Tuesday, 15 January 2008


This posture is sometimes done in the slow form with the lower arm in the palm up position; this is only done to allow beginners to understand where to place their hands. The correct posture is
done with the lower arm in a palm down position. Photo No. 1. In this posture the harder area of the forearm is used to block the attack and so not damage the soft area of the arm. There are times however when the hold the ball posture is used.

You are being attacked with a left low upper punch to your right rib area, (one of the most potent areas to attack). You bring the left arm across to your right as you swivel slightly to the right in order to keep your palms in your center. Your weight is placed on the left leg to receive the power. You block the attacker’s arm from underneath, keeping your right palm on top of your left to stop his hand from slipping upward and re-attacking.

Photo No. 2. You must keep your left fingers relaxed to prevent damage. This technique can be practiced on both sides one after the other as you swivel on your heels to meet the attack and it can become quite fast. Photo No. 3. This sort of blocking technique can be used to block all kinds of middle area kicks followed up by an immediate attack, (covered in the advanced section.) P’ENG

P’eng is one of the main techniques in t’ai chi and it’s uses are many. I will cover many of the p’eng techniques in the advanced section. It’s usual use is that of defense but a more unknown use is that of attack. For p’eng see PHOTO No. 4. If we take up from the last block to the right, we are able to very quickly grab the left wrist with the right palm, quickly step up with your left foot and attack the ‘mind point’ (in acupuncture, the jaw) with back fist. Photo No. 5. double peng

If your attacker now attacks with right low upper punch to your left rib area, you quickly step back and swivel to your left with the weight on your right foot as you block using the same low block as in photo 3.

You then step forward with your right foot and the right fist comes up from underneath your left arm to attack with a downward back fist to the chin. Photo No. 6. Note that the left palm is guarding the attacker s right arm to sense what it will do next. For double p’eng see Photo No. 7.


The posture of double p’eng can also be used for the blocking technique to begin this next posture. You are being attacked by a right (or left) fist. You block using double p’eng with your right arm.Photo No. 8. The left palm now comes over the top of the attacker’s wrist and grabs it with some help from the right palm. Photo No. 9.

You then twist the attacker’s wrist in the direction that it does not want to go and pull him downward using the power from the waist. Photo No. 10

Be careful with this one when practicing as it can cause damage without even trying.

Another use of Lu is to use it only as a blocking technique. If you are being attacked with left low punch to your right rib area. Swivel to your right to keep your centers in line and slam down onto the opponent’s left arm with the back of your left forearm, keeping your right arm underneath to trap the arm. Photo No. 11.

If you are being attacked on your left side, swivel to meet it and as you turn, draw both arms in toward you slightly. Then as you meet the attacker’s arm, thrust both of your forearms downward to catch his right arm in a scissors block. The power for this comes from the straightening of the left leg. Photo No. 12. If you pull your hands apart you will see that the ‘LU’ posture is used here. NB: I will only show photos of those postures that aren’t so well known. Most of the major postures are quite well known.

TAI CHI : CHEE OR (Squeeze, sometimes called press)

From any of the last blocking or attacking movements, bring your left palm to the outside of your right wrist and use lifting energy to attack to his lower stomach area. This attack can either be a powerful pushing movement as in Photo No. 13, or it can be a snapping downward attack upon the abdomen at the junction of the diaphragm.

Ebook Martial Arts


Sunday, 6 January 2008

Ninja : Escapes and Reversals

Most combat techniques of Ninjitsu involve target avoidance and evasion. The Ninja value peace and harmony above all else, therefore, they have a simple and preferred method of dealing with violence run away.

Only when all avenues of escape have been exhausted is a martial artist permitted to use his deadly art to defend himself. Most martial arts schools begin by teaching this concept, then spend decades learning how to kill, cripple and maim an attacker.

Ninjitsu, however, is the Way of the Invisible Fist. The practice is to vanish from sight rather than engage the enemy in a conflict in which either or both combatants might be injured. More on those techniques in a later section. Still, even a skilled Ninja can be cornered and trapped. Not only under the gun as demonstrated in the previous section, but also by an enemy intent on fighting who cannot be avoided. Most fights begin standing up with a few kicks or punches, progress to grapples and throws, and end on the mat. Escaping or reversing grapples and throws is the province of Kumi Uchi.


This technique works well against a rear naked choke or side headlock. Should the enemy seize you and seek to employ the rear choke, the first consideration is freeing the windpipe. To accomplish this, turn the head inward toward the enemy ribs and dig into his torso with your
chin. This is an old wrestling trick to make the enemy jump so his balance can be broken. Second, it will provide a breathing space and take the pressure off your neck so that the headlock, which painful, is not a choke-hold.

Fig. 1 The enemy has secured a Rear Naked Choke from behind, his forearm pressing against the windpipe, making it difficult to breathe. Relieve this pressure by gripping his wrist from below and turning you heard to the open side of his hold. This is a good example of starting in the opposite direction from the true intent.

Fig. 2 Back Out Step with the left leg, unexpectedly turning the Choke into a Side Headlock without the enemy as permission. Or start from the Headlock, since it is a commonly encountered hold. Reach over his shoulder and cup his chin in your right hand. Tilt his head back. Reach behind his left knee with your left hand and bend his knee by pressing on the ligaments behind the kneecap.

Fig. 3 Drop onto your left knee, turning the enemy by the two holds to fall across your upraised right knee. This will snap his spine if done quickly. Immediately releasing the arm around your head or neck.


Should the enemy seize you about the waist in seeking to capture you, it is possible to reverse positions with him or escape by employing the Standing Switch.

Fig. 1 -As the waist cinch is secured, drive your left arm down along the inside of the enemy’s knee. This locks his elbow between your hip and tricep. Toe-out with the left foot and drop the left shoulder.

Fig. 2 -Pivot on the ball of the left foot, swinging the right leg for added momentum. This action will certainly break the waist cinch or dislocate the enemy’s elbow. Step behind the enemy with your right foot, maintaining a grip on his thigh with your left hand. From here you may step behind with the left foot and cinch him, or slide up and apply the Japanese Strangle.


Fig. 1 -Should the enemy seize you by both wrists, free your hands by rotating them up and to the outside line. (Double Mirror Block) Step forward with the left foot, striking with double palm heels to the enemy’s chest. This will drive him slightly back, breaking his balance to the rear. Grip the enemy lapels with both hands. If lapels are not available, cup both hands behind his head.

Fig. 2 -Maintaining your hold on the enemy, sit down near your left heel, pulling him forward and onto you, taking advantage of his natural reaction in trying to save himself from being pushed backward. Execute Ke-Age (kicking up) with the right leg. Strike the enemy groin or Hara.

Fig. 3 -Use your grip on the enemy to support him over you. This prevents his falling forward too fast and striking you with his head. Place the left foot in the enemy’s Hara and push up strongly with both legs, lifting him off the ground.

Fig. 4 -Push the enemy clear allowing him to Backfall to a head-to-head position above you. The impact alone of this fall is sufficient to drive the air from his lungs and incapacitate him. Using your grip on the enemy to maintain your momentum, execute a back roll swinging the feet overhead, tucking the head to one side, and pulling with both hands.

Fig. 5 -Completing the Back Roll, land with the buttocks on the enemy chest or abdomen, driving the air from his lungs and crushing the chest cavity. Both knees should land on his biceps, rupturing the muscles. Release the grip on the enemy with the right hand and execute a driving Palm Heel to the enemy chin, snapping his neck.

The Wheel Throw, or Tomoe-Nage, illustrates one of the fundamental principles common to all martial arts yielding. By alternately pushing the enemy back then using his own resistance to pull him forward, it is easy to unbalance even a much larger opponent. And send him crashing to the mat. TomoeNage is a basic sport Judo throw, but has it's roots in Jujitsu., the much more ancient martial art of the Samurai.


These techniques are used in the event the enemy is successful in cornering you and launches a Fist attack. They result in the enemy’s permanent blindness, making possible your escape.

Fig. 1 -Should the enemy throw a right lead, fall back slightly and counter with a right Mirror Block. This action crosses the enemy with his own arm, preventing him from using his left hand to attack. Bear in mind that in Ninjitsu one does not truly block-one strikes. Therefore, the mirror-block is actually an attack to the wrist. By striking the ulnar nerve at this point, one numbs the arm.

Fig. 2 -Immediately overturn with the right hand, trapping tile enemy’s right wrist and pulling him forward. Remember, he is forward already, heaving advanced to launch his attack in the first place. This action pulls him even farther, breaking his balance. As you begin to tip the enemy over, extend the left hand palm down, with the index and middle fingers outstretched.
This forms the Twin Dragon Fist. The third and little fingers are curled into the hand. Do not stiffen tile fingers as they will be easily broken. Do not drive forward with the fingers; rather, draw the enemy to them. No great amount of strength is required only accuracy.

Fig. 3 -If the enemy is more cautious and launches a left jab or hook, fall back slightly, executing a right shoulder-block. Again, you are actually attacking the wrist, in this case the radial nerve. This action opens the enemy center line to attack.

Fig. 4 -Before the enemy’s arm can be recovered from his left jab, strike out from the right shoulder-block position with the Twin Dragon Fist, attacking the eyes. Do not stiffen the fingers; imitate the action of a serpent striking. Use the left arm to execute a depressing forearm block as you lash out. This will deflect any attack that might have been launched by the enemy’s right fist or, as in this case, will trap his left arm, preventing him from saving himself.

Blinding a fellow human being is an extreme measure and should only be used in selfdefense. Deliberately breaking into a mans castle to rob him or kill him is NOT self-defense. It should also be noted that these two techniques, the Inside and Outside Finger Jab are the hallmarks
of the Black Dragon Fighting Society self defense system. It may be brutal, but is it more brutal than being killed? That is the question to be considered.


Ninjitsu is known as the Art of Invisibility. Inpo, the Art of Hiding, teaches us how to remain unseen once we are out of the enemy’s view. Tonpo, likewise, teaches us how to vanish from the view of the enemy. The techniques of Huo Nei Kuo are the basis for this ability. Translated to mean "capture in passing," the term is related to the stratagem in chess of overcoming the enemy pawns should they fail to act.

These techniques are the basis for many legends about masters of the martial arts who would overcome an opponent with no physical contact. In each case it is possible to evade the enemy’s attack without killing him. For this reason the Mi Lu kata from which the techniques are drawn is sometimes known as the Way of Fighting Without Fighting or the Dance of Invisibility.


This method is employed when the enemy is poised in a wide stance, but has not yet advanced.Lower the body slightly for better balance. Relax both wrists so the hands hang loosely with the backs toward the enemy. Assume a Horse Stance. This will sometimes induce
the enemy to widen his stance since he will expect lateral movement from you. You should be three to five feet from the enemy. Raise the hands, arms extended between you, aiming the back of the wrists at the enemy face. You must do this not so slowly that he reacts before you are ready, and not so quickly that he will ignore the movement. Watch your own hands this will induce the enemy to do likewise. The idea is to focus his attention on your hands.

Fig. 1 -Step quickly forward, lowering the body still more. This will move the hands toward the enemy but, since the arms are not moving and the perspective is foreshortened, you will be upon him before he can react. As the right foot touches the ground, flick the fingers into
the face of the enemy. Regardless of whether you actually touch his face or merely flash him, he will flinch or blink. This is an autonomic reflex and is virtually uncontrollable. Immediately as you flash or haze the enemy, drop straight down over the feet into a squatting position. You will not see the enemy blink, since you are looking over the ends of your wrists and, by lifting the fingers, you will obscure his face from view. The haze will cause the enemy to raise his guard to protect his eyes. Since you will be crouched almost at his knee level, you will be screened from view by his own arms.

FIG. 2-As you sink out of sight, and see the enemy lifting his guard, tuck your head into your chest, round the shoulders, and push off with both feet. The momentum of this effort will carry you between the enemy’s legs. Execute a forward roll as your hands touch the ground behind him. This will enable you to vanish downward to a position ten feet behind the enemy.


This method is employed when the enemy attempts a low-line attack, such as a leg dive or tackle.

Fig. 1 -The enemy steps forward, dropping his shoulders and reaching in to seize the knees. Effect a back-out step by slapping down onto his back with both hands and kicking both feet straight to the rear. This prevents the leg dive and stalls the enemy in a forward leaning stance.

Fig. 2 -Push off with both hands and jump straight up spreading the legs. The combination of the enemy’s forward momentum and your own spring will carry him under you. Some practitioners prefer to grip the enemy head when vaulting, thus insuring that it remain low enough to prevent accidental groin injuries.

Any type of Roman Horse vault will suffice to clear the enemy, depending on the acrobatic agility of the practitioner and the depth at which the enemy attacks. In this way, one vanishes upward to a position three to five feet behind the enemy. Note that this technique is commonly practiced and seen in Professional Wrestling, but ancient acrobats practiced it by leaping onto the backs of raging bulls as an Olympic event when civilization was in its infancy.


This method requires an external distraction to be truly effective. Two methods are preferred, one being Kiai, the spirit shout. Sometimes called the "attack by intimidation," the Kiai is a belly shout drawn from the Hara. It is a scream of total commitment. Charge the enemy from out of range, feinting a ferocious attack to the eyes. This attack must be sufficiently terrifying to startle the enemy and make him cover his own eyes in defense. The Kiai may be employed effectively with the Kasumi technique.

Sha Nei Mu, or "sand in the eyes," is the second distraction which is used to temporarily blind the enemy. Some schools devise complex fomulae for their blinding powders. Itching and sneezing dust are two obvious examples. In ancient times these were stored in hollowedout
eggshells, so they could be brought quickly into play. A handful of native dirt will produce the same effect if one can be surreptitiously obtained.

Fig. 1 -Cup the right palm lightly, keeping the dust concealed from the enemy. Swing the arm in a semicircular arc, crossing from the right to left hip, up to the left shoulder, then back in front of the right shoulder. Abruptly stop the right palm in an extended shoulder-block position, casting the powder into the face of the enemy. As you begin the casting movement, step toward tile left. This will give the impression that you are attempting to flee in that direction and distract the enemy’s attention from the action of the right arm.

Fig. 2 -As the enemy gropes forward toward what he believes to be your position, duck under his attack to his lead side. In this way you will have less distance to travel to get behind him. This is an extended variation of the Spinning Back Pivot found in Inpo. Fix your attention on
the left temple of the enemy. This is where you will strike him should he somehow not have been blinded. If you are close enough to the enemy, the action of casting will carry your extended finger tips horizontally across the enemy’s eyes, producing the desired effect. This attack is also found in Wing Chun, but is followed by a palm-up finger jab.

Fig. 3-Execute the second half of the Mi Lu pivot, slipping by the enemy as his grasp closes on emptiness. You are now invisible behind his left shoulder. Continue to target his left temple. You may now pivot into the final Mi Lu position and assume a stance behind the enemy, or dart behind cover to vanish, or simply flee. In this way, you vanish completely, in full view of the enemy.