Developing our “Mind's Eye”

  In day's past, when I first met and trained with Taika, he would talk to us about our “Mind's Eye”. This was explained as being our inner “vision” of seeing (or imagining?) what we were seeking to accomplish in our training. It was our Mind's Eye, that was expected to be utilized and exercised at all times.

 At first, we were just learning how to make the techniques and applications even happen (on a physical level). As we learned more and more techniques, those motions began to have greater variance in their application.

 With the addition of more techniques, our (individual) choices of application end up becoming more simplistic (which, to many, seems contradictory). When presented with a choice of using a complicated/involved technique, or a more simplistic one (that will accomplish the same purpose), we will tend to choose the more simplistic one.

  The vast majority of our techniques are derived from kata motion. By practicing kata, we are practicing reacting to aggressive actions. It's only with research, that we can discover where and how those motions are applied.

  By using our Mind's Eye, we can visualize how those motions may (or may not) be applied in a given situation. Obviously, one requires at least some level of experience with the (actual) application of their techniques in order to accomplish this.

  That's the purpose of class time practice. Though we may mentally visualize how techniques might be applied in a given situation, until actually applied (or at least attempted) we can't know (for certain).

 With acquired experience, That Mind's Eye can be turned to the examination of Kata. Recognition of technique (within kata motions) is something that can only come once one has gathered experience (both from the application, and from the performance of those motions within the kata, and in the dojo).

 

 The goal of refining this ability is to able to (naturally) apply it to the examination of kata, and to the direct application of technique.  

 

Two-Hand Forearm Strike

  This application is an introductory Defensive Strike. It is one of the initially taught defensive techniques taught to student's when they first begin study with us. It is often utilized for a surprise situation (one which was not initially perceived) by the defender (tori).

    

  Practice of this (as with most of Taika's motions) application, Begins with the tori and the uke standing face to face, at an arms length distance from each other (confirmed, by the tori placing his hand on the shoulder of the uke to establish distance).

  Practice is began with both parties having their hands at their sides. When the uke begins their strike, then the tori will raise both hands straight up (bending at the elbow), then will close (but not tightly) the finger's of their dominant-side hand (leaving the other hand open). The dominant hand will then cross in front of the tori (at face level), while their non-dominnt hand, will also cross the tori's face (at face level) with the dominant-side being closer to the uke, and performed with a striking intent, the non-dominant side will move with the intent of a parry, or deflection).
    
 Both motions cross at the tori's face level (to protect it), with the intent of either Injuring or deflecting the aggressor's action/striking arm. Emphasis should be placed on utilizing the forearm of the striking arm (as opposed to utilization of the hand) as the striking surface.

    

  During this motion, the tori's body should rotate (to Face more towards) the tori's non-dominant side. This is to add (body-weight) emphasis to the dominant (striking) arm.

  

  The tori has several targeting options available to them (for striking the uke's arm). There exist numerous atemi points on the (uke's) arm that could be utilized (depending on the tori's desired reaction of the uke). Initially, the tori should (limit) their (defensive) strikes to the uke's (aggressive) arm. Too often (especially newer) students attempt to target their defensive strikes towards the uke's Head/Neck area. It Must be remembered, the threat, is the uke's arm's (and/or legs), and our goal is to immobilize those threats. If necessary, any other threats are dealt with after the offending arm (IE. The Punch) is neutralized.

   

  At beginning levels, the tori can rotate into a Back stance, or step (towards the uke) and use either a Back stance, or use the Cat stance (technique) for a defensive cover (at varying levels, this will be modified per the individual).

    

  Practice begins at a slow speed, until the tori is confident with the required actions, practice speed can increase so long as both parties are comfortable with doing so.

    

  Once both parties are confident with the action, then tori will add a straight kick to the blocking action. Doing this, could change the dynamics of the student's initial stance use/choice.

    

  There are multiple follow-ups available, and student's should be encouraged to experiment with discovering what would work best for them (be it Tuite, arm-locks or strikes) in varying circumstances and/or their individual level of knowledge.

   

  Student's are encouraged to experiment with varying methods of performing this action/combination. This is an extremely common beginning (if not, Fail-Safe) technique for students when first beginning their study of Taika's methodology.

 

Arm-Bar Application

Arm-Bar Application

  This is commonly the second “Application” technique that we teach to our student's. This is a simple, but often miss-applied technique. This motion teaches the student the correct manor of application and enactment of it's use. Although many students have seen the technique (and may very well have utilized forms of it) this will describe the details of it's application. In this explanation, we will use the uke's Right arm for the (following) example of it's application.

   

Establishing Initial Placement

  We will start with the tori holding the uke's Right wrist, while standing slightly behind, and to the Right of the uke, using the hand furthest from the uke's body (in this example, the tori's Right hand). It needs to be mentioned, that when the tori takes hold of the uke's wrist, the tori should make note of the 2 bones of the uke's forearm (the ulnar, and radius). Using the grip of those two bones, allows for the tori to rotate the arm and then be conscious of the possible directions that the uke can/can't bend that arm's elbow (additionally, the tori will then be aware of which direction is against the elbow). 

    

 The tori's (closer) Left arm, will lay the side/back of that wrist, against the lower triceps tendon of the held arm (by placing it slightly above the elbow, on the dorsal side of the arm). In addition to the forearm's placement, the elbow of that same arm (the tori's Left arm), will lay against the uke's back to provide additional feed-back (on any resistive motions the uke may attempt) and/or to apply any required pressure there.

    

Enacting the “Break-over”

  After taking hold of the uke's wrist, the Tori will begin with motioning that wrist in a circular action. The motion will first move the uke's arm forward (to the front of the uke), then motion it towards the opposite side of the uke, and then back (in a small circular motion).

    

 During this circular action, when the arm begins to motion back (towards the uke's side), the tori's Left arm, will roll the uke's triceps muscle tendon towards the front of the uke. As this begins to cause the uke to lean forward, the tori will lift the hand being held with their own Right hand, straight up, in front of the tori. This lifting action, is pivoted off of the tori's Left forearm (acting as it's pivot point).

   

 The motion should NOT be attempted to only be accomplished by forcing/striking with the Tori's Left arm (in this example) down/forward (nor ever, from striking the back of the uke's arm). The pivot point/fulcrum, is only to act for that purpose, and not utilized in an attempt to initially force the person down. Once the uke has been bent-over (at the waist), then, the tori's Left forearm can be used to apply additional pressure to the uke's triceps tendon (which will create a knee-buckle).

   

Take-Down Methods

  Once the uke “breaks-over”, it will be necessary to take them to the ground. There are several methods to accomplish this. The “first” (and most obvious) is to apply pressure to the back of the uke's arm(slightly above the elbow (this is actually applying pressure to the tendon of the triceps muscle). By varying the angle of that pressure, it's possible to direct the uke's direction of break down.

   

  If the situation necessitates it (if the Tori is experiencing difficulties), Tori can knee spear the uke, in order to attain a knee-buckle response (from the uke). Once that is done, the tori can apply pressure to the upper back of the uke's arm while dragging the uke sideways (to force them off-balance). 

     

  It's also possible to direct the uke upward (initially) from rolling the uke's triceps muscle towards the uke's back, and continue circling this pressure around the uke's arm, until the uke is raising up (to stand on the "ball's" of their feet in order to comply with the applied pressure), this should only be maintained for a (very) short period of time, before reversing the applied pressure, forcing the uke to the ground.

     

  In extreme circumstances, the arm-bar's pressure can be reversed (using the “held” hand as the fulcrum point and applying pressure to the upper arm to accomplish a take-down. This method tends to be dependent upon physical strength, so should ONLY be attempted for comparison reasons (preferably, only in a class environment).

    

  I'm aware that numerous systems utilize similar (if not the same technique), and was curious if anyone taught any additional principles or methods of application. If you are familiar with any simpler methods or useful “hint's” to it's instruction, or application, feel free to share them. 

 

Double Forearm Strike/Shoulder Lock

  This is the first motion (that is initially taught) as being side dependent (ie. It's implementation will depend upon whether the uke strikes with the Right, or the Left hand). The description is identical, except the applied technique will require/consider which of the tori's hands will be considered either the forward, or rear hand (during technique application). 

     

  For this explanation, the tori's Right hand, will be considered to be their strong (dominant) side, with the Left being the weak (non-dominant) side.

     

  Practice of the motion Begins with the tori and the uke standing “face to face”, at an arm's length distance from each other (confirmed, by the tori placing his hand on the shoulder of the uke to establish proper practice “distance”).

      

  Practice is began with both parties having their hands at their sides. When the uke begins their (Right hand, in this example) strike motion, the tori should motion their weak-side hand straight up (bending at the elbow, until the hand is (essentially) vertical, and continues in an arcing motion across and downward ( parrying the uke's strike with it's motion), to the opposite side, moving it (the striking hand) to waist level. The Strong(dominant) forward hand, should cross the body low (by crossing the tori's body then raising closer to the uke).

   

  As it raises, it will strike the inside/back of the uke's (striking) arm, slightly above the elbow (causing it to bend). The tori's weak(non-dominant) hand, will motion towards the uke (thereby moving the uke's previously parried hand towards themselves) which aids in bending the uke's arm (using the tori's forward (strong) hand as a fulcrum to do so).

       

 The tori's rear (weak) hand will continue with it's motion by releasing it's contact with the parried forearm, then raising, until that hand can wrap behind, and on top of the uke's (originally) punching arm's elbow (enacting an elbow-lock on the punching arm). As this is accomplished, the tori will withdraw their Right arm (which can be utilized for various optional (applications).

     

 As the tori's forward (strong) hand is withdrawn from the uke's punching elbow(and replaced by their Left hand), it will circle the uke's elbow (upward, and being done on the tori's side of the captured uke's arm) and tori has the option of either following up with assisting the elbow-lock (which should now be in place to do so), or with executing a Neck-strike to the Right-side of the now exposed uke's neck.

    

  Note should be made of the uke's responses (body-motion, knee-buckle etc.) in reaction to the application of the technique.

    

  If the tori placed their hand (instead of above the elbow, has located it closer to the uke's shoulder, the tori should utilize their free hand, and drag the hand down closer to the uke's elbow. Doing so, does several things. First, it correctly positions the hand, second, the dragging motion activates nerves that assist in relaxing, and bending the uke's elbow.

   

  If the uke's arm motion is reversed (and were mistakenly assumed to be the uke's use of the Right arm, and they instead utilized their Left arm to perform the strike), the tori's defensive application is (initially) executed slightly different.

      

  The tori's arm motions begin the same as before, but (having realized the mistake made) the tori's Left hand (now) motion's towards the uke's mid-section, performing a downward (shuto-like/side-slap?) scooping strike to the the uke's solar plexus region.

    

 The tori's Right hand, motions up and outward (thereby) creating an outside parry (to only slightly deflect the uke's now striking Left hand). The tori's Right hand should then circle the uke's Left (striking) hand/arm (which will motion that arm downward, and across the tori's body) to the tori's Left (lower) side.

    

 The tori, and both of the tori's arms/hands should now be on/to the uke's Left (outer) side. The tori's Left hand should have (during this transition) grabbed the uke's Left wrist, while their Right hand motioned (circled?) to a vertical attitude (as it was when first beginning the parry), which should have placed the back of that hand's arm, against the uke's lower triceps muscle's tendon (into a standard arm-bar application).

    

  Once both parties are confident with the actions being learned, then the tori will include a straight kick in combination with the beginning motions, or prior to a take-down attempt.. Doing so, will (often) amplify the effects of the uke's body motion, and/or the applied technique (depending upon the timing of the kick's application).

       

  There are multiple follow-ups available, and student's should be encouraged to experiment with discovering “what” would work best for them (be it Tuite, arm-locks or strikes) for use in varying circumstances.

     

  Practice (as always) should begin at a slow speed, until the tori is confident with the required actions, and the uke is made aware of the tori's planned actions (to assist in preventing accidental injury) Practice speed can be increased, so long as both parties are comfortable with doing so. 

     

  It should be remembered, that the primary goal (of any defensive action) is to first, prevent the user (tori) from being struck (anything beyond that goal, is gravy, LOL). We have student's practice these techniques to familiarize them with the various (options available for) possible responses and that may be applicable to them. None, are necessarily any better, than another. Individual circumstance, and comfort of execution should determine a student's preference. 

 

Tuite- "Push/Catch"

I originally posted this in july of "09", according to the "stats", it had a total of 5 people read it. Considering how many people have asked me about it since, I thought I'd give it a 2nd posting. Numerous schools also refer to this technique as "Palm-Fold".

Push/Catch

  Once a student has reached this level of technique practice, the majority of our practice rules (i.e. The 6 Tuite Principles) should be in regular use (and be constantly referred to by the student). This particular technique is (by no means) the easiest, nor even the instructor's first choice in response to this event.
     
 Despite those facts, the technique is an exceptional example technique for training and illustrative purposes. It has proven to be ideal for demonstrating each of the 6 Tuite Principles (in the most readily and clearly recognized manner).
      
 My own experience has shown that this technique is the most incorrectly performed tuite technique (that people assume that they're performing it correctly). 
 

Push/Catch
 This technique is used as a response to a chest-level “push”. The tori's initial response should be to push-back (when the tori's hand intercepts the uke's pushing hand). This is taught to be done in a manner that when the tori's hand comes into contact with the uke's hand, it will occur palm to palm (finger's up, in a manner similar to when doing a “paddy-cake” type of action).
    
 This initial piece of the practice motion/routine is alternated (Right/Left hand pushing/catching), until the student is comfortable with the involved motions (regardless of the side being pushed upon or by).
   
 In the next stage of this learning/practice routine, we have the tori, begin stepping forward (with the stepping foot, angled slightly outward) this will be the same foot, as the tori's hand that is pushing-back. 
   
 Once the students are comfortable with these motions, we have the tori then modify the motion of the hand that is pushing-back (against the uke's hand). After making contact against the uke's pushing-hand, the tori will rotate their own hand (that is in contact with the uke's pushing-hand). The tori's thumb, should be pointed downward (and preferably, it isn't wrapped around the uke's fingers). It is preferable, that the student not “grab” the uke's fingers (using the their thumb in that manner). 
    
 Once the student's (and the instructors) are comfortable with their performance of these portions of the application, we begin having them include their other/free hand (that isn't doing the pushing-back yet). The student's will now have both hands raising (at the same time) to participate in the “catching” (of the uke's “push”).  

  
 When the tori raises the hand which does the “push-back/catch”), they will also raise their other hand. This hand will be placed against the radial-side (thumb-side), of the uke's wrist (of the “pushing” hand). The mistake made most often by the tori, is that they will grab the uke's wrist. This is to be avoided, as it will most often cause a failure of the technique, if/when done in such a manner. 
     
 Both of the tori's hands will move forward (in unison) as the uke's hand, is “pushed-back” (to the uke's shoulder) and is then Lowered to the uke's waist.
    
 Tori's emphasis (with the “grab” portion) of the technique, should be on acquiring the “bind”, in the uke's wrist joint (as is found and utilized with the wrist manipulation exercise).
    
 While the tori continues with the “push-back”, the tori's body-weight will commonly shift to their forward leg. The tori's hand/arm (that is performing the pushing-back) will then rotate (which will cause the uke's “pinky” finger to move towards the top of their own wrist). This rotation will pivot off of the fulcrum established by tori's secondary hand (which has been placed along the side of the uke's wrist).
     
 The tori's arm (of the hand that is grasping the uke's finger's) will then rotate (further bending the uke's finger's rearward, at an angle across the uke's wrist). While this is being done, the tori will place their elbow against the uke's upper-arm (at a “mid-arm” location, between the elbow and the shoulder of the uke.
     
 This “contact”, when done in practice is performed lightly (in use, it would equate to a strike, using the elbow). The tori's elbow/forearm is then slid down the uke's arm, to their mid-forearm, in conjunction with the tori rotating their forearm (as is done with an inside forearm strike/block).

 *For practice purposes, we allow the tori to “bend” their wrist to limit the rotation of their own forearm (in order to control this motion, if this were not allowed to occur, the uke's finger's would be dislocated, and/or broken).

 This resultant “wrist-rotation” will be combined with the tori rotating (their whole body) towards the technique. This allows the tori to utilize their body weight/body motion, in conjunction with the technique's application.
    
 The action of the tori's forearm (motioning both inward and downward while in contact with the uke's arm) will prevent the uke, from either motioning that forearm “forward” (as if to strike the tori, in their “mid-section” with an upward elbow strike), or allow them to motion the elbow outward (to relieve the pressure that's being put on the wrist of the grabbed hand).
    
 The reaction (that the tori is seeking to occur (on the part of the uke) is a sudden “knee-buckle”. It isn't actually necessary to continue the practice of the technique any further (at this level of training). If the technique had been performed at full-speed/power, the typical reaction (by the uke) would be their chest racing towards the floor.
   
 For the purpose of “class-time” practice, we only seek to see a “knee-buckle”reaction to occur (by the uke). If/when that reaction is created, then (we know) that the tori had the ability to of initiated a full take-down (placing the uke upon the floor). 
     
 What should be noted by the student (when practicing this technique), is to note the uke's reaction to the technique's application. If the uke (only) bends forward (at the waist) when the tori applies the technique, they're performing it incorrectly. The primary reaction that we seek, is the uke's knee's to"buckle". They may bend forward afterword (or as well), but if the knee's don't buckle, they're not applying the technique correctly. 
 
 Once this technique has been taught to, and learned by the students, it is frequently used as a “reference” technique (for instruction of various principles and reactions). Many introductory (and advanced) motions and responses can be (easily) demonstrated, and exampled when using this technique as a reference (for the uke's responses). 
     
 I have seen this particular technique utilized in numerous demonstrations (and videos, on the web) by various systems and schools. To my knowledge, none of them practice it in the slow, controlled manner that we do, of the individuals that have come to our school (be it from within our system, or another), and have attempted it's application slowly, have (all) failed in the ability to elicit a proper response.
    
 This is not to say that our method is better (though we do feel that it is, LOL), only that it is different. We believe it offers the best (learning) opportunity of practice (for students). As is shown with all of the technique's, the (simple) increasing of speed of application/execution, will make (even) a (totally) sloppy technique “work”(?) this is evidenced by the numerous examples that are displayed upon the internet.
  
 Because of the created situation, (simply) creating some manner of a reaction is not that difficult. But, our goal is to educate the student, so that they understand the technique, as well as the how and why that it works, not just that they are able to create a response. The goal, is to create the desired response, otherwise it's just a cute "trick".

Tailoring One's Reaction's

  A recent comment on one of my blogs got me thinking (always dangerous, LOL). The comment reminded me, that our method of responding to an aggressor's actions, tend to be “off of the norm”.

    

  Though often claiming otherwise, the most common response to a (any) strike (to a defender's head/face), is to “Block/deflect” and then retaliate (pretty standard). The differences (between systems) is in just how that is accomplished.

    

  In virtually every (other) system that I have been involved with, the “standard” has been, if/when the aggressor's strike is coming at you from your left side, then use your left hand/arm to stop/deflect it. If/when it is from the aggressor's left hand/arm, use your own right arm to stop/deflect it (pretty simple, if not obvious).

   

  Of course, this isn't as practical, as one would at first assume it to be. When an aggressor is going to strike you in the head, they don't (commonly) tell you about it before hand (thus allowing you to put things in order, and make arrangements to account for it's impending arrival upon your face). More commonly, they would prefer it to be a complete surprise.

   

  The reason that the majority of people attend some manner of martial arts training, is to avoid this situation from occurring (or at least the “getting hit” part). Avoiding the “surprise” part, is only a matter of paying attention (and despite the description, is in fact a cost free skill-set, and only requires the awareness of one's surroundings, ie. “paying attention”, LOL).

  

  The second fact that makes this even more difficult (to accomplish), is that you are (commonly) only allowed seconds (more like Milli-seconds) to evaluate that they are (actually) going to hit you, which hand they are going to do so with, and which hand you need to use to (attempt to) stop/block it with, and (then) do so.

    

   The first (few) things can be done fairly quickly (the “evaluation” of the situation). It's actually the last one (the “response”) that's the most difficult to pull off. Most people (that have just been struck) will tell you that “they saw it coming” (but just didn't respond fast enough to do anything about it).

    

  Based upon these (numerous) evaluations that are often presumed to be necessary, the system we teach (ie. Taika Oyata's methodology), approaches a defensive situation differently. We learn (several) defensive motions that will provide (varying) defensive capabilities, regardless of which arm (or striking manner) is utilized by the aggressor.

   

  The ability to (initially) disregard which hand an aggressor is striking with, is a bigger deal than most would care to admit. When a defender is able to be unconcerned with an aggressor's initial strike, this provides an enormous (defensive) advantage.

    

  When I first began my study with this system, I (too) had been indoctrinated with the belief that I would be required to respond differently to an aggressor's Right-handed strike, than to one made with their Left-hand.

    

  My problem (at the time) was a common one, of limited understanding of the applications I was attempting to defend against. When examined, the ability to strike another individual in the head (the most commonly performed first strike made by an aggressor) is fairly limited in it's ability to do so.

   

  There are (basically) 4 ways that a hand/fist is able to strike another in the head. (#1) A straight punch (from the waist), (#2) a “shoulder-cocked” punch, (#3) an “uppercut” strike and (#4) a “roundhouse” punch. When this is attributed to include being done by either side, this makes 8 possible ways to be struck (and therefor be included in one's defensive planning). 

      

  When you examine the way that (any of) those strikes can make their way to your head, you see that they can only occur along certain pathways to get there. By utilizing the same simple defensive motion (utilizing both hands) regardless of the individual “path” taken by the strike, it is a fairly simple matter of interfering with that strikes ability to reach it's target. 

      

  Doing so certainly doesn't make one impermeable, but it does raise the “odds” of one's ability to be successful at preventing an aggressor's initial attempt at doing so. 

     

  Being successful at preventing a “first strike” being successfully made by an aggressor, has an enormous psychological effect upon that individual. There (obviously) needs to be follow-up applications being applied afterword, but this is more easily accomplished if/when an aggressor's initial offensive attempt is disrupted.

      

  The first of these (types of) motions taught, is referred to as a “Cover-Strike” (a possibly over-simplistic name for a fairly encompassing motion/concept). Being that it is (first) demonstrated and taught at the lower kyu rank levels, student's often (misinterpret?) consider it to (only) be a “beginner's” defensive action.

     

  As with numerous applications learned from Taika, there are additional layer's to be added as the student progresses in their study. As the student becomes more comfortable with each, then another use/variation of the application is added (until defenses of every one of the “8” possible methods of being struck, are included within the same initial motion).

    

  The most difficult part of this (manner of) training, is getting the student to focus upon their own motion (and not that of the aggressor).

Symmetrical Logic, or Nonsense?

 I  was recently approached to explain my displeasure with the TCM theory/nonsense (I had pretty much assumed that I had already done so, LOL). Well, there are numerous reasons that I find it to be total Bullsh*t.

    

#1, They claim that everything their doing, is symmetrical (on the human body). The problem with that, is that the body isn't symmetrical Anatomically (except from an untrained “layman's” viewpoint).

    

#2, The texts that they utilize for “reference”, are (in themselves) contradictory. In numerous locations in the books, they contradict (their own) “standards and guidelines” (I do posses them, and they are in my own reference library).

    

#3, Those same texts, are shunned by any/all western medical sources. Every research study made regarding that information, has been proven to only respond to the (equivalency) level of a placebo (and/or has been proven to be completely false).

    

#4, Despite all these facts, they continue to insist that they are “only” utilizing those references/locations for (their) convenience. Those locations, are established by arbitrary measurements, and vary between individual's (not exactly a scientific "standard").

      

#5, Within the original video tapes that their Grand Pooh-Bah made (which I have copies of), that idiot made numerous incorrect anatomical references, and presented anomalies as if they were common occurrences (considering that more than several of these references are used as the MAIN PRETEXTS for HIS techniques, it pretty well invalidates ALL of his techniques).

      

#6, All of their Premiss (for technique application) is based upon “KI/CHI”. This is the “Western” misinterpretation of an “Eastern” analogy. (I know numerous Asians, all from Eastern Asia, and NONE of them Believe, or ever have believed in what these idiots are calling "TCM").

       

  If you are one of those that believe in this TCM nonsense, Then I will consider you to be an idiot as well. TCM is Snake-Oil Science.

      

  The most common counter to my arguments, are “But it works” (uh, no it doesn't). What may work, is a properly applied technique (which would have nothing to do with any of their TCM Bullsh#t).

     

  I completely disagree with anyone who utilizes any of this nonsense. Doing so, provides some level of (false) validity to it's use.There exists valid Western Medical terminology (and information), that can (accurately) be cross referenced and used by anyone who has access to a medical text.

   

  By using vague and misleading terms and measurements, these frauds are attempting to elevate themselves as being something “special” (which they are not). 

 

 These people will tend to focus on Kyusho applications, but they also delve into it's Application regarding Tuite. The most relevant factor to take from all of this, is that it provides an excuse (for them) when their method of a technique's application fails.

      

 This is most often accountable to the fact that they are unfamiliar with what (physiologically) are the reason's why the (correct) techniques do work (when performed correctly, which, in their applications are most often not the case).
  
 The entire TCM scam, is (IMO) typical of Western profiteering. Rather than do any serious research/work, there is always somebody offering an easy way (intending to by-pass any serious study and/or commitment).

          

  Unfortunately, there have been members of Oyata's 

Association who have (at the very least) given the appearance of having aligned themselves with these frauds. I would hope that they would choose to disassociate themselves (and thereby the association) with any of those individual's, and their associated groups.
     
 At one time (ie. last summer at the summer conference, LOL) the claim was made, that the association would be shrinking (by choice). It would be my own choice to make these individuals be the first that were purged.
    
  I am also (regularly) asked, why do I give a flying Sh*t what these idiots are preaching. Well, mainly because I have to (regularly) answer questions from potential students, or even passing acquaintances about pressure points and "are they real" (not to mention the flood of videos on the Internet that demonstrate nothing about what "we" actually do), but since they started using the term "Tuite", we get associated to their nonsense.
 
 Those people have made it embarrassing to even include mentioning it in the description of one's classes. I have no problem with the actual use of pressure points, I do have a problem with the made-up nonsense that's being stated in their regard though.