As most of my readers/followers are aware, one of my main arguments in view of one's combative effectiveness, provided that is the reason they are training at all, is primarily related to their training methodology. In short, what you train in terms of technical arsenal is less important than how you approach that practice. Consequently, the problems that a lot of traditional martial art exponents face in attempting to use their technical toolbox in dynamic, non-cooperative sparring or competition stem from the training methods that don't fit that goal.
But it doesn't have to be like that! Even what is typically considered the most exotic among traditional martial systems, i.e. the so-called internal kung fu systems, can offer viable solutions for the above scenarios if approached adequately. And if you wonder how, you are in luck, because a long time Xingyiquan and Baguazhang teacher Mike Patterson comes to rescue!
A long time ago Patterson had produced a number of instructional videos that present the technical content of those systems in his lineage, but it is his books that outline the training methods and progressions that should actually bring that material to a functional level.
His first book is dedicated to the art of Xing Yi Quan (or Hsing I Chuan in the older transcription) and it happens to be quite comprehensive. In other words, the author covers all the topics that make those art "internal", as much as that classification is questionable, such as the brief introduction to meditative and energy practices, yin/yang theory as it applies to kung fu practice, interpretation of some classic texts about Xingyi, importance of daily training etc. Of course, there is the explanation of the elements that the technical curriculum is comprised of - five elements and twelve animals, but in that regard this book is not meant to be a technical manual. Patterson himself says that the moves are better taught/learned in person or in video format, but the commentary on these elements is still very good.
The segment that make the book really shine is his explanation of the training method that is used in his school do train able fighters. Oh, by the way, how do we know it works, i.e. that those Patterson's are effective as fighters? Well, they put it to test and let the world see it!
For example, here are the real time applications of a couple five-element fist techniques:
And then some of the animal form tactics:
So, Patterson calls his methodology R.S.P.C.T., which stands for realistically structured progressive combat training. Trying to give you a short overview here would be futile, because saying it includes partner drills, focus mitt work etc. doesn't really say much. It might be more relevant to point that the author has five tiers of practice in place: reflexive, structural perceptual, conceptual and tempering, according to the main focus at that point of training process.
The important point here is that, as is the case with most good methods, R.S.P.C.T. is not limited to being used just with Xingyi or traditional marts as such, but can be adapted to serve the practitioners of any other combatively oriented system, regardless of their technical background.
Being that the first book was well received, it is no wonder that the author decided to follow a similar formatting path with his second one.
Now, having in mind that Baguazhang (od Pa Kua Chang) is seen as even more esoteric that other internal systems, Patterson spends more time (or rather pages) discussing the underlying philosophies and methods of the system, including one of the best presentations of breathing and qigong practices I have seen in martial art books. Fast forward to the R.S.P.C.T. method as it applies to Bagua... In this case, we are shown how it develops the skills such as binding, turning, dragon stepping, and then we move to the areas of continued integration, clinch drills, defense, attack strategy footwork, rou shou practice, advice on strategy and fighting etc.
As some may have noted from the above videos, in practical application those techniques do not necessarily look like "picture perfect" examples, but then again, the same can be said about any other fighting art, including boxing and MMA. Even so, this one is pretty spot on:
The bottom line is, if you are interested in traditional martial arts and their potential use in practical situations, especially kung fu, you cannot afford to skip these books. And even if you are not a fan of those traditions but still care about functionality of training, the training method presented in them is still valuable.
Sometimes I can't help noticing that we live in a world where everything is quantified, so the notions of success and achievement are based on measurements, typically in an attempt to be (quasi)scientific in one's approach to training. While such a view has some value in certain domains, particularly in a professional sport field, I believe that in some other practices it might be (at least occasionally) harmful.
Even in a very streamlined sport of weight lifting, for example, there are so many factors involved (sleep, mood, state of health etc.) that it would be ill-advised to focus on the numbers as the sole indicator of progress. More than once have I seen a lifter miserable after a good session, because they failed to reach a goal that was a number on the paper (or the screen). How do you quantify quality or pleasure?
Things get even more complex in an oppositional skill based arena that is martial arts and combat sports. For a lot of people involved in these, there is this idea of making progress by "getting to the next level", which entails learning advanced techniques and/or more new maneuvers. You see it everywhere, from the modern BJJ and MMA gyms and their new tricks of the trade, to the traditional schools, where the new belt means new forms and techniques. We always strive to get to a new step and climb higher on the chosen ladder of success.
But what if that is a wrong viewpoint? After all, they say that advanced techniques are the basics done really well, right? Wouldn't that mean we ought to get deeper, not higher? Hey, even the Earth's structure prefers depths to heights!
So, let me try and provide some answers to the above questions. I happen to be a proponent of the basics done well school of thought, because the concept of deep skill is the foundation for the execution of advanced tactics and strategies. In other words, with an excellent command of a finite set of skills/techniques, one has the confidence and cognitive resources to use them in solving the changing demands of a dynamic combative situation. A classic example may be the legendary Bill "Superfoot" Wallace, who decided to train his kicking techniques only with the left foot, but make it so good that his opponents had difficulties dealing with it, despite knowing what to expect. Or Rickson Gracie rolling each participant in a seminar and submitting them all with the same technique!
Therefore, with a proper learning and training process it is possible to develop required attributes, thus being able to overcome most challenges faced in the process of training and/or application. I know, we are constantly exposed to so much novelties in training and bombarded with all kinds of (dis)information, so it can be really hard to keep it at bay while maintaining focus. Yet, we are often reminded that "Jack of all trades is a master of none..."
"...but often better than the master of one!", however! Wait, what? Aren't I contradicting myself? Well, not really. See, IMHO, one needs to be a comprehensivist in terms of areas of competence, but then a deep diver in each of them. Naturally, the number of those areas of competence will depend on your purpose in training - sport, cultural study, recreation etc. Let's say you are a MMA practitioner with competitive inclination: you would need to develop some functional skillset in standup/striking range, clinch/wrestling and the ground/grappling game. Now, if you have previous background in one of the disciplines that are typically perceived as "main ingredients" of MMA (i.e. (kick/Thai)boxing, wrestling, judo, sambo, BJJ), it could be possible and maybe even recommended to build a strategic approach of taking the fight to your area of expertise, with solid defense in all the others.
Let's see what the deep dive consist of, then. The first thing would be to identify a finite set of techniques and tactics that make the functional foundation within that area and then work on truly internalizing and integrating them, to a degree that we could improvise and play with them at will. For example: in the standup game - jab, cross, front hook, low kick and (maybe) front kick, corresponding parries and defenses; in the clinch game - a couple of controls and takedown from wrestling (underhook, weezer, single leg), head/neck control and a couple of elbow and knee strikes from Thai-boxing, takedown defense/sprawl; on the ground - essential positional control, 2-3 escapes for each position, 2-3 submissions from each position, a couple of fundamental sweeps/reversals, and fundamental ground and pound options.
Huh, it is still quite a bit... But, if you get deeply skilled in those, there will almost certainly be no need for jumping or spinning kicks and backfists, scissor throws and suplexes, berimbolos and lasso guard or calf slicers. Leave those to the folks specializing (i.e. deep diving) in those singular disciplines.
If your aim is on the pavement arena of self-protection, you will also want to address hand held weapons (impact and edged...firearms if it fits your legal environment), with emphasis on access and deployment, along with a couple of low-risk and effective techniques/strikes, while discarding the twirling and flipping stuff. (There are quite a few reviews of the applicable instructional volumes on this blog). When it comes to defense, focus on control over disarming. While on the subject of street self-defense, if you try running a couple of scenarios that involve multiple attackers, it will quickly become obvious which physical techniques and tactics are to be prioritized (footwork, standing wrestling, straight punches, low line kicking).
Thanks to the easy access to video footage of all kinds of physical situations, it is relatively easy to figure out what are the technical and tactical tools that should be prioritized, so-called high percentage ones, in order to avoid straying away from your training mission.
A while ago, in a Facebook group about MA books and magazines, I posted about a few of my favorite sword/fencing books and referred to the sword as "the king of bladed weapons", just to be quickly reminded that such title traditionally belong to spear. There was a short and friendly debate about my emphasizing bladed and whether that changes anything...but that's not the point.
After giving it a bit of thought, it became obvious (well, to me) that there are a couple of reasons why both may be true. First, we are really talking about two different periods. Namely, the spear got its reputation of royalty through antiquity and medieval times, while my perception of the sword as the high aristocracy was related to the later periods - from renaissance to the late 18th/early 19th century, which is when the management of swords developed into a revered art and science. Second, the surrounding in which the spear shone was the battlefield, i.e. war theater with armies clashing in massive numbers of combatants. Sword, on the other hand, took over the primacy as a dueling weapon in urban areas, with either one-on-one scenario or smaller number of participants.
Not to mention the geographical, social and cultural influences that could be taken into account...so let's keep it simplified!
That said, while it is easy to think of swords as an EDC (every day carry) weapon of choice in its time, I have hard time imagining anyone carrying a spear around other than a very specific purpose, either for hunting or military assignment. Speaking of the military context, it bears saying that if a soldier/warrior had both of those on them, the spear probably did have a primary role, while the sword was sort of a side arm. Something like rifle and pistol as a modern day equivalence.
With that in mind, it occurred to me that the battlefield of the days of yore most probably offered ample opportunity for asymmetrical engagement where different weapons were pitted against each other, thus possibly giving us the answer about the question of one weapon's superiority? Lo and behold, other have already dealt with it!
And this is but one example...you can find quite a few others out there. Mind you, it is sort of a rabbit hole, so be warned! One thing that becomes conspicuous rather soon is that there are VERY few attempts at grabbing the shaft of the spear and then closing the distance. Besides the fact that there are many different types of spears (and other polearms) out there, once you try it out, it becomes obvious that such a tactic is actually harder to pull off that it may seem, especially if there is a lot of maneuvering space for the person wielding the the spear.
So, where do you start with learning a few basics, in case you are interested at all? Again, there are many options available, depending on the preferred approach in terms of historical period, geographical area of origin etc. Still, probably two prevailing avenues are HEMA sources and those of Asian background.
With regards to the former, even a cursory search will yield a huge number of results. Those will either be written - articles and translations/interpretations of period manuals - or videos that cover similar material. Here is a nice one for fundamental basics:
In the latter case, it may be difficult to get down to the practical stuff (provided that is what you are looking for), as so many Chinese and Japanese systems of use may rely on forms as the means of teaching, and those are often hard to decode if you do not have some background in that approach. So, let's turn to a more simplistic and modern version:
Of course, since I brought up the matter of practicality, one might wonder what is the point of learning to use spear at all nowadays? Well, for one thing, in the domain of personal protection, the mechanical and technical principles of the weapon itself could be implemented with some sort of improvised tools (broom handles, spades...). However, even more important is the development of other, higher level, attributes such as distance management and footwork, space awareness, tactical adaptability etc. In the military domain...well, as much as the bayonet plays a role (if at all), the methods of its use will be well grounded in the use of spear. As a side note, but related to that, in the Soviet Russia bayonet fencing was part of the national fencing competition circuit alongside foil, epee and saber for quite some time, probably into the 1970's, if not longer.
Maybe we could use what is left of nice weather to do some outdoors training and reap some of those abovementioned benefits...
Here is one of those topics in martial training that tends to be divisive, although it really doesn't need to be. See, in the traditional arts there is often a lot of emphasis on practicing any and all techniques on both sides equally, with the declared ideal of becoming ambidextrous in application. Let me state it right here - I don't think you can ever become truly ambidextrous from training, no matter how many sinawali patterns you happen to learn...however, becoming bilaterally functional is another thing.
But, let's take a step back. For the opponents of the idea of bilateral training, since most of us are not professionals in the field and don't have all the time in the world to only focus on training, the limited time we do have on disposal ought to be dedicated to developing the best possibly performance ability on the preferred side. Interestingly, the professionals, who can and do dedicate their lives to training, for the most part also firmly belong to this camp. After all, how many boxers do you know who can switch stances fluidly and box equally well on both sides? It brings to memory an old interview of Bill "Superfoot" Wallace, the legendary full contact champion, who only kicked with his left foot. Namely, asked about that he said that faced with a choice of having two good legs (if not mediocre) or one that is unstoppably phenomenal, he chose the later. And from the standpoint of a competitor whose belt is on the line, it makes sense. After all, symmetry is not even natural, right?
Hmmm...
But, what about those of us who aren't high level competitors, so no big money or titles on the line? Plus, the self-defense oriented community resorts to the argument of defending when your strong/dominant side is injured. And before some of you laugh an point that if the opponent is good enough to eliminate our string side option, the other will be a joke, let me point out that not all injuries are incurred in an encounter as such. For example, I am currently boasting a bad case of tendinitis in my right wrist, unrelated to training, and I'd rather train with my left than not at all.
That said, it is not even the main benefit I see in the bilateral approach. The biggest advantage there is to it, lies in the fact that such endeavor shows strong benefits to the maintenance and improvement of the overall neural and cognitive systems. Creating new neural pathways, firing synapses etc, it all has long term good effects on human health and functioning.
Since the work on the non-dominant side essentially stimulates the "opposite" side of the brain, typically related to creativity and intuitive thinking, this might even enhance one's ability to find new solutions to the problems faced. The maintenance of the neural and cognitive networks as also VERY important in the advanced age, to prevent dementia and other degenerative issues.
However, we don't even have to go into brain science to see other, possibly more evident upsides. Depending on the chosen training discipline, training exclusively on one side may lead to an unbalanced muscular development (particularly when training with heavy implements/weapons), which in turn results in problems with posture and movement patterns, further loading the compensatory joints and movements, and the injuries that will stem from that.
By the way, if you also include regular conditioning work in your training process, such as weight lifting, roadwork, intervals and so on, would you approach that work with emphasis on the dominant side only? Yeah, I though so...
There is a kind of a third way, too! Years ago, I talked to a pencak silat instructor about this subject, nudged by his "don't care" attitude about whether the jurus of his system (forms) should be practiced in the mirror image as well, since they are not symmetrical on their own. His response was that that a practitioner could develop two different sets of responses for the attack coming on similar lines but from two different sides. I found it awkward at the time, but later it started making sense. Again, going back to weapon-based systems, you just have to work this way! Well, unless you switch the tool between the two hands or grips to deal with the stimuli from left or right.
In conclusion, I'm afraid there is till no definitive answer to the debate, but hopefully you will find some information here that will help you organize your training better, according to your own needs and priorities.
As you should be aware by now, I have a healthy dose of respect for anyone involved with serious martial training, whether traditional or modern aspects of it, i.e. looking for cultural preservation, sporting applications or functional combative skills. One rather interesting subset of the first category is the HEMA (historical European martial arts) community, but with an interesting specific feature. Namely, while the majority of Asian declaratively traditional systems are based on some kind of "living, unbroken lineage from the founder, the HEMA approach is actually mostly founded on the efforts toward reconstruction- trying to revive what is for the most part lost legacy from the historical manuals about the methods of use of the weapons and armory characteristic for the periods of medieval time and the renaissance.
Oddly enough, the period(s) after that, which means once the firearms got into regular and large-scale use, are not really in the focus of this group. As a result, that leaves an implement that I find very interesting and still relevant on the margins of interest among the enthusiasts - tomahawk. Fortunately, over the past couple of decades it got some serious treatment from a handful of some superbly dedicated instructors, and their work gives us some excellent material to work from. Now, as is the case with my path in the overall fighting domain, the emphasis is on the functional application of the tool, with not much attention to the historical accuracy of the methods of use. That said, I will split this post into two mediums...
BOOKS
The absolute giant in this category, and deservedly so, is the late Col. Dwight McLemore, and if you have any interest in the tomahawk. His two books are seminal works, and they try to address the historical context of the weapon too, but when it comes to the utilization, it is not the main criterion.
In the first volume, titled simply The Fighting Tomahawk, the author very ably covers all the necessary building blocks that form a good handling skill - in the first section of the book those are grips, stances, guards, deployment; offensive use of the 'hawk (cut, chop, punch, rake); and the defensive use (deflection, interception, blocks). The second section introduces the complementary use of a long knife in conjunction with the tomahawk. The third section presents additional training methods of engagements sets, either solo or with a partner, as well the throwing fundamentals and applications with a war club.
The thing that gives all of this author's book a particularly enticing quality is the use of his own hand drawn illustrations to portray how to perform the material. And to be honest, after almost two decades of having these book, I keep coming back to them for the sheer aesthetic enjoyment and beautiful writing style, as much as the solid information.
With the second volume, McLemore takes a bit different approach. Unlike the first book, which was organized like some kind of a course in the use of a weapon, this one is presented as a sequence of chapters (called Letters) each dealing with an individual aspect of the material in the previous volume, as well as some new stuff, such as the addition of punching and kicking, with special emphasis on training methods. What strikes me as a positive feature is that what we have here is not necessarily advanced methods, but rather deeper understanding of the existing material, hopefully leading to the advanced skill in applications. There are, however, some additions of the original topics, my favorites being the rough and tumble integration of tomahawk with other natural tools as part of chaotic, messy combative encounter as it naturally is; and the use of a long handle tomahawk/hatchet with its specifics that stem from the physical characteristics of the implement.
In an attempt at succinct comparation, I'd say that the first book is a basic course in the subject matter, possibly taught in a class setting, while the second could be viewed as a selection of workshops to be offered along the way for those interested in those details.
Sadly, being that the author is deceased and the original publisher of all his books defunct, the availability of these books may sometimes be a challenge, and they are pricey. But, with the combined heft of 650+ pages, I cannot recommend these enough.
A bit more modern treatise of the tomahawk comes from the hands ofFernan Vargas. Right from the beginning it is obvious, and commendable, that he wasn't trying to compete with the above works in any way, shape or form. Interestingly, although having a strong background in the native American knife combat methods, Vargas is open and clear in stating that his tomahawk material is not rooted in that tradition, but rather an amalgamation of various methods and training experiences he got from a number of instructors and personal development.
His book is titled War Hawk and although visually not so lavish as McLemore's volumes, it is full of solid information, with some important additions, too. Namely, Vargas opens all his book with an overview of the legalities regarding the use of force and the levels of conflict escalation. He then proceeds to cover the essential technical elements of grips, stances, footwork, offense and defense etc, but also offers insights into the combative realms of grappling, solutions for the situations when your attack has been obstructed, and probably most interesting in terms of material not seen in other instructional materials is the chapter on training drills and methods.
The content is clearly demonstrated through the use of text and photos, and while it may not make you enjoy the aesthetics per se, the instructional value is still great.
For the full disclosure - this volume has a LOT of overlap with the first one! I am not sure what is the exact reason for that, but there is an upside to such decision. See, being that the overlap includes the most essential material, you may get this book as a standalone resource and gain the information needed to develop a fairly good skillset. When it comes the techniques and tactics that are new, compared to the previous volume, I would rather label them as secondary than advanced, with a view to prioritizing the training time and focus.
Be as it may, unlike McLemore's books, these are still easily available at a price that doesn't impose the imperative of choosing one or the other. I would recommend getting the first first, to se if you like the material and the presentation, and if you do...it's nice to have the whole set.
VIDEOS
To me, the most natural choice of the first video to feature is, again, the set from Dwight McLemore. The short description would be "the book comes alive", because for the most part the video follows the layout of the book, but that's not all there is to it. Even if it were, it would be still an excellent source to have, especially in conjunction with the printed material. The additions make it superb.
Namely, the author takes the advantage of video format to better portray both certain technical and tactical aspects of the curriculum, as well as some historical ones. That provides a very nice contextual understanding of how he chose the material and why is he teaching it in that way. The content is essentially the amalgamation of the two books, with several interludes (his term) along the way, which discuss the topics that don't follow neatly in the progression of training. Like with the books, those interludes would cover some of the workshop-type approaches, some being historical, others practical. In that regard, there is a rather interesting, albeit brief, observation of the possible transfer of the material to other tools that are widely available in the present day.
All of that is shown through phenomenal camera work and professional editing, and to make the watching experience even more enjoyable, some portions of the video are filmed with participants dressed in the costumes appropriate for the frontier era. That way, McLemore manages to give his stuff that extra quality, like it was the case with drawings in the books.
Our next featured author should be known to my regular readers. Marko Novakovic takes a similar approach to the Fighting Ax instructional as he did with his knife course. There are several things I like about the material. First, it is unapologetically practical, thus completely avoiding to be boggled in the issues of historical accuracy. As a result, it enables the second big plus - the author can bring in the technical and tactical elements from his previous experience in a few martial systems, but wringed through a lot of hands-on testing and experimenting.
When it comes to the actual content, Novakovic touches all the necessary elements in the Intro section of the course (available here) - grips, stances and guards, angles and types of strikes, footwork, hand movement, targets, and ranges of fighting. He then proceeds to work on several solo practice drills in each of three ranges, where he also discusses defensive use; and finally the applications of the material, demonstrated with a training partner.
The presentation is excellent! Although not shot with the budget and production level of the previous feature, the videos are well edited into bite-sized morsels of instruction, where efficient transfer of information is prioritized over aesthetic or entertainment value. Along with the author's avoidance of long rants and tirades, this makes the learning experience more focused and easier flowing than with other titles in this review, and in the day and age of tight time budgets, it is a huge advantage.
Another highly recommended instructional package comes from Cold Steel knife company's head honcho Lynn Thompson, who made a 2-volume DVD set titled - surprise! - The Fighting Tomahawk. The fact that it is the same title as McLemore's could be a bit confusing, but it goes along with Cold Steel's other production in the series (Fighting Machete, Fighting Sarong etc.).
Besides, the overall layout of the material is also rather different.
I mean, it is a VERY comprehensive source (over 4 hours in total), so of course it covers all the bases that the previous works do, but also includes some chapters not seen in the above titles. For example, the video starts with a very good overview of the advantages and disadvantages of tomahawk as a weapon, which is something one should have in mind. Also, being a manufacturer of some of the more popular 'hawk models on the market, Thompson's videos dedicate some time to demonstrate the ways to dismantle and put together your implement (with some quite interesting options, especially for the less than ideal circumstances), as well as how to (re)sharpen it after heavy use. Naturally being a Cold Steel production, there is the mandatory demonstration of the weapon's capacity for inflicting damage.
Like I said, the authors strive to cover a lot of ground with this material, leaving no stones unturned, when it comes to the combative use of the tomahawks and light hatchets. It means that the historical background and accuracy are out of the picture as a concern, and the heavy stress is on all kinds of way that the tool can be put to use in an altercation. Such approach yielded a wider array of options shown than by other authors in terms of grips and holds, as well as the distance management options via footwork. A number of drills demonstrated will probably look more modern, borrowing from the sport science methods, and that suits the general atmosphere of the videos pretty well.
The only downside to this set, compared to others is that the wealth of information might leave you scratching your head, wondering where exactly to start and how to follow the material in order to get a proper progression in training.
With that in mind, it is very useful to see how to make your own training tool required to take the full advantage of the training methods covered by the videos, which is another welcome aspect of this instructional product.
Finally, the last feature in this category is the one authored by another of our acquaintances, Mark Hatmaker. His is a very well done volume titled Battle Axe Secrets, and unlike his RAW series, it is produced professionally by TRS (hehe, remember those Black Belt "report" type ads?), but available directly from the author.
As you may expect, since this work deals with a somewhat heavier and bigger tools that your typical tomahawk, the instructional is a bit different, with much more attention given to two-handed manner of wielding the weapon, but don't let that discourage you. Namely, the training methods are readily applicable to lighter tools, too, but it is another dimension that is at play here. One of the main reasons I like Hatmaker's stuff is his focus on the precise mechanics of delivery, and when you are dealing with an instrument that could easily lead to self-inflicted injuries (whether from misuse or overuse) it should be highly prioritized in your work. Plus, you get a really good workout!
Another good reason to check this package is that upon ordering from Hatmaker's website, he normally sends you a document that delineates a training syllabus for you, thus providing a solid foundation for any future work.
FINAL REMARKS
Now, I know this seems like a lot of material, and there is the question of where to start. Well, if you are into the historical study, go with McLemore's works. Need a quick start with functional skillset? Then opt for Novakovic and/or Vargas. Should you want a single, standalone product that covers all the bases - Thompson is your man. In case of being an analytical person with an eye toward a sustainable practice that has a lot of carryover to other training field, you won't go wrong with Hatmaker. Be as it may, tomahawks and hatchets have a certain nature that one ought to keep in mind when engaging in this kind of work.
There, you have it. Hopefully this sheds enough light on the domain to help you pick the right source for your needs. Oh, and speaking of needs, if you may be asking yourself, what is the relevance of this kind of information and training, besides possibly professional operative deployment work, I will offer more insights in one of the following posts.
When I started writing about various challenges one one's training path (also here, here, and here), it was mostly about the elements that a good training process required, one way or another, in order to produce good results. This time, however, I'd like to address one of the desired outcomes of such process, as there are some debates on whether it can be achieved.
The way I see it, for many people their skepticism with regards to whether training could yield toughness in a practitioner (if they hadn't already possessed this quality) is rooted in what seems to me to be the wrong question - can it be taught? From that standpoint, I would probably be inclined to agree... Because it is not meant to be taught! Toughness is the kind of attribute that can definitely be cultivated.
But, to get there, we first need to have some kind of working definition of just what is it that we are seeking to develop in a trainee. In the field of engineering toughness, as a mechanical quality of a certain material, is not the same thing as hardness or resilience etc. But then, they do not have to be concerned with the mental component, right? And in the realm of physical training, toughness is actually predominantly mentioned as a mental attribute.
In the fight game, this quality is also described as grit, clout, guts etc. So, to be on the same page, let's describe toughness as the ability to stay on the course and get to the goal, in face of challenges and despite the obstacles. Obviously, in the combative world, whether it be a sport arena, field of battle, or mean city streets, challenges and obstacles may vary, thus implying several building blocks of toughness. For example, tolerance to pain, ability to take a hit (physical traits), as well as executing proper tactical maneuvers effectively and efficiently (technical traits), but also facing the unfavorable odds and refusing to surrender (mental traits).
Once we take stock of all those necessary components, it becomes clearer why toughness cannot be taught, especially not in a single act; cultivation, on the other hand is process, and as such it takes time and effort...from both the trainees and their coaches. All right, so how to tackle this thing? Well, actually, we might take a look at the mechanical engineering for some hints!
In the above formula (gasp!), we see that the toughness is the result of a few other parts of the equation. For our purpose, let's look at Y (geometrical factor) as the sum of technical prerequisites of a given discipline (stance, balance, power generation, offensive/defensive moves); the next element - σ (Greek letter sigma) - i.e. the applied engineering stress stands for the selection of adequate training methods (pressure drills, sparring, scenarios, doing reps, equipment training etc.); while the final a points to adequate challenge/demand setting - just beyond the current reach of the trainee, but that does not look beyond achievable at all (if it seems impossible or unrealistic, it will fail to motivate action).
Pay attention to the sequence of things here! It is frequently said that once the athlete has all the technical demands and physicalconditioning in order, the work is 90% mental and 10% physical (search for "fitness" on this blog). This is why raw laypeople, taken from the street are unable to defeat high-level athletes despite how bad they might want it, but when two elite competitors face each other the mental preparation usually tips the scale.
On more of a meta-level, in his book Do Hard Things [...] Science of Real Toughness author Steve Magness points to four pillars of successful work on the development of this quality: 1) ditch the façade, face the reality; 2) listen to your body; 3) respond, instead of react; 4) transcend discomfort. This is a pretty good sublimation of some of the topics discussed in the links in the above text, and although the book itself is not aimed at martial artists as such, it is a good read for those interested in this particular issue.
In the end, I'd like to conclude with a couple of pointers - be patient, work with long-term in mind, trust the process!
Well, this was supposed to be my last article for 2022, but it wasn't meant to be. So, instead of ending the last year with a bang - here's to a happy and prosperous 2023!
Back in the 1990's, prior to Internet and Youtube, the only way to find out about new and interesting martial stuff out there was reading about it in magazines such as Black Belt. Otherwise, you would have to order a tape (yeah, VHS) from an author you had seen in an ad in those magazines. And those weren't cheap! At one point, the Black Belt actually came up with the idea of putting out a video magazine, and it looked exciting in their ads, but...at the time I just couldn't find the way of ordering to where I lived, and never got too see them to this day.
Fast forward a decade or so, and a gentleman named Pete Kautz, the founder of the Alliance Martial Arts decided to do a similar thing, but in a DVD format, featuring himself and James Keating as regular contributors in each issue, along with a guest or two being featured as well. Each issue focused on a single topic, and although titled Modern Knives, it wasn't dedicated solely to the edged weapons. Since I had already been a fan of their work, and been interested in what they had to show, as well as discovering new exponents, I ordered the first eight issues (i.e. all they had at that point) some 15 years ago. And guess what? I keep re-wathcing those somewhat frequently to this day. So, let's lee what they're all about!
First, a few words about the format and production. Typically, the DVD's are organized into chapters, where Keating usually takes the lead, followed by the featured guest, and then Kautz closing the instructional part. A first few issues also had a review of some instructional video's available, too - and, as you may imagine, I loved those. As the matter of fact, I ended up buying Blaise Loong's Sabungin Silat series after seeing the review in Modern Knives! Naturally, the reviews strived to cover the material that fits the topic of that issue. The video production is quite good, even if not always done with fully professional equipment, but both image and sound are clear, so the content is clear and easy to follow. Again, the videos have navigable menus with chapters, thus causing no inconvenience for the viewer.
Oh, the only aspect that gives out the "homemade" nature of the entire publishing operation is how the DVD jackets are done. Still, it didn't bother me the least - the cover image is indicative of the theme, and the back cover gives the content outline, which even many professionally produced and published videos before and since then failed to do.
front...
...and back
The issue #1 is about the the Spanish Fighting Arts. Keating opens up with with some instruction about the often misunderstood and/or neglected topic of how to use the so-called Spanish notch on some of the bigger fighting knives out there (including his own design - Crossada). He also touches upon the utilization of the knife's guard for the trapping purposes in the clinch phase of a knife fight/duel. Obviously, this material is mostly applicable with big blades, but those are rather interesting insights.
The guest author in the 1st issue is James Loriega, best known for his promotion of the knife fighting methods using traditional navaja folding knives of Spain. To me, this was the most interesting feature, because it is (still) one of the very few possibilities of actually seeing Loriega's material in action. Namely, despite having a few books on the subject published, they are not very clear with regards of how the techniques are executed (maybe even deliberately?), so if you have any interest in this domain - this DVD should be on your list of priorities.
Kautz goes into what is possibly the most evidently Spanish influence in FMA, i.e. the espada y daga approach to using a long and short blade simultaneously in combat. He presents the material along the lines of the so-called cinco teros (5 strikes) method of instruction, and offers what is probably one of the best available introductory lessons on this manner of armed fighting.
The video review in this issue is about the La Verdadera Destreza school of fencing, as presented by maestro Ramon Martinez.
The issue #2 deals with another geographical region - South East Asian Fighting Arts. Keating shows a very interesting method of using the kerambit knife, based on his Hellbows material. What I really liked about this is the conceptual nature of instruction, that integrates the defensive and offensive applications of the moves, doable without the weapon, too.
The legendary Kelly Worden is a featured guest instructor in what is actually a segment of his seminar on the FMA knife. A portion of his material is shown with Worden's patented Travel Wrench tool, and I liked it for the crossover applicability with other small palmstick-type tools and improvised weapons of similar characteristics.
Kautz teaches the triangle thrusting drill of the FMA and its variations, adaptations and applications. Again, in accord with his conceptual overall approach, he goes beyond the most obvious purpose of the drill and shows us how to see deeper into the work. These insights are meant to teach you how to get more mileage from any other type of drill and training method you may be using.
The review is focused on the above mentioned Sabungin Silat DVD series.
The issue #3 is closes to the title of whole series - Modern Knife Concepts. In it, Keating goes into the specifics of use with his signature Chinook folding knife made by Spyderco. It is always interesting to see and hear what a knife designer had in mind when coming up with his or her personal model, and this is no exception. Probably my favorite part was the use of a small, folding knife for back cut technique typically associated with much bigger weapons.
As the guest instructor, ninjutsu instructor Dale Seago does a rather interesting feature about the defense from an unexpected knife attack. I particularly appreciated how he connected cultural and philosophical layers of his art with the tactical and technical applications. That said, the very idea of training/drilling something unexpected is somewhat paradoxical, but there is still quite a bit of value to be gained from this chapter.
Finally, Kautz offers an excellent segment on the extensions and variations of the Comtech Drawpoint method of the knife used in the reverse grip manner. Now, this portion of the material is very useful when taken on its own, but even more so if you have also seen and worked on Keating's original material. It is also a brilliant example of how practitioners can take what they had learned and then put their own flavor to it, and how do do it right!
This is NOT a clip from the described DVD, but gives a fairly good taste of how Kautz does his material there.
The issue #4 is about the Western Martial Arts. This time, instead of being geographically specific, the focus is more on the historical research of the combat methods of Europe and America. Interestingly enough, Keating features a niche kind of material here - single action revolver twirling. Now, if you are not into firearms this may not be of interest at all, and if you are, you may wonder about the practical value of the stuff shown. The way I see it, attempting this material is aimed to achieve developmental effects, i.e. working on your attributes, and particularly the frequently missed benefits to honing one's neural connections and coordination.
Featured guest Bob Charon gives a presentation of the dagger fighting methods from the late medieval manual of Fiore Dei Liberi, i.e. Flos Duellatorum from 1410. It gives us insight into some of the time tested and confirmed principles of combat, regardless of the place they were used in. Also, should you be among the folks who believe the whole HEMA things is just a bunch of guys and gals involved into some sort of glorified costume-wearing reenactment play, it may open your eyes to practical benefits of studying this kind of material.
In the footsteps of the previous chapter, Kautz shows more dagger from another medieval master - this time a German one, Andre Lignitzer. Again, this is not so much about historical accuracy, but more looking toward how it can still be researched to find the worthwhile aspects for our day and age.
The issue #5 stays with the previous theme to a degree, and gives the viewer an incredible amount of information, since it deals with the American Bowie Knife. Now, Keating has long been recognized as one of the leading authorities in this domain, and once more he goes one step further than most other instructors. Namely, the bowie is most often perceived as a dueling implement nowadays, but back in the day it was probably seen more as a great backup weapon/tool, which is where Keating's treatment of the knife in tandem with a revolver is a unique value. Weapon deployment, retention and transition are the name of the game here, and the implications to footwork, distance and angling are as important as any other element. So, don't skip this part!
The late distinguished author Dwight McLemore focuses on one of the bowie knife signature moves - the snap cut - but specifically how do defend against this deceptive and destructive tactic. Like the previous chapter, this is they kind of instruction that is hard to find elsewhere, thus making the DVD that more valuable.
As if the above was not enough, Kautz demonstrates the application of historical sabre fencing techniques with the bowie knife, hence elucidating on some of the highly probably sources of this knife material in the first place. On top of it, we see done the techniques used against the bayonet attacks, which is, again, how the bowie was probably often used in its original environment.
But, there is even more! To give you even more insights into the phenomenon of this legendary blade, we are given a glimpse into the forging of a true fighting bowie under the hands of the legendary master blade maker Bill Bagwell, as well as the suggestions for the every day carry options from the sheath maker Mike Sastre. All in all, one heck of a great and informative DVD!
The issue #6 takes a step away from the blades and is concerned instead with Filipino Stick Fighting methods, and here we have a 2 DVD set. Keating leads the way with a series of options of using the stick as a tool for LEOs, i.e. teaching the locks and releases to control the opponent, where simply using the baton as an impact weapon may not be appropriate.
Dr. Remy Presas, the son of the legendary master Remy A. Presas of the Modern Arnis fame, is shown in a fragment of a seminar, teaching the counter for counter methods and tactics of his art. I liked that the editor (Pete Kautz) chose the material that really fits well with Keating's, and the viewer should probably try investigating how they could be combined. If this is your field of interest, you should be able to spend a long time in discovering modes and options of use with these.
Another guest instructor is Ken Smith, and his chapter is maybe my favorite here. Namely, he goes into Sibat, the long staff material, and for some reason I have always felt some primordial pleasure when handling this tool. Smith demonstrates a two-ended staff approach in his segment, showing how some well known FMA drills and exercises, normally done with a regular stick, can be adapted to and used with sibat.
Finally, Kautz delivers another phenomenal instructional package with his explanation of how to functionalize siniwali (double stick) material. Like before, he teaches us how to see "behind the curtain" of simple movements and movement patters, and into the driving engine behind them. And this not another set of interpretations of the meaning/applications of the already familiar mover, like with so many other FMA instructors. No, Kautz deconstructs the mechanics of strokes, their lines, trajectories and sectors, and then shows you how to come up with your own patterns and applications. In other words, he does not give you a vocabulary of words, but the actual grammar that makes one fluent in "speaking" siniwali. Highly recommended!
The issue #7 is another "deviation" from the topic of knives, but this time it is about the Grappling Arts. OK, with Keating's segment it does not entirely stray from knives, because this segment, taken from his legendary training camp Riddle of Steel held in 1992, shows how to integrate grappling with the blade work. As in some of the previous issues, he shows that there is a wide scope of possible strategies and possibilities to be researches, if you are a "lifer" with a serious and deep commitment to martial training.
Dr. Les Moore was one of those unexpected gems that I hoped to find in this type of publication, as mentioned at the beginning of the article. He shows a number of exercises and drills, some of which I have never seen elsewhere, primarily coming from the catch-as-cath-can wrestling of yesteryear. There are some preparatory/conditioning exercises and then several grappling techniques and tactics taught that make this issue well worthy of your time and money.
Guess what? We have another "double trouble" issue with two guest instructors here, with Mark Hatmaker as the second one. His topic is one very dear to my heart - dealing with grounded aspect of a fight, which means when you are down and your opponent still standing. I am always curious about various asymmetrical scenarios of combat, and Hatmaker's feature is excellent in this regard. He shows several solid approaches and responses to the challenges faced in this situation, and if your interest in grappling goes beyond the sport arena and with an eye toward the street-savvy solutions, this is a great place to learn something valuable.
In his manner, Kautz shows us grappling options and applications of hubud-lubad, one of the bread and butter drills of FMA. He focuses on what is called lock-flow sequences, which is an interesting way to see how on the higher levels of combat the finality of some techniques may be a relative thing, depending on your training and preparation. From the standpoint of MMA and BJJ this will probably look unrealistic, but like before - it should be looked at from the developmental angle... Plus, adding a weapon to the equation may change your view about the practicality of the exercises.
The issue #8 is one of my favorites, even though I really love the entire series. Probably because its subject is the one of Combative Drills & Skills. In my personal opinion, adequate drills are too often a missing phase between simple technique acquisition and sparring. In this DVD we are shown a few approaches to drills and exercises that should help in bridging this gap. Keating works on one of my pet topics - solo drills. In this chapter the developmental benefits mentioned earlier are really in the forefront. He demonstrates several drills done with a rope, unlike anything else I have seen. Now, for the best results, Keating's stuff requires you to put your thinking hat on and dig deep, in order to reap the fruits. Maybe, this clip will help you understand his approach a bit.
The guest instructor Ed Lawson teaches a couple of of muti-purpose and multi-layers drills from his Combat Escrima curriculum, inspired by the Pekiti Tirsia Kali, from what I was able to see. His presentation is really good, and if you are into FMA, you will probably like this portion of the DVD.
Kautz shows a simplified path of learning the use of stick in fighting, via his Figure-8 Method. True to his conceptual approach, Kautz applies a progression of drills to demonstrate his material, and to me an even greater value lies in trying to utilize his method of teaching to other stuff you may be working on in our training. Still, even if you just stay on what he shows, you will be satisfied for having acquired a functional fighting skillset that is fairly easy to maintain.
Now, since my buying this series of DVDs (and Mr. Kautz was so great that he threw in a set of Sharkee training knives that I still use regularly) there have been another three issues published (9 to 11), but for some reason I have never got them (that happens when family and children get into picture, lol). Although, obviously, I haven't seen those and cannot comment on the actual content, from the experience with the first eight issues, I feel comfortable recommending those as well.
In the end, there is one more element of Kautz's work on this video magazine that shows what a class act he is. Namely, instead of using some random/generic royalty-free music for the opening and closing credits, he actually goes with music from the demo bands that he likes, and then gives them full credit and some exposure by including footage of their performances.
Thank you sir Jim Keating and sir Pete Kautz for doing this awesome body of work!
As some of you may know I have been running a sort of intermittent series on the methods of knife use in self defense, according to the approach of reverse grip with edge-in configuration, aka RGEI. Since that first article that dealt with the WHYs of the whole thing, there have been a couple more about the HOWs. Obviously, I liked those quite a bit, but this time the focus is on the gentleman and his video that first got me aware of this characteristic mode of utilizing the tool at hand for the purposes of managing physical conflict.
The gentleman is the one and only James A. Keating, the founder and director of Comtech. To say that Mr. Keating is a progressive-minded practitioner of martial disciplines and combative methods would be a huge understatement, at the very least. I have been following his work for almost 25 years now (whoa, it even took me by surprise!), and his body of knowledge put to public never fails to be incredibly inspiring. I can't even begin to grasp his influence on the people who have had the opportunity to work with him in person. The sort of forward thinking in the relentless pursuit of ever broadening and deepening understanding of one's chosen field of study is always admirable, particularly when done in a such a comprehensive and non judgmental manner, as is the case here.
It is no wonder then that he was the first (to my knowledge, anyway) to propagate the RGEI style of knife combat and present it in an excellent video instructional. The testimony to his being ahead of times is that it first came out on VHS! Now, this volume was/is available in two versions actually. My first exposure was via the tape distributed by the now defunct Paladin Press (ugh, I will never get over it), titled transparently as Reverse Grip Knife Fighting.
At issue is the same material as originally published by Keating himself, just with an additional intro that talks about the type of knives best suited for the method of work as taught in the video, and their availability. The instructional portion, however, is the same as in the case of Comtech production, titled Drawpoint, which is the moniker I normally use when referring to this system.
The first thing that struck me here was the author's emphasis on the method of carry and deployment of the knife. It is safe to say that prior to that I had seen knife fighting as most other people do - a situation that somehow magically got to the point of facing an opponent with the blade already in and in a fighting stance, with no sense whatsoever about what had preceded it. And Keating does a great job explaining all the pertinent factors about this topic, while pointing out that in the close quarters combat, which is where the RGEI is primarily meant to be applied, the speed of reacting and drawing the weapon plays the main role.
In line with the subtitle of the Drawpoint video, i.e. Knife Fighting Fundamentals, from the deployment we go to learning two basic strikes/offensive techniques (yes, just TWO), but they are worked in such a way that you will thorough understand the mechanics of delivery, footwork to make them doable, applications to make the functional across various situations...in other words, the honest work on integrating the tool and usage method, and fostering actual skill.
But, it doesn't stop there! Remember how I mentioned the emphasis on deployment? Well, Keating goes into some innovative drills that should really hone both the speed, timing, perception and accuracy in drawing the blade and putting it to proper use in a self-protection scenario. And this is probably where the material truly shines, because although several other instructors have formulated their own take on the methods of RGEI use, none have gone anywhere near Keating's approach in terms of developing those attributes.
As you have probably noted from the above picture, the Drawpoint system is presented in a set of three videos, but the second and third are concerned with the reverse grip EDGE-OUT configuration. For that reason, I decided not to review them here. That said, the first volume is really a standalone instructional package, and as such is sufficient in providing the necessary information that will take you a long way in search for the solutions to the problems commonly faced in the real world (think high percentage here), whether it is opposing humans or aggressive animals in similar predicaments.
In conclusion, if you have somehow managed to let James Keating fly under your radar, this is a great way to get introduced to his (astonishing) body of work; if you know the man for his other stuff, this is an excellent to see him at his most straightforward combative mode.
Very recently I've had the privilege of taking part in an FMA Discussion podcast with a group of fellow Astig Lameco practitioners, including the method founder Roger Agbulos. We had such a great time and so much fun that time flew, but the discussion touched on several topics that might be of interest, if you have time to take a look and have a listen.
Be as it may, quite lot of time was spent in effort to shed light on certain more or less specific aspects of technique, meaning how it is trained for combative effect. While there are numerous elements that comprise a well performed technique, it seems that to a lot of people it still boils down to a set of biomechanical building blocks that, if sequenced properly, should yield desired result. Since another prominent subject in the conversation was solo training, several listeners believed it focused on the said approach to technique.
After all, isn't that exactly what it is meant when experts of all sorts offer opinions and advice on the proper and improper way of doing pretty much anything?
Well, not exactly. Naturally, if one's approach and interest in doing martial arts lies in some sort of aesthetic, artistic, meditative exercise and/or performance (kata, choreographed demos etc.), then the above mentioned view is pretty good.
However, if you are in the category of practitioners who look for the functional use of technical arsenal in the circumstances of working against a non-complient partner/opponent (whether in competition, sparring of a real fight), thing tend to require attention toward several other dimensions. Yes, the mechanics of delivery are still important - including speed, power, strengths etc. - but there additional elements of the equation, such as timing, distance management, efficiency, intent and so on. And then, there is the avenue of tactics, strategy and other avenues of taking the other person into account. I have particular affinity toward the definition of technique as used by the authors of a book reviewed here:
…both an accurate movement pattern as well as successful application in an Unscripted Training or Play Learning environment. Correct Execution does not mean a person can simply successfully mimic what a movement pattern looks like, it means that they can use the movement pattern effectively and also achieve its intended outcome…
See, it is the intended outcome that happens to be the key phrase here. That is why I said, during the discussion, that Astig works through the outcome based methodology, using the reverse engineering approach in identifying what makes a good technique, necessary physical attributes, and adequate training methods to develop all those. And this is why the impact of good instruction and feedback is especially important, even if you are working on your own.
Have you ever spent some time in front of TV or Youtube and later reprimanded yourself for not having spent that time training? Yeah, sounds familiar... But let's see if that time itself could be made into training. As the matter of fact, one of the tougher aspects of fighting to develop on your own, through solo training is timing, i.e. faster reaction.
Well, the next time you are in front of the screen, try using it as the "feeder"! Prior to starting this session, pick at least two elements you will be working on - different types of footwork, different combos, maybe just two different individual techniques/maneuvers, or work on the same thing but switch sides...whatever needs to be addressed in terms of reaction time. Once that is set, things are simple - just do the switch every time there is a new shot in the video! For those unfamiliar with film work terms, every time the lens of the camera closes, it is the end of the shot. In other words, every single time you see a new view on the screen, that is it. If you are more of a comic-book type, see what is the parallel with a new picture/frame in the story.
If you really want to go for intensity, music clips and various ads are excellent, because they are rather quickly paced. As an example, there is 40+ shot changes in the first one minute of this video:
Naturally, if you don't dig this kind of music (shame on you!), just pick your favorite type. Ads also lend themselves really nice for the same purpose. Say, the first one in the following compilation has 8 different shots in the 30 seconds that it lasts...and it is not the busiest one of them!
So, next time, turn the guilty pleasures into satisfying pleasures, or start looking at the commercials as the most useful portion of your time in front of the screen, instead of the most annoying.
You ever find that some things in your life and doings
are inexplicable, almost mysterious? I sure do. One of such conundrums is the
fact that I have been a real fan of work and instructional material of one Mark
Hatmaker for almost 25 years now, and despite his prolific output to my liking,
I don’t have any of it reviewed here. How did it happen is beyond me… Although,
I once did a thorough review of his Outer Limits Drills video for the Raven
Calling magazine, it is about time to rectify the situation on this blog.
To that end, instead of tackling a single product, I
would like to point your attention to his Black Box Project. If you’d prefer
reading what the author himself has to say about it, check out the overview at his website. But, here is my
summary:
Back Box is a series of DVDs from his RAW library, issued monthly, that
addresses the grey area of combat methods – the approach that relies as much on
the athletic physical attributes required in modern sports as it does on the “old
school” technical work that is both ring/mat proven and street savvy. In broad
strokes, the material presented belongs to the categories of standup striking,
upright and ground grappling, weaponry work (what Hatmaker call frontier tools,
i.e. tomahawk and trade knives), and physical preparation.
The interesting part is, however, that he did a huge
amount of research to find, test, filter and apply predominantly the training
methods used by the yesteryear generations of folks who had to use it in real
life, and did not have access to the facilities and gear that modern professional
fighters do. In other words, what you will find is the stuff that will work for
common people like you and I, who have daily jobs and limited financial
resources to invest in enhancing your fight game. On top of that, he focuses on
the type of training that minimizes the risk of injury typically caused by
following professional regimes without the professional support of coaches,
massage therapists, nutritional supplementation etc. Plus, there is a cool addition
of written outline of contents in each DVD, along with suggestions on how to
conduct the training, delivered either in hardcopy or electronic format with
each volume.
Now, as you could see, the production style is of the
homemade tradition, which might seem lo-fi to some viewers, but I actually like
it for its authentic feel. The sheer quality of the material is further
enhanced by Hatmaker’s excellent presentation. In line with the values of the
old-timers, Hatmaker is a rather eloquent gentleman, well read and able to
articulate his thoughts and advice very nicely. To get a taste of his worth in
this domain, I wholeheartedly recommend that you pay a visit (or several) to
either his audio podcast or written blog (or both)
according to your preferences.
After several months into his material, I can honestly
attest that Hatmaker’s Black Box stuff is excellent! The combative techniques
and tactics presented make a lot of sense, and with a little work can be
integrated in any existing program that you may be partaking in. And while that
portion is top notch, to me the physical training (culture) material contained
in the Unleaded sub-system of the Black Box has been a real blessing! It has
enabled me to get rid of some nagging injuries and discomforts that had been
hindering my daily training for a while, while also boosting my performance
ability in other areas.
As if all of the above was not enough, Mark happens to
be a true gentleman and enjoyable fellow to converse with, and inspires people
to do good work and live good life in the best way possible – leading by
example. All in all, digging into his offerings might turn out to be one of the
best investments (time, money and effort) you could possibly make.
I started this year with a big step back. But not a drawback by any means. The idea is to boil the big chunk of my practice time down to the bare basics and work on it in earnest, in a fully deliberate manner for a while. How long will that while last...remains to be seen. Yeah, there is still ongoing work on the new material as part of the already undertaken studies, but at the moment there will be no new systems or arts introduced.
So, what are the basics at hand? In terms of empty handed work it means a handful of ground maneuvers/exercises that are applicable to grappling (front, back and sideways rolls, shrimping, getting off the ground and engaging it); jab and cross; front knee kick and oblique stomp kick. When it comes to weapons work, just the forehand and backhand diagonal and horizontal strikes with stick; three thrusting and three cutting angles with a knife.
That is it. When working on them in a solo regime, I'm using a "pyramidal" approach - a set of very slow and deliberate reps, a set of semi-fast reps, a set of max-speed reps, a set of mid-speed, another set of very slow and deliberate ones. Then do the whole thing 2-4 times.
Is it tedious? Sure. But, what I do in order to combat the possible boredom and maintain focus is pick a visual target (or a physical one) and stay on it, because it provides feedback about the trajectory of hte technique, distance, structure etc.
It takes commitment and discipline to do it, but it is worthwhile. Namely, I have noted certain wrinkles in my performance that have crept up over time, and now they are being ironed out. If you are like me and subscribe to the "advanced techniques are basics done really well" school of thought, then it is not hard to understand the satisfaction of improving those fundamentals, for the greater benefit down the line. Not to mention that sometimes KISS-ing is just so refreshing.
