Basics to be Developed on Both sides and Glossary of Terms
Descriptions
This section is an attempt to define those movements considered essential in building a system adaptable to every individual. These are the foundation on which to build; and, without which, success is not assured. While the list is as complete as possible, there is bound to be some omission.
Stances
Stances are very important in technique application. They provide the balance and alignment necessary for proper execution of the technique. They are ephemeral, a moment frozen in time. Normally, you are passing through the stance on the way to somewhere, or thing, else. "The naming of stances is a learning device to enhance your understanding of your physical passage through space and time."
Attention:
The feet are pointing 45° out with the heels together, weight is evenly distributed 50-50%. Another Attention stance is the same except; the heels and toes are together. It is normally used in kata
Natural:
Feet are shoulder width apart and parallel (on the outside) with the knees slightly bent, toes gripping the ground. The Naihanchi stance is basically the same; just one and a half to two shoulders wide, both knees bent out over the insteps. With the Fighting stance the feet are parallel, pointing 45° forward, shoulder wide, with the front toe and ball of the back foot on the center-line. Both knees are bent with the front knee pointing forward, 50-50%. The Fighting Horse stance is identical except; it is two shoulders wide or more. All, of these stances are 50-50% weight distribution.
Bow:
Short for Bow and Arrow. The front foot is pointed, at minimum, 45° forward, the back foot is straight pointing forward, both feet are centered on the center-line. The front leg is bent with the knee over the instep, the back leg straight, 70-30%. The Neutral Bow is the same except; the back leg is bent with the knee pointing down, over the center-line, with the foot's heel in the air, ball on the ground, 70-30 to 30-70%. When the back knee touches the front knee, it is called a Knee to Knee stance. The exact reverse, of the Neutral Bow, is the Dropping stance sometimes called the Reverse Neutral Bow. The front leg is bent to the rear, knee pointing down; foot, heel in the air, ball on the ground.
Crossing:
Legs are crossed, knees are bent, 90-10 to 10-90% weight distribution. Sometimes referred to as the 'Twisted' stance.
Cat:
Both feet are placed flat on the ground; one foot's distance between them. The back foot, points 45° forward while the front foot is straight. Both feet are on the center-line, knees bent and pointing forward, 10-90 to 20-80% weight distribution. The 'T' stance has the feet flat on the ground, back foot 90° to and centered on the center-line, front foot straight ahead, on the center-line, both knees are bent, 10-90 to 50-50%. The Extended version is created by moving the front foot forward.
Crane:
One legged stance, Front Crane: support leg foot points same direction as the raised knee; Side Crane: raised knee is 90° to support leg foot; 0-100%.
Weapon:
The normal stance used in Kobudo. The feet are parallel and pointed 45° forward with the toes on the center-line. They are one to two-plus shoulder widths apart. The front knee bent is over the instep, the back leg straight, the hips and shoulders twisted 90° to the front, 60-40, 70-30%. Almost the exact reverse of the Weapon stance is the Kusanku stance. The difference lies in the weight being on the rear leg, the toes pointed 45° rearward, the back leg bent along the center-line towards the rear and the front leg straight, the major difference with the torso is, the hips and shoulders being straight along the center-line.
Seisan:
The feet are parallel, shoulder wide, pointing to the front, one to two-plus shoulder widths long, front leg is bent with the knee over the instep, the back leg straight, 60-40%.
Ground Positions
Base:
Sitting on the butt, one foot is tucked in; foot flat on the ground, leg bent, knee up and pointing forward, your other leg is straight forward; Your hand opposite the bent leg is flat on the ground supporting your upper body; other hand guarding to the front. A variation has the normally straight leg loosely tucked in towards your groin.
Defense:
Laying on the side, the bottom foot is tucked in; front leg bent, knee up and pointing forward, the foot is flat on the ground, knee and foot on the center-line, hands in a Fighting position.
Horizontal:
Laying on the back, one hand is extended alongside the body to protect from kicks; the other bent (elbow forward, hand covering your ear).
Kneeling:
One knee on the ground; front foot minimum 45° forward, back knee two hands distance from front heel, both feet and rear knee on center line; back foot, heel in the air, ball on the ground, 50-50.
Sitting:
Legs are crossed in front, feet and butt on the ground.
Postures cause us to project an image to our adversary be it benign, fearful, competent, threatening or whatever. They should rarely be a true reflection of our inner state of mind. They should project the image that you want him to see.
Self Defense:
The hands are 45° forward, shoulder high, and open, the arms bent 90°, the elbows one hand's distance from the ribs.
I give up:
The same as the Self Defense Posture; except, the hands are positioned at the sides.
Fighting:
Feet parallel, 45° forward, shoulder wide, front toe and back ball of foot on center line, both knees bent, front knee pointing forward, 50-50; hands closed, front arm, bent 90°; elbow, one hand's distance from the ribs; hand shoulder high; back arm, vertical, elbow against the ribs hand by the cheek bone.
Falling and Rising
Forward/Rolls:
Fall Forward when rolling is not feasible. Land finger-tips first, allowing them to collapse and transfer the impact to your palms, keep your body straight and avoid twisting your back, (as if you were doing a pushup) (do not allow your knees to strike the ground); using your arms, lower your upper body to the ground (turning your head to the side), then your legs; roll to one side or the other by sliding an arm under your body to become your rear guard as you assume the Defense position. As soon as possible, use your back arm to lift your torso up to the Base position; then, get up. Drop and Roll allows for a voluntary movement to alter the dynamics of your situation. Lower your body, tucking in to a ball, put your hands on the ground shifting your weight forward, your hands open, using either the right arm or both, to protect your head, (hotdog or shoulder) roll to a Fighting position facing your attacker. A Forward Roll is preferred over falling. Tuck your chin to your chest and execute a shoulder roll (you may use your arm to assist taking some of the impact during the roll); your body rolls along the diagonal from your shoulder to the opposite hip; the momentum of the roll allows you to regain your feet.
Side:
Cross back 45° to the side you wish to land on with the opposite side's leg, lower yourself so you land on four points: the side of your calf, the side of your thigh, your hip (if you are in total control it can be that side's butt muscle, then your rib cage, (to prevent injury keep that side's arm on your stomach); try to prevent rocking (so he cannot grab your elevated leg or attack your groin); assume the Base position as soon as possible and regain your feet.
Back/Rolls:
Use your strongest leg to support you, while your other slides forward, tuck your chin on your chest; cross your arms on your chest; lower your body straight down, butt to heel, without twisting (to prevent back injury) lower your back flat to ground keeping your head on your chest (so you don't strike it on the ground), keep your feet from rocking. To get up from this position, you shift to a Defense position, then, a Base position to rise. Or: bring your knees up to your chest and shoot them back (not up) behind you to one side of your head or the other, continue the movement, as you would to complete a Back Roll. The Back Roll utilizes your support leg to lower yourself to the ground. Using the momentum backwards you will roll over the support leg's shoulder (not your head!) along the 45° diagonal and kick back with the other foot. (This will cause the knee of the support leg to ground and the other foot to be in position to stand). Quickly stand and adjust to a Fighting position.
Base:
From the Base position, lift your butt off the ground with your supporting right hand and left foot, your right leg is now in the air. Shoot your right leg to the inside of your right hand and behind you; and, stand up in a Fighting position. Or: execute a Back Roll utilizing your (opposite side) support hand, if necessary.
Sitting:
From the Sitting position, lean forward, using the sides of your feet, push against the ground, and lift your body up, twisting to a Fighting position. Or: As you rise, twist 180° to the rear and lean forward placing both of your hands on the ground; execute a rear kick into him.
Movement
Proper movement transitions us from stance to stance in a smooth, balanced, instinctive manner. It automatically adjusts for proper distance and position regarding defense and countering. Movement and stances are inseparable in technique application.
Stepping (with Pivot)
In all stepping movements the back foot must be adjusted to the proper distance or position required for the new stance you are entering.
Forward: Straight along the center-line. 45° Forward:
To the right or left of the center-line.
Sideways:
About 90° to the right or left of the center-line.
Back:
Straight along the center-line.
45° Back:
To the right or left of the center-line.
Crescent:
Feet start or come together. One inscribes a 'Crescent' or 'C' as it moves. This allows the foot to go around obstacles such as his legs.
Stutter:
Very quickly done. Feet are brought together. As the one sets down, the other immediately picks up and resets to the appropriate distance allowing the first to adjust the distancing or kick.
Penguin:
Each time you step forward or back, you crunch your obliques on that side causing your head to move to that side; you want to keep your hands chin high, this causes your abs to work harder. A variation of this sees you bouncing forward and back while you exaggerate the depth of the pull by the obliques and make big lateral movements allowing you to get big body repositioning and reangle your body. Mike Tyson being the premier practitioner exemplifying this.
Crossing Over (The instep)
In Advance:
Both knees are bent; the advancing foot is flat on the ground; the back foot, heel in the air, ball on the ground; continue in advance or pivot.
In Retreat:
Both knees are bent; the retreating foot is flat on the ground; the front foot, heel in the air, ball on the ground; continue in retreat or pivot.
Crossing Back (Behind the heel)
In Retreat:
Both knees are bent; the retreating foot is placed ball on the ground heel in the air, the front foot is flat on the ground; continue in retreat or pivot.
In Advance:
Both knees are bent; the advancing foot is heel in the air, ball on the ground the back foot is flat on the ground; continue in advance or pivot.
Shuffling
In Advance:
Push - Drag. Step forward with the front foot (toe - heel or heel - toe) (back leg does the push), move the rear foot forward the same distance (the drag part) or greater if desired.
Step - Push - Drag. Step forward (closer to the front foot) with the rear foot; then do Push - Drag.
Push - Step - Push - Drag. Step forward with the front foot, then do Step - Push - Drag.
In Retreat:
Push - Drag. Step back with the back foot (toe - heel) (front leg does the push), move the front foot back the same distance (the drag part) or greater if desired.
Step - Push - Drag. Step back (closer to the back foot) with the front foot; then do Push - Drag.
Push - Step - Push - Drag. Step back with the back foot, then do Step - Push - Drag.
Speed Shift
From your Fighting stance, simultaneously switch your lead and rear legs in one movement.
Head Movement (slips)
Head movement is one of the most important skills to develop. It lessens your chances of receiving head injuries in violent confrontations or even accidentally in daily mishaps.
Straight:
Your obliques crunch, pulling your head slightly to the side, as your opposite side shoulder pops 45° forward and down towards your center-line loading up your, now, back hand and completing the head movement.
Slide:
Executed either entering straight forward or when exiting. Drop (using gravity) as you start to Push; and as your Drag occurs come back up.
"U":
Used against hooks and the occasional head kick. Drop under and roll your front shoulder to the back. Even better, step to the same side to prevent a straight second punch.
Dip:
Very simply bend your knees, dropping your head, and square up your shoulders.
Rear:
Keeping your chin tucked in, head upright, transfer your weight to your back foot. Moving your torso to the rear.
Blocks and Parries
The English terms, normally used to describe the actions we are undertaking, tend to be exclusionary and not correct enough. 'Block' is normally defined as "to stop", leaving out an important ingredient of the movement. We define it as meaning "to attack and redirect an incoming weapon" and 'Parry', to mean, "to redirect an incoming weapon". The Japanese "Uke" means a more realistic "to receive". It matters not if the hand is open or closed during execution of the movement. When the hand is described as closed; it is for training purposes.
Blocks
Inward:
The movement of the arm, is from the outside of the body towards the inside (center-line). The arm is bent 90° at the elbow, the hand is closed, wrist is straight and shoulder height. The arm moves 45° forward, impact is on the ulna with the forearm at a 45° angle, elbow one hand's distance from the ribs. When on impact, the arm twists, it is called an Inward Twist. The Inward Circular and the Inward Circular Twist are the same as the above two; except, the arm doesn't stop and continues to move the same direction in a circular manner. The 45° blocking strike is executed by the arm striking downwards at 45°. The hand stops at solar plexus level, arm horizontal, elbow on the ribs. The Reverse Inward has the elbow up (pectoral muscle height) and the hand down. The arm is vertical, parallel to the center-line. If the hand remains on the hip or in a front pocket it is called a 'Wing Strike'.
Outward:
Movement of the arm, is in a circular motion from the inside (center-line) of the body towards the outside. The arm is bent 90° at the elbow, forearm at a 45° angle. The hand is closed with the wrist straight and shoulder height. Impact is on the radius, elbow is one hand's distance from the ribs under the hand. The Outward Twist is the same as above; except, on impact the arm twists in the direction of travel so the ulna intercepts. Same as the Outward, the Outward Extended moves forward 45°at a 45°angle, the wrist is about shoulder high, elbow, approximately, two hands distance from the ribs, and no longer under the hand. the arm twists in the direction of travel with the Outward Extended Twist. and the Outward Upward is identical to the Outward Extended Twist; except, the arm moves upward at a 45° angle; the elbow is slightly above the shoulder; hand is above the head. The Outward Circular, in all its variations, doesn't stop and continues to move the same direction in a circular manner. The Double Outward, also, has many variations. Both arms move at the same time. Sometimes they cross. When they don't, as in the 'Wedge Block', neither crosses the center-line.
Upward:
The closed hand, palm in, wrist straight, in a crescent motion, crosses the center-line to the opposite shoulder then continues upward, 45° forward, elbow down. Over the head, on impact, it twists (distributing the energy of the strike along the arm from the radius to the ulna), elbow moves to the outside and straightens out with the wrist on the center-line (redirecting the weapon to the outside of the body). The arm rebounds; and, returns to; bent 90° at the elbow and shoulder, forearm at 45°angle, over and in front of the head. The Upward Circular blocking strike is the same as above; except, the arm doesn't rebound and continues to move the same direction in a circular manner. In the Double Upward, both arms move at the same time. Sometimes, they cross, as in the 'X' block. When they don't, they don't cross the center-line.
Downward:
Movement of the arm is downward and outward from the inside (center-line) of the body towards the outside; traversing the solar plexus plane. The elbow straightens in line with the hand at impact, the ulna absorbing the blow, one hand's distance from the ribs. The hand is closed and centered on mid-thigh. The Downward Circular, tends to inscribe a 360° arc. A prime example: after completion of a Reverse Inward the arm circles, palm out, 360° to a Downward Straight blocking strike position. The reverse twin to the Outward Upward Twist is the Downward Extended blocking strike. The arm is 45° forward, elbow approximately two hands distance from the ribs; no longer in line with the hand, bent, and pointing to the outside. The Downward Straight has the arm 45° forward, straight at the elbow, and moves from the outside of the body towards the inside (center-line) Palm in or Palm out. The Double Downward blocking strike uses both arms at the same time. Sometimes they cross as in the 'X' block. When they don't, they don't cross the center-line.
'X':
Upward or downward, the 'X' block has both arms crossed at the forearms. For right handed people the right forearm is normally on top of the left. The impact is shared between the two arms; lessening it; but the block is usually used to allow capturing the offending appendage with your hands.
Shin:
Used to block incoming kicks. Usually, the shin is just lifted to passively get in the way. As experience is gained it is used in a more active way. Reverse the shin is directed towards the outside to provide the defense.
Shield:
The protecting arm is raised to the outside of your head. Your hand is on the back of your head, elbow pointing forward. Your forearm is along the side of your skull protecting your head.
Parries
Are executed in the same manner as most of the blocks. I don't need to bore you by repeating the descriptions covered in the Blocks. Instead, I will cover those movements that are different or not found in the Blocks.
Inward:
The Inward Brushing is like the Inward Block; except, the hand moves forward for the intercept; retracting, it 'brushes' along his arm redirecting it to the opposite shoulder. The Inward Downward parry 'presses' his arm down to solar plexus height. The hand is 45° forward, forearm parallel to the ground, elbow bent 90°, one hand's distance from the ribs. The Double Inward parries use both arms at the same time. Most of the times they cross. The Lower Inward parry moves below the solar plexus; intercepting with the palm, fingers pointing down, elbow on the ribs.
Outward:
Outward Brushing like the Outward Block; except, the hand moves forward for the intercept, then, "brushes" along his arm, as the hand retracts to the shoulder, redirecting the arm past. With the Outward Upward the arm moves upward at a 45° angle and is nearly straight, the elbow is slightly above the shoulder; hand is above the head, using the Reverse Knife Hand. The Outward Downward parry is limited by height constraints to a narrow zone extending from the pectoral muscle to the solar plexus. The arm moves just like the Outward; except the hand circles until the forearm is parallel to the ground and forces his arm to the outside of the body at solar plexus height.
Upward:
Movement of the arm, is from the outside of the body towards the inside (center-line). Arm is bent 90° at the elbow, the hand is open, wrist is bent at a 45° angle. Contact is with the palm. The arm moves at a 45° angle upwards; as well as forwards, to redirect upwards, with the forearm at a 45°angle, elbow two hands' distance from the body. Could, be called Inward Upward. In the Circular Upward parry, movement of the arm is along the center-line, straight up, circling 360°, the arm, itself, is straight, until 15° past top dead center. Usually used against the outside of the incoming strike. The Upward Downward Outward parry is the continuation of the Inward Downward parry motion to the outside of the body. The elbow is head height and the hand is palm out, pectoral muscle height, 45° forward.
Downward:
The Downward Outward parry is used when the incoming strike is below solar plexus level. It is executed in the same manner as the Upward Downward Outward parry. The back of the hand may be used.
Palm:
Is used along the center-line to intercept and stop a push. The fingers are pointing upwards. The Downward palm's arm is slightly bent, and moves down the center-line to below the groin.
Crane:
The wrist is bent forward, hand in a Crane position. Also known as a 'Scooping' parry. It is used to redirect and catch the incoming arm or leg in conjunction with many of the parry variations. The Crane Hook, or Hooking parry, is the exact reverse. With the wrist bent back, the back of the hand is used to 'Hook' or 'Scoop'.
Combinations
Trap:
Simultaneous Inward Twist blocking strike with the right and Inward Parry with the left, stopping and pinning his incoming weapon against the blocking strike's forearm.
Folding:
Like the Trap except; the Inward or Inward Twist blocking strike is delivered to the crook of his elbow 'folding' his arm.
Double:
Combines simultaneously the Downward Straight blocking strike with the Inward Parry. After the two elbows meet, the arms continue in the same direction with the parry arm becoming a Downward blocking strike and the other arm becoming an Inward blocking strike.
Manji:
As you step back, both hands move to the front pectoral muscle positioned vertically; front hand on top. They simultaneously block as you pivot to a fighting position; the front arm Inward blocking strike and the rear arm Downward blocking strike.
Philly Shell:
Lead hand is down and angled in towards the groin; back hand is in front of the face elbow down and open.
Thai:
Your front leg lifts to a Shin block, your weight leaning forward, while your front elbow is held slightly above it forearm vertical. Another version has your back hand replacing the front hand in the block
Hand Forms
Closed Fist
Fore Knuckle:
Place the fingertips in the crease of your palm. Fold your bent thumb over the 2nd and 3rd middle phalanges. Only the thumb and little finger are tight. The distal heads of the metacarpals are what you strike with. Preferably, the 2nd and 3rd, the 2nd before the 3rd. The Kata Punch rotates to a horizontal pronate position. It is not used except for Kata.
Back Knuckle:
With your hand closed as above, you strike with the posterior aspect of the metacarpal heads. The Back-Knuckle Twist strikes with the 5th through 2nd fore-knuckles by rotating your fist 180° posterior to anterior.
Hammer Fist:
Place the fingertips in the crease of your palm. Place your bent thumb on the 2nd proximal phalanx head. The medial aspect of the 5th metacarpal is the striking side for defining the Hammer Fist. The thumb is the striking side for the Reverse Hammer Fist. The Fore Knuckles are used for the so called "Thumbless Fist". And, the heads of the proximal phalanges are, also, used in striking in a hooking, or 'knocking' manner.
First Knuckle:
The hand is clenched as in the Fore Knuckle except the 2nd finger is extended and the distal phalanx of the thumb is pressing on the joint of the proximal and middle phalanges of the 2nd finger for striking in a thrusting manner.
Middle Knuckle:
The same as the First Knuckle except; the thumb is held as in the Fore Knuckle and the 3rd finger is extended for striking in a hooking manner, only.
Open Hand
Half Fist:
The fingers are bent so the tips are on, or near to, the anterior aspect of the metacarpal heads; the thumb straight, against the 2nd metacarpal. The strike is delivered with the heads of the proximal phalanges; primarily, the 3rd and 4th
Knife Hand:
The hand, (and all the fingers), is held straight. The striking surface is the pisiform bone of the wrist. The Reverse Knife Hand has the thumb folded in toward the palm, and the striking surface is the 2nd metacarpal proximal phalanx joint and 2nd proximal phalanx bone. The Knife Hand Thrust is delivered with the 2nd through 5th fingertips.
Finger Thrust:
Using the pads of the fingertips. One Finger refers to the 2nd digit extended and pressed against the middle phalanx of the 3rd digit; the other digits held as in the Half Fist. Supported One Finger has the 3rd digit posterior to and pressing on the 2nd digit to support it; the thumb on the middle phalanx of the 4th digit. Two Finger; the 2nd and 3rd digits are separated and strike independent targets the thumb is on the middle phalanx of the 4th digit the hand is closed. The Four Finger, also known as "Four Finger Eye Shot", is formed like the Knife Hand except, the fingers are separated. It is usually used palm down.
Tiger Mouth:
The fingers are tensed, together and slightly bent; the thumb is opposed, tensed and, also, slightly bent. The strike is delivered with the web of the hand.
Tiger Claw:
Hand is cupped, fingers outspread, strike with Palm Heel first, then fingertips. When grabbing with the Tiger Claw the tips of the fingers dig in to grip; not wrap around.
Crane Claw:
Fingers bent and outspread thumb straight alongside 2nd digit. Rake with the fingertips.
Palm:
Hand is held like the Knife Hand except; the palm is cupped. Strike is delivered in an inward motion with the whole area. The exact reverse of the Palm is the Back Hand.
Palm Heel:
The hand is flexed upward, the fingers together and slightly bent; the base of the Capitate carpal bone, or the Pisiform, forms the striking surface.
Crane:
The fingers are straight and bent 90° at the metacarpal heads, the thumb is on the joint of the proximal and middle phalanges of the 2nd finger. The wrist is bent, elbow down. The bent wrist forms the striking surface of the Crane Wrist. When the tips of all the digits are pressed together this forms the striking surface of the Crane Beak.
Thumb:
Usually used with the hand in the Knife Hand position. Used in a thrusting manner, the striking surface is the tip of the thumb. Placing the distal phalanx of the thumb on the joint of the proximal and middle phalanges of the 2nd finger, creates the Supported Thumb giving more versatility in striking. The Gouging Thumb is used when gripping. The thumb tip is pressed into the target and manipulated while the fingers anchor the hands to the target area.
Striking Methods
Legs
Describing the striking methods of the legs is greatly complicated by the fact that we do not always face the opponent in a Fighting or a Defense stance. Different possibilities exist for each stance; yet all are based on one movement. These are the basic kicks. Many of these kicks are combined to create, the misnomer, 'new kicks'; The Front and Rear kick combination being one such, the Front Snap Roundhouse being another. In all these cases they are not new kicks, they are, simply, combinations of existing kicks.
Front Snap:
Delivered in a four (4) count movement, this kick travels along the center-line; lift the leg pointing the knee at the target, kick the target with the tip of the shoe, retract the foot to the support knee, plant forward, toward the opponent, and set it down. When barefoot use ball of the foot for waist height and above. To execute the Front Push kick, use the ball of the foot to strike; then, continue the motion to 'push' on the target, and don't retract the foot all the way to the support knee. The Front Thrust kick is delivered with the heel. The knee does not point at the target as it is elevated too high. The knee is lowered as the leg straightens in a thrusting motion.
Naihanchi:
The foot is rotated laterally, the knee bent, as the leg is lifted. The kick travels straight to the target along the center-line. The sole of the foot strikes, and the knee straightens; causing the force to be applied downwards against the target. Usually used against the knee joint.
45°:
The 45° kick is executed from the fighting position, front leg. It is used to strike the groin with the toes or instep. Since the front leg is already slightly bent, you lift the leg straight up not changing anything. Once the foot clears the knee, snap the leg straight to strike.
Rear:
Delivered in a four count movement, this kick travels along the center-line; lift the foot 45° upward to the rear by bending the knee, bend forward at the waist and deliver the strike, brushing the support leg, retract the foot to the support knee, brushing the support leg, set it down. The Spinning Rear kick is executed by pivoting on the support foot; so, the heel is pointing at the opponent. Your back leg, slides on the ground to the support foot; and the rest of the kick is as above. Shift your weight forward to the kicking leg and plant forward, toward the opponent.
Roundhouse:
Delivered in a four-count movement, this kick travels in a circular inward motion to the center-line entering at a 90° angle. Executed the same as the Front Snap kick except; the foot lifts to the outside of the knee. From the back leg, the front foot does not pivot until the point and kick stage (the lift stage is separated from pointing in this iteration of the kick). The Flip Roundhouse is executed like the Front Snap kick along the center-line; except, the leg extends to the side of the target and, at the last, the support leg pivots so the foot of the kicking leg 'flips' over into the target. The Reverse Roundhouse is performed by lifting and rotating the leg, swinging the foot across the center-line, then kicking in an upward outward motion to the center-line target. Requires leaning backwards slightly to gain height.
Side:
Delivered in a four count movement, this kick travels along the center-line; lift the leg pointing the knee at the target, kick the target twisting the support foot at the last; so, the heel points towards the target and the heel of the kicking foot makes the contact, retract the foot to the support knee, pivoting the support foot to a Crane stance, plant forward, toward the opponent, and set it down. The Thrust Side kick is delivered with the leg in the same manner as the Front Thrust kick except; the foot and leg are horizontal, and the support leg heel is pointing towards the opponent. Usually used with crossing movements. The Spinning Side kick rotates to the rear and delivers the kick along the center-line in a thrusting manner. The Hop Side kick is delivered in a thrusting manner. The back foot, in a powerful movement, is brought forward and replaces, by striking, the front foot. The rear foot should land one to one and a half feet in front of where the front foot was. While airborne the kick is delivered.
Back:
Like the Thrust Side kick except; the leg circles to the outside; then, travels in a circular outward motion to the center-line, entering at a 45° angle. The Spinning Back kick is the same as the Spinning Side kick, except for the 45° angle of entry.
Heel (Hook):
The reverse of the Roundhouse kick, this kick travels in a circular outward motion to the center-line entering at a 90° angle. The leg is lifted while straight then the heel is pulled into the target by the hamstrings. The Spinning Heel and Heel Hook kick is the same except; with the former, the leg is kept straight throughout the movement, with the later, the leg pulls the heel towards the buttocks to strike. While the Spinning Heel kick enters at 90°, the Spinning Heel Hook can enter at more extreme angles. The 45° kicks are so named because they enter while they are rising or descending at 45°. Vertical kicks are executed with the leg held straight; either Rising or Descending along the center-line. The descending kick is called an "Axe" kick in many systems
Knees
Rising:
Knee lifts along the center-line, striking with the head of the Femur. The 45° is delivered as named; from the outside towards the center-line.
Dropping:
Lowering of the knee causing the body to reduce its height. Used in the Reverse Neutral Bow stance and to drop your body weight on your opponent using your knee.
Shins
Lift:
Used to the front, by lifting the whole leg straight up and striking with the shin.
Thai:
Like the Roundhouse kick from the back leg except; the support foot doesn't pivot past straight, the leg rises 45° with a slight bend of the leg, the hips do not shift much past straight, the guards do not change, and you strike with the shin and not the foot. Target areas are the ribs and the Trochanter of the Femur.
Roundhouse:
A low Roundhouse kick where the knee rotates downward, striking with the shin into his leg. Sometimes referred to as a "Low Kick".
Aerial
Specialty kicks, these are too numerous to list. Most are combinations of kicks already listed.
Combinations
Scissor:
A simultaneous Front and Heel kick called a 'Scissor kick' is executed against the side of an opponent's knee and ankle. Also used in an Aerial attack to take the opponent down.
Bicycle:
Just like a bicycle, one leg moves up while the other goes down. In this case there are two different actions available. The lower foot hooks the ankle/foot and pulls up while the upper foot pushes on the knee to cause him to fall backwards. The second reverses the process with the lower foot pushing against his ankle while the upper foot hooks and pulls on his knee, causing him to fall forward into your arms. Both are best executed just before his advancing foot touches the ground.
Arms
A word of warning. Proper use of the strikes described here, is critically dependent upon proper lower body adjustments. You must learn these adjustments to be able to utilize these strikes to their fullest.
Jab:
Executed from the front hand, this punch travels straight to the target, with no previous movement; then, returns, straight back, without dropping, to the front hand guard position of the Fighting posture. The Uppercut Jab is executed from a Slip.
Cross:
Delivered with the back hand from the guard position of the Fighting posture, the arm travels forward, elbow down, hand shoulder height. At impact, the arm is in proper position with the elbow slightly bent. The fist rotates (a few degrees over vertical, the 2nd digit fore knuckle first to impact) with the wrist held straight in both planes (the wrist bends downwards on impact with the target. The shoulder lifts, protecting the chin.
Hook:
This punch can travel like a fish hook; first downward, circling to the outside, then, upward inward and forward at a 45° angle, the elbow always inline behind the punch. The hand is rotated to allow proper contact with the fore knuckles. Or: it can move horizontally; reserving any downward movement to the end of the strike. It can, also, be pulled into the target by the biceps, again, rotated to allow proper contact with the fore knuckles.
Uppercut:
The reverse of the Hook punch. The Uppercut moves from the outside; first downward, circling to the inside, then, upward and forward. Normally used to strike body height, it can shoot straight up between his guards to hit his head.
Middle:
Many times called the "Vertical" punch, is delivered brushing the ribs, with your elbow down all the way to the impact with the wrist held straight in both planes so the 2nd digit fore knuckle is first to impact. The forearm rotates the fist a few degrees past vertical before impact. The Kata punch is delivered like the Middle punch except; your forearm rotates the fist (elbow remains pointing down, not rotated to the side) to a horizontal, palm down position (pronate). This punch is used in kata only.
Side:
Another punch used only in kata. The punch travels across the body solar plexus high. The elbow never loses contact with the body. The fist rotates to a horizontal palm down position, one hand's distance from the ribs, like the Kata punch. The Side Double punch (a misnomer), again, is used, exclusively in kata. The back hand executes the Side punch at solar plexus height; while the front hand executes a Hammer Fist strike, shoulder height, to the side. The forearms are parallel.
Double:
Both hands simultaneously punch forward in conjunction with stepping forward. The back hand strikes high, to his upper pectoral area; the front hand strikes low, under his opposite pectoral muscle, similar, to an uppercut. The hands are held apart 45°; by one and a half to two hands distance.
Back Knuckle:
Strikes straight forward, penetrating the target area; Or, utilized with the Twisting Back Knuckle. The Whipping Back Knuckle strike utilizes a rapid straightening of the arm in conjunction with an outward movement by the shoulder, similar, to a High Rear Elbow strike. This causes the forearm and hand to accelerate in an arcing motion. The Dropping Back Knuckle is executed from an overhead position, descending like a Low Rear Elbow strike but with a whipping motion.
Spinning:
Executed from a Crossing stance, the Hammer Fist is used not the Back Knuckle for your safety's sake.
Forearms
Inside:
Strikes with the radius bone. Used to "clothesline" the neck and throat, bend the elbow, strike the biceps and calf muscles.
Outside:
Strikes with the ulna bone Used to break the elbow, strike the neck and throat, stop or redirect the arms and legs.
45°:
The direction of a strike either rising or descending. Used with a twist and the ulna bone.
Vertical/Horizontal:
Position of the forearm in relation to you.
Twisting:
Internal rotation of the bones during impact.
Vibrating:
A 'shaking' kind of motion in conjunction with the strike. Used with the ulna bone, a twist, and with the hand open.
Sawing:
Forward and back movement of the bone against his target after the strike.
Elbows
Front:
Used with stepping forward, the Front Elbow strike moves in an inward direction towards the center-line. At times, the point of the elbow is used to strike. This is more of a poke. Stepping forward the elbow is raised to chest height with the forearm on top, palm to the ear and driven into the point by the body's forward momentum. The Rising Elbow lifts straight up to over the head; and again, the hand is close to the ear. It is done to the side, also. The Dropping Elbow descends from overhead; and, is, usually, combined with lowering the body height to increase the power. The Circular Elbow inscribes a 360° arc crossing the center-line. Usually used to trap his arms.
Side:
When the elbow moves in an outward motion above the solar plexus it is called a High Side elbow and it, can be mistaken for a Rear Elbow. When the palm of the other hand is used to apply more power to the strike, it is called, Supported. Below the solar plexus level these two strikes are called Low and Low Supported.
Rear:
When the elbow is not only directed towards the rear, but, crosses the frontal plane of the body it qualifies as a Rear Elbow strike. The 45° Descending strike starts with the arm lifted overhead to the front or side. As you pivot it strikes into the target. The 45° Rising is another. Both can be Supported. Circling the arm Overhead and downward is usually used to trap his arms. The Low and Low Supported is below the solar plexus level. The Rising Rear Elbow is executed with the forearm vertical, hand below the elbow, palm turned to the rear. The elbow lifts straight up.
Grips
Gable/Reverse:
With your right forearm horizontal; your left hand grasps your right palm (pronate) with your left palm (supinate) forming a 90° angle. Reverse is executed by closing your right hand and reaching over with your left to grasp your right fist, this elevates your elbow making it difficult for him to grab your left forearm.
Figure Four:
Occurs when your right hand is grasping your left forearm or bicep (or reversed) and not the hand as in the Gable grip. Also used in leg locks.
Finger(s)/Reverse:
You capture a finger then maneuver it into a position that allows you to create pain or break it. Your thumb is on the side that prevents further movement of his finger away from the pressure. Fingers entail the same principles; but, with a palm to palm orientation and more than one finger captured. As soon as possible your other hand will join to maneuver into a position or help immobilize his hand. Reverse is executed by grasping the back of his hand and moving it to a position where your other hand will join to create the pain
Restraints
Folding:
Starting position: Kneeling on right knee, left knee up, his left arm is on the inside of our right arm, he is face down on the ground. Catch his left hand with the left, palm against the back of his hand, thumb on the styloid process of his ulna, fingers gripping his thumb, place the right forearm on the distal anterior portion of his humerus; fold his arm 90° on top of his back, right hand on his left shoulder, left forearm in the crook of right arm, left arm is bent 90°, left hand maintains grip on his left hand, left elbow on top of his bent elbow; right arm is bent 90°, forearm under his bent left arm, on his back; to cause pain: straighten the right arm, elevating his bent arm; to restrain, Or. To dislocate his shoulder: continue elevating his arm. If you wish to change hands while leaving him restrained, from the lock: reposition your left leg to behind his left elbow; pull his left arm, so his elbow is against your medial left shin; and pin, your left elbow, (anterior to the shin) is on top of his left elbow with your left hand applying pressure to the pin; maintaining the pin, elevate his left hand enough to extricate your right arm from the lock; replace your left hand with your right hand, thumb proximal to the posterior medial metacarpal heads (back of the hand on the last two bones near the knuckles); slide your left hand, on top of his elbow pressing down at all times, to the back of his elbow, grab the elbow with your left hand; at the same time: release pressure on his arm by lowering his left hand slightly, swing his left arm counter clockwise, bringing his elbow as close to his spine as possible; then rotate his left hand to his right scapula - or - as far as possible, to complete the pin.
Vertical:
Starting position: Kneeling on right knee, left knee up, his left arm is on the inside of our right arm, he is face down on the ground. Catch his left hand with your left, palm against the back of his hand, thumb on the styloid process of his ulna, fingers gripping his thumb, place the right forearm on the distal anterior portion of his humerus; place your right pectoral over and on left hand; press downwards to force his left shoulder to the ground; place right radius against his left elbow, pull back against elbow to restrain or break; for additional leverage place left elbow against right fist and press in to chest. Starting position: You are standing, you have his left wrist in your left hand, he is face down on the ground. Reach down and grab his left wrist with your right hand as you step forward 45° to a crossing stance with your right foot. Swing your left foot forward (facing him as he lays on the ground) and slam your left foot under his left shoulder kicking his neck with your left foot. With his arm in the air; press downwards as you reach down over your right hand with your left hand and catch his left hand. Elevate his arm so his hand is directly over his left shoulder as you press down and twist his left hand and arm clockwise so his elbow is against your left shin; bend your left knee to apply pressure on his left elbow with your shin to restrain.
Horizontal:
Starting position: He is falling onto his stomach, you have hold of his left wrist. Maintain your grip on his left arm as he goes to ground; quickly step along side of him and kneel with the right knee on the ground beside his head, shin resting on his shoulder joint; lean weight onto right shin, pull up on his left arm. Or. Kneel on his humerus just above his elbow joint and pull up on his arm.
Turn Over:
On Back. Position his right arm on right knee; step over his head with the left leg using the right leg to turn him over to his stomach; reverse right leg dropping shin on his neck as you kneel with right leg; use left hand to twist his right arm to arm lock; place his right elbow in crook of left leg for lockup.
Headlocks
Clinch:
Pins his head to your body. Both hands grab the back of his head one hand on the sagittal suture of the right and left parietal bones, the other pinning that hand tightly against his skull, forearms are vertical and locked against his upper body, elbows in.
Guillotine:
Executed by sliding your right Horizontal Forearm under his head to the front of his throat; your left hand grasps your right palm (both thumbs are up) with your left palm (Gable grip), then pulls straight up (to assist your right arm in the choke); continue moving jerking and dragging him around while you strangle him. A variation is to close your right hand and reach over with your left to grasp your right fist (Reverse Gable grip), this elevates your elbow making it difficult for him to grab your left forearm. A slight variation is to put his neck in the crook of your arm and apply pressure to the sides of his neck using it as a blood blocker rather than an air blocker.
Rear Naked:
Executed by sliding your right Horizontal Forearm under his head and around his neck and placing your left hand on the back of his head, with your left hand push his neck into the crook of your right arm, and grab your left bicep with your right hand (Figure Four grip). Push with your left hand against the back of his head while you squeeze his neck with your right arm (this cuts off his blood supply to the brain and can even crush his larynx and break his neck). Make sure your eyes are protected by keeping your forehead on the back of your left hand.
Cross Face:
Like the Guillotine, but much deadlier. Pull his head to waist height, then at the same time: forcefully use your right forearm to turn his head to your left to a cross face position (your right ulna tight against his cheek, under the cheek bone), you collapse your upper body onto the top of his head and upper back; your left hand Gabble grips your right hand pinning his head as tightly as possible, violently arch up with your hips (twisting your forearm) to break his neck.