Chunks Flashcards

Question

What are the variations of the figure 4 armlock? | Alain Burrese

Answer 1

From cross grab, from low reference to ton Sao to fook, reach and grab wrist. From a punch: double outside reference, drop forward forearm into elbow, deliver the wrist to face From a punch: double inside reference, forward forearm drops to elbow joint, deliver the wrist grabbing own arm From a punch: inside double but forward arm goes underneath

Answer 2

1. Wrist lock tight to chest, turn it out to drop. You can reach underneath with inside hand to multiple force. And even more, once it's there, you can move outside hand to elbow hook overtop and pull (head tucked) 2. Wrist lock: outside hand pushes arm down, inside hand scoops inside elbow, outside hand scoops shoulder lock or elbow lock, take a knee (punch forearm with elbow crease use gate framework) essentially an underhook shoulder lock on elbow instead

Answer 3

Actions that go beyond your opponents VA. They are in essence pushes, but a sword thrust or bullet are also drives. In empty handed work, they can be used to break/cut/tilt your opponent's vertical axis or spin him around it (twisting). Where an impact would rock someone's head with the shock, a drive would push it to where you want it to be. Drives have a very strong tactical application for moving your opponent into position as a set up for your next, more powerful move (e.g. instead of you moving, you can push him into your hitting range). They also have strong application in disrupting your opponent's structure so he must spend the next moment regaining his balance/orientation instead of attacking It is important to realize that your opponent's limbs also have axis's as well. Most limb breaking or sweeping actions are not impacts, but instead drives. You literally try to chop the legs out from under your opponent with certain kinds of kicks. While you can hit the axis that is more of a parrying move. Which is based on a fast slap against an incoming fast blow to deflect it. This concept is often misconstrued by people who try to turn their blocks into hits. Don't try to hit with your blocks, it most often only results in you being too far out to block your opponent's next attack. The reason for this is that most of the time "hitting" with your block is an attempt to compensate for poor structure with a drive. The only way a flawed block has a chance to work is if you push the attacking limb far away. That unfortunately, takes you out of position to effectively respond to the next blow.

Answer 4

Compression: These kind of attack commonly trap your opponent between force and a base. The utilization of a base doesn't increase the force as much as it does not allow for the person to shed, roll with or bleed off the energy. Slamming someone into a wall and pinning them there is a compression attack. But, so is a chokehold, the forearm applies a constant pressure while the chest and bicep provide a base to keep the person from squirting out of the applied pressure. Although drives are commonly used in combination with a base, they and/or pulls can often be used as the base that pins your opponent for an impact. An example of such a move would be pulling/pushing an opponent into an elbow strike or a double handed ear slap. Compression attacks come in many forms, and although they are commonly associated with grappling, their absence in striking arts is because of safety reasons. A properly angled strike traps the person between the impact and the earth. Furthermore, compression attacks also involve leverage. This is especially true in throwing arts where you push/pull your opponent over a base such as you hip, thigh or foot. Just because you are pushing/pulling doesn't mean it has to be into the base, you can drag/push him over one.

Answer 5

The Filipino art of moving a body from point a to point b Understand the body's chokepoints, high leverage points The humerous (inside pull outside shove The neck (push/pull/twist) Wrist and forearm at elbow inside (exposes the temple for the head but) Wrist and forearm at elbow outside Gotta loosen up first (ballistic in- guntings, elbows and headbutts) Dumog is going to ensure you're not getting hit with a solid blow You can switch from one to the other and use insertions. If he's stretched out, savate. If he's close, kali. In between, something else.

Answer 6

It's for shoving, which can be pretty effective depending on where you shove The area on your arm between the tricep And the deltoid, line that up with his hip and shove You can also use your shoulder or hand in the same manner

Answer 7

A universal set of principles designed to give clarity to the chaotic nature of fighting and in particular attacking ``` Single Direct Attack Attack by Combination Attack by immobilization Progressive indirect attack Attack by drawing ```

Answer 8

The objective of the single direct attack is to reach the target via the most direct route. Because it requires the combatant to bridge the gap completely in a single move and without a preparatory feint this kind of attack necessitates keen judgement of distance and a fine appreciation of timing. These are most often employed with the lead hand, which is most often the nearest weapon to the target. It is most effective when combined with a movement to the emerging void. Sumbrata is an effective way to SDA, where movement to the emerging void, and a check with one hand allows you to neutralize the opposition's hit and establish your own.

Answer 9

A combination is a series of punches thrown multiple targets. They generally follow a natural sequence, and are thrown in a way that promotes body mechanics, maximizes positioning, and minimizes target exposure. A jab in front of eyes can blind to next hit. A jab can narrow the gate for a hook Doubling up on punches make even simple combinations widely varied (double the hit but change targets) Uppercuts set up hooks Shovel hooks open top line The best combination punchers center there attack around the opponents reactions and and on the resulting openings Vary contact levels...you can brush to occupy guard, conceal footwork and create angles

Answer 10

Control parts of the opponent's body so that his ability to evade block or punch is nullified Try the "hit and hold" Mayweather style

Answer 11

A progressive indirect attack is Bruce Lee's way of describing the process of entering behind a faint or uncommitted punch. While in HIA a combatant looks to physically remove defensive barriers, those employing PIA seek to manipulate them through deception

Answer 12

"The counterattack is not a defensive action but a method of using the opponent's offense as a means of the successful completion of one's own attack. The counterattack is an advanced phase of offense. It is the greatest art of fighting, the art of the champion." Bruce Lee A drawing attack lures an opponent into launching an offensive on the apparent opening, but by taking the bait, the opponent in fact creates new openings for attack. Once the opponent has fully committed, he is often unable to adjust his position and actively respond to the subsequent counterattack.

Answer 13

Trapping is not locking. The lock is intended to control the person over a period of time. A trap, on the other hand, is intended to immobilize or check an opponents movement for a brief moment. It's there for a beat of time and it's gone. In that moment you can disrupt your opponent's momentum and rhythm. That makes it possible for you to take the initiative and press your own attack. It improves your ability to read your opponent and feel the flow of his energy. As your perception improves, your reflexes will also improve. In a fight it may not look pristine but it still a trap if you have momentarily immobilized your opponent.

Answer 14

A reference point is nothing more than the relative position of the opponents arms. In Jkd, for the sake of convenience, we use six of these points. Hi outside, low outside, high inside, low inside, high outside inside, high outside outside

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