tag:blogger.com,1999:blog-30281476622011235082024-03-12T20:06:42.002-07:00Defanging the SnakeThoughts of a martial artist, Modern Arnis instructor, writers and runnerMukeshhttp://www.blogger.com/profile/01928087269044551417noreply@blogger.comBlogger16125tag:blogger.com,1999:blog-3028147662201123508.post-636570706474749652013-02-16T06:05:00.001-08:002013-02-16T06:05:28.289-08:00Filipino Martial Arts - Choosing a Martial Arts Series<em>This is a repost of an article I wrote 3 years ago but since they're disappearing from the web, I thought I'd post it here.</em><br />
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<em>Originally published on Chicago Tribune and LA Times around 1/2010. </em><br />
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<span style="font-size: large;">Choosing a Martial Art – Filipino Martial Arts</span><br />
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If you’ve seen any of the Jason Bourne movies, you’ve seen the Filipino Martial Arts (FMA) in action. FMA is a generic term referring to several different Filipino arts including Arnis, Kali and Escrima. These variations stem from different regions of the Philippines however, at their foundation, they are very similar and many times the terms are used interchangeably. The most differentiating characteristic of FMA from other arts is that training starts with weapons. While Filipino martial arts are lesser known amongst the populace compared to Kung Fu or Karate, their simplicity and effectiveness have made them a integral part of training for martial arts practitioners as well as many armed forces. <br />
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<strong>Background</strong>: The first written record of the Philippine systems date back to the 1500’s as documented by the Spanish conquistadors. However, these arts are generally assumed to be significantly older. After the colonization of the Philippines by the Spanish, indigenous arts were banned and most FMA were taught in secret, being passed down family lines. It was during the 20th century that Filipino arts began to gain more visibility, first in the Philippines and then eventually internationally as skilled practitioners left the islands to spread FMA throughout the world. One of these practitioners was Remy Amador Presas who founded Modern Arnis. This is the art I have been studying for the past fifteen years.<br />
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<strong>Self Defense</strong>: The FMA are an extremely effective and complete self defense systems. Training starts with weapons techniques that evolve into empty hand techniques. Students generally learn techniques using a single stick (baston), double stick, dagger (daga) and stick and dagger. Weapons training can also translate to almost any object. Students learn weapon against weapon, weapon against empty-hand, and empty-hand against empty-hand. Additionally, depending on the exactly style of FMA, training can include joint locks, throws and grappling (dumog). Because of the variety of techniques taught and translated to use with or without weapons FMA can appeal to a wide range of individuals and body types. Additionally, because of the various fighting ranges incorporated in the art, FMA is well suited for those who want to keep their distance from their opponents as well as those who want to close in on an attacker. <br />
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<strong>Physical aspects</strong>: Because FMA are technique focused, most technique can be executed regardless of strength and flexibility, if done properly. Many schools, however, incorporate exercises to develop strength, agility and flexibility that can be an asset in more advanced training. Due to the significant focus on the use of sticks, the average practitioner will quickly develop arm and shoulder strength through the repetition of drills. Additionally, training with sticks that can move at significant speed also helps rapidly develop hand/eye coordination.<br />
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<strong>Typical Class</strong>: My typical class is approximately an hour and fifteen minutes long. When I have new students I will do a formal stretching and warm-up session for about ten minutes. Typically most of my students will stretch on their own prior to the start of class. The class itself consists of about twenty minutes of basic drills to develop speed, strength and muscle memory, followed by about twenty minutes of practicing previously acquired techniques. The latter half of class usually consists of building on previous techniques or learning new ones. If time permits, we also practice reality based situation analysis (i.e., how would you defend yourself in a certain situation). <br />
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<strong>Classroom atmosphere</strong>: Class atmospheres can vary depending on the instructor, but they generally tend to be more relaxed and less regimented than traditional martial arts. My classes generally bow in at the beginning of the class and bow out at the end, however, the rest of class is fairly casual. Uniform requirements can also vary and most school will required some sort of uniform, whereas individual instructors may just require sweats and a t-shirt. <br />
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<strong>Overall</strong>: The Filipino martial arts are an effective system of self-defense and one of the best training for weapons techniques. Due to the simplicity and effectiveness of the system, it can be adapted to many different situations and individuals. It is ideal for those who want to be able to quickly learn skills to defend themselves and expand their martial knowledge.<br />
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Mukeshhttp://www.blogger.com/profile/01928087269044551417noreply@blogger.com0tag:blogger.com,1999:blog-3028147662201123508.post-43184151909859251262013-01-29T16:58:00.001-08:002013-01-29T16:58:26.154-08:00Choosing a Martial Art (repost)<em>This is a repost of an article I wrote 2 years ago but since they're disappearing from the web, I thought I'd post it here.</em><br />
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<em>Originally published on Chicago Tribune and LA Times on 10/2009. </em><a href="http://www.chicagotribune.com/sns-health-choosing-martial-art,0,1811106.story"><em>http://www.chicagotribune.com/sns-health-choosing-martial-art,0,1811106.story</em></a><br />
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<strong>Choosing a Martial Art</strong><br />
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<em>Important steps to take before you decide which move to make. </em><br />
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Mukesh Pitroda <br />
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October 30, 2009<br />
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The success of the various Mixed Martial Arts (MMA) organizations has increased interest in martial arts and self-defense systems. With so many different arts and styles now available, choosing the right martial arts for you can be a daunting task.<br />
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Here are a few things to consider: <br />
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<strong>Interest:</strong> First, it is important to understand why you want to take martial arts. While the most obvious reasons include self-defense, fitness and confidence, there are plenty of other incentives such as stress relief, meeting new people, cultural interests and personal growth. Make a list of your top five reasons, this will help determine which art is best for you.<br />
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<strong>Self-defense:</strong> This is a given, however it is important to consider what type of situation you are preparing for. While boxing may not be a formal martial art, it is very well suited for a confrontation where two opponents are squaring off. Or, you may want to be prepared to defend yourself should you ever be physically threatened. Reality based martial arts that focus on techniques are more likely to prepare you for self defense situations more quickly than a traditional martial art. Likewise, someone more concerned with being pinned on the ground may find wrestling or Brazilian jujitsu best suited for their training.<br />
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<strong>Physical limits</strong>: Some bodies are better suited for some martial arts than others. That is not to say that physical aspects cannot be overcome. In fact, martial arts are a great way to conquer physical limitations. Generally, if your stature is small and wide, you may more naturally take to Judo or jujutsu, given a lower center of gravity whereas a thinner person may find more comfort in being able to kick rather than end up in a clinch or on the ground. Additionally, if you're barely able to touch your knees, Tai Chi may compliment you more than arts that use high, fancy kicks and acrobatic techniques like Tae Kwon Do or Capoeira .<br />
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<strong>Learning style</strong>: How instructors teach can greatly impact how effective a school and art is for you. Think about how you best learn. Are you a better learner when the curriculum is more rigid and formal, or when things are more flexible? Do you see yourself in a uniform when you train or sweats and a t-shirt? Will you gain more from an instructor who you consider a teacher or a friend? Generally, Asian based arts tend to be more formal given the deep history and tradition they bring with them. Newer arts such as Krav Maga, tend to be less formal, focusing more on techniques.<br />
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<strong>Consider this</strong>: What you get out of a system will depend on many factors besides the art itself. Some of these factors will be internal, such as your physical abilities and your dedication. Others will be external like the style of the instructor. Use the information above to help narrow the list down several different arts and then choose a school you feel will be a good fit. Be sure to visit a class for each of these. Talk to the instructors and the students (those who have been training there for awhile, and those who just started).<br />
<br />Mukeshhttp://www.blogger.com/profile/01928087269044551417noreply@blogger.com0tag:blogger.com,1999:blog-3028147662201123508.post-37262975112487909542013-01-22T19:23:00.000-08:002013-01-22T19:23:07.178-08:00My New Sub-Freezing Weather RoutinesThe cold months are a great time to build up incorporate some strength training (I know I should be doing this all year around--it's just easier staying indoors when it's cold) and indoor aerobic exercise. <br />
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Here is the routine I started this week<br />
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Strenght training (Su, T, Th)<br />
1 Dips to failure + 3 negatives<br />2 Pullups till failure + 3 negatives<br />3 Dumbell Bench Presses<br />4 Lat Pull-downs<br />5 Dumbell Flyes<br />6 Inverted rows<br />7 Hanging leg lifts<br />8 Hanging on bar till failure<br />
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Indoor aerobic (M, W, F)<br />
1 Kettlebell swings (5, 10, 20, 10, 5)<br />2 Kettlebell squats (5, 10, 20, 10, 5)<br />3 Elliptical 20 - 35 mins<br />4 Kettlebell swings (50)<br />5 kettlebell somethings (10 each hand)<br />
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Feedback? What do you do during the winter months?Mukeshhttp://www.blogger.com/profile/01928087269044551417noreply@blogger.com0tag:blogger.com,1999:blog-3028147662201123508.post-81396406978103293412013-01-20T16:37:00.001-08:002013-01-20T16:37:10.707-08:00Fighting stance - The Weapons Mindset<span style="font-family: Calibri;"><span style="mso-spacerun: yes;"> </span>Different martial
arts approach the fighting stance from different angles.<span style="mso-spacerun: yes;"> </span>Some are meant to keep the opponents at a
distance, some are meant to allow for quick defense.<span style="mso-spacerun: yes;"> </span>All incorporate some level of the following things
into the stance to allow for quick defense either from footwork, angling,
of parries and/or blocks with the hands.<span style="mso-spacerun: yes;">
</span>A lot of these stances are, however, meant for hand to hand combat.<span style="mso-spacerun: yes;"> W</span>hen you bring weapons into the
equation, especially bladed weapons, these stances have several weaknesses,
especially when you move away from the traditional weapons practice of thrust
and defend.<span style="mso-spacerun: yes;"> </span>On the street, you may not
even be aware that your opponent has a weapon.<span style="mso-spacerun: yes;">
</span>Take for example, the follow stance.<span style="mso-spacerun: yes;">
</span></span><br />
<a href="http://1.bp.blogspot.com/-tA4vfpyJxAU/UPyIYNyaVEI/AAAAAAAAABs/WvoOfG0u47Q/s1600/karate2.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="250" src="http://1.bp.blogspot.com/-tA4vfpyJxAU/UPyIYNyaVEI/AAAAAAAAABs/WvoOfG0u47Q/s320/karate2.png" width="250" /></a><span style="font-family: Calibri;">While this stance may be perfectly effective in defending against a
punch or a kick, the first
thing I think of when I see this stance is that:<o:p></o:p></span><br />
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<div class="MsoListParagraphCxSpFirst" style="margin: 0in 0in 0pt 0.5in; mso-list: l0 level1 lfo1; text-indent: -0.25in;">
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font-family: Calibri;">1.</span><span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "Times New Roman";"> </span></span></span><span style="font-family: Calibri;">If I had a weapon, a knife or even a pen, my
primary focus would be to take out the right hand.<span style="mso-spacerun: yes;">
</span>It is right there, waiting to be stabbed.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<div class="MsoListParagraphCxSpMiddle" style="margin: 0in 0in 0pt 0.5in; mso-list: l0 level1 lfo1; text-indent: -0.25in;">
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font-family: Calibri;">2.</span><span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "Times New Roman";"> </span></span></span><span style="font-family: Calibri;">Another option would be punch with my left to
get my opponent to defend using their left side to open up that side and them
come in with a weapon from my right.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<div class="MsoListParagraphCxSpLast" style="margin: 0in 0in 10pt 0.5in; mso-list: l0 level1 lfo1; text-indent: -0.25in;">
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font-family: Calibri;">3.</span><span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "Times New Roman";"> </span></span></span><span style="font-family: Calibri;">Finally and perhaps the most important is that
this position leaves the two very vitals spots velnerable:<span style="mso-spacerun: yes;"> </span>the eyes and the throat.<span style="mso-spacerun: yes;"> One</span> may be able to take a not so perfect hit
to the face or the throat, but if a blade ever made penetrating contact with
either one of those areas, that could be a deciding move.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="margin: 0in 0in 10pt;">
<span style="font-family: Calibri;">The Filipino Martial arts having their foundation in weapons
training, take a very different approach.<span style="mso-spacerun: yes;">
</span>I will state my disclaimer here that this may not be the case for all
practitioners, especially since for most people, the FMA didn’t start out as
their primary art.<span style="mso-spacerun: yes;"> </span>However the
following is the ready stance as I’ve practiced it.<span style="mso-spacerun: yes;"> </span>A few things to note here:</span><a href="http://1.bp.blogspot.com/-WAHjxWTmyRE/UPyJXq_kK1I/AAAAAAAAAB8/38HcMHuMWBs/s1600/Arnis1.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a></div>
<a href="http://1.bp.blogspot.com/-WAHjxWTmyRE/UPyJXq_kK1I/AAAAAAAAAB8/38HcMHuMWBs/s1600/Arnis1.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="207" src="http://1.bp.blogspot.com/-WAHjxWTmyRE/UPyJXq_kK1I/AAAAAAAAAB8/38HcMHuMWBs/s320/Arnis1.png" width="204" /></a><br />
<span style="font-family: Calibri;">1.<span style="mso-spacerun: yes;"> </span>the elbows are in
providing protection to the vital organs from the front such as the heart, lungs and
liver.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span><br />
<br />
<div class="MsoNormal" style="margin: 0in 0in 10pt;">
<span style="font-family: Calibri;">2. the fists are facing inward and protecting the neck and
face.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<span style="font-family: Calibri;">Any confrontation with a bladed weapon is going to be quick,
complex and messy.<span style="mso-spacerun: yes;"> </span>No stance is going to
ensure that I don’t get hurt.<span style="mso-spacerun: yes;"> Footwork and parrying will help, but as</span>
I’ve heard many times--if a blade is involved, you’re <em>going</em> to get
cut.<span style="mso-spacerun: yes;"> </span>However, at least here there is a fighting
chance of ensuring that the first strike is not one that damages a vital organ.<o:p></o:p></span><br />
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<div class="MsoNormal" style="margin: 0in 0in 10pt;">
<span style="font-family: Calibri;">As always, given the opportunity, walk away… run away if
required.<span style="mso-spacerun: yes;"> </span>I would rather that I never
have to use my martial arts and live, then try to prove how skilled I am,
especially against a blade.<o:p></o:p></span></div>
Mukeshhttp://www.blogger.com/profile/01928087269044551417noreply@blogger.com1tag:blogger.com,1999:blog-3028147662201123508.post-13847241150442331462013-01-11T17:29:00.001-08:002013-01-11T17:29:47.991-08:00New Year - New Defanging the SnakeAfter almost 2 years since my last post, I'm starting this blog again. But I'm changing the format and purpose. Initially the blog was just about Modern Arnis and martial arts, but there's more to all of us than just one facet and rather than try to keep multiple identities online, I've decided just to move forward with this one.<br />
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However, I am keeping the title of the blog the same, because the concept of defending the snake is applicable to many things in life. In martial arts, it refers to either debilitating an appendage or an appendage with a weapon. It's the removal of something that is a threat, yet it is not the complete destruction of it. You can take out a hand with a knife so they can't hurt you, but you're not taking someone's life. <br />
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That concept can be used in other things in life as well to refer to things that are a threat to what we want to achieve whether it is motivation, fear, time, support, etc. <br />
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On this blog I plan on writing about many of the things I'm involved in besides martial arts, like writing and the million ideas that I'm working on but only getting 51% of the way to success (hence 51% entrepreneur), and running, etc. <br />
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I hope that this will lead to two-way conversations, feedback and hopefully new ideas and new friends!Mukeshhttp://www.blogger.com/profile/01928087269044551417noreply@blogger.com2tag:blogger.com,1999:blog-3028147662201123508.post-8269411197559519102011-01-19T20:35:00.000-08:002011-01-19T20:41:20.762-08:00Stages of Learning a FormFirst, this is part of my New Year's resolution--to have a blog entry at least once a month this year. So January, check...<br /><br />This is more an observation on the steps in learning a form.… distinct steps that I never consciously recognized when I was learning forms, but ones that are quite obvious now that I’m observing other learn. I classify the learning process into the following steps:<br /><br />1. Motion<br />2. Action<br />3. Sequence<br />4. Memory<br />5. Elaboration<br /><br />The first step is learning the motion. Here the student learns the general movements. It may be, let’s say, a simple block and kick. Initially these items aren’t performed with any specific target or focus. They’re just following the motion of the form.<br /><br />The second step is learning the moves. Here the block and kick become distinct actions for specific purpose. The block and kick become blocking a punch to the face and kicking to the inner thigh. This continues for each set of moves within the form until the student, either through explicit instructions or through their own understanding , begins to associate each set of movements with some purpose and action. At this time, the student will have a set of movements, pause or hesitate between each sets of movements, but will eventually get through the form.<br /><br />The third step is sequence. This is adding of the smoothness to the second step. This is almost transitional between Action and Muscle Memory. Here the student has learned a significant portion of the form and can do it without pausing. I generally find some students do pause once in a while, but it seems many times this is that they’re gaining some insight that they’re thinking about (at least that’s what I prefer to believe).<br /><br />The fourth step is memory. This is where the form has been ingrained in the students mind and they can do it without thinking about the basic movement. Here is where I find that the most progress is made on the subtleties of the form. The proper emphasis, the proper hip movement, etc. <br /><br />The final step is elaboration. This is taking what they have learning and being able to apply it to different situations. Here the block and kick can also become a push and a trip. The students are able to explore the form and find the hidden applications… truly making what they have learned their own.Mukeshhttp://www.blogger.com/profile/01928087269044551417noreply@blogger.com0tag:blogger.com,1999:blog-3028147662201123508.post-46641667161890546562010-09-08T19:54:00.000-07:002010-09-08T20:12:51.706-07:00Economy of Movement with WeaponsThe concept of economy of movement isn't new to any martial artist. Many new student come in with the concept that longer the distance, the more power and hence they start off with exaggerated punches, kicks, etc. At some point in their training, however, most people will come across the concept of efficient and effective movements to defend as well as to attack an opponent. <br /><br />This impact of efficiency in movement becomes much more apparent with weapons mostly because when dealing with sticks and especially knives, the consequences of exposing yourself to an attack are obviously much more material than getting punched.<br /><br />When training with knives, one of the things I've tried to emphasize to my students has been, first no one who know what they're doing with a knife, especially someone with bad intentions, is going to bring a knife out and flash it around. Most likely the knife with be hidden in a pocket or something until the opportune moment. If you're not able to efficiently counter a knife in that situation because your hands are flailing all over the place... game over. <br /><br />Same thing even if both parties have a blade out, if the opponent is a few inches closer, odds are, unless you're lightning quick, you're going to get cut first. <br /><br />As much as I like to reserve teaching knife skills until students are move advanced, after about six month, I generally try to expose them to some knives because it teaches them the principles of the economy of movement. After using this as an example, I generally focus more on leg, hip and shoulder movements to help the body generate power rather than using just distance alone.Mukeshhttp://www.blogger.com/profile/01928087269044551417noreply@blogger.com0tag:blogger.com,1999:blog-3028147662201123508.post-15241572798168273442010-07-19T20:07:00.000-07:002010-07-19T20:25:39.735-07:00Padded WeaponsFor a long time I was opposed to using padded weapons in training. My personal opinion was that they were detrimental to training for real confrontations based on the fact that as soon as people got a padded weapon in their hands, they 1) started hitting each other carelessly as if this was about getting some points and 2) they started doing things like leaning down to hit someone on the leg. If the latter was in a real situation, they would have gotten clocked on their head, but because the sticks were padded that type of caution didn't seem necessary. It seemed to me that students seemed to immediately unlearn months of training as soon as they got a padded weapon. <br /><br />However, as I've been maturing as an instructor, I've come to realize that I can't avoid using padded weapons, because there is a benefit to them. But that benefit, in my opinion, is from structured drills. When I give my students padded stick, I give them specific instructions. For example, one student performs a single strike with power and the other student had to try to use one of the disarming or abanico techniques to penetrate. They can still move around freely and strike randomly, but without letting it get to a state where they revert back to items 1 and 2 above.<br /><br />I know the argument in opposition to this will be that "on the street, people will not use weapons in a predictable manner". I know that, but I think this is the first step... to have students get used to working with weapons that are coming at a decent speed and understand how they can defend against it. Like with everything else, once they acclimate to this, then perhaps, allowing for a more free flowing padded weapon exchange.Mukeshhttp://www.blogger.com/profile/01928087269044551417noreply@blogger.com0tag:blogger.com,1999:blog-3028147662201123508.post-3328280078430015282010-03-17T20:15:00.000-07:002010-03-17T20:34:09.205-07:00Refining techniquesAs I've been teaching my students techniques, I've been trying to figure out how best to refine their techniques. To me almost all techniques, involve movement of the following: the limb executing the technique, feet, shoulders and upper body and hips. What I am trying to figure out is what is the best sequence to address these movement in. <br /><br />Generally I have trained my students in that order. First get the limb used to the movement. I don't focus on exactness here only that the body part moves in the general pattern that it should. Once that general movement is consistent, I refine the movement. For example, if it is a post block, then ensuring that the student doesn't block too high or too low. After this, I focus on the foot work. In the example of the post block, at the basic level, making sure they are stepping into the block. The third thing I focus on is the shoulders. The two things I try to focus on with the shoulders is the movement during execution to add power as well as the final placement of the shoulders, which is many cases should end up facing the opponent or the strike squarely. Finally I focus on the hips and their movement for power and their final position post execution. <br /><br />What I question, however, is there a right sequence. There is lot to be said for getting the foot work perfect before training techniques. My gut feeling is there isn't a right sequence. But I'd love to hear from you with regard to how you train and focus on refining techniques.Mukeshhttp://www.blogger.com/profile/01928087269044551417noreply@blogger.com0tag:blogger.com,1999:blog-3028147662201123508.post-82716723892767562812010-02-22T17:24:00.000-08:002010-02-24T19:26:10.513-08:00Benefits of Arnis Deyond Self DefenseA friend of mine recently asked for the primary reason for people's interest in martial arts on his blog bamboosprintma.blogspot.com. I responded saying that initially it was for self defense, but now it was more a philosophical reason. After having posted my response, I started thinking about why I continue to take Arnis. Unlike many other arts that include a heavy dose of stretching and strengthening, Arnis is really focused on techniques. So while it can benefit me physically, it really is about self defense. At my age, do I really expect to have to many encounters where I need to defend myself? Probably not, but it is nice to know that I would be able to protect myself and my family if needed. But I guess really the philosophical part comes not directly from knowing how to disarm and subdue an opponent, but from more of the indirect aspects. <br /><br />One is disciple, with a job, family and multiple other activities, the disciple to go twice a week and spend an hour and a half practicing the art. Another is the focus to push the body to be able to move and react with more power and more speed to increasingly difficult techniques. While this may not be a character building feat at 18, believe me it can be at close to 40. It forces you to focus and concentrate.<br /><br />Finally, a third way in which practicing Arnis is that it develops mental agility. When you have to react to sticks coming at you at around 50 mph at times, you mind has to be able to react quickly. Even if you are practicing a drill, your mind has to work in conjunction with your body to make sure you block at the right time, you stop your stick before hitting your partner, etc. It forces your mind to stay sharp in other drills by coming up with new counters to counters. <br /><br />I know this is just the tip of the iceberg and perhaps it doesn't explain how this is philosophical (perhaps I'll write about that next time), but at the least I wanted to describe how an art that is really focused on self defense technique has benefits that go beyond just self defense.Mukeshhttp://www.blogger.com/profile/01928087269044551417noreply@blogger.com0tag:blogger.com,1999:blog-3028147662201123508.post-53944887531962317602010-01-11T20:36:00.000-08:002010-01-11T21:18:42.248-08:00Training BlindMy instructor at one point had me train with my eyes closed, partially because he wanted to develop training for the visually impaired, but it taught me an important lesson about how valuable training without using your eyes can be. Not only does it teach sensitivity to an opponent's energy and awareness of the opponent's body position, but I think training with your eyes closed can also help promote better technique. Whether this is practicing a block, check and counter, or joint locks or even weapons training, the fact that one has to feel the way around the technique to make it effective make a huge difference in actually executing this same technique with eyes open. Sometimes when we can see, we make up sloppy technique by moving our bodies for better leverage or using more strength. With eyes closed, you have to rely upon your understanding of there the opponent is and judge what their next move may be based on the energy of the limb you're in contact. Over time, I think this type of training can greatly add to the speed and precision of techniques with your eyes open.<br /><br />I'm not advocating training this way with speed and power, but keeping your eyes closed and training slowly, I feel can be a valuable addition to any training. It makes to rely on the other senses, namely touch, to understand the force an opponent is striking, their body position as well as proper execution of technique. <br /><br />If you haven't tried this, my suggestion would be to start with something simple such as a hand grab. And to execute the techniques slowly. Initially it will be necessary for your partner to "play along", but over time, you will find that you can execute certain technique just as well blind as you can with sight. <br /><br />I'd love to hear feedback on this from others who have tried this method.Mukeshhttp://www.blogger.com/profile/01928087269044551417noreply@blogger.com0tag:blogger.com,1999:blog-3028147662201123508.post-47963960831734028832009-12-15T17:59:00.000-08:002009-12-15T18:31:57.391-08:00The distance sweet spotWhen I take a layman’s perspective on effective distance, it is easy to conclude that for arts such as TKD, the sweet spot seems to the longer range. With Jiu-Jitsu, obviously the close range. But Arnis has significant set of techniques at all three ranges, from a long range with the sticks, to medium with open hand and some of the kicks and finally the close range. So is there a sweet spot in arnis? Are all ranges the sweet spot(s)? Or is it really up to the practitioners to find their own.<br /><br />Personally, I think it is really up to the practitioner and my personal sweet spot is close and just to the outside of my opponent’s side. This is just a matter of the x-pattern forward to the left or right. I find this spot to be the most uncomfortable for most partners since 1) I’m on the outside and 2) I’m at an uncomfortably close range. This is the space bubble people talk about. This is the space that people on the street show their bravado with by getting into people’s faces and people pushing people out of this space. But this is also where, to me, the arnisador is most comfortable, not only with being on the outside, but this close range. This is where one has the advantage, because we can maneuver in these close confines and also manipulate the opponent’s body.<br /><br />So lately I’ve been teaching my students that, as always, if the option exists, run away (more on this later), but if you have no choice and the combat is empty hand, then close in. Preferably to the sides, but even straight in because this is where most people do not have a significant arsenal of techniques. Close in and from there determine whether the situation calls for an arm lock or a throw or a break.Mukeshhttp://www.blogger.com/profile/01928087269044551417noreply@blogger.com0tag:blogger.com,1999:blog-3028147662201123508.post-43530009923636502692009-11-23T21:06:00.000-08:002009-11-23T21:18:59.961-08:00Pain in practiceI was demonstrating a move to my students today and I had a slightly difficult time executing it. The move was basically an armbar to a backwards throw, changing the opponents momentum from one direction to another. At first I thought that perhaps it was the size of my students who are larger and stronger than others I have worked with. But then again, I've worked with a wide range of shapes and sizes in my own training and haven't had problems with this technique. After watching a few of my student try to execute the technique as well as some trial and error, I came to the conclusion that this had worked in the past because I wasn't teaching it, I was practicing it. The subtle difference being that when showing the technique to students, one generally tends to be gentler and slower than when practicing the same technique. Since this technique really depended on an opponent's reaction to the armbar and their tendency to want to go the opposite way as a reaction to it, there was a need to make the armbar slightly painful. This elicited the right reaction to make the technique flow and make it effective. At some point in the future I'll write about the need for realism in practice through sparring and senario evaluation, but even outside of these types of training, executing a technique to a level of discomfort is not only crucial to you learning how the technique will execute in more realistic circumstances, but also make you more adept at executing the techniques. While I think it is important for students to go slowly at first with a cooperative partners, there are benefits to a slightly opposing partner and execution of technique with controlled speed and power.Mukeshhttp://www.blogger.com/profile/01928087269044551417noreply@blogger.com1tag:blogger.com,1999:blog-3028147662201123508.post-62557468954503797542009-11-02T20:32:00.000-08:002009-11-02T20:53:34.445-08:00The Body in UnisonOne of the unfortunate aspects of learning/training is that we learn the movements of the upper body separately from the movements of the lower body. So we learn to block first then step then punch and rather than treating these as one fluid set of movements, we are drilled into executing three separate moves for three specific purposes... 1) eliminate the immediate threat, 2) close in, and 3) Counter. Until I started teaching and watching my students, I never realized that for a long time, I executed things as distinct steps with distinct purposes. While these distinct steps may work perfectly well in a real-life situation, what they tend to do is add time to the completion of the end goal, eliminating the opponent--every distinct maneuver adds a small amount of time, a split second, that gives the opponent an opportunity to think and react. When the body moves in unison, when the step is block, step and counter are happening almost simultaneously. The step is not only to get closer to the opponent but is angling the body to block while allowing the other hand to counter. The step isn't distinct but part of the block and counter.Mukeshhttp://www.blogger.com/profile/01928087269044551417noreply@blogger.com0tag:blogger.com,1999:blog-3028147662201123508.post-24337169704732711092009-10-25T14:36:00.000-07:002009-10-25T15:02:46.934-07:00A little 5K kicked my a$$ this morning... a lesson on conditioning and trainingA little 5K kicked my a$$ this morning... a lesson on conditioning and training<br /><br />I ran a 5k this morning. It was early, it was cold and I hadn't ran in over a month. So how'd I do? I did okay. I ran about 9/min miles and I was really tired when I finished. I've run faster miles and I've also ran much further so why did I have old men and little kids passing me us? This morning's run reminded me of a few things. Particularly the need for conditioning and the need for training for different situations. <br /><br />With regard to conditioning, sometimes it is hard to remember how much a fight or sparring can take out of you. After all, has anyone seen Steven Segal sweat? Especially when taking an art that focuses on technique, it is not too difficult to forget to keep conditioning as well. I've recently added both aerobic and strength training to supplement my martial arts. While I have a lot of confidence in my techniques, I also need to be confident that, first, I can out run an adversary, and failing that, I can outlast. In any situation, I'll have enough other things to worry about outside of my strength and stamina.<br /><br />With regard to different situations, most of the running I've done recently has been in warmer weather, where the air isn't as dry and my muscles aren't fighting the cold. Some people like running the cooler weather, but I'm from India, my body is used to hot weather and is where it performs best. I do think the weather contributed to my performance today, but it shouldn't be an excuse, because I should have trained for and need to train for different conditions. Same thing with training. Training should never solely consist of sparring with just one partner where you're squared of one against the other. It should include all situation. Two /three on one, fighting with or without a weapon, standing up and on the ground, and most importantly, fighting and running. Your training shouldn't just bring you the ability to prove you're a man by fighting, but the ability to prove you're a man by running away, and not fighting.Mukeshhttp://www.blogger.com/profile/01928087269044551417noreply@blogger.com0tag:blogger.com,1999:blog-3028147662201123508.post-85483435723392348812009-10-19T20:32:00.000-07:002009-10-26T20:40:31.310-07:00Misdirection / disortientation / redirection of opponent's focusI was teaching the #3 disarm today--this is where an opponent swings a stick with the right hand to your left rib area, with the disarm being a post block with your stick, and then reaching out with the left and, snaking around the opponent's hand and disarming the stick. As I was showing this the back and forth motion of the left hand stood out to me. As much as the hand needs to extend to reach around the opponents hands to disarm, this motion also serves the function of misdirecting and disorienting the opponent because the hand basically flies out close to their face, then comes back it close to your chest and then shoots back out for the disarm. It manipulates the focus of the opponent as they are being disarm by rapidly changing the distance of the disarming hand. Even in close quarters, the back and forth movement can be an effective way to keep your opponent disoriented. Of course on a larger scale, this is much more visible when an opponents energy is redirected from a punch to a backwards throw, but I was delighted to notice the same type of redirecting happening, perhaps at a mental level if not a purely physical level.<br /><OBJECT class=BLOG_video_class id=BLOG_video-683c4d7c96f8da11 height=266 width=320 contentId="683c4d7c96f8da11"></OBJECT>Mukeshhttp://www.blogger.com/profile/01928087269044551417noreply@blogger.com0