Monday, January 24, 2011

Parry/ Forearm Strike-Neck Strike

Parry/ Forearm Strike-Neck Strike
 This motion introduces the student to deadening of an aggressor's striking arm (via an atemi strike) then is used in combination with a neck strike. If the uke has any preexisting neck injury or soreness, practice of this technique should not be attempted.
 Practice of this combination (as with the majority of others) begins with the tori and the uke standing face to face, at an arms length/distance from each other (this should be confirmed, by the tori placing his hand on the shoulder of the uke to establish proper practice distance).

  Technique is began with both parties having their hands at their sides. When the uke begins their strike, the tori should motion their weak-side hand straight up (bending at the elbow, until the (open) hand is (essentially) vertical, and (only) contacts the aggressor's strike (acting as more of a outward parry than a strike). This should be done in conjunction with the tori rotating (their hips and torso) to face the approaching strike attempt. The tori's strong-side hand motion is performed in conjunction to the weak side's parrying action (and additionally, in case the weak side motion should miss the uke's strike),crossing the groin, waist, chest and face, and continuing until it is vertical. The strong hand (once becoming vertical) continues forward, and downward ,striking the uke's forearm, (with the intent of numbing it) utilizing the back(dorsal)-side of their forearm to strike the uke's forearm with.

 Should the tori's weak-side hand miss (it's initial deflection of the striking arm) the Strong-side's hand should be in position to strike that arm already, and will deflect the striking hand with that action. The initial forearm strike should be immediately followed by the tori striking the same side of the uke's neck (i.e. if the uke's Right arm is struck, then the Right side of the Uke's neck should be struck).


A variety of striking methods are available, and our students are encouraged to experiment with them until they discover which are more comfortable/practical (depending on individual situations).

  In the event that the uke utilizes the arm opposite (across from the tori's dominant hand/arm), the tori's initial (non-dominant) parrying hand will not have sufficient reach to parry the attacking limb of the uke. For this reason, the tori's dominant hand will still perform it's initial (outward) striking action when reaching it's vertical position, in conjunction with a body rotation away from the strike(towards the non-dominant side). As this strike is being done, the tori's non-dominant hand modifies it's initial cover/parry, to be utilized as a downward strike to the mid-section (solar plexus) of the uke(as illustrated in the photo on the right).  Though able to be used as shown, this strike is usually done with emphasis being on using the edge of the hand, and scooping in a downward manner.

 As the Left hand performs this strike, the Right hand complete it's outside parry, and will then circle (over the top of) the uke's striking Left arm, and continue that parry downward (across the tori's front), which will motion the strike to it's opposite(and tori's non-dominant) side (while doing so, the tori rotates his body position back to his Right, to again place themselves on the outer side of the (Left) striking hand. The tori's Right arm should maintain a constant contact with the uke's striking arm while doing this. Once the uke's hand/arm is extended to the tori's opposite side, the tori's (dominant) elbow will additionally be placed in contact with the uke's striking arm. The tori's arm will rotate (using it's forearm as the pivoting point) until the dominant hand is located (now) above the uke's arm (making it perpendicular to the uke's arm). This allows the tori to utilize it's forearm to apply pressure upon the uke's upper arm(slightly above the uke's elbow).  
  Once the tori's non-dominant hand has (if possible) completed it's strike, it then retracts to grasp the uke's striking hand's wrist (which was motioned to that side, by the dominant hand (as described above). With the tori holding the wrist of the uke's striking hand (with the non-dominant hand) the tori will enact an arm-bar using their dominant hand's forearm (placed as described above). This motion (the arm-bar described in a previous post) can be supplemented with either a neck strike (of several optional forms/locations) or can be utilized to (only) apply controlling (point) applications.
  These two arm motions (and strikes) must be performed as quickly as possible (with as little time-lapse as possible between them). The uke's response (to the initial forearm strike) will cause them to bend at the waist, towards the impacted arm and withdraw that stricken arm, turning that side away from the tori (allowing only a short amount of time to be able to strike that same side of the uke's neck). Additionally, it is not uncommon for the uke to bend one, if not both knee's (in an effort to establish their own stability) The neck strike will slow the uke's rotation, and usually will cause a knee-buckling response (of it's own), in conjunction with a retreating action (away from the tori) depending on the direction of the neck strikes impact. These strikes should only be done with light to moderate impact during class practice (to prevent injury to the uke). The result/reaction from these strikes, amounts to a numb arm and moderate light headiness(when performed lightly) upon the uke.

  As the student becomes more adept with this techniques execution, the addition of a kick, will add/create modifications that will need to be practiced with, before their application to/in an actual defensive situation. Depending on which leg of the aggressor is struck(and a when during the techniques application), different reactions, timings, as well as any possible follow-ups may, or may not be applicable. 
  Practice (as always) begins at a slow speed, until the tori is confident with the required actions. Practice speed can be increased so long as both parties are comfortable with doing so.
There are multiple follow-ups available, and student's are encouraged to experiment with discovering what would work best for them (be it Tuite, arm-locks or strikes) in varying circumstances.

Friday, January 7, 2011

Tuite Practice (introduction and explanation)

  Oyata teaches his own form of grappling defenses, these are referred to as Tuite, the particular methods that are utilized are unique to his system. Though forms and/or versions of many of the techniques are taught by other systems, the manner which they are executed are (generally) limited to Taika's manner of Te. 
 Tuite, translates as Grab Hand, this can refer to someone else grabbing, or the practitioner grabbing (an assailant). Oyata's tuite techniques, when utilized correctly, do not have counters(to their use by the recipient). They also are taught (in a particular manner) so if the user should attempt to apply the technique in an incorrect manner, or if the technique simply isn't working, then the user can easily transition to another technique. 
  The techniques that are taught, are the basic (if not foundation) techniques (from which the majority are based upon). Our goal is to familiarize the student with the various (possible) situations which one could utilize these techniques.
  Tuite, is a skill set, that the student must learn to use if/when it becomes applicable. The “window of opportunity” is (usually) very small (for it's application). Our practice of it, begins with familiarizing the student with the technique's movement's, and assuring the proper execution of those motions. Once this is understood by the student, we begin presenting the student with the (various) situations that could allow the student to utilize the technique.
 From this practice (and from having experience “on both ends” of the technique's application) the student will become knowledgeable of the various mistakes that could be made, and how to avoid/correct (the technique) if/when they do occur.
Student's often make the mistake of assuming that they know a technique, simply because they can perform it (in class). The use of Tuite is really about, being able to apply it, when these situations present themselves. (Very Much) Like the combinations, the tori must (often) immediately enact the (relevant) technique (for it to be, applicable).    
 The instruction of under-16yr. Old students (minor's), differs from the instruction of adults, only in the manner of the initial response. This translates to (either) stepping away, or stepping towards the aggressor. Minor's, are taught to step rearward, this is to (initially) move the tori to a position of safety, then to return forward, with a response (to neutralize the aggressor). Adults, are taught to step toward the aggressor. There are numerous reasons for this, but basically it is done because minor's, are (usually) not involved in (true) “Life-Protection” situations. More often than not, a minor will (only) be involved in conflicts of Pride (that rarely escalate to a Life-Protection situation). The technique's taught, are still applicable (for “Life-Protection”), but they offer more options (to the user) to utilize non-permanently damaging self-defense techniques. 
  Though not necessarily designed to be a stand-alone methodology, Tuite (and/or the various forms of similar technique's within other systems) is designed to be a supplemental method of implementing wrist/arm (locks/manipulation) technique's. I've written elsewhere about the name Tuite, and how everyone is suddenly claiming to have had the same techniques within their system's technique collection (and have chosen to utilize the name Tuite, in order to prove it, not even knowing from whence the name came from, LOL). Having had the opportunity to compare the majority of these claims, I can say, that they are mistaken. Though many may resemble Oyata's techniques, their implementation is different (and more often than not, offer the opportunity to be countered during their use). 
(Much of the following information has been presented here before, to provide consistency with this blog's present concept -to share/compare methodologies- I am restating several previously written about, concepts and/or methods. My goal in doing so, is to offer the opportunity for reader's to compare and/or describe technique's and/or even contest any statements that I make in regards to Tuite. Or, If anyone utilizes any instructional methods which they may feel are of good/great/exceptional merit that -may- only be found within the system that they presently study, they should feel free to offer them for critique or just simple comparison).

  Our student's learning/practice of Tuite will usually begin with the first class that they attend. Most (other) schools do so also. The reasoning being, is that tuite requires a great deal of practice to be able to become proficient in it's use. This isn't necessarily because it's complicated, but more because the opportunity for it's utilization, is commonly very brief. With the technique's implementation window being very short, and if the student is not skilled yet in it's application, the chances of it's being used is slim.

  There's more involved with Tuite's utilization than just being able to perform the motions of the technique's implementation. In addition to being able to perform the required motions (of each individual technique), our student's are required to be knowledgeable about how to control/manipulate the uke in any deemed necessary (at the time) manner. The (very common) response -to being able to do those manipulations- is that they (the manipulations/control technique's) are often judged unnecessary by that system. At our school (at least), we strongly disagree.      
  Though not always believed necessary, the knowledge required to perform them proves invaluable if/when the student is having difficulty with the initial implementation of a technique (and/or the uke is skilled in exploiting any mistakes that may be being made during the technique's attempted use). Many of the same methods (used in those corrections) are similar in use, as the methods used during the manipulation aspect of controlling an opponent. 
  Oyata's initial training theory, is built upon the (basic) concept that you can only be attacked in 3 manner's. This can be done by a Push/shove (or some grabbing method), a Strike (meaning a punch or some related impacting method), or a Kick (some form of aggression done with the legs). 
 Any of these could be attempted in unison, though would be awkward to complete if (any of the 3) were involved or complicated in their implementation. When first learning Oyata's methods, these are trained for “separately”. This is done to allow the student to more fully understand the individual methods, their implementation, and the distinct weaknesses in each(and of course how to capitalize on those weaknesses). 
  The defenses for the grabs/pushes and such, are called Tuite, meaning “Grab-Hand”. As with many Asian names (for things and concepts), it's a fairly vague term. Tuite amounts to being an art based upon the manipulation of the arms and wrists of an aggressor (during an attempted assault). I've read numerous writings that refer to (and imply, if not insist) that it is also the study of kyusho, which usually infers some “need to know” about TCM, and (imply) that without having that knowledge, you can't make it work. This would be referred to as “Bull-Shit” (a commonly practiced teaching technique, if not “guiding principle” amongst many of the Martial Art's system's available today). 
  Tuite is no more (and no less) than, a method of physical manipulations that are very effective. It is based on the body's natural weaknesses, which are exploited through it's proper application. Tuite's application is based upon properly applied technique, and not upon (any form of) muscling of the subject during it's implementation. “My” preferred axiom (in regards to the practice of tuite), is “If your Breaking a Sweat (when attempting to apply Tuite), Then you doing something wrong”.
  Strength, should never be considered a necessary factor to the application of any Tuite technique. I've been exposed to numerous examples of individual's over-powering their technique's (in order to make them work). For some individual's/systems, this may be (considered) acceptable (if not expected, and/or taught). For Oyata's manner of Tuite, it is not. Regardless of an individual's physical size/strength or flexibility, Tuite technique's, when properly applied, will work. And, (I'm guessing here) 90% of them can be applied slowly, (during a class/practice session) and still achieve near equal Results(though without causing damage and/or excessive pain). 
  It's because of these factor's, that Tuite is uniquely suited for females, and (even) elderly student's. The student's that I have had the most difficulty with (in regards to their learning of Tuite), has been with muscular males (and they were usually young). Females are (usually) slower in attaining comfort with the technique's executions (debate the reasoning on your own), but once they get the mechanics of the applications down, they've been no less effective with the technique's than the males have ever proven to be. 
  It has (usually) been in regards to our slow practice (of the Tuite technique's), that we have caught the most criticism (about how we teach). I've seen numerous video's that individual's and school's have placed on the web, that have them slamming some poor schmo to the ground (and is always) being done at a (very) high speed. Well, that's great, look's “cool” (and all), but I'm not impressed (in the least).
  I “am” impressed, When you can do so (utilizing the same technique) slowly, with the subject allowed to attempt to escape and/or retaliate, and you can still maintain control of the individual throughout the complete implementation of the technique, being finished with the subject being placed in a controlled submission position and when released, that individual is only(maybe) a little sore for few minutes. That, would be what I would consider to be an example of skill in regards to technique application. Not, just slamming somebody to the ground (I could go to any schoolyard and watch the big kid's do that to the little girls, it's the same thing, just bigger kid's on the video's). When done correctly, and with speed, Taika's techniques can be done (embarrassingly) “sloppy” and still create a devastating reaction/result (which is another reason why those “Fast” examples aren't that impressive). 
  What I/we have usually encountered, is that when asked to do so, those individual's are unable to perform the very same technique (as done in those video's) “Slowly”. The “excuses”, are legion (they grabbed wrong?, they resisted wrong?, they're too strong?, they're too weak?, they're too flexible? They're too young?, they're too old?, I've got a cold?), the odds are, that regardless of the excuse, I've most likely heard it. Though what I've rarely heard, is “I don't really understand how to make it work”. 
  Once the basic motions of a technique have been learned, the real study (in regards to the technique) begins. What we've witnessed (in student's), is (often) an over-focusing, upon the hand motions involved with the technique (when practicing them with a partner). Student's will (literally!) stare at their hand's while attempting the technique. This might be (some-what) acceptable when first being shown/taught a motion, but is (or can become) a serious liability if/when one needs to implement the technique during an (actual) assault. Numerous techniques require that you be able to feel when they are being done correctly (Tuite being the prime example). My own student's have heard me state numerous time's that they should feel when a particular joint or appendage reaches a locked position. It never is in relation to seeing a particular positioning.
  Having made that last statement, I now (awkwardly, LOL) will discuss controlling and manipulation of a subject being controlled via a tuite technique. As the uke is lowered to the ground, the tori should maintain (constant) awareness of the uke's free hand (“it” is your main potential threat and/or concern). The uke's continuous desire to free themselves, should provide the tori with a steady flow of feedback in that regard.  
 When someone is in a pain-inducing hold, and being manipulated to motion (in often unwanted directions) against their will, it proves very difficult for them to make any kind of a hidden or stealth-like counter to the technique being applied upon them. In regards to this, we require our students to be (or become, LOL) knowledgeable about the limb's natural “Range of Motion” (ROM).
 Whether one is intending to cause pain or (only) immobilization, a working knowledge of ROM allows the tori to know how, and how much, a limb can be motioned in order to obtain the desired effect. It becomes necessary for the tori to observe the reactions garnered from these manipulations. As long as one is familiar with what is considered to be a natural response, they will less likely be fooled by any false motions made by the uke (in an attempt to obtain a position of advantage for themselves.
 Making and maintaining these observations has nothing to do with watching their own hands that are applying the technique, the tori should only be relying on physical feed-back (feeling the technique) in that regard. When giving demo's of ground control/manipulations, we will usually (only) face the audience while explaining what/why we do certain motions. This isn't being done to show-off, it's done to illustrate the fact that one can know what the suspect/uke is attempting to do (if anything, LOL) without mandating constant visual observation (on the part of the tori). 
 Whenever possible, we will utilize one of the attendees to be our uke. This reduces the belief that our uke is simply complying (to feign technique compliance). This becomes important if the uke (in an actual situation) has friends who may decide to assist them once that they're “on the ground”, and believe that you may be too occupied to deal with any new/additional threats. 
  Before being able to manipulate an aggressor into these varied positions, one first has to place them there, and before that can happen, one needs to be able to make the technique work to begin with (it always come back to this, LOL). We developed our 6 Basic Tuite Principles based upon things that Taika had told us (at different times) regarding the application of Tuite technique's. None of them are complicated, nor do any of them deal with any form of mumbo-jumbo Bullshit.

 For association member's, they are available at the Forum Website. They are not (in any way) endorsed or promoted by the association, but everyone that has been shown them, has found them useful (meaning nobody has called “B.S.” in regards to them, LOL). Our student's utilize them on a regular basis (for confirming technique application, and for determining individual answers for technique difficulties). Everything that I have discussed on this blog in relation to tuite both now, and previously, is contained within those 6 Principles (all I've done, is to extrapolate upon them). 
  As I stated, there's various forms of similar techniques to what Taika teaches (both by individual's, and systems). If you/your system, happens to utilize any particular one(s) which are used as being examples, or training models feel free to share (for comparison, and/or criticism).