Chunks

Question 1

If you’re boxing with drills, what are they?

Answer 1

Siniwali, Hubud, Cobb Cobb, push hands, chi Sao, straight blast/elbow to palm/Cobb Cobb

Question 2

Can you use a shoulder as a reference in hubud?

Answer 2

Shoulder reference in the hubud flow. Yes! Use it instead of hand on any beat. Frees up the hands for other things. Everything is a probe. References not just to hits; references to references. All about options. No stopping and no holding: the references monitor for you, allow you to probe and measure. These are all footwork drills.

Question 3

What do you do if someone is getting in your face?

Answer 3

In your face:
Turn the corner to establish bubble. It is your footwork that allows your arms to do things. Any definition, where he defines himself with rigidity or bracing is something to work off. Once you move to the hit with impunity place, all that filthy clinch stuff is available, but in a one-sided manner.

Question 4

How do you deal with a locomotive style aggressor?

Answer 4

After he surveyed the current fight landscape, he expressed that things hadn’t changed that much. Wherever you look, be it MMA, bare knuckle boxing, or street fight footage, it’s all a mess.

To deal with the aggressor with locomotive style constant forward pressure, requires 3 elements: one, use footwork, gates wiggly worm and spikes to avoid engagement; two, if engaged then disengage using wedges; three, hit when disengaged- not to disengage, but after. Elbows to main muscle groups. Note: strikes can come out of salutes or out of wiggling also.

Question 5

What does he mean by building the sphere?

Answer 5

Maintaining the space bubble with various structures. Can’t cover everything at once. It’s part of your spiked fence

Question 6

What are the variations of the Hartsell clinch arm wrench from being held in the wrestler’s underhook?

Answer 6

Hartsell clinch arm wrench

Often from under hook in this case from an elbow control drill
Your arm over his hooking arm
1. Arm wrench (straight)
2. Uppercut arm wrench (if eye of his elbow facing up)
3. Reach over and grab top of his elbow after lifting his chin (eye of elbow facing down)

Question 7

Visualize the RAT bug out and bite

Answer 7

From the takedown/ the tackle

To prevent the ground and pound….go to ground but as you fall you do three things

1. Wrap your legs to put him in guard
2. Wrap your arms (front naked choke style) to prevent them getting posture
3. Kino mutai (thumb in the eye and bite) the bite has gotta be uninterrupted so lock him into it

You are spreading out to pull in

Note: from side control, oopa, slide under, wrap chest with arms and bite uninterrupted.

Question 8

What are the elements of RAT?

Answer 8

Destruction based: you don’t block, slip or weave. You are a porcupine of elbows and knees. No trading, no timing, no stances, no technique. Put your body in a cocoon of elbows and knees.

ENTRY interception (hit him before he hits you)/destruction(spikes)
Destructions if he's hitting, interceptions if he's walking up (4 circles...eyes and groin)
Low kicks: destructions
High kicks: lift leg to groin kick

PRESSURE. Straight blast (they backpedal, have no base or balance to attack you) some kind of straight punches with footwork down someone’s centreline
Forward pressure and straight punches

Start outside range and you sort of shrimp standing fighting close is for sport

TERMINATION (from the clinch) headbutts knees (the groin) and elbows (the temples)

Question 9

What are the RAT targets?

Answer 9

Eyes, throat, groin and shins

Question 10

What are the RAT quick kills?

Answer 10

From clinch in RAT,lift chin and elbow

Drop temple to knee and elbow down

Question 11

What are the RAT style escapes?

Answer 11

Headlock: hold, turn and bite

Bear hug: drop upper body at waist and reach through (establishes a base) then do offence

Rear naked choke: grab second arm, pin arm wrapped around your neck and bite uninterrupted

Question 12

What are the nasty in-close strikes?

Answer 12

Nasty in-tight
Face wash (eyes)
Groin slap/ pull
Foot stomp
Inadvertent minor slaps occipital lobe etc
Shoulder butt
Biting (while growling) and pinching

Big guns: elbow, knees and headbutts

Question 13

Sumbrata

What are the 10 sumbrata blocks?

Answer 13

Sumbrata range means you have your checking hand. His stick can now hit your head if you miss hand smash.
So you check. ALL SUMBRATA TARGETS THE HAND.
Angle 1: roof block if point down/ inside deflection if point up
Angle 2: outside deflection/shield
Angle 3: low wing/pass
Angle 4: drop stick/outside wing
Angle 5: same as angle 3.

Question 14

Go through drill to drill switches.

Answer 14

Switches
Hubud 1st beat
Hubud 2nd beat
Hubud 3rd beat top
Hubud 3rd beat under
Hubud to outside pak and back (1 2 3 or 1 2 3 4)
Pak Sao inside to out (feed forehand on 3rd beat)
Pak outside to inside (Add a forth beat and it’s a backhand)
Siniwali to outside pak (1st beat feeds deep then step back cause beat 1 of siniwali in deep is beat 3 of outside pak)
Outside pak to siniwali (feed beat 3 shallow instead of deep and that shallow is beat 1 of siniwali)
Inside pak Sao to siniwali (3rd beat would be to backhand hit but closes his open guard and your other hand starts beat 1)
Siniwali to hubud (double tap off beat 3 backhand reference and feed first hubud beat)
Hubud to siniwali (suppress beat 2 step out range and start Beaty 1 siniwali)
Siniwali to sumbrata (check, close range)- same for any drill to sumbrata
Sumbrata to siniwali (match leads and suppress to chamber)
Gunting cycle.
the references for all above switches)
Note: if you’re not filling spaces, you get hit)

Question 15

Stick disarms

Answer 15

Always a smash on the hand first
Never look for it
4 basic disarms
1. SNAKE Off sumbrata roof block WHICH smashes hand. Checking hand snakes overtop and counterclockwise
2. STRIP: off sumbrata, as you smack the hand, you grab the stick and strip away. Use any part of the arm to strip the stick (butt of stick, forearm, stick, forearm abinico)
3. QUICK RELEASE: as smack the hand, circle to the outside. (Hit head with tip) come up under the arm cupping with live hand and drive stick down with stick hand.
4. VINE: for the likes of inside deflection where stick is past. Grab on to his stick and insert yours to ulna for leverage

Try these for every angle of Sumbrata.
Also use them as counters to you being stripped.

Question 16

Stick disarms - other angles

Answer 16

Angle 2 outside deflection: after another hit with your stick, insert checking hand and snake clockwise
Angle 2 shield: grab the thumb and peel it back with the checking hand and quick release by stripping down
Angle 3 wing: grab stick and strip
Angle 3 pass: grab the wrist, keep your stick tip up and quick release with butt
Angle 4 drop stick: checking hand snakes clockwise
Angle 4 wing: can snake, quick release (from stick chambered under arm) or change positions and do a strip

Question 17

Largo Mano drills

Answer 17

To develop coordination

Largo Mano range is he can hit the hand but he cannot hit the head

Drumming accents have you move accented

Lob tik follows through with the strike
Rittick comes back

1. Forehand lobtik, low backhand rittick, high backhand lob
2. All ritticks high backhand, low backhand, high backhand
3. High inward rittick, low inward lobtik, high backhand lobtik

There are thousands of these. Just giving three for basic coordination

Drill: spinit

Question 18

Siniwali

Answer 18

Develops coordination, timing, reflexes, and gives you a sense of when to put in the half beat

Hits the hand and your highs and lows are really determined by his hand position

64 combinations

HHH.         HHH
HHL.          HHL
HLL.          HLL
HLH.         HLH
LLL.           LLL
LHL.          LHL
LLH.          LLH
LHH.         LHH

Practice: (Spin it)

Question 19

Knife fighting - targets

Answer 19

In order to defend against a knife you have to learn how to fight with a knife

You have to know what targets you’re aiming at and what target he’s aiming at. Most of the time he will be aiming at your head or stomach

If he aims from your head you’re aiming for his hand this gives you a big advantage and speed and range

Keep the knife tucked in, stay on your toes and cut that limb

But, if he’s wild and you see the target before the arms, don’t wait

Wrist
Inner elbow
Armpit
Neck
Solar plexus
Hip
Behind the knee
Achilles' tendon

There are good targets, but these are better

Question 20

Knife fighting

What is the numbering system?

Answer 20

Same as stick….angle 1 to 5

Question 21

Knife fighting

What is the concept of defanging the snake?

Answer 21

Defanging the snake means to cut on the first motion.

A block and stab/slash is fine if he locks stuff out, but if he’s moving around you won’t be able to do it. You won’t have time to block with passive hand first.

Question 22

What is the VU knife fighting flow against 5,2 attack?

Answer 22

You are open with knife in reverse grip. He attacks with angle 5.
You check to pass with live hand as you slice across his forearm into closed guard
Then you hook back in with backhand limiting him to angle 2
On his angle 2 attack, you check with live hand outside reference, hook knife cutting wrist on inside reference, quick release the knife, cut inside elbow, cut inside throat, hook neck, take down

Question 23

What are the elements of panantukan and pananjakman?

Answer 23

Tukan is Filipino boxing and jakman is Filipino kicking
Filipino boxing implements punching with elbows. The elbows come right out of the punches not out of the clinch.
Jakman is meant to be done in conjunction with the hand movement.

Outside round
Heel hook to outside
Oblique
Heel hook inside
Knee
Foot stomp

Question 24

Tell me about vu locking

Answer 24

In a lock, you are going against the joint. For restraint.

7 locks

Wrist lock
Elbow lock (forearm underneath)
Elbow lock (forearm on top)
Arm drops to elbow, Feed his hand to his face, grab your own wrist (can elbow here) -figure 4
Underhook to shoulder
Headlock
Underhook shoulder lock other side

Question 25

What are the variations of the figure 4 armlock?

Alain Burrese

Answer 25

From cross grab, from low reference to ton Sao to fook, reach and grab wrist.

From a punch: double outside reference, drop forward forearm into elbow, deliver the wrist to face

From a punch: double inside reference, forward forearm drops to elbow joint, deliver the wrist grabbing own arm

From a punch: inside double but forward arm goes underneath

Question 26

Hartsell takedowns from locks

Answer 26

1. Wrist lock tight to chest, turn it out to drop. You can reach underneath with inside hand to multiple force. And even more, once it’s there, you can move outside hand to elbow hook overtop and pull (head tucked)
2. Wrist lock: outside hand pushes arm down, inside hand scoops inside elbow, outside hand scoops shoulder lock or elbow lock, take a knee (punch forearm with elbow crease use gate framework) essentially an underhook shoulder lock on elbow instead

Question 27

What is a drive?

Answer 27

Actions that go beyond your opponents VA. They are in essence pushes, but a sword thrust or bullet are also drives.
In empty handed work, they can be used to break/cut/tilt your opponent’s vertical axis or spin him around it (twisting). Where an impact would rock someone’s head with the shock, a drive would push it to where you want it to be. Drives have a very strong tactical application for moving your opponent into position as a set up for your next, more powerful move (e.g. instead of you moving, you can push him into your hitting range). They also have strong application in disrupting your opponent’s structure so he must spend the next moment regaining his balance/orientation instead of attacking

It is important to realize that your opponent’s limbs also have axis’s as well. Most limb breaking or sweeping actions are not impacts, but instead drives. You literally try to chop the legs out from under your opponent with certain kinds of kicks. While you can hit the axis that is more of a parrying move. Which is based on a fast slap against an incoming fast blow to deflect it. This concept is often misconstrued by people who try to turn their blocks into hits. Don’t try to hit with your blocks, it most often only results in you being too far out to block your opponent’s next attack. The reason for this is that most of the time “hitting” with your block is an attempt to compensate for poor structure with a drive. The only way a flawed block has a chance to work is if you push the attacking limb far away. That unfortunately, takes you out of position to effectively respond to the next blow.

Question 28

What is compression?

Answer 28

Compression: These kind of attack commonly trap your opponent between force and a base. The utilization of a base doesn’t increase the force as much as it does not allow for the person to shed, roll with or bleed off the energy. Slamming someone into a wall and pinning them there is a compression attack. But, so is a chokehold, the forearm applies a constant pressure while the chest and bicep provide a base to keep the person from squirting out of the applied pressure. Although drives are commonly used in combination with a base, they and/or pulls can often be used as the base that pins your opponent for an impact. An example of such a move would be pulling/pushing an opponent into an elbow strike or a double handed ear slap. Compression attacks come in many forms, and although they are commonly associated with grappling, their absence in striking arts is because of safety reasons. A properly angled strike traps the person between the impact and the earth.

Furthermore, compression attacks also involve leverage. This is especially true in throwing arts where you push/pull your opponent over a base such as you hip, thigh or foot. Just because you are pushing/pulling doesn’t mean it has to be into the base, you can drag/push him over one.

Question 29

What is dumog?

Answer 29

The Filipino art of moving a body from point a to point b

Understand the body’s chokepoints, high leverage points

The humerous (inside pull outside shove
The neck (push/pull/twist)
Wrist and forearm at elbow inside (exposes the temple for the head but)
Wrist and forearm at elbow outside

Gotta loosen up first (ballistic in- guntings, elbows and headbutts)

Dumog is going to ensure you’re not getting hit with a solid blow

You can switch from one to the other and use insertions.
If he’s stretched out, savate. If he’s close, kali. In between, something else.

Question 30

Explain Golden Goose Thai Chi

Answer 30

It’s for shoving, which can be pretty effective depending on where you shove
The area on your arm between the tricep And the deltoid, line that up with his hip and shove
You can also use your shoulder or hand in the same manner

Question 31

What are Bruce Lee’s Five Ways of Attack?

Answer 31

A universal set of principles designed to give clarity to the chaotic nature of fighting and in particular attacking

Single Direct Attack
Attack by Combination
Attack by immobilization
Progressive indirect attack
Attack by drawing

Question 32

Explain the single direct attack

Answer 32

The objective of the single direct attack is to reach the target via the most direct route. Because it requires the combatant to bridge the gap completely in a single move and without a preparatory feint this kind of attack necessitates keen judgement of distance and a fine appreciation of timing. These are most often employed with the lead hand, which is most often the nearest weapon to the target.

It is most effective when combined with a movement to the emerging void.

Sumbrata is an effective way to SDA, where movement to the emerging void, and a check with one hand allows you to neutralize the opposition’s hit and establish your own.

Question 33

Explain Attack by Combination

Answer 33

A combination is a series of punches thrown multiple targets. They generally follow a natural sequence, and are thrown in a way that promotes body mechanics, maximizes positioning, and minimizes target exposure.

A jab in front of eyes can blind to next hit.
A jab can narrow the gate for a hook
Doubling up on punches make even simple combinations widely varied (double the hit but change targets)
Uppercuts set up hooks
Shovel hooks open top line

The best combination punchers center there attack around the opponents reactions and and on the resulting openings

Vary contact levels…you can brush to occupy guard, conceal footwork and create angles

Question 34

Explain the HIA, the hand immobilization attack

Answer 34

Control parts of the opponent’s body so that his ability to evade block or punch is nullified

Try the “hit and hold” Mayweather style

Question 35

Explain the Progressive Indirect Attack

Answer 35

A progressive indirect attack is Bruce Lee’s way of describing the process of entering behind a faint or uncommitted punch. While in HIA a combatant looks to physically remove defensive barriers, those employing PIA seek to manipulate them through deception

Question 36

Explain Attack by Drawing

Answer 36

“The counterattack is not a defensive action but a method of using the opponent’s offense as a means of the successful completion of one’s own attack. The counterattack is an advanced phase of offense. It is the greatest art of fighting, the art of the champion.” Bruce Lee

A drawing attack lures an opponent into launching an offensive on the apparent opening, but by taking the bait, the opponent in fact creates new openings for attack. Once the opponent has fully committed, he is often unable to adjust his position and actively respond to the subsequent counterattack.

Question 37

What is trapping?

According to Hartsell

Answer 37

Trapping is not locking. The lock is intended to control the person over a period of time. A trap, on the other hand, is intended to immobilize or check an opponents movement for a brief moment. It’s there for a beat of time and it’s gone. In that moment you can disrupt your opponent’s momentum and rhythm. That makes it possible for you to take the initiative and press your own attack.

It improves your ability to read your opponent and feel the flow of his energy. As your perception improves, your reflexes will also improve.

In a fight it may not look pristine but it still a trap if you have momentarily immobilized your opponent.

Question 38

According to Hartsell what are the six Jkd reference points?

Answer 38

A reference point is nothing more than the relative position of the opponents arms. In Jkd, for the sake of convenience, we use six of these points.

Hi outside, low outside, high inside, low inside, high outside inside, high outside outside