct posture is
done with the lower arm in a palm down position. Photo No. 1. In this posture the harder area of the forearm is used to block the attack and so not damage the soft area of the arm. There are times however when the hold the ball posture is used.

You are being attacked with a left low upper punch to your right rib area, (one of the most potent areas to attack). You bring the left arm across to your right as you swivel slightly to the right in order to keep your palms in your center. Your weight is placed on the left leg to receive the power. You block the attacker’s arm from underneath, keeping your right palm on top of your left to stop his hand from slipping upward and re-attacking.

Photo No. 2. You must keep your left fingers relaxed to prevent damage. This technique can be practiced on both sides one after the other as you swivel on your heels to meet the attack and it can become quite fast. Photo No. 3. This sort of blocking technique can be used to block all kinds of middle area kicks followed up by an immediate attack, (covered in the advanced section.) P’ENG

P’eng is one of the main techniques in t’ai chi and it’s uses are many. I will cover many of the p’eng techniques in the advanced section. It’s usual use is that of defense but a more unknown use is that of attack. For p’eng see PHOTO No. 4. If we take up from the last block to the right, we are able to very quickly grab the left wrist with the right palm, quickly step up with your left foot and attack the ‘mind point’ (in acupuncture, the jaw) with back fist. Photo No. 5. double peng

If your attacker now attacks with right low upper punch to your left rib area, you quickly step back and swivel to your left with the weight on your right foot as you block using the same low block as in photo 3.

You then step forward with your right foot and the right fist comes up from underneath your left arm to attack with a downward back fist to the chin. Photo No. 6. Note that the left palm is guarding the attacker s right arm to sense what it will do next. For double p’eng see Photo No. 7.

TAI CHI : PULL DOWNWARD

The posture of double p’eng can also be used for the blocking technique to begin this next posture. You are being attacked by a right (or left) fist. You block using double p’eng with your right arm.Photo No. 8. The left palm now comes over the top of the attacker’s wrist and grabs it with some help from the right palm. Photo No. 9.

You then twist the attacker’s wrist in the direction that it does not want to go and pull him downward using the power from the waist. Photo No. 10

Be careful with this one when practicing as it can cause damage without even trying.

Another use of Lu is to use it only as a blocking technique. If you are being attacked with left low punch to your right rib area. Swivel to your right to keep your centers in line and slam down onto the opponent’s left arm with the back of your left forearm, keeping your right arm underneath to trap the arm. Photo No. 11.

If you are being attacked on your left side, swivel to meet it and as you turn, draw both arms in toward you slightly. Then as you meet the attacker’s arm, thrust both of your forearms downward to catch his right arm in a scissors block. The power for this comes from the straightening of the left leg. Photo No. 12. If you pull your hands apart you will see that the ‘LU’ posture is used here. NB: I will only show photos of those postures that aren’t so well known. Most of the major postures are quite well known.

TAI CHI : CHEE OR (Squeeze, sometimes called press)

From any of the last blocking or attacking movements, bring your left palm to the outside of your right wrist and use lifting energy to attack to his lower stomach area. This attack can either be a powerful pushing movement as in Photo No. 13, or it can be a snapping downward attack upon the abdomen at the junction of the diaphragm.

Ebook Martial Arts

2008-01-15T07:21:00.000-08:00

MARTIAL ARTS : NINJA 6

2008-01-06T21:07:00.000-08:00

Ninja : Escapes and Reversals

Most combat techniques of Ninjitsu involve target avoidance and evasion. The Ninja value peace and harmony above all else, therefore, they have a simple and preferred method of dealing with violence run away.

Only when all avenues of escape have been exhausted is a martial artist permitted to use his deadly art to defend himself. Most martial arts schools begin by teaching this concept, then spend decades learning how to kill, cripple and maim an attacker.

Ninjitsu, however, is the Way of the Invisible Fist. The practice is to vanish from sight rather than engage the enemy in a conflict in which either or both combatants might be injured. More on those techniques in a later section. Still, even a skilled Ninja can be cornered and trapped. Not only under the gun as demonstrated in the previous section, but also by an enemy intent on fighting who cannot be avoided. Most fights begin standing up with a few kicks or punches, progress to grapples and throws, and end on the mat. Escaping or reversing grapples and throws is the province of Kumi Uchi.

Ninja : ESCAPE FROM HEADLOCK

This technique works well against a rear naked choke or side headlock. Should the enemy seize you and seek to employ the rear choke, the first consideration is freeing the windpipe. To accomplish this, turn the head inward toward the enemy ribs and dig into his torso with your
chin. This is an old wrestling trick to make the enemy jump so his balance can be broken. Second, it will provide a breathing space and take the pressure off your neck so that the headlock, which painful, is not a choke-hold.

Fig. 1 The enemy has secured a Rear Naked Choke from behind, his forearm pressing against the windpipe, making it difficult to breathe. Relieve this pressure by gripping his wrist from below and turning you heard to the open side of his hold. This is a good example of starting in the opposite direction from the true intent.

Fig. 2 Back Out Step with the left leg, unexpectedly turning the Choke into a Side Headlock without the enemy as permission. Or start from the Headlock, since it is a commonly encountered hold. Reach over his shoulder and cup his chin in your right hand. Tilt his head back. Reach behind his left knee with your left hand and bend his knee by pressing on the ligaments behind the kneecap.

Fig. 3 Drop onto your left knee, turning the enemy by the two holds to fall across your upraised right knee. This will snap his spine if done quickly. Immediately releasing the arm around your head or neck.

Ninja : STANDING SWITCH

Should the enemy seize you about the waist in seeking to capture you, it is possible to reverse positions with him or escape by employing the Standing Switch.

Fig. 1 -As the waist cinch is secured, drive your left arm down along the inside of the enemy’s knee. This locks his elbow between your hip and tricep. Toe-out with the left foot and drop the left shoulder.

Fig. 2 -Pivot on the ball of the left foot, swinging the right leg for added momentum. This action will certainly break the waist cinch or dislocate the enemy’s elbow. Step behind the enemy with your right foot, maintaining a grip on his thigh with your left hand. From here you may step behind with the left foot and cinch him, or slide up and apply the Japanese Strangle.

Ninja : WHEEL THROW

Fig. 1 -Should the enemy seize you by both wrists, free your hands by rotating them up and to the outside line. (Double Mirror Block) Step forward with the left foot, striking with double palm heels to the enemy’s chest. This will drive him slightly back, breaking his balance to the rear. Grip the enemy lapels with both hands. If lapels are not available, cup both hands behind his head.

Fig. 2 -Maintaining your hold on the enemy, sit down near your left heel, pulling him forward and onto you, taking advantage of his natural reaction in trying to save himself from being pushed backward. Execute Ke-Age (kicking up) with the right leg. Strike the enemy groin or Hara.

Fig. 3 -Use your grip on the enemy to support him over you. This prevents his falling forward too fast and striking you with his head. Place the left foot in the enemy’s Hara and push up strongly with both legs, lifting him off the ground.

Fig. 4 -Push the enemy clear allowing him to Backfall to a head-to-head position above you. The impact alone of this fall is sufficient to drive the air from his lungs and incapacitate him. Using your grip on the enemy to maintain your momentum, execute a back roll swinging the feet overhead, tucking the head to one side, and pulling with both hands.

Fig. 5 -Completing the Back Roll, land with the buttocks on the enemy chest or abdomen, driving the air from his lungs and crushing the chest cavity. Both knees should land on his biceps, rupturing the muscles. Release the grip on the enemy with the right hand and execute a driving Palm Heel to the enemy chin, snapping his neck.

The Wheel Throw, or Tomoe-Nage, illustrates one of the fundamental principles common to all martial arts yielding. By alternately pushing the enemy back then using his own resistance to pull him forward, it is easy to unbalance even a much larger opponent. And send him crashing to the mat. TomoeNage is a basic sport Judo throw, but has it's roots in Jujitsu., the much more ancient martial art of the Samurai.

Ninja : TWIN DRAGON FIST

These techniques are used in the event the enemy is successful in cornering you and launches a Fist attack. They result in the enemy’s permanent blindness, making possible your escape.

Fig. 1 -Should the enemy throw a right lead, fall back slightly and counter with a right Mirror Block. This action crosses the enemy with his own arm, preventing him from using his left hand to attack. Bear in mind that in Ninjitsu one does not truly block-one strikes. Therefore, the mirror-block is actually an attack to the wrist. By striking the ulnar nerve at this point, one numbs the arm.

Fig. 2 -Immediately overturn with the right hand, trapping tile enemy’s right wrist and pulling him forward. Remember, he is forward already, heaving advanced to launch his attack in the first place. This action pulls him even farther, breaking his balance. As you begin to tip the enemy over, extend the left hand palm down, with the index and middle fingers outstretched.
This forms the Twin Dragon Fist. The third and little fingers are curled into the hand. Do not stiffen tile fingers as they will be easily broken. Do not drive forward with the fingers; rather, draw the enemy to them. No great amount of strength is required only accuracy.

Fig. 3 -If the enemy is more cautious and launches a left jab or hook, fall back slightly, executing a right shoulder-block. Again, you are actually attacking the wrist, in this case the radial nerve. This action opens the enemy center line to attack.

Fig. 4 -Before the enemy’s arm can be recovered from his left jab, strike out from the right shoulder-block position with the Twin Dragon Fist, attacking the eyes. Do not stiffen the fingers; imitate the action of a serpent striking. Use the left arm to execute a depressing forearm block as you lash out. This will deflect any attack that might have been launched by the enemy’s right fist or, as in this case, will trap his left arm, preventing him from saving himself.

Blinding a fellow human being is an extreme measure and should only be used in selfdefense. Deliberately breaking into a mans castle to rob him or kill him is NOT self-defense. It should also be noted that these two techniques, the Inside and Outside Finger Jab are the hallmarks
of the Black Dragon Fighting Society self defense system. It may be brutal, but is it more brutal than being killed? That is the question to be considered.

Ninja : CAPTURE IN PASSING

Ninjitsu is known as the Art of Invisibility. Inpo, the Art of Hiding, teaches us how to remain unseen once we are out of the enemy’s view. Tonpo, likewise, teaches us how to vanish from the view of the enemy. The techniques of Huo Nei Kuo are the basis for this ability. Translated to mean "capture in passing," the term is related to the stratagem in chess of overcoming the enemy pawns should they fail to act.

These techniques are the basis for many legends about masters of the martial arts who would overcome an opponent with no physical contact. In each case it is possible to evade the enemy’s attack without killing him. For this reason the Mi Lu kata from which the techniques are drawn is sometimes known as the Way of Fighting Without Fighting or the Dance of Invisibility.

CLOUDING THE MIND

This method is employed when the enemy is poised in a wide stance, but has not yet advanced.Lower the body slightly for better balance. Relax both wrists so the hands hang loosely with the backs toward the enemy. Assume a Horse Stance. This will sometimes induce
the enemy to widen his stance since he will expect lateral movement from you. You should be three to five feet from the enemy. Raise the hands, arms extended between you, aiming the back of the wrists at the enemy face. You must do this not so slowly that he reacts before you are ready, and not so quickly that he will ignore the movement. Watch your own hands this will induce the enemy to do likewise. The idea is to focus his attention on your hands.

Fig. 1 -Step quickly forward, lowering the body still more. This will move the hands toward the enemy but, since the arms are not moving and the perspective is foreshortened, you will be upon him before he can react. As the right foot touches the ground, flick the fingers into
the face of the enemy. Regardless of whether you actually touch his face or merely flash him, he will flinch or blink. This is an autonomic reflex and is virtually uncontrollable. Immediately as you flash or haze the enemy, drop straight down over the feet into a squatting position. You will not see the enemy blink, since you are looking over the ends of your wrists and, by lifting the fingers, you will obscure his face from view. The haze will cause the enemy to raise his guard to protect his eyes. Since you will be crouched almost at his knee level, you will be screened from view by his own arms.

FIG. 2-As you sink out of sight, and see the enemy lifting his guard, tuck your head into your chest, round the shoulders, and push off with both feet. The momentum of this effort will carry you between the enemy’s legs. Execute a forward roll as your hands touch the ground behind him. This will enable you to vanish downward to a position ten feet behind the enemy.

Ninja : VAULTING THE ENEMY

This method is employed when the enemy attempts a low-line attack, such as a leg dive or tackle.

Fig. 1 -The enemy steps forward, dropping his shoulders and reaching in to seize the knees. Effect a back-out step by slapping down onto his back with both hands and kicking both feet straight to the rear. This prevents the leg dive and stalls the enemy in a forward leaning stance.

Fig. 2 -Push off with both hands and jump straight up spreading the legs. The combination of the enemy’s forward momentum and your own spring will carry him under you. Some practitioners prefer to grip the enemy head when vaulting, thus insuring that it remain low enough to prevent accidental groin injuries.

Any type of Roman Horse vault will suffice to clear the enemy, depending on the acrobatic agility of the practitioner and the depth at which the enemy attacks. In this way, one vanishes upward to a position three to five feet behind the enemy. Note that this technique is commonly practiced and seen in Professional Wrestling, but ancient acrobats practiced it by leaping onto the backs of raging bulls as an Olympic event when civilization was in its infancy.

Ninja : GO BEHIND STEP

This method requires an external distraction to be truly effective. Two methods are preferred, one being Kiai, the spirit shout. Sometimes called the "attack by intimidation," the Kiai is a belly shout drawn from the Hara. It is a scream of total commitment. Charge the enemy from out of range, feinting a ferocious attack to the eyes. This attack must be sufficiently terrifying to startle the enemy and make him cover his own eyes in defense. The Kiai may be employed effectively with the Kasumi technique.

Sha Nei Mu, or "sand in the eyes," is the second distraction which is used to temporarily blind the enemy. Some schools devise complex fomulae for their blinding powders. Itching and sneezing dust are two obvious examples. In ancient times these were stored in hollowedout
eggshells, so they could be brought quickly into play. A handful of native dirt will produce the same effect if one can be surreptitiously obtained.

Fig. 1 -Cup the right palm lightly, keeping the dust concealed from the enemy. Swing the arm in a semicircular arc, crossing from the right to left hip, up to the left shoulder, then back in front of the right shoulder. Abruptly stop the right palm in an extended shoulder-block position, casting the powder into the face of the enemy. As you begin the casting movement, step toward tile left. This will give the impression that you are attempting to flee in that direction and distract the enemy’s attention from the action of the right arm.

Fig. 2 -As the enemy gropes forward toward what he believes to be your position, duck under his attack to his lead side. In this way you will have less distance to travel to get behind him. This is an extended variation of the Spinning Back Pivot found in Inpo. Fix your attention on
the left temple of the enemy. This is where you will strike him should he somehow not have been blinded. If you are close enough to the enemy, the action of casting will carry your extended finger tips horizontally across the enemy’s eyes, producing the desired effect. This attack is also found in Wing Chun, but is followed by a palm-up finger jab.

Fig. 3-Execute the second half of the Mi Lu pivot, slipping by the enemy as his grasp closes on emptiness. You are now invisible behind his left shoulder. Continue to target his left temple. You may now pivot into the final Mi Lu position and assume a stance behind the enemy, or dart behind cover to vanish, or simply flee. In this way, you vanish completely, in full view of the enemy.

MARTIAL ARTS : NINJA 5

2008-01-06T19:00:00.000-08:00

Ninja : AMBUSH FROM ABOVE

Fig. 1-Begin by gaining a position above the enemy using the Kuji Ashi, or hide in a superior position and wait for the enemy to come into range. Bear in mind that when being attacked from above, people seldom look up, and they tend to shoot under the target when firing up.
Fix your gaze on the back of the enemy skull.

Fig. 2-Drop on the enemy, striking him with your full weight. Employ the knees to strike his shoulders and drive him straight down, breaking your own fall with his body. Try not to land directly on his head; though this frequently snaps the neck, the body does not fall . properly. Should the enemy hear or sense your attack as you launch it and turn about, the attack will still succeed.

Fig. 3-Ride the enemy body to the ground, crushing his spine beneath you. Apply the coup de grace by striking the base of the skull with the right Shuto, breaking the neck.

Ninja : AMBUSH FROM BELOW

When cover is scarce or low, consider attacking from below. Select a point of concealment above which the enemy will pass and from which you may launch your assault unseen.
Fig. 1-As the enemy passes, cup his rear foot in the palm of’ your hand (the right in this case), simultaneously poising the dagger in your left.

Fig. 2-Scoop the enemy foot forward as he shifts his weight forward onto his lead foot, lifting it clear of the ground and breaking his balance to the rear. Cock the dagger beside your left ear in an ice-pick grip.

Fig. 3 -As the enemy falls beside you, landing on his shoulders, pivot over your right knee and drive the dagger downward into his heart. It is essential that you sweep the enemy as he takes his weight off his rear foot. This prevents him from saving himself by taking a quick step forward.

Ninja : DROP TOE HOLD

The following is an escape to be employed when the Ninja is detained in the military frisk position.

Fig. 1-Note that the enemy hooks your leg with his left leg to sweep your feet from under you should you resist. His left hand presses against your back, locking the vertebrae and forcing him to raise the pistol over his arm.

Fig. 2 -As pressure is applied to your back, tuck your arms and fall straight forward, twisting to your left rear. Break this fall by seizing the enemy’s right wrist, pulling him forward and turning the weapon to the outside. Land on your left hip, driving your left knee behind his left knee. Catch his left ankle with the crotch of your right knee. Drive your right palm upward into his hip, striking his left hip socket. Watch the pistol. He may resist, trying to keep his balance, or spasmodically get off a shot.

Fig. 3-Pull down and push up with your hands. Swing the body to the right, using your weight to slam the enemy into the wall. Slip your leg between the enemy legs and scissor his left leg with your own. This trips him forward and prevents him from saving himself. This movement must be executed with blinding speed.

Ninja : HANDCUFF SWITCH

The enemy has captured you and ordered your hands atop your head. He moves into position behind you and reaches up to take your right arm into a Hammer Lock. This is preparatory to tying your hands or handcuffing them behind your back. The enemy presses his weapon into your back to discourage resistance. In an arrest, one officer generally covers the other.

Fig. 1-The enemy pulls your arm behind your back. This is the best moment to attack since he must either reach for his cuffs or holster his weapon. His attention will be distracted.

Fig. 2-Step to the right with your left foot, pivoting on the ball of the right foot, and reversing the enemy’s wristlock by lifting it over your head and seizing his arm. Slap the enemy weapon to the outside with the left hand by crossing the body. This is known as a cross-push block. If he has bolstered his weapon, strike him in the rib cage as you turn.

Fig. 3-Slide-step with the right foot to a position even with the enemy. Step to his rear with your left foot, maintaining your grip on his wrist. Pull downward in a semicircular arc with your right hand, twisting the enemy’s right arm into a hammer lock. Seize the enemy’s left wrist from behind to prevent his executing a similar reverse.

This is a common escape from a Hammer Lock found in most martial arts as a self defense trick. It involves using the Entering Pivot from the Kuji Ashi. From this it can be seen that the Ninja applied a few techniques to a variety of purposes. Making their system simple and easy to learn as well as effective. This is the same step used to enter a doorway without letting light escape as the door is opened shown earlier.

Ninja : TEARING OFF THE FINGER

Fig. 1-This method is employed should the enemy be so foolish as to place his weapon against your chest to intimidate you.

Fig. 2-Slap down with the right hand, clamping it over the pistol. Two things are essential : the web of the hand must fall between the hammer and the firing pin to prevent discharging a round; and the weapon must be deflected down and to. the left outside line, just in case. In the case of revolvers, it is further possible to grip tile cylinder and keep it from turning. This prevents the weapon from firing.

Fig. 3-Having secured the grip, twist the barrel back upon the enemy. This traps his finger inside the trigger guard. Seize his wrist with your left hand to reinforce the finger lock. The enemy will most likely seize your right elbow to resist this attack. In this event, step quickly back with the right foot, jerking down on the weapon. The index finger will dislocate at the knuckle and can be torn off using tile metal edges of the trigger guard.

Ninja : ESCAPE BY TURNING

Fig. 1-Should the enemy apprehend you and place his weapon at your back, consider the point at which he actually touches you. This will determine the type of block you will employ when turning. In most instances, a Mirror Block will be most effective since, as you turn, your shoulder will drop. In this, as in the previous technique, be assured that it is possible to act before the enemy can fire. In both cases, your first concern is moving out of the line of fire, either by deflecting the weapon or by shifting your position.

Fig. 2-Pivot on the balls of both feet simultaneously. Execute a right Mirror Block to deflect the weapon to the outside line. Execute a left hooking arc with the left Palm-Heel, striking the enemy on the mastoid process. This consists of the small bony ridge just under tile ear.

Bear in mind that the carotid sheath is near the surface at this point also. The impact should be sufficient to dislocate the jaw. By these means, the enemy can be disarmed and the Ninja can escape from custody.

theme : martial arts technique, martial arts source, martial arts defense, martial arts learning, martial arts ninja

MARTIAL ARTS : NINJA 4

2008-01-06T09:15:00.000-08:00

Ninja : WALL CLIMBING DEVICES

The Ninja used a multitude of hooks, rakes, and collapsible ladders to scale enemy walls when necessary. The grappling hook is by far the best auxiliary tool/weapon for the individual.

It is small, easily concealable, lightweight and, in the proper hands, noiseless. Further, the vicious hook can be used to flail the enemy, to entangle his weapon, or simply to beat him; the sageo (cord) can be employed as a whip, as a net, or to bind and strangle the enemy. The primary use, however, is in extending the reach of the user.

Hooks may be single, double, or multi-pointed. In an emergency the sayo (scabbard) can be tied at the end of the cord and wedged in a manner which will anchor the line. The cord of the grapple is derived from sageo which the Ninja wore on his scabbard. The hook is a derivative of the tsubo.
It is advisable to attach a short length of chain between the hook and the cord to prevent fraying. This adds but little weight and actually increases the accuracy of the cast.

Fig. 1-Illustrated is the basic four-prong snatch-hook apparatus. The grapple consists Of four steel hooks welded at right angles, ending in two rings; covered with approximately two ounces of lead (for weight). These may be purchased at any fishing supply house at reasonable cost, and of a size and nature to suit the user. The grapple is attached to the cord by means of a short length of chain, which is linked to the double rings in the ends of the grapple and to a loop in the end of the line by master links. The cord itself is nylon line, one-half inch in diameter.

All of the above apparatus is capable of supporting at least 200 pounds. All scaling apparatus must be checked before use to insure safety. The grapple and chain are normally held in the right hand, while the left holds the line loosely coiled.

Naturally, for the grappling hook to be effective, the implement itself must sail over the obstacle, and carry the cord with it. Then the hook may be set and the wall ascended. However, two things make this difficult: the method of casting the hook; and the play-out of the line. One can throw the grapple precisely into place, but if the line tangles or hangs up, the toss is useless. Therefore, learn to coil the line.

Fig. 2 - Hold approximately six inches of the cord between the ball of the thumb and the first joint of the index finger of the left hand. Take a similar grip about two feet down the cord with the right hand, and pull the line taut.

Fig. 3 - Bring the right hand to the left, twisting the rope between the fingers of the right hand to impart a slight curl to the line. Slip this coil between the fingers of the left hand, forming a loop about eight inches in diameter in the left hand.

Fig. 4 - Holding the loop in the left hand, slide the right hand down the rope the same distance as before, and coil another loop into the left hand, remembering to twist the line, until the entire twenty or so feet have been collected lariat style in the left hand.

Ninja : SPIN METHOD OF THROWING THE GRAPPLE

Fig. 1-Hold the grapple by the end of the chain and whirl it clockwise to build up momentum; the faster the spin, the higher the hook will sail. Centripetal force will cause the hook to fly off tangentially to the circular path which you are creating. Hold the rope loosely coiled in the left hand. Be careful to hold the hook away from the body, lest you accidentally hook your leg.

Fig. 2- Release the chain and grapple in an underhand toss in such a manner that the hook sails over the wall. Note that the line plays out of the left hand smoothly as the fingers are slightly opened.

This method is employed when it is necessary to scale an unusually high wall, or where there is little room to throw effectively.

Ninja : HOOK METHOD OF THROWING THE GRAPPLE

Fig. 1 -Hold the chain and grapple in the right hand by the loop. Let the grapple almost touch the ground near the right foot. Shift the weight slightly to the rear. Hold the rope loosely coiled in the left hand. Look at the spot where you want the grapple to strike.

Fig. 2-Sling the grapple over the wall in the same way you would shoot a hook shot in basketball. This is by far the most accurate method for scaling walls of moderate height. Note that the weight is shifted forward on the cast, and that the fine feeds smoothly out of the coils in the left hand.

Ninja : TOSS METHOD OF THROWING THE GRAPPLE

Fig. 1-Hold the grapple, chain and all, in the right hand. Hold the rope loosely coiled in the left hand. Toss the grapple upward over the wall, allowing the chain to play out en masse. This technique is used to place the grapple on the summit of a low wall. The Grapple is a variation of the Ninja Retrievable Stone technique.

The agent would practice hurling and whipping a weighted ball on the end of a rope as a weapon. In combat, this flail or mace could be devastating.

Likewise, when the rope was tipped with a knife or blade, the Rope Dart techniques of throwing and retrieving the knife came into play. This practice enabled the Ninja to use his Grapple to great advantage.

Ninja : ROPE CLIMBING ABILITY

Once the grapple has cleared the wall, the line is gradually pulled until the hook is set. This means that the hook digs into wood or stone sufficiently to hold your weight, or that the grapple becomes wedged between two obstructions tightly enough to hold you. Test the set by jerking sharply on
the line to see if the hook is only snagged. If it is, this action will either dig the hook in, or pop the hook free. Having set the hook, look about to see if your actions were observed. Then ascend.

Fig. 1 -The quickest method for this is hand-over-hand with the feet braced against the wall. Gravity will hold your feet to the surface as you climb by alternately advancing the opposite arm and leg.

Fig.2 -In those cases where such wall walking is impractical, one may simply climb the rope. Some Ninja used a method of climbing which employed the toes to grip the rope. Since they wore the tabi (split-toed socks), this was a matter of toe strength in most cases. This can be accomplished, however, by tying knots at regular intervals, and stepping on them with the toes. Alternately, one can cross the legs and grip the rope between them to gain a bit more purchase for climbing.

MARTIAL ARTS : NINJA 3

2008-01-06T08:33:00.000-08:00

Ninja : HIDING PLACES

Once the perimeter has been penetrated, one becomes concerned with invisibility inside the camp. There are six basic positions which may be used to conceal your presence.

A position above the enemy is the first of these. As has been mentioned, most people look at the horizon or scan their surroundings at eye level. The Ninja uses this propensity to his advantage. Approaching the point of penetration across the rooftops is fairly safe so long as one keeps low to avoid silhouetting. Further, one can flatten out on the roof and observe the enemy camp.

There is an ancient legend of a Ninja who entered an enemy camp and penetrated the attic of the enemy general. The Ninja drilled a tiny hole in the ceiling of the general's bedroom, lowered a thread through the opening, and dripped poison into the general's mouth as he slept. Attics are also excellent places to eavesdrop. Care must be taken to support one's weight only on the rafters, since many ceilings cannot support a person's weight.

One can also hide below the enemy when wishing to gather intelligence by eavesdropping. Examine dwellings for crawl spaces, air conditioning ducts, or cellars. Enter where you will not be seen and move using the She Pu (Serpent Step) beneath the floor to a spot where the enemy can be overheard. Remember to cover the penetration by replacing any trap doors or grates which may have barred your path. Beware of being trapped above or below the enemy. When fleeing, never run to a position which will enable the enemy to “tree” you (trap you by surrounding the base of the tree) by surrounding your higher position.

Hiding below the enemy is the second method of concealment. When beneath the enemy, remember the tale of the Ninja who was speared through the floor by an alert guard when he noted an excessive amount of mosquito activity over the imprudent Ninja's hidden position.

Hiding beside cover is a third method which may be used. Regardless of the object which you will employ, keep as low as possible. Look around cover to see the enemy. In this way you will be concealed partially by the object's shadow. When high visibility by the enemy makes it necessary to actually be beside an object, select the side on which the deepest shadow lies and conceal yourself within it, assuming the same shape.

Hiding behind cover is the fourth technique. In selecting this approach, bear in mind that you must assume the shape of the object. That is, you must not allow any part of your body to show and reveal your position. Shrubs, hedges, crates, stacked material, and so on, may be used for this purpose. Keep the obstructionbetween yourself and the enemy.

Hiding inside or between objects is another technique of concealment. The trick is to choose places a person is not expected to fit. The Ninja must possess great flexibility and the ability to remain utterly still. This is known as “hiding like a quail.”

Hiding in front of cover is the boldest and most difficult of these concealment methods. To accomplish this, one must select the object of concealment, position himself directly before it, and assume its same shape. Lower the torso and slightly tense the Hara. Look directly ahead without fixing the eyes on any one point. Relax the body.

MARTIAL ARTS : NINJA 2

2008-01-06T02:29:00.001-08:00

Ninja : ENTERING PIVOT

This consists of a short retreat, heel first, without shifting the body weight. It is also the basis for the Iluo Nei Kuo (Capture by Passing) of Tonpo. Practice is most effective when turning the corner.

Fig. 1 -Approach the barrier, press against it, resting the weight forward. Place the near hand by the knee and the back hand close to the face. Slowly lean the head forward and peek around the corner. The lower this is done, the smaller the chances are of being observed.

Fig. 2-Having determined that movement can be accomplished safely, draw the head back out of sight. Step quickly around the corner with the lead foot (in this case the left), placing the heel in the final position shown. The right leg does not move at this point, thus placing one in a wide Horse Stance diagonally against the edge of the building. The back glides around the corner without touching it as the weight is shifted onto the left leg. When the hips have cleared the wall, the right leg is drawn around to close the stance. Press your back to the wall and check to see that this action was not seen before proceeding.

This step also appears in the combat applications of Ninjitsu and is used in much the same manner as the “entering pivot” of Aikido, to grab the enemy’s wrist, lift it above the head, step underneath, turn, and put the opponent in a wristlock.

Ninja : SIDE STEP

Though similar to the Heng Pu (Cross Step) in that movement is directed to the side, Pien Pu is employed to move more slowly in narrow spaces. Its best use comes when passing through a threshold, such as a door.

Fig. 1 -Press your shoulder to the wall, placing the lead hand near the hip and the rear hand near the shoulder. Crouch, and peek around the doorway, noting the position of any occupants or sentries. The lower this is done the more effectively hidden you will be, since most people tend to look and search at eye level first. Key your actions. to the movement of the enemy head by directing your attention to the base of his skull.

Fig. 2 -Withdraw the head, maintaining a slight body pressure against the wall. As quickly and silently as possible, push off with the rear leg (the right in this case), stepping clear across the door opening in one swift motion. This will look like a quick sideways hop, landing on the left leg first. As you cross by this method, glance at the enemy by turning to look over your right shoulder. This is the safest way to pass an open doorway.

Fig. 3 -Having gained a position on the opposite side of the doorway, assume the illustrated position and check around the corner to insure that your movement was not observed.

If one is confronted by an open doorway at night, with light falling across the path, it is preferable to move outside the circle of light, remaining invisible in the shadows.

Ninja : LOST TRACK PIVOT

It consists of two 90-degree side steps, turning the body to face oppositely from its original position. It is taken from the Lost Track Form, an ancient kata (practice form) of the Ninja. During Inpo, it is best employed to dart behind cover; in Tonpo, it may be used to suddenly turn and face the enemy, or to gain a position behind him.

Fig. 1 - Assume the following posture to practice this form. Stand in a basic Horse Stance, knees slightly bent with toes pointing forward, the body lowered slightly, shoulders squared, eyes looking straight ahead. The classic Two Man Exercise of this invisibility technique is to begin standing behind the training partner, completely hidden from view, and tap him on the left shoulder.

Fig, 2 - As he turns to see what touched him, shift your weight over the right foot and lean deeply toward your right forward corner.

Fig. 3 - As he looks back to his right, shift to your left. Drawing the right foot near the left ankle as you duck down to remain out of sight. Keep the shoulders square and hold the head steady. Do not try to keep looking forward, as this will upset your balance. Instead, focus your attention on the base of his skull.

Fig. 4 - As he continues to turn to his right, step forward past him with your right foot. The instant the right foot touches the ground, shift the weight to that side and execute a 90-degree pivot to your left rear corner, by drawing the right foot to the left ankle and stepping out 90 degrees to the right. You now face 180 degrees from your first position. Still behind the opponent.

Fig. 5– As he steps to his rear with his left foot, pursue the enemy and drop your left arm over his head in preparation for applying the Japanese Stranglehold.

Fig. 6 –Wrapping the left arm around his throat, apply the Sleeperhold and render him silently and painlessly unconscious. This technique has been used by soldiers and assassins for centuries to neutralize posted or patrolling sentries.

This is sometimes known as the Spinning Back Pivot, or the Box Step. When employing this technique to duck behind cover, or remain invisible behind an opponent, it is not always possible to make exact angles on these pivots. Only practice will enable you to master this.

The exercise helps develop the legs and balance. It should be practiced by turning five times to the right and five to the left. Each partner taking a turn as the attacker and defender. Mi Lu Pivot is the primary exercise of Ninja invisibility.

MARTIAL ARTS : NINJA 1

2008-01-03T05:31:00.000-08:00

Ninja : BLACK/STEALTHY STEP

First among the Kuji Ashi is the Hai Pu, the Black/Stealthy Step. It is taught not only as a means of moving in total darkness, but also as a type of dynamic meditation. In its advancing and retreating action is the core of Ninjitsu. Only by this method can one develop the kines-thetic sense of the body that is required to practice Ninjitsu. Master Hai Pu first.

This technique is used in total darkness. It is designed for the protection of the body, for moving silently and slowly, and for attacking instantly.

Fig. 1-Assume the following stance: lower the hips and raise both arms; the feet should be one shoulder's width apart turn the toes inward; bend the knees and lower the hips until the knees touch. The hips are back, the shoulders shrugged, the head is lowered. Draw the elbows close to the chest, raise the hands above the head and extend the fingers. The eyes are directed without being fixed at a spot on the path about ten feet away. Martial artists will recognize this as a variation of the closed stance of Praying Mantis Kung Fu.

Fig. 2-Keeping the hips and shoulders at the same level, shift the weight onto the right leg; glide the left toes forward and out in a semicircular manner, keeping the knees together. The body does not move above the hips, but gently weaves from side to side as weight is shifted over each foot alternately.

Fig. 3-The right foot is then drawn over to the left ankle in the loose-ankle step of Tai Chi Chuan, and advanced in a similar manner. Practice in this step strengthens the hips and feet, developing balance. The most important point in practicing this step is that the hips and shoulders do not change their level. The arms act as antennae, sensing obstacles, and protecting the head. Practice in this step develops an unconscious awareness of the body as a whole.

In kabuki theater, this technique is performed so slowly that even though the Ninja remains in plain view, no movement is discernible. In ancient times, this method was used in crossing the obi, or sash-belt. If confronted by a gravel path or a nightingale floor (one designed to creak when weight is applied), the Ninja would roll his obi across the obstacle and tread its narrow width, effectively muffling any sound which might betray him.

Practice moving forward about ten feet, then back, always directing the Qi forward.

Ninja : The Cross Step

Fig. 1-The eyes scan the ground about three yards in front of' the feet. Care must be taken not to look toward the enemy when moving, as the face may reflect moonlight and the eyes will shine if struck directly by a strong light. Further, obstacles which may lie in the path (stones, trip wires, etc.) are more readily visible. Using tile eyes ill this manner takes advantage of pupil dilation. When looking ahead, the pupils contract as light enters the eye. By focusing on the path, less fight enters the eye. The pupils expand and more is seen through the rod cells, result ing in a type of off-center vision.

Fig. 2-The Heng Pu is easily mastered and enables one to move quickly over great distances, making no sound, with little fatigue. Practice by moving flat along a wall without touching it.
The step should be at least one yard per pace, at the speed of a double-quick march. Once this level has been achieved, crouch lower. This strengthens the legs and makes it possible to move quickly in low shadows and under windows.

Fig. 3-When passing a window in this manner, it is advisable to listen for sounds from inside. Should the occupants be silent or snoring, or be engaged in an activity which requires their attention, they are less likely to detect your presence. One should listen at both sides, before and after passing.

Ninja : NIGHT WALKING ABILITY

Third Steps is Pa Pu, or Night Walking Ability. This movement is developed by running on the balls of the feet. After much practice, add weight to the ankles. This strengthens the feet, making it possible to walk on tiptoe for great distances. This aids in eliminating sound.

Fig. 1 -P'a Pu is employed when it is necessary to move quietly and quickly forward. Exhale and tense the Hara. Lower the body for better balance. Extend the arms, palms down, at waist level. Step forward with the left foot first, balancing on the right leg. Place the toes lightly on the surface, and shift body weight forward.

Fig. 2 -As you move over the left foot, draw the toes back slightly, press the left heel down lightly. Glide forward, advancing the right foot in a similar manner. It will be noted that this is a variation of the hunting step, in which the toes may be used to clear leaves, twigs, and other small debris from the path before stepping on them.

Ninja : RUSHING STEP

The Kuji Ashi's four step, Tu Pu, is the fastest way to move from one point of concealment to another. Unfortunately, it also exposes one to enemy observation. The Rushing Step is employed only when sufficient background exists to prevent silhouetting or when the enemy’s attention is distracted.

Fig. 1-From the prone position, slowly raise the head and select your next point of concealment. Lower the head, draw the arms into the body, keeping the elbows in, and pull the right leg forward.

Fig. 2 -In one movement, raise the body by straightening the arms. Spring to tile feet. stepping off with the left foot first.

Fig. 3 -Run to the new position using the shortest route. Carry the body on the balls of the feet, in a crouch, with the shoulders rounded, arms hanging loosely at knee level. Press the first knuckle of each index finger with the ball of the thumb. The fingers are thus curled loosely and are carried as though the hands were sliding along a rail. This is known as Pao Nei An, or "running in darkness."

Fig. 4 -As you near the next position, plant the feet slightly apart, drop to the knees as quietly as possible, fall forward and break the impact with the heels of the hands. Shift your weight to either side and roll over into position behind cover. Lie as flat as possible. If you think your movement was observed, move to the right or left as cover permits.

MARTIAL ARTS : JIUJITSU 7

2008-01-02T09:43:00.000-08:00

Jiujitsu : QUICKEST WAY TO THROW A MAN AFTER CATCHING HIS LEG

When Assailant kicks at you, you should have sensed his intention almost before his foot has left the ground. Suppose he kicks with his left foot.

figure 1

You swing back your left foot, turning on the ball of your right so that you sidestep his kick.
At the same time catch his leg with your right hand.

figure 2

Do not stop his leg when you catch it, but swing it up in the direction in which he is kicking. This will at once put him right off balance.

figure 3

Swing it right up and shove it back a little and he will fall back hard enough to be knocked out.

figure 4

When you practice this have a third party ready to catch the man who is thrown, otherwise your studies will probably be discontinued through sudden cessation of interest by the party of the second part.
You can practice it without throwing him. The whole trick is done with one swift movement.

Jiujitsu : THE INSIDE CATCH

Sometimes you may catch a man's leg inside, instead of outside. That is, you might sidestep to the left and catch his left foot with your left hand.

figure 1

That is not so scientific as the outside catch, as it leaves you more open to an attack from his hands.

The best method of throwing him here is the same as in the outside catch. Raise his leg right up and throw him over backwards.

Jiujitsu : THE BACKHEEL

Here is another method. Change his leg over to your right hand. Bring your left hand onto his shoulder (in a fight, onto his throat), unbalancing him backwards, stepping inside his right heel with your left foot.

figure 1

In practice it is unnecessary to throw him.
Just get him off balance to the point where you know you could throw him.
Retain your own balance by keeping your strength in the Stahara.

Jiujitsu : UNSCIENTIFIC METHOD

Your arm is round his waist and you are throwing him by strength. It is much slower, and he can hold on to you and perhaps prevent your throwing him.

figure 1

In "Figure 1 in the backheel", by placing your hand on his shoulder you instantly unbalance him and take away his strength. Practice this with both feet for the experience it will give you in personal contact.

Jiujitsu : FOOT PARRY TO KICK

If a man tries to kick you, say with the left foot, one of the quickest ways to counter it is to swing round on the ball of your left foot, raising your right leg, and catching him on the shin bone with the edge of your shoe.

figure 1

Drive your shoe down on his shin and you will incapacitate him temporarily and thus leave him an easy victim to your next aggressive move. Practice it without actually kicking, slowly at first. Later work up to speed.

MARTIAL ARTS : JIUJITSU 6

2008-01-02T08:58:00.000-08:00

Jiujitsu : FIRST DEFENSE AGAINST UPWARD BLOW OF KNIFE

Block his blow with your left hand, taking care that your forearm is held correctly, otherwise you may get cut.

figure 1

Seize the little finger side of his right hand with your right hand, and the thumb side of his hand with your other hand, your fingers on the palm.

figure 2

Twist his wrist to your left until he drops the knife.

figure 3

You can either break his wrist or force him to the ground and kick him. (Observe my positions in Figures 1 and 2, and note how the strength of the whole body is brought to bear).

His wrist is twisted not by arm strength alone, but by turning the body.The parry shown in Figure 1 is not nearly so good as the parry shown in Figure 2 "second defense against upward blow of knife" . In Figure 1 the Assailant is still balanced and can continue to attack. In Figure 2 "second defense against upward blow of knife" you can swing him off balance and he is then open to the knee kick to his crotch, a right hook to his jaw with your fist, or a blow with the heel of the hand below his chin.

A combination of the last three blows is much more reliable than an attempt to seize the hand of a quick knife-artist.

Jiujitsu : SECOND DEFENSE AGAINST UPWARD BLOW OF KNIFE

Assailant strikes an upward blow at your abdomen with the knife in his right hand.

figure 1

Step back with your right foot, swinging on the ball of the left.
Parry the blow just at his elbow with your left hand. Keep your elbow close to your side.

figure 2

Take advantage of his forward impetus and unbalance him to his left.
Strike him an upward blow below the chin with the heel of your hand.

figure 3

This jerks his head back and the shock to his spine does greater damage than the blow itself.

Some women's wrists and hands are so weak that they cannot strike a serious blow with the fist. But they can with the heel of the hand.

If you are a good boxer you may use the right hook to the jaw.
(In practice, shove his head back, do not strike.)
This shows the WRONG WAY to parry the blow.

figure 4

1. It takes longer to parry when you raise your elbow in this awkward fashion.
2. You are off balance and not in the best position to counter attack.
3. Your body is still in front and he may reach it with his knife.

MARTIAL ARTS : JIUJITSU 5

2008-01-02T07:53:00.000-08:00

Jiujitsu : FIRST DEFENSE AGAINST DOWNWARD BLOW OF KNIFE (THE ELBOW BREAK)

This lesson teaches you :
1. First defense against downward blow of knife. (The elbow break.)
2. The counter to the elbow break.

Assailant steps forward with his right foot bringing down his right arm as if aiming a blow with a knife.

figure 1

Step in with your left foot lowering your body slightly, and keep it perfectly erect. Stop Assailant's right forearm with your left forearm.

Pass your right forearm under Assailant's upper arm, pulling his upper arm toward you and forcing his forearm back with your left forearm.

figure 2

This is a much quicker and surer method of taking the elbow break than grasping his forearm with your hand. Continue forcing his forearm back until your right hand comes onto the back of your left hand.

This will unbalance him backwards. To show position more clearly, my left hand is open in photo. Naturally it would be closed.

figure 3

It is easy to break an arm, so although you perform the major operation quickly, do the minor operation slowly and gently. Force his right hand back until he gives the signal of defeat.

figure 4

The most important point is to unbalance Assailant and retain your own balance.

Allow one another to try this lock on the unresisting arm, repeatedly, slowly and carefully.

Continued practice will enable you to secure this grip like a flash.

Jiujitsu : SECOND DEFENSE AGAINST DOWNWARD BLOW OF KNIFE

This lesson teaches you :

The second defense against downward blow of knife.
It also teaches you the principle of the line of support.

Assailant may frustrate your attempt to secure the elbow break by straightening his arm.

figure 1

Immediately give up the idea of trying for the elbow break and instead, force his arm straight up and back.

Catch him on the throat with the space between the thumb and forefinger, of your right hand, pushing him back at right angles to his line of support.

figure 2

This shows a trip by bringing your right leg behind his right leg. This can only be done when his right leg is forward.

It is superfluous, as if you strike him smartly on the neck, in the proper direction, he will go down like a ninepin.

If you are ever up against a man with a knife, the most important thing for you if you wish to survive, is to give him your knee, either before or after your hand has reached his throat.

figure 3

Assailant again attacks you with his right arm stiff and straight making the elbow break impossible. Again force his right arm up unbalancing him backwards.

He has stepped forward with his left foot this time making it impossible to trip his right leg as on previous page.

figure 4

A trip is unnecessary as a blow to the throat with the right hand will knock him over backwards.
The direction of the blow must be at right angles to his line of support.

This demonstrates that the trip shown on previous page is unnecessary. You can throw your man in both cases much more quickly by the blow on the throat.

In practice simply unbalance him slightly until you feel that you could throw him with a little extra shove.

Jiujitsu : THIRD DEFENSE AGAINST DOWNWARD BLOW OF KNIFE

This lesson teaches you :

The third defense against downward blow of knife.
It also teaches the comparative value of the three methods.

The quickest method of turning the tables on a man who attacks you with knife or pistol is to parry the blow with your forearm, stepping in and lowering the body slightly, keeping erect and well-balanced.

figure 1

Kick him in the abdomen with the rear foot.
Bend your left knee slightly, this lowers your center of gravity and gives you more balance.

figure 2

Make the effort from the Stahara, this makes the kick twice as powerful as if you merely used the leg muscles.

This is a foul kick only to be used where Assailant is trying to kill you. That is the only circumstance under which such a foul blow would be justifiable. A surer parry still is to block his blow above the elbow.

figure 3

This necessitates stepping in closer and lowering your body more. When you block his forearm, if he had a long knife it might reach your head, but if you block his upper arm you are quite safe.

Simultaneously give him a sharp blow on the abdomen, either above or below the belt. This blow is made with a sharp jab, the return being as quick as the blow.

In practice, put your full strength into the blow but stop it a few inches from the target. Whether you would use the kick or blow depends upon your distance from the Assailant. If you are farther away, the kick would be better, if you are closer in, the punch would be quicker.

Although the knee kick to the crotch is not illustrated here, it is the first thing to do in an emergency, If you are a certain distance from Assailant you would use the toe kick, Figure 2. In other positions you might use the punch, Figure 3. But you would always precede or follow up with the knee kick.

Merely filing this information away in your mind is no good. This course trains your subconscious by repeated practice of selected tricks to use the best combination in an emergency.

MARTIAL ARTS : JUJITSU 4

2008-01-01T23:10:00.000-08:00

Jiujitsu : THE BACK THROW

This lesson teaches you the back throw, an alternate method of escape and defense when seized around waist from behind below arms.

Each method should be practiced to the point of efficiency where you are able to achieve victory by that one trick alone, but in a real fight. The victory often depends upon the number of attempts you make and the variety of methods you employ.

You should maneuver so quickly that your opponent has not time to change his front to meet your fresh attack.

"TAKE HOLD"
Assailant seizes you around the waist from behind, below your arms.

"ONE"
Stamp hard on his instep with your heel. This will loosen his grip.

figure 1

"TWO"
With your right hand seize the front of his right trousers-leg.

figure 2

Shove with your right hand, twist your left hip forward, swinging on balls of feet, and making effort from Stahara.

"THREE"
With left hand strike Assailant a vigorous blow below the belt.

figure 3

This should be sufficient to lay him out.
Stop the blow three inches from the mark.

"FOUR"
With your right foot, step behind opponent. Get well down so that your hips are beneath his thighs.

figure 4

With the front of your right thigh, knock his left hip up at the same time your right arm knocks his body backward.

figure 5

It will be sufficient to practice lifting opponent into position of figure 5.
Do not try this trick on a slippery floor with a heavy partner, or you may both fall and be injured. In practice lift him and hold him for a few seconds. This develops your strength and teaches you to keep your balance.

In a real fight you would throw him with a backward sweep of your right elbow.
The punch in the stomach would make him let go, but supposing it did not, you would fall on him and knock him out.

The ability to do this can be developed without either of you having to fall.
"TAKE HOLD" Assailant seizes you.
"ONE" Simulate the kick to his instep.
"TWO" Seize his pants and twist your left hip forward.
"THREE" Simulate the punch to his stomach.
"FOUR" Step behind and lift him.

Practice this trick three times each alternately.
In Figure 5, be sure that the forward knock your hips give him is at right angles to his line of support, i.e., a line drawn between his heels.

This will unbalance him and make it easy to lift him. If your effort is made parallel to his line of support you cannot unbalance him and you are working against his strongest point.

If you find this principle difficult to understand do not lose time over it just now, it is not very necessary for this course and will be explained fully in the Second Course.

Jiujitsu : THE ANKLE THROW

Giving you further versatility in dealing with an attack from behind, and a further education in the correctuse of your body, and in unbalancing Assailant.

"TAKE HOLD"
Assailant grasps you around the waist from behind, below the arms, with his right foot between your legs. In this position he is well braced and is not so open to the previous methods of escape.

figure1

The usual counter is to grasp his knee, lift it up, and throw him if you are able.

figure 2

This does not give half the leverage the following method does.

"ONE"
Lean well forward and grasp his ankle. Even if he is holding tightly make the effort from the Stahara and you will reach down.

figure 3

It may be necessary sometimes to make a feint for another trick which he would defend by paying attention to another part of his body. You can then deliberately bend forward and pick up his ankle.
Do not try to pull his leg up by the arms only.

figure 4

Stand up, making the effort from the Stahara and you will have twice the power.
Practice this slowly otherwise you will bang his head on the ground and thus summarily end the practice for the day.

figure 5

In practice the Assailant must let go when he feels himself falling and so land gently on the mat. In a real fight, if he holds on, fall on him and that will knock him out.

Jiujitsu : ADVANCED PRACTICE IN THE ANKLE THROW

When trying to throw Assailant by the ankle throw, if he retains his balance and hops around on his left leg it will be impossible to throw him by a straight pull forward.

figure 1

Swing his foot away round to your left. This will unbalance him and you will throw him without any trouble. Do not put your full force into the swing.

figure 2

Have your Assailant let go as he falls. This will save him from your falling on top of him.
You will become expert in these tricks more quickly if you practice in this prescribed formal manner than if you make a wrestling match out of each trick.

WARNING
If Assailant does not let go you would fall on him like this and knock him out.

figure 3

It is a very dangerous fall so avoid it by practicing formally.
You can become quite expert by formal practice.

Also pick up Assailant's left foot. Get him to hop around on his right retaining his balance.
Throw him by swinging to your right.

Practice this with each foot alternately until you no longer hesitate about the correct direction in which to swing him.

MARTIAL ARTS : JIUJITSU 3

2008-01-01T19:16:00.000-08:00

Jiujitsu : SEIZED AROUND WAIST FROM BEHIND ABOVE ARMS

If an assailant seizes you around the waist from behind, you may be able to get one of his fingers and so pry his grip open.

If he is a strong man, however, you will have difficulty in getting hold of a finger, and you will simply lose time making the effort.

Further, you will accomplish little, even if you break his hold, for he is still behind you and can strike you, or get a hold on you.

In a real fight if you broke his fingers he would kick, with more effect on you than breaking his fingers had on him.

"TAKE HOLD"
When an Assailant seizes you around the waist from behind the most effective defense and the quickest escape is the elbow blow.

figure1

"ONE"
If his great strength makes movement impossible, stamp with your heel on his instep or kick him savagely on the shin.

figure 2

Such a trick will momentarily weaken his hold and in that psychological moment twist down and out. In practice make the kick with the strength of your whole body, not merely with the leg muscles. "Put your Stahara into it," but stop a few inches from the mark at which you aim.

"TWO"
Slip down through his arms, turning the left hip forward, swinging on the balls of the feet, making the effort from the Stahara.

figure 3

Simultaneously bring your right elbow directly in front and six or eight inches away from his solar plexus (the pit of his stomach).

"THREE''
Drive your elbow into his solar plexus. In practice put all your force into the blow but stop it three or four inches from the target.

figure 4

This blow properly delivered will knock him out. If not, repeat it till he drops.
Assailant must hold you lightly. In a real attack he would hold you tightly but the kick you would give would loosen his grip.

In order not to forget this kick in a real fight always practice it, counting audibly :
"TAKE HOLD" Assailant seizes you.
"ONE" Simulate the kick with all your strength.
"TWO" Twist down out of his grip, bringing elbow forward.
"THREE" Drive elbow back.

You will soon acquire a Houdini-like expertness in wriggling out of Assailant's grip, if you practice steadily. This practice is a most valuable exercise as it reaches every muscle in your body and teaches you to coordinate your movements.

It makes you alert and able to take advantage of an opening. The untrained man would be so clumsy, and delay so long after the kick, that he would lose the advantage of Assailant's momentary weakness.

When an Assailant has you in any kind of a grip that prevents your delivering a vital blow, always make a primary attack, which, though not sufficient in itself to defeat him, puts you in a position to deliver the real blow.

This practice trains you in the principle. Merely reading it is not enough, you must practice it.
This is a course in Fighting Jujitsu, not Competitive Jujitsu, so do not get the idea that kicking is allowed in a Jujitsu mach. This practice must all be done formally.

In repeated practices, the man behind knows what you are going to do each time, and it is an easy matter for him to prevent you by tightening his arms every time start making a move, and by dropping his body with you every time you drop.

This is a useless way to practice. The man who takes the role of Assailant must reproduce the conditions of an actual fight in which you would execute your defense before Assailant had time to change his tactics.

Repeated practice will make you quick enough to knock a man out before he grips with his full strength. Practicing this trick will develop your reflex action until you have a hair-trigger mind.

Jiujitsu : DEFENCE WHEN SEIZED BELOW ARMS FROM BEHIND

"ONE"
When an Assailant seizes you around your waist from behind, passing his arms beneath your arms, you cannot strike him in the solar plexus with your elbow, his arms are in the way.

figure 1

First strike him violently on the nose with the back of your head.
In practice put all your strength into this effort. Make the whole body deliver the blow, not the neck muscles alone. Stop the blow a few inches from his nose.

"TWO"
His head flies back and his muscles loosen, momentarily at least.

figure2

At this moment swing your right elbow round onto his neck or the point of his jaw, making the blow come not from the arm muscles but from the Stahara.
Turn on the balls of the feet.

"THREE"
If he ducks to the left swing to your left and give him your left elbow on the jaw or the neck.

figure 3

Stop the blow a couple of inches from the target but put all your force into it.
As he staggers back repeat the blow to the abdomen, giving him the quietus.

figure 4

MARTIAL ARTS : JUJITSU 2

2008-01-01T17:54:00.000-08:00

Jiujitsu : THE BLOW WITH THE EDGE OF THE HAND

When standing with your right side towards your opponent, strike him with the little finger edge of your right hand on the right side of the neck.

figure 1

In practice deliver the blow with full force stopping short three or four inches from your training partner's neck.

figure 2

When standing with your left side towards your opponent, strike him with the little finger side of your left hand on the left side of his neck.

figure 3

On the preceding pages you have been taught how to defend yourself against an attack on the throat.
If you wish to attack anyone by the throat you will find the blow with the edge of the hand a much more speedy and efficacious method than the attempted choke with the thumbs.
This is always a backhanded blow, and will drop a man like a log.

Jiujitsu : WRIST ESCAPE AND EDGE OF HAND BLOW

Assailant seizes your left elbow with his right hand and your right wrist with his left hand.

figure 1

Let him shove you slowly back.
You will find it difficult to free your elbow.
But you will have no difficulty in whipping your right wrist away as already taught doing it with a turn of the body.

figure 2

With the same motion that frees your hand carry it to the height of Assailant's shoulder.
Strike a straight chopping blow with the edge of the right hand at Assailant's neck.

figure 3

In practice put strength into the blow but stop it a few inches from his neck. With this blow it is an easy matter to knock a man out. Also practice it with Assailant seizing your right elbow and left wrist.

When done with the proper turn of the body, that is, with the strength of the Stahara instead of strength of arm, you will find it an easy matter to slip your wrist out of a much stronger man's grasp.

At first you may be clumsy and in carrying your right hand your right hand up to your left shoulder you may strike it against his right arm.

With a little practice, however, you will execute the trick with neatness and dispatch.
This, and the other wrist tricks, train you to work with neatness and dispatch, and apart from their value as fighting tricks play an important part in educating your body.

These wrist escapes are very hard on the skin so mutually agree to hold one another's wrists lightly until the correct movement of the body is mastered. You can learn quite as effectively if the wrists are held lightly.

Ladies might be advised to wear old gloves to protect their wrists.
Practice until you can escape from a fairly strong grip, without effort, by the weight and swing of the body.

At first direct your attention towards training your own body, disregarding your opponent, in which object your opponent will assist by remaining stationary, and so simplifying your task.
After your body has acquired the correct motion begin to watch Assailant's body, he may then try to prevent your escape.

You can make him relax slightly by taking away his attention, by some remark, or by pretending to kick him, or in a fight by actually kicking, say, his shins, then escape when his grip momentarily weakens.

You now know two simple wrist escapes -- the first wrist escape of this lesson, and the upward (second) wrist escape of Book I. If your Assailant frustrates your attempt to get away with one, you can instantly try the other, and escape.

Even if the effort to escape tears your skin you can still lever your wrists out of a powerful grip, but if you go tearing one another's skin at the start it will interfere with your practice.

MARTIAL ARTS : JUJITSU 1

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Jiujitsu : THE KNEE KICK

Bear in mind during your practice that in certain circumstances you would be justified in using the knee kick, and when matters come to that pass, kick swiftly, and then follow up with the third method, or take him prisoner with the wrist twist.

In other words, while you faithfully practice these other methods, look upon them as a means to an end, as a training in the effective use to an end, as a training in the effective use of the body, but where it is a case of life or death, use the knee kick, before your Assailant has time to get in his dirty work.

FIRST DEFENSE TO THROAT ATTACK

Assailant seizes your throat.
Bring your palms together.
(In practice, Assailant must hold tightly with his fingers, but will not press your throat with his thumbs.)

figure1

Bring your hands like a wedge smartly up between his arms, thus breaking his hold.

figure 2

Place your hands behind his head or on his neck.

figure 3

Pull his head smartly down, simultaneously bringing up your knee onto his nose with sufficient force to knock him out.

figure 4

In practice, stop the blow three or four inches from his nose.
Make the effort from the Stahara to ensure efficient coordination between arms and legs, and keep your balance.

Jiujitsu : SECOND DEFENSE AGAINST THROAT ATTACK

Assailant takes the throat hold.

figure 1

Swing your right elbow up over Assailant's left arm, knocking his hands away from your throat and throwing him off balance.
Make the swing, not with the arm, but with the whole body (the Stahara).

figure 2

Swing your elbow back full into Assailant's neck or jaw. They are both equally vital points and a fair blow will lay him out

figure 3

In practice stop the blow three or four inches from your partner's neck.
As you swing in figure 2, step forward and inward with your right foot and step backward and to the right with your left foot. Compare your position carefully with figure 2.

Do not knock his arm away with your arm, but bring your armpit in contact with his arm. The swing of the body knocks his arm away and also twists your neck out of his grasp.

Practice this until you get the knack of playing the strength of your body against the strength of his arm. Until this knack is acquired, speed should not be attempted. After mastering this trick -- the third defense, discard the other two -- the first and second defenses.