Subliminal Distraction

 The practice of performing a "Fake" is a common practice, it is basically a visual or physical distraction (from something else that is occurring at the same time). This is on-par with a similar tactic, the Subliminal Distraction. The majority of distractions that people do (or attempt) are pretty obvious (if not blatant). Those attempts can include a "fake-out" punch, a pulled-up knee, or even the Right/Left combination. These are the "blatant/obvious" attempts to distract. Less obvious, are those movements that are only "sensed" (as they occur). By themselves they accomplish nothing (or very little). Their greatest use is for generating peripheral attention. The person recognizes that the motion is not a threat, but it has distracted them (even if only slightly). The natural response made in regards to them, is if it posses no direct threat, then it warrants no attention?
Oyata would do similar actions when we were reviewing Tuite application techniques. It was often shown when he had someone who was being resistive (to the application of the motion). He would show (several times) that the person was able to "resist" the application of the technique. He would then do it again, and the person would fall to the ground. The only "difference" (in application) was that he (Taika) would press his foot against the student's foot (slightly before performing the technique). It wasn't "magic", or any type of "ki" application, he simply distracted the person's attention while performing the action. The (overwhelming) majority of the time, onlooker's (or even the individual themselves) couldn't figure out how he was doing it.

One of the (numerous) things that irritated Oyata the most (at least in regards to the practice of a defensive art's study), was that student's would (continually) attempt to "muscle" the shown applications in order to make them "work". Although he would (repeatedly) show various movements, and explain the principles of how and why they worked, (inevitably) student's would resort (or at least attempt) to using force to make (at least their versions of the) techniques "work".

Oyata always stated that regardless of the physical size (or strength) of either the aggressor or the student, the techniques that he taught to us would work ("if" they were being performed correctly). Strength was never the "primary" factor for the success of any of his techniques. It was always the minor factor's that accounted for the technique's applicability.

To assist in achieving their (the techniques) success, while applying a given technique Oyata would regularly include supplementary motions and actions. The more subtle those motions, the better (in his opinion). Being "obvious" was never one of his virtues. The use of subliminal distractions was done throughout his application of the Tuite technique's. These motions would include varied finger pressures and the directional application of pressure that would distract the uke from more relevant motions.

This instruction included refining the student's knowledge of body mechanic's that defined how (and why) a person would be inclined to move (in response to performed actions). Though often being aware of those motions (as well as their causes), they (the motions) are typically ignored by most individual's. These concepts included reactionary retreat, spatial awareness, proprioception as well as subliminal distraction.

These factor's are more commonly being ignored by the more "modern" student. Those student's are (now) obsessed with performing technique's that emphasize that what "they" (rather than their adversary) feel, should be strong/powerful (I.E. "power-based").

It's only when there is a complete transfer of force/momentum that the generated energy/power is being transfered into the targeted subject. More commonly, many (modern) practitioner's concern themselves with extraneous motions that add nothing to their attempted technique's. Many of the demonstrated motions waste time with extraineous motions that add nothing to the defensive goal.

The inclusion of those subliminal distractions don't make a technique "look" any different, but they can improve the chances for it's success.