The wall is my friend. Defending against knife attacks..

defending against knife attacks when standing against wall

1.attack: knife slash to face
defense: kimura lock

• hitch step to outside of uke
• parry w/ outside arm/hand
• inside arm /hand = punch face (hammer fist?)
• outside arm hand brings uke arm down w/ body
• inside arm wrap over uke elbow + hand grab other outside wrist
• use hip to create lock (elbow bends @ 90 degrees) + drive uke to wall
• back leg cross steps behind lead leg, keep using
momentum of hip to turn into direction away from wall
• project uke / take knife

2.
attack: forward knife stab
defense: tiger lock

• deflect knife / hitch step
• really go for a jodan zuki (uke has knife, btw!)
• trick for small people: twist wrist with pressure point
at forearm. get uke off balance
• after punch, immediately snake hand under uke elbow
• bend knees and up
• can grab obi knot
• turn both wrists, bring lat back. feels like a "boa constrictor"
• if does not work in a sec, change up to kotogaeshi

3.
attack: forward straight punch
defense: project uke with attacking arm

• parry
• step straight to side / parallel to uke / crossing ctr line
• get off balance like shihonage lock
• back leg steps forward and across own ctr line
• pivot hips / keep lock / arm stretched out
• kinda cut down w/ uke arm? projects uke forward

4. attack: forward straight punch
defense:catch arm and run

• hitch step
• made mistake, pin uke attacking arm between arm and ribs
• put hand on uke face and pin uke head to you
• finish taisabaki
• inside arm rides up uke center /
strike to chin / cause uke to back fall
• run

Other notes:
windmill shihonage against knife attacks: use softer arms / hands. no grabbing.
direct attacking arm into uke to avoid being cut by knife.

Saturday & Sunday February 10, 11 Sensei Coleman

"Sensei Ivan is coming for you..."

I remember Itai's Ikkyu test. Sensei Ivan was the first person I noticed b/c though he's built like a tank, he moves very gracefully. Actually he moves through people. Whenever I can I try to work out with him as much as possible, mainly because he always gives me really good advice about timing and technique, here's a few :

1. "It's not about speed it's about controlling the center"
Sensei Ivan said this when he was showing me how to block. Normally when someone blocks the raise to strike a bit, that's what I did. Sensei Ivan said the above quote and showed me how I could get to the center fast just by extending my arm.

This idea can be applied to close the window, osoto, etc.

2. "It's about crushing"
Working from a mug, pivot hips elbow soler plexis and hammerfist groin. Sensei Ivan said it's not about hitting the penis. It's about crushing the groin area. Using gedan barai, drop and raise the hammerfist through the knees and up the center to break through anything in your way. Being that my triceps can lift the entire stack of plates at the gym...if I can focus it you're going downtown to chinatown my friend!

3. "Hands are an afterthought"
This means MOVE! No grabby grab...as Sensei Stephen would say.

Sensei Ivan said he would be there for my green belt test...then he said he might not. Either way one day he'll be there. I remember him trying to pull Gearoid's feet out from him after techniques. Don't let anyone touch your feet!


Wall Work
"The wall is your weapon, stay close to your weapon" - Sensei Coleman
"The wall is the best friend you will ever have, introduce them to your friend" - Sensei Stephen

From Round House...

1. Ude-Gatame from Roundhouse into wall
• Strike uke's face as you drop and pull uke's arm into Kimura
• As the lock comes, guide uke's head into wall ( uke place hand into wall for ukemi )
• Pivot and throw like Uke-otosh ( Chest out...lookin' cool )

I like this because putting on the lock drives ukes face into the wall anyway

2. "Coleman's Hook" from Roundhouse into wall
• Hook roundhouse as if going for tiger lock, DROP! ( this places the lock on )
• Pivot uke into wall
• Pivot uke into palm heel strike pushing head into wall

I don't know the proper name for this, but I'm calling it "Coleman's Hook" because he does it all the time.
The pivot is like a maelstrom, bringing them around your center.

From Tsuki

3. Ikkyu from Tsuki into wall
• Move to deflect punch ( uke punches wall )
• Grab ikkyu pushing uke into wall, guiding them to floor

4. Nikkyu from Tsuki into wall
• Move to deflect punch ( uke punches wall )
• Reverse hands from Ikkyu to grab Nikkyu, drop their elbow for insta-lock!

when in doubt...move...atemi...move again

notes on yawara weapon

Some online info on yawara - click here

According to this www.e-budokai.com website, yawara was a "simple, makeshift" weapon which was relied upon as an alternative to the samurai sword during feudal-era Japan. Used as a self-defense weapon, it had been disguised as everyday objects like "tobacco pipes, pot lids and even decorative hair pins."

This bit of info makes me start to look around at what I carry every day as a modern urbanite of NYC. Hmm. Heel of pumps? Pen? Cell phone? Hairbrush handle? Perhaps these could be used as a modern-day "hibuki" or secret weapon for self-defense, if used to strike the "sensitive nerve points on an adversary's body." According to this website, they're called "kyusho" or "vital points."

Some technique notes (could be wrong! brain is foggy here
woody can you help?):

1. downward club strike - defend with yawara: attack is on opposite side of your good hand holding yawara, cross step, parry w/ both hands, armed hand parrying at uke elbow, drive yawara into shoulder pressure point,step behind uke, do rear pull down, taisabaki

2. downward club strike - defend with yawara: attack on same side, then boom, boom sweep, except drive yawara into shoulder pressure point, then sweep

3. downward club strike - defend with yawara: attack on same side, parry with both hands, drive yawara through uke neck pressure point under jaw, movement is more to throw uke than an atemi, lock

4. same side wrist grab - defend with yawara: the other nikyyu, right?
(sorry - brain is shutting down. underslept.)

* always hold yawara in good hand
* strike to armpit pressure point before lock
* take time during locking uke to think about next technique

other notes:
* get to class on time
* sensei coleman says sensei maria says to work on edge like a dial
turning up and down for improvement

Hooray.I played with Flash + video and voila, featured stars at the dojo:

the taisabaki revisited

A thought about taisabaki:

A few classes ago, Sensei Maria said to put most weight of body on ball of feet, so that if we removed our feet from the mat, we could see our footprints and balls of feet. I think this was meant to keep our weight off our heels when we move in taisabaki.

Yesterday, Sensei Maria reminded me to not think about mistakes and have "amnesia" when a fight / technique does not go well. She said to keep ready for the next attack and not think about the past.

And the other day Sensei Coleman talked about how the japanese Samurai would partake in calligraphy and flower arranging (for wrist skills). I think he was saying that the movements were very smooth and inter-related to one another. The brush strokes would be fluid.

And I was just thinking of the taisabaki as smooth and flowing, like the balls of the feet drawing straight lines on the matt. Helps to visualize the movement better for me. But then after thinking about this, I remember to not think so much about it!
Ha.

Anyway, coupling this with a straight back + looking forward, I am reminded me how important posture and balance is key from the ground up - takes practice!