Post by Styles on Apr 27, 2010 13:31:14 GMT -7
I'm honestly surprised I've not seen a post for one of the most ancient and effective combat arts to date.
We'll start off Simple. I'll give off the discipline, and we'll elaborate on it step by step, until a decent progression takes hold.
1. Bujinkan
Not sure if I spelled that right, but it's besides the point right now.
A key component to this art is not strength, but leverage over your opponent's embodiment. Strength is there to compliment the finalization of a refined technique, rather than be used to bully your way through it sloppily. Patience is truly a virtue, and remaining calm genuinely helps keep a keen mind.
Note, also, that this discipline does not focus (or at least in my recent experiences) on submission attempts, per se. There is a secondary art which I will mention later that compliments this style VERY well, despite it's modern day hype.
Moving along; I've recently undertaken the discipline of Bujinkan, which to My understanding is a Japanese variation, or improvisation, of Judo and Jiu Jitsu in combination with one another. This may or may not be true, but having witnessed it first hand and sampling it as well, these seem like the two most likely styles formatted for the discipline. This art is brutal, dangerous, and ultimately lethal when used properly. It's similar to Ninjutsu, which is meant to wholly annihilate your opponent, but has a lesser tendency to use striking, both off and on the battelfield.
Bujinkan focuses, primarily from observation, on throws and joint locks to ground your opponent (with the occasional neccessity for a strike or useage of a melee weapon); both immobilzing and effectively debilitating, these cause inumerable points of impact, as well as several otherwise overlooked joint locks which completely annihilate the body.
Throws are enacted most effectively through points of leverage upon the gi. (it is a Gi and no-Gi art, but I do Gi-form)
The two most effective regions for leverage are:
The Lapel ("collar" of the gi on the neck near the collar bone on either side)
The Sleeve (normally near the elbow, to disseude functinality)
By manipulating the arm at the elbow, in conjunction with using your own core to persist into a driving cente force upon your opponent, there's not much one can do to defend against a properly instigated throw. It simply is far too difficult to realistically defend your arm against the strength and leverage of an opponent having that advantageous point of leverage without having your own (which isn't to say you may not, mind you) as well as being manipulated by the Lapel, in which a knowledgeable martial artis will know o use their core as the source of strength, rather than their actual appendages or grip.
Mostly recognizing the hip as the center upon yourself and your opponent (though this isn't always the case, just for basic throws) this allows for quick and effective neutralization of your opponent's entire body, as they may be lfited from the ground by using leverage points, and a keen balancing act upon your own body to manipulate them into being slammed to the ground after a graceful throw. The hip is an essential partner in the design of a throw (which makes it a throw rather than a trip or a take-down) of which you ultimately compliment it's rigidity by using your core (abdomenal, pectoral, lateral) strength, rather than the utilization of strength of the limbs, and acutely design each movement to further enhance the power accented into the technique.
I'm aware I'm being vague, but this is too open up for discussion.
Now then, once you've thrown an opponent to the ground, that's where the grappling begins, or could begin, depending on your method of fighting: but considering the thread, let's continue forth with grappling, shall we?
Simple hip throw: From the beginning, keeping things simple. You feet are squared with one another, and you're standing almost upright, bent forward perhaps slightly for comfort. Your right hand has a sturdy grip on the left side lapel of your opponent, fingers coile dinward to take up the weave, knuckles and back of the fist almost against your opponent's collarbone. Your left hand has a grip on your opponent's right arm, on the sleve very close or directly underneath the point of the elbow, to maximize leverage.
Very simple start, very simple ending.
You take your left foot and circle it around behind your right leg, fully. In doing so, you've brought the right side of your body, naturally, very cose to your opponent. You place the ball of your left foot on the ground and pivot on that ball. Your right foot will eventually shoot outward to it's respective side, in unison with the other variables o this technique.
That left foot brings you hips inward to the hips of your opponent, at this point, your right side hip should be well tucked against the groin area, or waist region of your opponent. Whilst you were turning, your right hand would be pulling towards you, bringing your upper and lower arm into the torso of your opponent tightly, arm bent and mildy flexed to keep a heavy grip. While you're pulling towards yourself with your right, you're also slightly driving that hand upward while it's gripping the lapel, to enable a slight loss of equilibrium.
Simultaneously with the left foot step and the right arm pull and drive, your left arm is pulling outward the right arm of your opponent, and slightly down as your entire body is turned/ing. This adds another point of leverage which helps disseude the enemy from being able to readily avoid being throw.
Once you've stepped around with your left, and are pivoting on the ball of your left foot, whilst pulling inward on the lapel of your opponent's gi with your right; driving the fist upward, and pulling outward and slightly down with your left on your opponent's right gi sleeve at the elbow, your right leg will straighten out very sharply to the right, bending at the leg flexing the quadriceps to attain rigidity.
By straightening the right leg, you've added a secondary flash of momentum, as well as replacing your own center of gravity, in which you're now lowered when performing the throw, making it much more difficult for the opponent to realistically defend against it.
That right leg straighten out to it's side, and in doing so, your body should already be driving forward, but now forward is facing the opposite direction at the beginning of this technique.
Your hips drive backward momentarily, and slightly upward to boost your opponent. Simultaneously you're pulling upon the right elbow sleeve of the Gi which your lef thand had ahold of the entire time, once the opponent is boosted to add a fling into the throw, and pull downward towards the ground.
Your right hand which was pulling towards you will continue to do so, and is tucked against your side as the opponent is bosted by your hips. Though now, as the opponent become lateral with the ground, the right hand grasping the left lapel is no longer driving upward, but complimenting the left buy sinking downward, due to natural movement of the opponent's body.
You bend forward only slightly, so as not to lose your balance in performing the technique and becoming vulnerable from the start.
I'm not so well at explaining the actual technique as doing it, but for such a simple throw it's very impressive when performed correctly. You're not aiming to throw your opponent on any specific part of their body, as all persons will fall different ways depending on variables. Bottom line is, you want them on the ground, and this is one simple way to do it.
I will be editing this post as I find mistakes or feel I'v left something out. feel free to criticize, add, and discuss. This is only one technique out of thousands upon thousands of possibilities, not including variation.
We'll start off Simple. I'll give off the discipline, and we'll elaborate on it step by step, until a decent progression takes hold.
1. Bujinkan
Not sure if I spelled that right, but it's besides the point right now.
A key component to this art is not strength, but leverage over your opponent's embodiment. Strength is there to compliment the finalization of a refined technique, rather than be used to bully your way through it sloppily. Patience is truly a virtue, and remaining calm genuinely helps keep a keen mind.
Note, also, that this discipline does not focus (or at least in my recent experiences) on submission attempts, per se. There is a secondary art which I will mention later that compliments this style VERY well, despite it's modern day hype.
Moving along; I've recently undertaken the discipline of Bujinkan, which to My understanding is a Japanese variation, or improvisation, of Judo and Jiu Jitsu in combination with one another. This may or may not be true, but having witnessed it first hand and sampling it as well, these seem like the two most likely styles formatted for the discipline. This art is brutal, dangerous, and ultimately lethal when used properly. It's similar to Ninjutsu, which is meant to wholly annihilate your opponent, but has a lesser tendency to use striking, both off and on the battelfield.
Bujinkan focuses, primarily from observation, on throws and joint locks to ground your opponent (with the occasional neccessity for a strike or useage of a melee weapon); both immobilzing and effectively debilitating, these cause inumerable points of impact, as well as several otherwise overlooked joint locks which completely annihilate the body.
Throws are enacted most effectively through points of leverage upon the gi. (it is a Gi and no-Gi art, but I do Gi-form)
The two most effective regions for leverage are:
The Lapel ("collar" of the gi on the neck near the collar bone on either side)
The Sleeve (normally near the elbow, to disseude functinality)
By manipulating the arm at the elbow, in conjunction with using your own core to persist into a driving cente force upon your opponent, there's not much one can do to defend against a properly instigated throw. It simply is far too difficult to realistically defend your arm against the strength and leverage of an opponent having that advantageous point of leverage without having your own (which isn't to say you may not, mind you) as well as being manipulated by the Lapel, in which a knowledgeable martial artis will know o use their core as the source of strength, rather than their actual appendages or grip.
Mostly recognizing the hip as the center upon yourself and your opponent (though this isn't always the case, just for basic throws) this allows for quick and effective neutralization of your opponent's entire body, as they may be lfited from the ground by using leverage points, and a keen balancing act upon your own body to manipulate them into being slammed to the ground after a graceful throw. The hip is an essential partner in the design of a throw (which makes it a throw rather than a trip or a take-down) of which you ultimately compliment it's rigidity by using your core (abdomenal, pectoral, lateral) strength, rather than the utilization of strength of the limbs, and acutely design each movement to further enhance the power accented into the technique.
I'm aware I'm being vague, but this is too open up for discussion.
Now then, once you've thrown an opponent to the ground, that's where the grappling begins, or could begin, depending on your method of fighting: but considering the thread, let's continue forth with grappling, shall we?
Simple hip throw: From the beginning, keeping things simple. You feet are squared with one another, and you're standing almost upright, bent forward perhaps slightly for comfort. Your right hand has a sturdy grip on the left side lapel of your opponent, fingers coile dinward to take up the weave, knuckles and back of the fist almost against your opponent's collarbone. Your left hand has a grip on your opponent's right arm, on the sleve very close or directly underneath the point of the elbow, to maximize leverage.
Very simple start, very simple ending.
You take your left foot and circle it around behind your right leg, fully. In doing so, you've brought the right side of your body, naturally, very cose to your opponent. You place the ball of your left foot on the ground and pivot on that ball. Your right foot will eventually shoot outward to it's respective side, in unison with the other variables o this technique.
That left foot brings you hips inward to the hips of your opponent, at this point, your right side hip should be well tucked against the groin area, or waist region of your opponent. Whilst you were turning, your right hand would be pulling towards you, bringing your upper and lower arm into the torso of your opponent tightly, arm bent and mildy flexed to keep a heavy grip. While you're pulling towards yourself with your right, you're also slightly driving that hand upward while it's gripping the lapel, to enable a slight loss of equilibrium.
Simultaneously with the left foot step and the right arm pull and drive, your left arm is pulling outward the right arm of your opponent, and slightly down as your entire body is turned/ing. This adds another point of leverage which helps disseude the enemy from being able to readily avoid being throw.
Once you've stepped around with your left, and are pivoting on the ball of your left foot, whilst pulling inward on the lapel of your opponent's gi with your right; driving the fist upward, and pulling outward and slightly down with your left on your opponent's right gi sleeve at the elbow, your right leg will straighten out very sharply to the right, bending at the leg flexing the quadriceps to attain rigidity.
By straightening the right leg, you've added a secondary flash of momentum, as well as replacing your own center of gravity, in which you're now lowered when performing the throw, making it much more difficult for the opponent to realistically defend against it.
That right leg straighten out to it's side, and in doing so, your body should already be driving forward, but now forward is facing the opposite direction at the beginning of this technique.
Your hips drive backward momentarily, and slightly upward to boost your opponent. Simultaneously you're pulling upon the right elbow sleeve of the Gi which your lef thand had ahold of the entire time, once the opponent is boosted to add a fling into the throw, and pull downward towards the ground.
Your right hand which was pulling towards you will continue to do so, and is tucked against your side as the opponent is bosted by your hips. Though now, as the opponent become lateral with the ground, the right hand grasping the left lapel is no longer driving upward, but complimenting the left buy sinking downward, due to natural movement of the opponent's body.
You bend forward only slightly, so as not to lose your balance in performing the technique and becoming vulnerable from the start.
I'm not so well at explaining the actual technique as doing it, but for such a simple throw it's very impressive when performed correctly. You're not aiming to throw your opponent on any specific part of their body, as all persons will fall different ways depending on variables. Bottom line is, you want them on the ground, and this is one simple way to do it.
I will be editing this post as I find mistakes or feel I'v left something out. feel free to criticize, add, and discuss. This is only one technique out of thousands upon thousands of possibilities, not including variation.
