Stickfighting: A Practical Guide for Self-Protection

The American Self Protection Association, Inc. The primary source of information for A.S.P. Stickfighting is taken directly from: Stickfighting - A Practical Guide for Self-Protection. Complete Instruction Manual for Men and Women, by E. S. Baltazzi, Chas. E. Tuttle, Tokyo, Japan, publishers, 1983. Contains the complete A.S.P. stickfighting method for sport and self-defense.

DEVELOPED in response to the ever-increasing number of attacks in our streets, this system of stickfighting is recognized as a uniquely effective method of self-protection, suitable for men or women, young or old. A stick can be carried anywhere, perfectly legally

and inconspicuously, and offers a devastating means of defense, requiring relatively little strength while keeping an attacker at a safe distance. In this book, Dr. Baltazzi presents a simple, comprehensive, and versatile approach to the stickfighting art, offering defensive techniques scientifically designed for use against a wide variety of attacks. Over 400 photographs illustrate practical, step-by-step instructions, making it possible for the beginner to achieve and maintain proficiency in his own home. Also explained are the underlying five principles of effective self-defense, plus basic training exercises, training through the sport of stickfencing, and techniques involving a powerful combination of kicks and stick-blows. Special sections show how to deal with all types of attack, such as punches, kicks, knife assaults, and handgun holdups. Based on the principles of American Self-Protection, and on the author's formal experience and skill in the martial arts and Western fencing, this book provides a novel, systematic approach to self-protection accessible to all. Note: The techniques demonstrated in this book should never be taken to excess. If properly executed in training, they should cause no harm to anyone who is physically sound and in good health. The author and publisher accept no responsibility for accident or injury. Dedicated to all my faithful students who, throughout the years, have helped to achieve recognition for A.S.P.

Evan S. Baltazzi, originator of American Self Protection, received a D. Sc. from the Sorbonne, Paris, and a Ph.D. from the University of Oxford. Highly trained in the combative arts, he is a fifth degree Black Belt in judo and has also received extensive training in aikido, fencing, and savate. Dr. Baltazzi has served as chairman of the Illinois Area Judo Committee and as a member of the U.S. Olympic and National A.A.U. Judo Committees. A writer and inventor living in Ohio, he has several U.S. patents and original publications to his credit, including the book Kickboxing: A Safe Sport, A Deadly Defense (Tuttle, 1976

INTRODUCTION At the dawn of his existence, man the hunter and man the warrior used sticks, stones, and the bones of dead animals as clubs and projectiles. Then man the toolmaker, with keen sense of observation, noticing that the tip of a stick was most effective for thrusting, sharpened it into javelins and arrows. However, the stick as such retained its importance as a weapon, while also serving as a support and, in some cases, as an emblem of power and status. The use of sticks of various girths and lengths became more and more sophisticated and many forms of stickfighting were developed by various peoples. With the advent of firearms, stickfighting fell almost into oblivion. Yet during the last century, when the use of walking sticks was in vogue and the streets of many large cities were dangerous, there was a brief revival of stickfighting for self-defense purposes. The most notable revival took place in France, where the arts of the canne and the baton became fashionable for a while. The established tradition of fencing in that country strongly influenced both arts. In England the use of the quarterstaff also experienced some renewed interest. Today, the police and the military of many countries receive extensive training in the use of the police baton and the longer riot staff. Why should a civilian today be concerned about such a seemingly antiquated method of self-defense as stickfighting? First of all, stickfighting is quite close to its kindred fencing, and similar benefits may be derived from it. But there is another, more convincing reason. In today's world, with crime so prevalent, laws on self-defense so confusing, and the possession of weapons discouraged for the honest and law-abiding citizen, the use of stickfighting for self-protection is perhaps much more meaningful than any of the many popular forms of unarmed combat. Let us assume that a person has received extensive training in his youth in one of the unarmed Oriental martial arts. As he grows older, he may begin to wonder how long his punches and kicks will be accurate and devastating, and his holds unbreakable. How long will he be in a position to submit to the gruelling training necessary to maintain efficiency?

While it is true that man, after reaching a peak in his physical condition, slowly declines, he can substantially offset such decline by the method he chooses to use to defend himself. A well-placed thrust or snap with a stick by an older or weaker person will, in the majority of cases, have a much more telling effect than a punch or a kick by the same person. Furthermore, the use of a stick will have the added great advantage of keeping the opponent at a distance. This can, of course, be very important. What kind of stick would be most appropriate for self-protection by the average citizen? Naturally, the police baton and the recently more popular nuachaku come first to mind. However, because of its more inconspicuous nature, and the fact that it has not been outlawed, I feel that a stick the size of a non-collapsible umbrella or a walking stick would be best. I do not believe that there are any hard and fast rules in this matter. This book is devoted to techniques using the A.S.P. (American Self Protection) stick, which may be handled either with one hand or both, as the situation demands. It is a hardwood dowel which can be obtained at any lumber yard. Standard sizes are 3 feet long by J to 1 inch in diameter (as shown). Such a stick is light, quite sturdy, and even a weak person can easily handle it with one hand. Equipped with a rubber tip and assuming adequate protection for the players, it can be used for the sport of A.S.P. stickfencing and/or stickfighting sparring. Before going any further, let us say a few words about A.S.P. Our first question is: Why was A.S.P. developed? Briefly, in view of the increasing number of attacks in our streets, it was felt that there is a great need for a defensive method accessible to a broad cross-section of the population; a method which would be effective, simple, and could be mastered with reasonable effort. Another important requirement was that the techniques learned could be retained for long periods of time, with occasional brushups, without losing much of their efficacy. It must be honestly recognized, however, that the best self protection system in the world, if there is such a thing, cannot be foolproof and cannot perform miracles. It can afford a chance, and only a chance, in the event of an attack. The more you train, the better are your chances of defending effectively. A better system should afford a greater benefit, a better yield, for the time spent in training. That is all. Any other claims must be viewed as self-serving sales talk. How does A.S.P. go about reaching its goals? In order to understand the system, one must first realize that all forms of fighting, whether in attack or defense and whether one shoots a bazooka or uses one's fists, rest on five principles. These principles are universally applicable precisely because they are principles. One common mistake is to confuse principles with attributes, or in other words, principles of action with qualities which are necessary for effective fighting (for example, good balance, coordination, fast reflexes, and so on). The five principles of all fighting arts are explained below. DISTANCE: The ability to accurately judge the distance from which an attack can be successfully landed, or evaded, is so important as to be an absolute necessity. Obviously, if you are out of the range of an attack, you do not have to worry about it. On the other hand, if you do not accurately judge the proper distance, you will reach your opponent or will foil his attacks only by chance.

DIRECTION: When an opponent attacks in your direction and, after he is committed to his attack in that direction, if you change your position to dodge his attack, you may also be able to find an opening for retaliation. For instance, suppose you are facing an opponent as he attacks you, when the attack is about to arrive, you may evade it by pivoting on your right foot toward your rear left, thus assuming a position parallel to the direction of the attack. Then, not only will you be safe from it, but you will also be in a position to retaliate powerfully. Further, if you attack, you should be able to judge from his position when your attack will reach him, exactly as if you were shooting at a moving target. TIMING: No attack or defense can be successful without proper timing. Speed is important for timing. (Occasionally, proper timing gives the impression of speed.) A good sense of distance, direction, and timing is necessary for accuracy and effectiveness in attack and defense. MOMENTUM AND LEVERAGE: Both momentum (more accurately, kinetic energy) and leverage serve to develop power, either for delivering a blow or kick, for breaking a hold, or for throwing an opponent. Gathering momentum in order to swiftly transfer it onto a small area of your opponent's body develops penetrating power and is the principle behind the so-called "focused" blows and kicks (see p. 24). After having decided to approach self-protection from the standpoint of principles, rather than using the piecemeal, individual technique approach, the next important step in developing A.S.P. was to select from among a great number of possibilities a truly representative but limited number of attacks. These were selected on the basis that they contained the elements of motion (physical education instructors call them kinesiological elements) of a great number of other possible attacks. After the analysis of these factors, defensive techniques were devised which, besides being efficacious, were themselves composed of a limited number of elements of motion which were simple and very versatile in the sense that they could be used against a great variety of attacks. Because of this versatility, with repetitive use such kinesiological elements become conditioned reflexes, which are thus retained much longer by the student. For this very reason, the A.S.P. student finds the techniques progressively easier as he advances. Our evidence indicates that the degree of retention of the material learned is superior to that of any other system. The elements of these techniques are not novel in themselves and I do not claim to have invented them. But neither can any one person honestly make such a claim for any fighting art or sport. The real value of A.S.P. as a system resides precisely in the way these elements have been put together. It took the originator no less than twelve years to complete the groundwork described above, and it now becomes clear why, if A.S.P. techniques are taken out of context, the meaning of the system is lost, as are most of the benefits that can be derived from it. This, however, does not imply that A.S.P. in its present form is cast in concrete. It simply means that an entirely novel approach to physical training, as applied particularly to fighting arts and sports, has been discovered. One can build on this system as long as its guidelines and precepts are followed, and like any other living system, it may change as it grows.

For a person who trains to react according to the five principles, the type of attack he is under becomes of secondary importance. He soon realizes that the techniques learned are widely effective (as many A.S.P. students have had the opportunity to test in real life), that he gets much more out of his efforts than with any other system, and that he retains more of what he learns. One problem remained to be solved, namely, training the student, safely and realistically, to instinctively react against sequences of unrehearsed attacks. This is achieved with a certain type of free sparring. It is true that in most cases of real attacks, when the defender foils the initial phase of an attack, he then has the choice of another evasive action or of a retaliation. For this reason, and because if the first phase of an attack is successful, the defender may not have another chance, we put a great deal of emphasis on evasive tactics. There is also the fact that some people do not care to retaliate and are satisfied with evasive action, which in some instances may be enough to discourage an attacker. In A.S.P. such preventive techniques are known as "before" techniques, in contrast to the "secured" techniques, in which the attack has fully materialized. In undergraduate (below Black Belt level) sparring, one defends against a single attacker, who desists from his attack once it has been foiled or brought under control; then he attacks anew. In Black Belt sparring, the defender faces two or more attackers in rapid succession, so as to increasingly build up his reflexes and speed. We strongly believe in preventive techniques, for these are the most accessible to the greatest number of people, particularly weaker people. During the fifteen years of the official existence of A.S.P., we have gathered convincing evidence that our training method is capable of preparing one well for real-life situations with perfect safety. At this point we have covered all the essential elements of our system per se, with the exception of the legal aspects of self-protection. While it is true that laws vary from state to state and from country to country, it is also true that all are in essential agreement on one point: a defense must not be much more severe than the attack it aims at foiling. For instance, if I push you, you do not have the right to break my arm or to kick me in the groin. Here again the emphasis on preventive techniques is further justified because, in some cases, even though there might be a good reason for, let us say, gouging the attacker's eyes, as in the course of a potentially lethal attack, many people may hesitate to resort to such a severe method, even at the risk of their own lives. This brings out another point, namely, the necessity for any practically meaningful system to give its practitioners a limited (to avoid confusion) but realistic choice of possible retaliations of varying degree of severity. The defender must always use good judgment and common sense, but while it is very hard to teach or develop either one of these, it is at least possible to give the defender a meaningful choice of action. One may choose between evasive action alone, or together with mild retaliation to possibly scare off the attacker; medium retaliation, so as to incapacitate him momentarily; or severe retaliation, which may even be lethal when called for. We feel that the availability of these choices to the defender is essential. Later, some holds using the A.S.P. stick will be described, illustrating its versatility, although they are not essential for effective use of the stick, either in holding an

opponent at bay or in incapacitating him. By proper application of the five principles, a weak person can impart very considerable power and penetration to his techniques. It is so much the better if he can punch, kick, or grapple as well. Neither complicated nor expensive equipment is needed in stick training. Even the help of a partner, while desirable, is not a necessity. Furthermore, if practiced as described in this book, self-protection with a stick is an excellent form of physical conditioning. Some physical conditioning exercises are described in Chapter 1, and you will get more out of training if you use them. No matter how efficient a system is, it cannot perform miracles. The more you train, the better you will be. Readers interested in more details about the development and philosophy of A.S.P. should refer to the author's previous books, Kickboxing: A Safe Sport, A Deadly Defense (Rutland, Vermont: Tuttle, 1976) and Basic American SelfProtection (Northfield, Ohio: Evanel Associates, 1972). These books also discuss certain topics only touched upon in the present work. For information about A.S.P. ranking procedures.

1.0 PREPARATION & TRAINING HOW TO APPROACH PHYSICAL CONDITIONING The capacity for, and tolerance to, physical exertion varies from person to person. It is therefore important to approach training in a way which gradually increases this tolerance without undue strain, exhaustion, or persistent muscle soreness. You are not overdoing it if at the end of each session you are feeling pleasantly tired but not fatigued. Any muscle soreness should not continue beyond the second day. Here a psychological factor comes into play: the more you overdo it, the easier it is to get discouraged. Slow down when necessary, but do not give up. No real ability of any kind can be achieved without sustained effort. Depending on age and physical condition, you should train two to three times a week. Results are hard to achieve with less training, at least until such time as your reflexes have received a minimal conditioning. Claims to the contrary are not to be taken seriously. Naturally, if you aim to become a champion, you should devote to training as many of your waking hours as you can. Stamina, related to cardiovascular efficiency, and understood as the ability of the

organism to utilize oxygen efficiently, is perhaps the most important attribute of physical fitness. It can be developed very effectively through jogging, which you may do with a dual purpose, putting your hands to good use. The sliding hands exercise, employing the stick, is very useful in this respect (see p. 27). Then, as you jog, you may perform alternatively left and right circular spring-slashes (see p. 40). Finally, you may strengthen your grip as you jog either by using commercially available grip spring-tensors, or by squeezing a couple of small rubber balls. In either case, try to make a conscious effort to use your little finger efficiently when squeezing. A strong, flexible, and sensitive grip is an important requirement for developing and directing power effectively. The following sports have a beneficial effect on stickfighting: skiing, sprinting, broad jump, high jump, soccer, dancing (for strong legs and a good sense of rhythm and timing), and last, but not least, training appropriate to kickboxing. DEVELOPING POWERFUL SLASHES AND THRUSTS It is a fallacy to believe that the ability to deliver powerful blows, slashes, and thrusts is meaningful without first developing accuracy, timing, and good balance, not only during delivery, but also during the recovery that follows. Failure to realize this invariably results in lack of mobility and a stilted style. Power is of the utmost importance, but only in its proper place. Developing and conditioning the muscles is only part of their preparation for actual combat. As earlier mentioned, power is developed through the use of the principles of momentum and leverage. The very use of our bodies implies leverage and it is not necessary to belabor the point. The use of momentum, however, needs some clarification. Momentum is closely related to speed and mass. Acceleration means that the momentum of the attack steadily increases as the blow progresses toward its target. The kinetic energy thus developed will be most effective if it is transferred as completely as possible to the target at the point of impact. This involves mental as well as physical concentration. Keep the two following points in mind. l. The smaller the area of impact, the more destructive the result will be, because it will mean more force per square inch. 2. The less dissipation of power (i.e., kinetic energy) through cushioning from the joints involved, the better its transfer to the target, hence the necessity for completely tensing the attacking limb, as well as the body, at the moment of impact. Complete exhalation at that moment is helpful because it tightens the large muscles of the midsection. The concentration of resources described above is called "focus." To allow the shock waves generated by the impact to propagate through the target, one should instantly withdraw the attacking limb on impact. Instant relaxation of the muscles involved helps to achieve this speedy withdrawal. Thus, as long as the various parts of the body involved in delivering a blow abide by these principles, such an attack will be destructive, assuming it is accurate. This explains how boxers, kickboxers, and those who practice karate can deliver very powerful blows. It follows that any powerful technique must of necessity start with as little tension as possible in the attacking limb, then develop momentum by smooth coordination of the parts of the body involved and, finally, culminate in full tension at the point of impact. In summary, then, the smaller the area in which the kinetic energy developed is transferred, the

more destructive the attack. The more tense the attacking limb at the point of impact, the less give it will have and the more penetrating the attack will be. Of course, training in the A.S.P. system is consistent with the foregoing, though we aim at developing balance, accuracy, and then power, in that order. WRIST CALISTHENICS In A.S.P. we have special calisthenics aimed at developing strength, flexibility, and power in wrist action (a quality most important in stickfighting). In the sport of sabre fencing as well as in stickfencing (not fighting) it is not desirable to use powerful blows, because the purpose is not to hurt the opponent, but to touch him in order to score. Indeed, only poor fencers slash and thrust with force. Besides losing speed of action, fencers using force soon find out that their partners take a rather dim view of such a habit. In stickfighting, on the contrary, one must develop powerful parries, slashes, and thrusts in order to foil real attacks and incapacitate an opponent. It follows, then, that while a fast action is desirable both in fencing and stickfighting, a strong wrist action is considerably more important in the latter. The main topic of this book is stickfighting for self-protection and it will, naturally, receive most attention. However, the sport of stickfencing can play a very valuable role in training, and so Chapter 5 of this book is devoted to it. The sport is best approached after the student has become acquainted with the fundamentals of stickfighting. On the following page is a selection of wrist calisthenics to help prepare the student for training. The Prayer. Put your palms against each other in a prayerlike fashion, wrists and elbows at the height of the shoulders. You should feel a stretching of the muscles of the wrist, and initially this may be somewhat uncomfortable. Then, pointing the fingers in succession, upward, to the front and away from you, downward, and then toward you, stretch then bend your arms in each position. While doing this you will feel the stretching of the muscles of the wrist. Make sure your palms are pressing well against each other. Repeat the sequence at least ten times. The Cross. Fold your arms on your chest as follows. Cradle your left hand in your right arm with the inside of your right elbow between the thumb and index fingers. The thumb is pointing down and the left wrist bends as you fold the right forearm over the left, tucking the right hand beneath the left elbow. Apply pressure on the bent left wrist by bringing the elbows closer to each other and, when the pressure is at its maximum, lift the right elbow above the left. This action twists the wrist upward on the side of the ulna (the forearm bone opposite the thumb). This composite pressure strengthens the wrist and renders it more flexible and less sensitive to pain. Repeat this exercise at least ten times on each wrist. You may also achieve the same action on each hand by pressing the back of one hand with the palm of the other in the direction of the wrist and twisting it upward and toward you. The Twist. Bend both wrists fully while standing, arms along the sides, and rotate your wrists as completely as you can so that they describe two complete circles, the right wrist rotating in an opposite direction to that of the left. Repeat at least ten times. The Seal. This exercise involves push-ups on the flexed wrists (palms facing up), which are gradually rotated in opposite directions after each push-up. A push-up is performed

in each new position of the wrist, until as full a circle as possible is completed. This is a difficult exercise initially, but perhaps it is the best of all. If your wrists hurt too much, don't insist: stop. Work at it gradually. If regular push-ups are too hard initially, start with push-ups which leave the hips on the working area. The Stab. Standing up, bend your right wrist completely, fingers pointing down. Shoulders, elbows, and wrists being in one plane, curl the left fingers, knuckles pointing up, and bring both arms together with force, striking the right wrist against the heel of the left palm. Repeat several times, but stop if your wrist hurts too much. Repeat several times, switching wrists. This exercise strengthens the wrist against impact. EXERCISES WITH THE These exercises aim at familiarizing one with the handling of the stick. STICK

Sliding Hands. Hold the stick diagonally across your chest with both hands, one at chest level, and the other close to the opposite hip. The fingers of each hand are held toward you. For example, if the right hand is held close to the right breast, the left hand should be close to the left hip, and the upper tip of the stick near to the right shoulder. Now, slide your hands together, then over and away from each other (Fig. 1). Pull outward as you slide your hands away from each other, to bring the upper tip near to the left shoulder. Repeat, increasing the tempo until you are doing it as fast as you can. Then try to increase the speed even more. Horizontal Twirl. Grasp the stick at the middle with your right hand, extend the right arm at shoulder height in front of you and twirl the stick using the wrist, forearm, and fingers so that its tips describe two parallel and almost horizontal circles. Increase speed as you become familiar with the exercise and repeat with the left hand. Vertical Twirl. Grasp the stick near one of its tips with your right hand and point it up by bending the elbow, bringing up the forearm. Then, with a forward motion of the elbow,

let the far tip of the stick drop behind your right shoulder (Fig. 2). Now swing it in a vertical circle parallel to your right side, keeping your elbow bent by the side, and coordinating the forearm, wrist, and fingers to give a smooth action. The palm of your right hand faces alternately up and down. Practice with each hand, one after the other, and increase the speed as you become more familiar with the exercise.

Changing Hands Twirl. This exercise can only be properly performed if the length of the stick used is correct. Grasp it at the middle with both hands, palms facing each other. Extend your arms as much as possible. Now twirl the stick in a vertical plane in a constant circular motion, bringing each tip of the stick up between your arms. Do this by changing grip in such a way that each palm is alternately facing toward you and away from you (Fig. 3). If done right, the stick will not bump against your arms, body, or face. HOW TO APPROACH TRAINING The mental attitude with which training should be approached must combine sportsmanship with detachment. One of the main difficulties in practicing a combative art usefully is the need to attack realistically, but without hurting one's partner. Unless an attack is meant, one cannot expect to practice the defensive technique properly. Realistic attacks can be achieved by aiming accurately at the target area, and by carrying the momentum of the attack through without excess and with a certain degree of relaxation. If the evasive technique is not successful, the momentum should be controlled so as to give only a gentle contact. Realism in this context is largely dependent on accuracy and speed, both of which can be achieved without brutality. There is a great benefit in practicing on both sides, one side immediately after the other. The tempo of the techniques should be slow initially, until their elements have been mastered. Then the speed can be gradually increased. The final touches are given with the help of free sparring, which is a necessary part of any advanced training. In the context of free sparring, the attacker desists from his attack as soon as it comes under the control of the defender and its first impact is foiled. Cooperation among the

participants is essential and training should never become a pretext for a free-for-all fight. Light contact in retaliatory techniques is recommended during training because, besides developing the sense of distance, it teaches the attacker to control his attack and also teaches both partners to accept a degree of punishment. Controlling techniques such as locks and chokes must be practiced with even more caution than the other techniques since they can be quite dangerous. All this means that you have to practice conscientiously, and that it is to your disadvantage to spread yourself too thinly over a large number of techniques. It is much better to concentrate on a few versatile and efficacious ones which you think are well suited to you and which you fully understand.

2.0

ESSENTIAL

TECHNIQUES

GRIPS Stickfighting employs a variety of grips, and these are described below under their formal labels. Within the technique instructions, it is not always helpful to use just these technical terms, and description of the exact hand movements and position are sometimes given in their place. However, these basic grips and hand positions are fundamental to Stickfighting, and the reader should become familiar with them.

Normal Grip. In this grip, the thumb points up or away from the body (Figs. 1, 2).

Reverse Grip. Here, the thumb points down or away from the body (Figs. 3, 4). Double Grip. Both hands in this grip are near the same tip. Usually the leading hand is the closest to the tip. Palms face opposite directions (Fig. 5).

Symmetrical Double Grip. The stick is held with both hands, one near each tip, palms facing in the same direction (Fig. 6). Asymmetrical Double Grip. This grip is the same as the one immediately above, but the palms face opposite directions. GUARDS

In A.S.P. stickfighting three guards are used. The first two are starting guards, in which no inkling of aggressive intentions is given, and the third is a continuation guard, for which it is assumed that we have already applied a technique and are preparing to foil a possible continuation of the initial attack. Middle Grip. In this grip, one hand simply holds the stick at the middle (Fig. 7). Double Middle Grip. Both hands hold the stick at the middle, palms facing opposite directions (Fig. 8).

Guard 1. Hold the stick as you would a cane or walking stick, except that your grip is near, not at, the tip. The thumb of the hand holding the stick is pointing down, the back of the hand is facing forward, and the leg on the side of the grip is retracted. Assuming that you are holding the stick with the right hand (i.e., in a right guard), the right foot should be behind a line formed by the left heel and the right wrist (Fig. 9).

Guard 2. Stand at ease, feet apart, and hold the stick with both hands, each hand near the corresponding tip, symmetrically, palms facing toward you (Fig. 10.

Guard 3. Assuming that you wish to take a left guard 3, step back with the right foot and hold the stick on the right side, parallel to the ground, left hand forward, palm facing either away from you or toward you, right hand near the right thigh, palm facing toward you. Your left-hand grip should be light and it is used to guide the stick forward during a thrust toward a target by the action of the right hand (Figs. 11, 12). PARRIES Parries are used to block or deflect an attack. According to the situation, they can be performed with one or two hands. In order to avoid confusion, a numbering system has been devised in which it is assumed that the attack is parried by a right-hander and that the right hand is leading, that is to say, it holds the stick at the trailing tip and is mainly

responsible for developing the necessary power. The left hand may or may not be holding the stick as well. When it does, its palm faces forward, or away from the body. However, the orientation of the left hand does not matter much. According to the situation, the feet could be on one line, or one in front of the other. Preferably, but not necessarily, the foot on the side of the parry should be behind. Parries should not only be practiced statically but also in motion, with appropriate footwork as described later (see p. 44). Parries given here are on the "right" side, right hand leading. They are numbered clockwise, as viewed from the person who performs the parry, starting from above his head. For left-side parries, reverse the instructions. Since stickfighting parries are used to block or deflect blows, they must pack enough power to do the job and, also, when performing them one must be braced to take the power of the blow. Ideally, it then follows that whenever possible (and it must be stressed that under real-life conditions it will not always be possible) the following conditions must be met. 1. One foot should be behind the other. The forward knee is slightly bent above the toes and the leg in the rear is stretched for bracing action. The weight of the body should be between the feet, and one should feel relaxed and well in balance. 2. Simple physics dictates that for parries, gripping with both hands, with one hand at each end of the stick, is better than a two-handed grip at one end. However, the former grips are not always possible. When they are, and after the parry has been performed, the supporting hand must loosen its grip so that the leading hand can slide the stick through and maneuver it as the situation requires. 3. Momentum is necessary for effective parries. It can be achieved by accelerating the motion of the stick as it travels toward its goal. One way this acceleration can be attained in one-hand parries is by initially resisting with the supporting hand the motion of the leading hand and then releasing the grip of the supporting hand. This creates a springlike "slingshot" action. Such spring-slash parries can pack a lot of power. In the description of the defensive techniques proper, numerous examples of parries are given which will further clarify some of the finer points. In general, the wrist must be bent as little as possible so that the stick is braced against the incoming blow.

Parry 1. Protects the head and the shoulders. The stick is held above and slightly in front. of the head, angling somewhat with the line of the shoulders. The far tip of the stick is very slightly higher than the other (Fig. 13).

Parry 2. The stick held in the right hand, this protects the upper right quarter of the body. The stick is pointing up, and is held slightly toward the outside of the right arm so as to protect it from incoming blows. The right wrist is positioned so as to insure maximum bracing action; in other words, it is not bent and is in the same plane as the right forearm (Fig. 14).

Parry 3. Protects the lower right quarter of the body. The stick is held slightly past the line of the body as in parry 2, but pointing downward (Fig. 15).

Parry 5. Protects the lower left quarter of the body. The stick is pointing down and is held as follows. The back of the right hand is facing the body and the right thumb is pointing downward. The stick is held slightly ahead and to the side of the left knee, angling away from it. By lifting and bending more or less the right elbow one may perform a high parry 5, which protects the upper left quarter of the body (Fig. 17). The great advantage of this parry is that it protects the whole left side of the body without changing the position of the wrist and, most importantly, allows a fast retaliation, as we shall see. Parry 4. Protects the lower body and is a lower version of parry 1. The stick is held slightly above and ahead of the forward knee (Fig. 16).

Parry 6. The same as parry 2, but the stick is held to the left side, the right arm crossing the body. This protects the upper left quarter (Fig. 18). A parry may either block or deflect an attack. The difference: between a block and a deflection is, essentially, that in the latter the momentum of the attack is not stopped but only deflected from its target. Another type of parry is also used in stickffghting, which offers the advantage of' developing considerable momentum. 'This is the circular parry. Simple Circular Parry. This parry is similar to the vertical twirl (see p. 28). It not only protects one whole side of the body, but one of' its variations, the circular spring-slash parry, is used for powerful retaliation.

Circular Spring-Slash Parry. Assume guard 3, shoulders relaxed, stick held horizontally, one hand near each tip, palms facing the body. The left hand is in front of the right so that the stick points forward. Lift the right hand and drop the left bringing the stick almost to the vertical and to the right of your right elbow, palms facing the body. The left hand holds the stick between the thumb and the first two fingers. Slash forward using the right hand with an

appropriate counterclockwise action of the wrist. Use the left hand to initially oppose that motion. This creates a "slingshot" action at the free end of the stick (Figs. 19-23).

Double Circular Parry. Twirl the stick so as to follow a figure-eight trajectory. The crossover point is in front of your chest and the loops are made on either side of the body. Keep the left arm folded so that it does not get in the way (Figs. 24-26).

Overhead Circular Parry. Keep several opponents at bay by twirling the stick above your head in a horizontal circle (Figs. 27-29). Retreat at the same time, as explained below under Stances and Footwork.

STANCES

AND

FOOTWORK

In stickfighting, as in all fighting arts, it is essential to use body positions and ways of moving about most appropriate to attack and defense. These must be consistent with the requirements of balance, coordination, accuracy, speed, timing, and power. Mobility is perhaps the most important attribute for attack and defense. Power becomes much more effective when coupled with mobility; static power is of lesser value in fighting. A good stance should, then, allow two things: mobility and good balance (stability) in both attack and defense. As long as a stance complies with these two requirements, it is a good stance. There are literally scores of "good" stances. For this reason, in stickfighting we teach only three basic training stances or guards, with the understanding that each fighter will develop his own. This is what actually happens in boxing, kickboxing, and karate. Classical guards are taught; but very few people actually fight in a "classical" way. Good footwork enables one to move about for attack and defense with the greatest speed, economy of motion, and balance. Below, special emphasis is put on the footwork from left guard 3.

Advance. Start by moving the rear foot first, so as not to tip off the opponent. The right foot is brought up against the left heel, right toes facing to the right. The left foot then slides forward on the floor and stops at the same distance as for the left guard 3. Nothing else changes (Figs. 30-32). Retreat. In this case the forward foot moves first, because it is the target closest to the opponent and it should be moved away from his reach. Lift the left heel and bring it up against the right ankle, sliding the ball of the foot on the floor, toes always pointing at the opponent. Shift your weight to the ball of the left foot, push away and retreat by sliding back the right foot to the normal guard-3 distance. Nothing else changes (see Figs. 32, 31, 30). Jumping Advance. Stomp your right heel on the floor against the left and propel yourself, jumping forward. Land on the left foot, always pointing it at the opponent (Figs. 33-35). Adjust the right foot to the normal left guard-3 distance. Nothing else changes.

Jumping Retreat. Stomp the ball of the left foot near the right heel and push away, jumping to the rear and landing on your right foot. Adjust the distance of the left foot to the left guard 3. Nothing else changes (see Figs. 35, 34, 33).

About-face. From the left guard 3, about-face without taking a step by pivoting on your heels to the right, bringing the left hand close to the chest and extending the right arm as for a right guard 3. During this action, switch grip as in the sliding hands exercise (Figs. 36, 37). Return to the left guard 3 by reversing the process.

Sidestep (toward the right). Slide the left foot to the right, toes always pointing toward your opponent, about the same distance as the width of your shoulders (Fig. 38). Adjust the right foot as for left guard 3. For a sidestep toward the left, slide the left foot to the left and adjust the right as before. Pivot. Turn to the left by pivoting on the right heel. The left foot slides on the floor describing an arc at normal left guard-3 distance. Reverse instructions to pivot to the right. Cross-step. This is a form of advance used in special situations. Cross the right foot behind the left. The ball of the right foot is resting on the floor, toes pointing toward the left side of

the left heel. Both knees are slightly bent (Fig. 39). Revert to left guard 3 by sliding the left foot forward and straightening up your legs. Adjusting Distance. When you are so close to the opponent that a distance adjustment of less than one full step is required, slide the left foot forward and attack immediately. After the attack, the right foot may return to the left guard 3, or may be set forward for a right guard 3. Such an advance with a change of stance from left to right may be necessary in order to follow a retreating opponent. Jumping Foot-Switch. This is used for delivering certain kicks used in stickfighting. Although spectacular kicks are involved in some forms of footfighting, stickfighting mainly involves techniques performed with the feet kept as close to the floor as possible. Indeed, jumping high in order to deliver a kick places the attacker in a vulnerable position, particularly if he is caught off balance while landing. The very purpose of jumping is to gain distance toward or away from the opponent. This can be achieved with proper footwork, which minimizes the danger of being caught off balance.

Here is a very useful technique. From left guard 3, take a big step with the right foot and set it ahead of the left, its ball is in contact with the floor, toes pointing well inside toward the left foot (Fig. 40). This is very important because it lines up the right hip with the target you are about to attack with your right foot. Should you not be in the proper position, your attack will be off the target and you will need a special effort to readjust it. In the process of taking that step, bring your right arm in a wide rounded motion, slightly bent at the elbow, in line with your right side so that it provides it with some protection. Hop and switch feet so that the left foot is now where the right was, while the right is positioned at the ready for a kick (Fig. 41), usually, a side-of-foot kick (see p. 64). After delivering the kick, the right foot comes to rest behind the left, returning to guard 3. Training in footwork is absolutely essential for proficiency. One can never train enough in this area. The ability to evade attacks and to counterattack powerfully and in full balance depends on fast and accurate footwork. Even proper judgment of distance and the ability to create an opening are of little benefit without fast foot movements, which enable one to take advantage of the opportunity. Good footwork enables you to advance without tipping off

your opponent, to retreat without losing the ability to counter, and to maintain the initiative at all times. DODGING AND ITS ADVANTAGES OVER PARRYING

Dodging consists in avoiding attacks by shifting the whole or part of the body with or without footwork and with or without changing the guard. Dodges usually allow for powerful retaliations and make it easier to break through the opponent's defenses. They offer a great advantage over parries in that they allow more degrees of freedom for retaliation. Furthermore, since an important aspect of self-protection entails getting out of the way or out of the reach of an attack, particular emphasis is placed on dodging techniques. All dodges induce the attacker to commit himself to a course of action, so that it is not easy for him to change it. In dodging, rarely should the body move as a block; only the menaced part of the body moves away first from the line of attack so as to lead the attacker to commit himself. Only then does the body shift as necessary to complete the dodging technique. The following dodging techniques are described from guard 2.

Jumping Dodge. The jumping dodge, which like all our techniques must be practiced on both sides, is an extremely versatile self-protective technique essentially applicable to all standing attacks. It is used when an opponent rushes toward you for any kind of reaching or striking attack. A right-side jumping dodge is performed as follows. From guard 2, withdraw the right foot and raise the tip of the stick held in your right hand until it is level with your opponent's eyes (Figs. 42, 43). With the right arm almost completely extended, shift your weight onto the right (rear) foot and lift the left knee so that it is well bent with the thigh almost parallel to the floor. While keeping the right arm extended and the left knee high, jump back and around (counterclockwise) toward the rear left to a position at right angles to the direction of the attack. The left knee swings out and around like a flywheel to help in this change of direction (Figs. 44, 45). Now set the left foot behind the right and, without stopping the momentum you have gathered, slide back two steps. Your opponent was attacking you from a given direction and, after he had committed himself to that direction, you changed your position to another at right angles to the first one. Now, as he attempts to redirect his attack to your new position, he will be wide open to retaliation for a brief moment. It is important that you react at the last possible moment, when the attack is almost there. Keeping calm and relaxed is very important. After you have finished your jump, do not stop your momentum but let it carry you back at least two sliding steps. Deliver a circular spring-slash, not as a parry but as a retaliation. Parry 2 is often used in this way as a means of retaliation. It takes some practice to master the jumping dodge, but it is well worth the effort. Make sure that the left knee is pulled up high, so that it can act effectively in adding momentum to your swing, otherwise your directional change will be sluggish and your balance easily upset.

Dropping Dodge. This dodge allows you to get behind an opponent. It is particularly useful against striking attacks and I will here describe its use in a specific example. Naturally, it can be used in other cases. Remember, you are in guard 2. If an opponent swings at you with his left, move your head back, away from the attack, lifting both hands so that the stick deflects it from below. Then thrust the stick, right hand foremost, to complete the deflection of the attack (Fig. 46). This is a symmetrical double-grip parry, similar to parry 3. Now jump lithely on the right foot and land near the outside of the opponent's left foot. Drop low, bending your right knee, almost touching the ground, and momentarily support yourself with the right tip of the stick (Fig. 47). Step through, placing your left foot past this tip, then, pivoting to the right, gather momentum and deliver a slash, leading with the right hand, to your opponent's lower ribs or knee (Figs. 48, 49). In order to train meaningfully in this dodge, your partner must really mean his attack and carry through his momentum. Good timing is always important and in this technique it is particularly so. Without it your technique will be sloppy. Smooth motions will help both partners practice meaningfully and will develop their sense of timing. THRUSTS AND SLASHES

A thrust is a blow delivered with the tip of the stick in the direction of the long axis. A slash is a blow delivered with the side of the stick. They can both be single- or double-handed. A thrust with a stick can be very punishing, particularly if the grip is strong and the thrust has the body behind it. Besides penetration and reach, accuracy is an important factor. Many of the attributes of a good stick thrust are to be found in a sword thrust, as in fencing. Fencing has a long and distinguished record of technical achievement and mastery of body motion. The closest to stickfighting would be sabre fencing, and they have many key points in common. Let us see how good fencers perform and direct their thrusts. Admittedly, power is not one of their concerns. They are mostly interested in speed and accuracy. It must be pointed out, however, that even though power is not important for fencers, the fact that they use flexible weapons which bend on impact shows their thrusts to be very powerful. They also use strong protective vests, yet even so, there have been several unfortunate accidents in which people have been impaled on broken weapons. Stickfighters can learn much from the teachings of fencing, particularly sabre fencing. One of the major differences lies in the

fact that the footwork in stickfighting differs from that of fencing, mainly because fencing is practiced linearly and stickfighting is not.

One-Hand Thrust. In order to pack power, a thrust must have the body behind it. Naturally, power will not mean much unless the thrust is also accurate and timely. A simple thrust will usually meet these conditions when delivered with a lunge similar to the one used in fencing. From guard 2, slide your right foot ahead of the left by a full step, pivoting on your left heel, just a split second after fully extending your right arm toward the target in a smooth and continuous fashion (Fig. 50). Hold the stick with a lot of pressure exerted by the little finger and with reduced tension in the order of the succeeding fingers, so that the thumb and the index finger serve mainly to guide the stick. This will prevent undue locking of the elbow and tightening of the shoulder. Immediately line up the stick with the target, turning your right palm up as you propel your body forward by advancing the right foot and straightening the left leg. Your left foot must be flat on the floor. As you are nearing full extension of the body, also extend your right arm fully to impart more penetration to the thrust. Keep your upper body as erect as possible (Fig. 51). Depending on whether you wish to follow your opponent or stand your ground, you may recover either by pulling forward the left foot, or by pulling back the right.

Two-Hand Thrust. From guard 2, step forward with the left foot, after pointing at the target and changing your left grip so that the palm is facing up. Thrust with the right arm, letting the stick glide through your left palm. The footwork is the same as for the previous thrust. In both, the forward motion should be initiated at the hips, which must participate throughout the technique (Figs. 52-54). For a two-hand thrust made with an additional step, the right foot is brought forward, followed by the left, to complete the thrust as above (Fig. 55).

Slashes. Slashes are most penetrating when they are accompanied by a whiplike action of the wrist. In order to achieve this, the wrist must go through stages of relaxation and tension followed by relaxation. Tension is very brief, lasting only just before and at the time of the impact (Figs. 56, 57). One-hand slashes are more accurate if the stick is braced by the thumb, which points in the direction of the target. The three last fingers are held relaxed during the preparation of the slash and tensed upon impact, thus accentuating the action of the wrist. This technique becomes a whip-slash. The most penetrating slashes also involve participation of the body, particularly the hips. An example of a spring-slash has already been given in connection with the circular springslash parry (see Figs. 19-23, pp. 40, 41). Numerous examples of thrusts and slashes will be given in relation to self-protective techniques in Part Two. FEINTS Any motion of the stick or of any part of the body which will lead the opponent to believe that he is about to be attacked in a certain way is called a feint. The opponent is deceived into anticipating a supposed attack and thereby commits himself to a course of action which you may turn to your advantage. The most common mistake while feinting is reacting too soon and not waiting long enough for the opponent to take the bait. THE CONCEPT OF PARRY-RIPOSTE

Let us assume that the opponent has attacked with simple or multiple attacks which you have succeeded in parrying. Naturally, he would want to recover after his last motion. At the very moment of recovery, he becomes vulnerable to a riposte or counterattack. This is particularly true when you launch an attack along a line in which it is difficult for him to protect himself, alternating slashes with thrusts. For instance, your opponent is attacking the upper left quarter of your body and you are using parry 6; an effective riposte would be a slash to his right temple followed by a thrust to his solar plexus and a slash to the outside of his left knee (Figs. 58, 59). A parry 5 may be followed by a slash to the right or the left temple, a thrust to the lower abdomen, and a slash to the right collarbone. There is a great number of possible combinations; however, in keeping with our philosophy, we shall confine ourselves to very few, which because of their versatility are applicable to a great many situations and which, by repetition, will become part of our conditioned reflexes. Several examples of parry-riposte will be given in the techniques in Part Two. 3.0 KICKING AND STICKFIGHTING The combination of kicking with stickfighting techniques is very effective. Since kickboxing is largely outside the scope of this book, only a few kicks will be described, mostly from a practical standpoint and for the sake of completeness. One may ask: If kickboxing is so good, what do you need the stick for? The other side of this question is: If stickfighting is so effective, what do you need kicking for? The answers to both questions are to be found in the Introduction of the present work. It is important to make the self-protective arts accessible to as many people as possible; weaker people who cannot develop penetrating punches and destructive kicks need the ability to use such an inconspicuous-looking weapon as a stick to complement their kicks and punches. The reader will find ample evidence in this book of how well the use of kicks complements and blends in with the effective use of a stick. BASIC KICKS Mastering kicking techniques requires excellent balance, a good sense of distance and of the direction in which your target is moving, a good sense of timing, and above all, speed. While it is true that kicks are the most powerful blows you can deliver without a weapon, it is also true that the feet are in general considerably slower than the hands. Furthermore, standing on one foot while delivering a kick makes for rather precarious balance. It is quite

clear then that you must deliver a kick with the utmost speed so as to remove yourself from this vulnerable position as soon as possible. Another reason for delivering a fast kick and withdrawing the attacking leg even faster is to avoid getting your leg caught. We will study seven basic kicks, the mastery of which can be achieved with moderate practice and will give you much confidence. Knowledge of these kicks is amply sufficient for effective stickfighting. When kicking, the heel and the sole must be in firm contact with the floor or ground. Try as much as possible to keep the body close to the vertical. With few exceptions, as in the case of the low direct kick in which you are reaching for distance, leaning too far tends to impair your balance as well as the power of your kicks. In order to develop powerful kicks you must first learn to kick in full balance. Kicks practiced in slow motion are excellent for developing balance control. As your balance improves, increase speed accordingly. When you can kick very fast in full balance, your next goal should be to shoot for accuracy, first at stationary, then at moving targets. Finally, strive for power with penetration by impact concentration on the target and rapid withdrawal of the attacking leg. Practice all techniques completely and fully; do not cut corners under the pretext of speed. Do not underestimate the importance of your mental attitude; it is by far the most important attribute of success. Practice consistently in a relaxed way, with tenacity but without any anxiety. Whether you feel you are progressing or not, keep at it doggedly; results will surely follow. All the following kicks are described from left guard 3.

Low Direct Kick. The preferred kicking foot is the rear one, and the specific target it is aimed at is the shinbone, which is easy to reach and offers a relatively large, vulnerable area. It may be attacked either straight forward or, preferably, slightly on the inside. The front or either front sides of the foot may be used to kick. Thrust the rear right foot in the direction of the opponent's lower shinbone. As in all attacks, follow the general rule of aiming

somewhat beyond the target and letting it come in the way. The low direct kick is delivered with a sweeping motion of the leg and a snap of the knee, which remains relatively relaxed. Toes are turned up at the moment of impact. The sweeping motion of the attacking leg starts from the hips with a slight twisting action so as to squarely face the target. The supporting leg is slightly bent, foot firmly anchored on the floor. At delivery, the body should be straight from head to ankle. In this case we are deviating from the vertical because of our attempt to reach a low target and also because we want to put our face out of the opponent's reach. Since the body faces the opponent squarely and, therefore, is rather vulnerable, we keep the arms in front of the chest, ready to parry an attack to the upper or lower part of the body. When holding a stick, we assume guard 2 with a symmetrical or asymmetrical double grip (Fig. 1). Key Points. Keep the body out of the reach of your opponent's arms. Do not lift your shoulders. Deliver your kick with a full extension of the leg, muscles fully tensed as the foot reaches its target. Return quickly to the starting position by relaxing the leg after delivery and reversing the sequence.

High Direct Kick. The initial position is similar to that of the low direct kick. Bend your right (rear) knee fully and raise it as high as you can. The closer to the body you bring the attacking right leg, the faster and more powerful the kick. Slightly bend the knee of the supporting left leg, keeping muscles tensed and the sole in firm contact with the floor. Deliver a kick with a snap of the lower part of the leg, keeping the toes turned up. Return quickly to the initial position by first bending back the kicking leg, then lowering it so as not to disturb your balance (Fig. 2). Key Points. Raise your kicking leg as high as possible. Its knee must be fully bent, the shin almost vertical, and the ball of the foot pulled back as much as possible. Keep the knee and lower part of the attacking leg relatively relaxed and line up the knee and toes with the target. Deliver a kick with full extension of the leg, muscles tensing completely upon impact.

Return quickly to the starting position by relaxing the leg after delivery and reversing the sequence. Upon returning to the starting position, make sure to first bend the knee before lowering the kicking leg. Note: Both the low and the high direct kicks may be delivered with the forward foot by shifting the weight to the rear foot and following the same directions. It is preferable, however, to deliver these kicks with the rear foot because one can pack more power in this way.

Side-of-Foot Kick. Twist your hips to the left and pivot on the ball of your left foot through a quarter turn so that its toes point squarely to the left. Leaving the right foot in its initial position, toes pointing ahead, heel off the floor, bring your right forearm in front of your groin. Your left arm is bent and the stick is vertical; the nails of the left hand are facing toward you, thumb pointing out. Keep the elbows close to the body and look through the middle of your opponent's chest from over your right shoulder. Your right fist, holding the

stick, protects your groin. This is known as the gunsight position (Fig. 3). Lift the right thigh to a nearly horizontal position, bending the knee fully and bringing the sole of the cupped right foot close to the left knee. This is the ready position, in which the plane of the attacking (right) knee is at right angles to the plane of the hips, and the edge of the right foot is almost parallel to the floor (Fig. 4). Kick with a swift pumping action, making contact with the edge of the foot near the heel. The back views show the consecutive motions of the kick (Figs. 35). During the kick the stick is held perpendicular to the ground, as previously explained. Return fast to the starting position by exactly reversing the instructions, taking care to bring the kicking leg back before lowering it. Follow this leg retraction technique as a general rule to minimize the chances of your leg being caught. Key Points. Twist hips to the left so as to align the hip corresponding to the attacking right leg with the target. Besides being important for the development of supple hips, this is necessary for accuracy. Initiate all kicks from the hips, pushing them out. Pull them back as you are retracting the kicking leg. I have already mentioned the desirability of keeping the body close to the vertical; if at all, lean in the direction of the kick. The supporting leg must be slightly flexed in order to cushion the impact. (One exception is the circular kick; see p. 67.) The sole of the supporting foot must be in full contact with the floor for maximum balance. The knee and lower part of the attacking leg must be relatively relaxed for a swift and light start. Tense the leg, foot, and ankle upon impact, then pull back as swiftly as you can while relaxing the lower leg. Practice all kicks with particular care against stationary and moving targets, since judging the distance correctly and timing the impact with the full extension of the leg is important for maximum penetration and power. Note: The side-of-foot kick, as well as the following kicks, may equally be delivered with the left foot. Pivot a quarter turn to the right, so that both feet point to the right and the left hip is lined up with the target. Kick with the left foot in exactly the same way as described for the right. After delivering the kick, quickly return to the starting position, guard 3.

Instep Kick. This kick is delivered with the instep in a whiplike upward motion, the foot in complete extension. It is specifically used for attacks to the lower abdomen and groin. Generally speaking, it will cause less damage than the other kicks because it is delivered with a relatively large area of the foot. The instep kick may be delivered from almost any

position, either with the rear or the forward foot. In self-protective situations, it may be used either as a warning of further action, or as a way of creating an opening for a more powerful attack in a less sensitive area. Since the instep kick must be delivered particularly fast, it is well suited for catching an opponent off guard in the preparation of his attack. It is perhaps the most versatile kick with the widest applicability. For this reason it is recommended that you study it with great care. Get into the gunsight position as described for the side-of-foot kick and line up the right hip with the target. Lift the right knee as high as you can, the shin at approximately 45 degrees to the thigh of the supporting left leg. The attacking right foot is bent at the ankle, toes in full extension, pointing down to the oblique left, and close to the supporting leg at the level of the knee. Deliver a kick with the instep in a snappy, upward motion. Return fast to the left guard 3, taking care to retract your leg before lowering it. Hands and stick are positioned as in the side-of-foot kick (Figs. 6, 7). Key Points. Same as for the side-of-foot kick. Also, at the ready position, prior to delivering the kick, the body and attacking leg must be in one plane, knee pointing toward the target. Keep the knee of the attacking leg relaxed, but tense the foot, concentrating all your power on the instep at the moment of impact. Push the hips in the direction of the kick.

Circular Kick. From the left guard 3, get into the gunsight position as before. Raise the right knee, fully bent, so that the leg is in a plane almost parallel to the floor, the heel close to the left buttock. Curl up the toes and deliver the kick with a smooth circular motion, your hands and stick positioned as in the side-of-foot kick (Figs. 8, 9). Key Points. Same as for the side-of-foot kick. Also, do not overshoot the kick much beyond the plane of your body, or else you will lose balance. Take particular care to push the hips out. The supporting left leg must be in full extension at the ready position, unlike in the kicks described earlier. Stretch and keep your body close to the vertical, right foot firmly planted on the floor. Key Points. Line up the target and use the same technique as for the right forward roll. You should take care not to land on the tip of the right shoulder. Practice the timing for thrusting your kick, because it is very important. Be ready to follow through with other attacks. You may practice this kick aiming at the extended and open hand of a partner. This will help you

to develop a good sense of distance and timing for the initiation of the kick. Heel Spear. This is a kick to the rear using the heel as the the striking area. From the left guard 3, drop the right hand holding the stick in front of the groin, bring the left hand in front of the chest and turn your head to look in the direction of the target (to the right) over your right shoulder. Raise the right knee to the chest and bend the right ankle upward. Lining up the right hip and shoulder with the target, thrust the heel sharply in that direction. This kick utilizes the backward swing of the thigh and the snap of the knee. Withdraw the right leg fast, and pivoting to the right on the left foot, now assume a left guard 3, facing your opponent. Key Points. The supporting left foot must be flat on the floor, in line with the thrust. The supporting knee is slightly more bent than in the high direct kick. Here, the body bends away from the target. Rolling Kick. This kick is very effective in self-protection and should be studied with great care. One of the best opportunities for delivering this kick is after a jumping dodge, when your attacker is pivoting to face you after you have changed position. Remember that your newly assumed position is at right angles to the direction of his initial attack. At this point, for a brief moment, he is open to the rolling kick. From the left guard 3, take a forward step with the right foot, toes facing slightly to the left (inward) and let your body, led by a circular motion of the right arm, be carried into a right forward roll (see p. 76). Your right fist points toward the oblique left and, as you roll on your back from the right shoulder to the left hip, you kick with your right leg, initiating the kick shortly after the leg has passed the vertical. The rolling kick is delivered with the bottom of the heel in a sharp, thrusting motion and is directed at the opponent's lower abdomen. Stand up, taking a guard and, if close enough to the opponent, pursue your attack with slashes and thrusts. With practice you might even be able to deliver a double kick. KICKING IN MOTION Be relaxed while moving. Drain the tension from your shoulders and let your weight "settle" in the lower abdomen. Feel as if it were concentrated in one point and imagine it as your center of gravity. This will help you to remain relaxed. Your feet should glide lightly and swiftly on the floor, but do not sacrifice accuracy for speed. Increase speed only as your ability to perform improves. Look straight ahead as if through the upper chest of an imaginary opponent. Calmly concentrate on the technique you are performing. You can achieve this by a process of eliminating anything in your mind that does not pertain to the technique at hand. Concentration is the attribute of champions. Use minimal tension at the ready position and full tension at the real (or, in training, imaginary) point of impact. Then release tension at once and withdraw the attacking leg fast, without lowering it too soon. Gradually blend one or more steps with one kick, then with different kicks. Stop briefly from time to time to check on the accuracy of your technique, or you will develop bad habits. You will know that you are on the right track when your technique combinations fit into each other smoothly, making a flowing, homogeneous whole. Try several combinations and you will discover the ones best suited to you. Footwork is of prime importance and you can never practice it enough.

Flying Kicks. These spectacular kicks are not recommended because they are hard to control and because of the vulnerability of the person who uses them should he miss. Furthermore, they are not essential for effective self-protection. Be particularly careful to avoid using them against an opponent who has a stick and knows how to use it. ADDITIONAL TECHNIQUES Kneeing and elbowing are both useful in self-protection. In all cases, of course, the stick must be out of the way, either in a guard position, or held in the ready for a thrust or slash. Direct Kneeing. Strike up and forward by bending the knee sharply. Let the target come in the way. Take the same position as for a high direct kick. THE CRISS-CROSS: Example: a slash to the right temple, a slash to the left ribs, and then to the right knee. THE ENTICEMENT: Drop the stick from guard 2 to guard 1. As your opponent throws a right punch to the face, being enticed to do so because you dropped your guard, you sidestep to the left, deflecting his attack with a parry 2, and counter with a left instep kick to the lower abdomen. GUIDELINES FOR SELF-PROTECTION Circular Kneeing. Prepare as for a circular kick. Then, rather than thrusting the foot toward the target, swing the knee in a wide circular motion leading with the hips. Key Points. Bend the knee fully and tense the ankle, toes in extension. Because of the proximity of the opponent, either be prepared to parry a possible attack or, better still, break his balance before you get in a position for kneeing. Elbowing is used at close quarters, but rarely in stickfighting. It is usually preferable to use the tip of the stick rather than the elbow. However, should the opportunity present itself, a blow with the elbow is always delivered either in a plane parallel to the body or at right angles to it, the plane being formed by the wrist, forearm, elbow, and shoulder. The impact of the elbow is timed with a twist of the wrist so as to increase the penetrating power of the blow. Self-defense is usually visualized as an aggregate of techniques developed to deal with various types of attacks. There is a general tendency to slant such techniques toward a specific type of approach. For instance, there is a judo self defense, a karate self-defense, an aikido self-defense, etc. I completely disagree with such a piecemeal approach. Any efficient, systematic study of self-protection must be based on two things: first, training aimed at the instinctive application of the five principles, so that the specific type of an attack becomes of lesser importance; and second, an integral "nonsectarian" approach, which is quite possible, even if the techniques are centered around the use of a stick. In other words, I believe in using the most appropriate technique for a given situation, be it a kick, a throw, a blow, a choke, or joint twisting, preferably with the stick but, if need be, without it. In self-protection you should abide by the following important guidelines.

TACTICAL CONSIDERATIONS In order to win, you must either find or create an opening. You can do so either by initiating an attack, or by inducing your opponent to attack in a direction which, with your predetermined tactics, you can turn to your advantage. The following examples of tactical schemes, applicable to both kickboxing and stickfighting, will help you. THE CROSS: Attack a low target and use your opponent's reaction to attack a diametrically opposed, high target. Example: a low direct kick followed by a slash to the temple. THE TRIANGLE: Make an attack to the low right, the low left, and then make one high attack (or vice versa). Example: a slash directed to the opponent's left knee, a slash directed to the right knee, then a thrust to the solar plexus. l. Never fight unless you absolutely have to. Avoid people who might lead you into fights. 2. If you must fight, fight to win. Move in to attack swiftly and decisively. Break the fight as soon as your opponent shows no further desire to attack. 3. In self-protection, anything beyond a parry is at the defender's option. He must at all times use his judgment to adjust the severity of his retaliation to the potential severity of a further attack. The retaliations in this book have been selected with the A.S.P. philosophy in mind. It is not recommended or implied that they should be used indiscriminately. While I would like to provide the student with very effective and complete techniques, I do not want to suggest that he should abdicate good judgment. 4. The best means of self-protection is one which discourages a potential opponent from attacking. A calm and fearless attitude is invaluable to this effect. 5. As soon as you judge that your opponent's attitude becomes too aggressive and he is about to attack, attack first if you can to stop him in his tracks. Try to keep him at a distance using your stick, your feet, or both. 6. The most effective self-protective sequence is as follows. (a) Make a feint or strike to stop the attacker in his tracks and create a diversion (b) Then thwart his attack and/or bring him under control (c) Retaliate if necessary There is no need for acrobatic kicks. While the above sequence is not always repeated in connection with the techniques described, keep in mind that it is always applicable. Rather than constant repetition for each technique, it is easier to remember that, depending on the distance, the most useful kicks are Low direct kick to the shinbone Side-of-foot kick to the knee Instep kick or a high direct kick to the inside of the thighs or the groin, depending on the

severity of the attack Condition yourself for a conflict by visualizing the situation using these techniques, in addition to using them in training (with all necessary caution). The other kicks described in this volume are very useful in training and can most certainly be used in self-protection. For stickfighting, however, they are not essential. As earlier stated, kicks, slashes, and thrusts blend well, and it is advantageous to combine them as you find necessary. You must remember that, while the stick techniques are described in detail, all possible combinations with kicks are not given for the sake of brevity. In short, because a kick is not described with a given stickfighting technique, it does not mean that it cannot be used. 7. Beginners usually think that the retaliation part of a technique is the most important. Actually, dodging or foiling an attack by appropriate body positioning and shifting in accordance with the five principles comes first. Unless you under stand this, you will not understand A.S.P. Speed is most important in this respect, and this is also why conditioned reflexes are given so much emphasis in this system. 8. The large, unprotected, and rather soft abdominal muscles and those of the area of the floating ribs are very vulnerable to blows, particularly during inhalation, when these muscles are relatively relaxed and the lungs are filling with air. Conversely, exhaling sharply when receiving a blow gives you some protection because it tenses these muscles and braces them against the impact. It is also helpful when delivering a blow, because it firms up the large muscles of the trunk and abdomen and helps in the effective transmission of the power of the trunk to the opponent, either through one's own body or the stick. 9. There are several vulnerable parts in the human body. In order to learn how to attack them, one has to develop great accuracy and know-how in the mode of attack. For the average person, such effort is futile and unnecessary for self-protection. Therefore, we will confine ourselves to large, easily accessible, vulnerable areas. I said earlier that retaliation is secondary to body shifting and positioning. In keeping with this emphasis, 1 will describe means to retaliate only as related to specific techniques. 10. Variations of techniques have been kept to a minimum in order to avoid confusion. You will have no difficulty in devising your own with the elements learned. 11. Confidence and skill go hand in hand. Practice is essential for developing any skill; however, it should be consistent with the proper understanding and application of the principles involved. Then it results in the instinctively correct application of appropriate techniques. Important Note: All techniques described must be considered potentially dangerous and must be practiced with caution. Some readers may find difficulty in understanding how the severity of the defense can be correctly proportioned to the potential severity of an attack, particularly regarding defensive blows delivered with a stick. Keep the following in mind. 1. The impact of the retaliation can be controlled all the way, from a feint to a focused blow. In order to avoid being repetitious, the reader is not reminded of this each time a technique

is

described.

2. Retaliation is not always mandatory. All or part of a technique, or none at all, may be used; and any technique can be employed at different levels of severity. You have, therefore, a great latitude of choice. Possible complete techniques are described in this book, and the reader should apply them using good judgment and discretion. Some defensive techniques may appear to be repetitive. This is because of the goal of developing conditioned reflexes with minimal effort. In this system, a few versatile elements of motion are used. Complexity is never tantamount to efficacy and almost always results in poor yields. THE ART OF FALLING If you want to get someone really mad at you, endanger his balance. Our balance is very important to us, physically as well as psychologically. Being sure of our balance and unafraid of losing it, because we know how to handle such an eventuality, has a very positive effect on our self-confidence. Knowing how to fall is not necessary in order to learn the stickfighting techniques in this book, but we believe that it should be an integral part of all fighting arts and sports, not only because of the element of safety it adds to their practice, but also because of the great psychological benefits derived from it. The A.S.P. system is so structured that you do not have to spend too much time working on preliminaries. You can start learning the stickfighting techniques immediately, and while progressing in stickfighting proper, so sustaining your interest, there will be ample time for you to gradually learn how to fall safely. Rest assured that if you practice within this system, you will soon become familiar with the five principles and will quickly develop conditioned reflexes in accordance with their guidelines. Like all other techniques explained in this book, breakfalls are described on one side only. In practice, they must be studied on both sides. Becoming ambidextrous is very desirable, if not essential. ROLLING FALLS These are the most important of all falls and must be studied very carefully. Pay special attention to the forward rolls, which may be used for defense as well as for attack. All breakfalls are described from guard 2, holding the stick throughout the roll. Forward Rolls. Stand relaxed, feet spread shoulder-wide, and take a forward step with your right foot, this step being somewhat longer than a normal step. Now pivot on the balls of your feet so that your toes point slightly inward, toward each other. Lift your arms straight above your head, relaxing your wrists and letting the stick point forward and downward. Fix your head in a forward-bent position, chin on chest, looking between your legs, without tensing up the muscles of your neck. Continuing to hold this position will protect your head throughout the roll. In a reaching motion, again without tensing up, propel your body forward with the left foot, using the ball of your right foot mainly for support. Failure to follow these instructions carefully will make you roll sideways and perhaps even hurt yourself. If you follow them, not only will you be able to roll safely on a mat, but also on uneven hard ground.

At the roll ready-position, your arms form a circle, and as you propel yourself forward, your body rolls diagonally from back of right shoulder to left hip. It is helpful to turn the toes of the leading (right) foot slightly inward. During the roll, use the left leg to increase your momentum. Extend it as it passes from the vertical, then fold it behind the right so that upon landing the leading right foot is still forward. Get up using your forward momentum. Positioning the feet properly is essential for easy recovery. Practice slowly at first, then increase your speed. As you become more familiar with this roll, do not stop after one, but take several in succession (Figs. 1-3).

Back Rolls. Start the same way as for a forward roll. Take one step back with the left foot, squat, and roll as if you were trying to throw both hands over your right shoulder, and keep your head positioned as described for the forward roll. Place your left instep on the mat to support your body as you roll diagonally from left hip to right shoulder. When you get up, your right foot is forward. Practice several rolls in succession (Figs. 4-6). FLAT BREAKFALLS These falls must be studied on a mat. In some cases it is necessary to drop the stick to avoid injury, but you should always try to drop the stick within easy access.

Forward Breakfall. Start your training as follows. Kneel on the mat, toes curled up in contact with mat. Relax and drop your shoulders. Swing your arms together up and down, bending the elbows close to the body and bringing the stick in front of the face. At this point, your forearms must be almost parallel to the body. Do this to familiarize yourself with the technique, then fall face down, straight from the knees. In order to break the fall, drop the stick in the direction of your hips (under you) and strike the mat with the whole length of the forearms and open hands. Keep relaxed and do not try to reach for the mat as you fall, otherwise it will destroy your timing and your breakfall will be inadequate. Let the mat come to you, timing your strike with the impact. After mastering this breakfall from the kneeling position, practice it from the standing one. Your knees should not hit the mat. Spread your feet apart and support yourself on your toes. Properly performed, this breakfall will not hurt your elbows (Fig. 7). Quickly retrieve your stick as you get up. Back Breakfall. When falling on your back, use a back roll in preference to a flat-back breakfall.

Right- and Left-Side Breakfalls. Jump, shifting either to your left or to your right side, breaking your fall with the corresponding arm, while the other is holding the stick. For instance, when falling on your right side, break the fall by hitting the left heel and the side of the right fist on the mat. The right arm should not be too far from the body, forming about a 30-degree angle with the right side. Do not cross your legs as you fall; try to keep the thighs at almost right angles to prevent the knees from hitting each other. For instance, for the right-side breakfall, the right leg is slightly bent, and the whole right side, including the right side of the right leg, is in contact with the mat (Fig. 8).

STICKFENCING Fencing, derived from sword fighting, is a highly stylized combative sport which develops a great number of desirable attributes for self-defense without having any direct use in that respect. Training in stickfencing is not necessary for learning the techniques in this volume. It is desirable only in that it helps to greatly improve one's effectiveness in their use, and is thus encouraged for training purposes only. The weapons used in fencing are flexible and relatively light, for safety reasons and because the emphasis is on speed and finesse. For instance, in sabre fencing, the sport which approximates the closest to stickfencing, the so-called slashes (cuts) are performed with a push or a pull of the blade. Indeed, in actual sabre combat, with razor-sharp weapons, a cut on the opponent is effectively achieved with such techniques. Hollywoodstyle blows are not necessary. This is not the case in stickfighting, not only because the stick is rigid, but also because it has no cutting action. It is the impact of the slash or thrust that must be counted upon to incapacitate or hurt the opponent. With the exception of the epee, or dueling sword, sabre and foil fencing abide by the socalled rule of precedence. According to this rule, any simple or compound attack must in

general be parried first before one is allowed to counterattack. The target areas also differ. In epee, the whole body is the target, but only for thrusts. Foil aims at the upper body, save the arms and the head, and is also limited to thrusts. Sabre aims at the whole upper body and uses cuts and thrusts. All three weapons have guards to protect the wrist, and all fencing is performed in straight lines. Special protective gear for the head, fencing hand, and body is mandatory. Stickfencing, practiced as a sport in preparation for stickfighting, has to use realistic guidelines compatible with such a goal and with the safety of the players. All of the body is a target for slashes and thrusts. The sticks are equipped with rubber tips to minimize the impact of thrusts, and heavily padded protective uniforms, gloves, and masks must be used by beginners. Advanced students, or even beginners who know how to keep their spirits under control, may quite satisfactorily use epee-fencing equipment. Jockstraps as well as knee- and shin-guards are essential. Tennis or boxing shoes may be used. In contrast to fencing, the players may move anywhere within the contest area, which must be clearly outlined with colored tape or by other adequate means. This area is a square of 30 X 30 feet (10 X 10 meters). There is one referee and four judges. The latter stay outside the contest area during the bout, one at each corner. The referee may step in and out of the contest area at will. The rules are simple. Essentially, the first contestant to touch his opponent with a thrust or slash scores. Simultaneous touches are scored against both contestants. STICKFENCING PRACTICE The techniques used in stickfencing are closely related to those used in sabre fencing. In stickfencing, however, we have another dimension in that one may also score with kicks, by touch only, according to our kickboxing rules. Each match is limited to five points scored by one contestant and not to any time limit. The contest starts after both contestants, holding the stick in a symmetrical double grip and touching fists in the center of the contest area, are given the command "go" by the referee. Then they take two steps back and start the bout. In the practice of any sport, it is important that the players also have fun. The referee must make sure that there is no pounding of any contestant by giving warnings and even disqualifying the culprit. Among the benefits derived from such practice which are of prime value in self-protection, we can mention a keen sense of distance, direction and timing, fast reflexes, precision in attack and defense, the ability to discern and create opportunities to get through an opponent's defenses, a sense of strategy, as well as nervous strength and mental control. Stickfencing is first and foremost a way of training safely in the realistic use of the stick in self-defense situations. This is the main reason why we have included kicks. Another reason is that since kicks and sticks can be used at a similar distance, they can be complementary in self-protection.

Much of the sophistication of classical fencing is utterly meaningless in stickfencing and stickfighting; nevertheless, certain notions and practices are common to both. There are also some marked differences. For instance, when using a stick it is not advisable to lunge to the same degree as in fencing because, unless you have an exceptionally fast recovery, you may expose yourself to a kick when your opponent dodges or parries your attack. Since the side of the stick is used for slashes and the targets are relatively large, there is a good reason for stickfencers to stay out of striking distance and to prepare to stop the stick, parrying it from whatever direction it might come. In contrast to traditional fencing, you should rarely engage (touch) your opponent's stick in the hope of creating a reaction which can be exploited to your advantage. This is only mentioned to point out that the expected results will be achieved only seldom. On the other hand, passing from one side of your opponent's stick, over the tip of his stick, in order to strike at the other side, is used frequently and is known as a cutover (Figs. 1-4). SIMPLE RETURNS FROM BASIC STICK PARRIES

These simple returns are slashes and thrusts delivered immediately after a parry in the most direct way. In the following descriptions I assume that the person who parries used only right one-hand parries. The directions should be reversed for the other side. After the return, one must be ready to parry another possible attack. Only one parry is illustrated (Fig. 5). For the others, refer to earlier illustrations (see Figs. 13-18, pp. 37-39).

From Parry 1 : You may return with a slash, palm facing up, on any of the targets on the attacker's left side (Fig. 6). As for possible kicks, you may follow through with a low direct kick to the attacker's closest shinbone, a side-of-foot kick to his nearest knee, a high direct kick, or an instep kick to his closest inner thigh (Fig. 7), or a circular kick to the opposite (right) side to which the slash was delivered, thus confusing the attacker. In stickfencing, kicks to the groin are avoided. All this highlights why in stickfencing fully extended, fencingstyle lunging is to be avoided, because only rarely can it be performed at a speed safe for its user. Should your attack be parried, you are open to retaliation.

From Parry 2: Return with a right slash, palm up, to the attacker's left cheek, or palm down to his right side (Fig. 8), or a spring-slash to his left wrist (Figs. 9, 10). Direct returns are more often slashes than thrusts, for the simple reason that the initial motion of the parry can be best continued, gathering momentum as a slash rather than a thrust. Following a slash, one may continue with either a thrust (Figs. 11, 12) or a kick. Many examples of such follow-throughs are given in the self-protective techniques in Part Two. Their number is, in practice, only limited by the student's experience and imagination,

From Parry 3: Follow with a slash, palm down, to the right side of the attacker's neck or temple (caution), his right elbow, or upper right arm (Fig. 13). From Parry 4: Follow with a slash, palm down, on any target on the attacker's right side, or, palm up, to his left upper body or head. is parried with the stick, the score will be against you. At best it will be a double score. Naturally, the advantage is in being able to use both feet and the stick, particularly if you can attack in succession opposite sides of the opponent's body. Besides the element of surprise, such attacks can pack a lot of power and are very useful for self-protection. From Parry 5 : Follow with a straight downward slash to the crown of the head. You may also slash, palm down, at upper right-side targets, or palm up at left-side targets such as the attacker's left temple, neck, side, or knee (Fig. 14). From Parry 6: Follow with a slash, palm down, to the right temple or neck, or, palm up, to the left temple or neck. Depending on the position of the feet at the time of the parry-return, all the above techniques may be followed by one or more kicks. These must be delivered very fast in full balance and followed by a fast recovery in preparation for parrying another attack. In other words, do not use the feet to continue an attack unless you have good balance and are very fast with your feet and with your stick parries. If your kick FEINTS

As earlier mentioned, a feint is an attempt to mislead the opponent into believing that he is about to be attacked in a certain way, so that he commits himself to parrying it. During his commitment, the initial attack is changed and, if successful, lands. For instance, a feint to the left side may be followed by a cutover and an attack on the right side. It is also possible to feint an attack in one and the same plane, but at different heights. Thus the feint of a slash on the right side of the head may be followed by a slash to the attacker's right knee and vice-versa (Figs. 15, 16). In the horizontal plane, the feint of a slash to the right temple may be followed by a cutover and a slash to the left temple. Also, the feint of a slash may be followed by one or more thrusts to any target and vice versa. COMPOUND TECHNIQUES I have mentioned that stickfencing does not lend itself to all the refinements of fencing. Theoretically, however, the possibility of such refinements cannot be excluded, and for this reason, and for the sake of completeness, I will briefly touch upon some generalities about compound attacks, compound returns, and timed techniques. Dwelling in much detail in this area would be inconsistent with the self-protection philosophy of simplicity and of high yields in proportion to expended effort. Compound attacks consist of a series of feints prior to the final thrust or slash. Feints are made with the arm barely short of full extension. The threatening action of a feint must be sufficiently convincing to make the opponent commit himself to a parry. When more than one feint is used, the first must be made deep enough to provoke a parry, while the succeeding ones need not be as deep. The feint just prior to the final slash or thrust should be held a trifle longer. Essentially, it is getting the opponent to commit himself to a parry that gives you the opportunity to score. Attacks performed while advancing against the opponent are important because of the distance at which fencers compete. A properly executed advance is short, well coordinated with the motion of the stick, and precise. Otherwise, one runs the risk of being stopped by the opponent. A good fencer is capable of controlling his weapon in the middle of an exchange and making compound returns, rather than using the almost instinctive direct return. A compound return involves at least one feint. Compound attacks and compound returns are very good at developing coordination and a good sense of distance.

Theoretically, against an opponent who is as good as you, compound returns give you a better chance to score. When you take advantage of your opponent's approach and the time lie takes to initiate and complete his attack, for instance, if you make a slash to his attacking arm followed by a retreat and parry, you are performing what is known as a timed technique. Understandably, a timed attack should be made to the nearest part of your opponent's body as he is advancing or getting ready to advance. Retreat immediately after you make contact. Keep in mind though that such techniques often result in a double score against both contestants. One technique which is sometimes useful, but which can be dangerously difficult to control, is similar to the flash used in fencing against an opponent who consistently keeps out of range. Imperceptibly shift your weight onto the forward foot and, with careful timing, hurl yourself, arm and stick in extension, against your opponent. Timing is of the essence, since a good fencer will easily parry such an attack and make a return. In such a case, the contestant using the flash will have difficulty in parrying. Flash is to be avoided in stickfencing, while it can be quite useful in self-protection.

2.0 TECHNIQUES FOR SELF-PROTECTION

Most of the following techniques entail at least two situations. (a) "Before," when an attack is foiled as it is initiated (b) "Secured," when a grip or some other form of attack has been secured. It has been assumed that the attack will usually be directed to the hand holding the stick. This is a reasonable assumption. The initial guard of the defender is always indicated where appropriate. Unless the attacker is brought under control via a choke, lock, or immobilization, the defender automatically assumes guard 3 after foiling the attack. In order to avoid repetition, this is not mentioned after each technique. So as to keep all of the attacker's actions within his field of vision, the defender should look through the attacker's chest, not directly at him, focusing at a point beyond him. This is a general rule true for all techniques and, again, will not be mentioned in each technique. While practicing, it is very important for the attacker to yield by yelling, stamping his feet, or tapping several times with his free hand, either on his own body, that of his partner, or on the mat. The attack should be stopped as soon as the attacker feels pain, in order to minimize the risk of injury, Note that in the instructions which follow, D (for defender, in black) is the performer of the technique, and A (for attacker; in white) is the initial attacker.

1. AGAINST WRIST GRIPS

We start with the study of defenses against wrist grips because they are the most appropriate for the demonstration and application of the five principles to the beginner.

Left Grip on Right Wrist: D is in right guard 1. A is reaching with his left hand for D's right wrist. (a) BEFORE: D uses a right parry 6 to slash and deflect A's left wrist while pivoting to the rear left on the right foot. D follows (if necessary in his judgment) with a one- or two-hand slash, right palm down, across A's nose bridge, then a thrust to the midsection, and a twohand slash to the outside of A's left knee (Figs. 1-6). D then slides his right foot back and takes a left guard 3. In an actual self-protective situation, the first slash properly delivered would be more than enough to momentarily incapacitate an attacker. In training, however,

you should follow through with successive retaliations in order to develop speed, accuracy, and fluidity of motion.

(b) SECURED: D kicks A's shinbone with a low direct kick, using the foot corresponding to A's grip (Fig. 7). Depending on the force of the impact and the sensitivity of A's shinbone, two things may happen. (i) A lets go. Then D slides back his right foot and takes guard 3, unless, of course, he wishes to continue with retaliations, as described above, because they are warranted in his judgment. (ii) A reacts to the kick but does not let go. Then, upon A's reaction, D overrides A's left wrist with a clockwise motion of the stick. Now D comes to grasp the stick from under with his left hand, which he slides under his right wrist. A's wrist is now wedged between D's crossed wrists (Fig. B). D tightens his grip and pulls A sharply down while retreating a few steps. This breaks A's grip. Overriding A's wrist with a counterclockwise motion of the stick, without D's wrists being crossed, will also work (Fig. 9). D delivers a spring-slash to A's left temple (Figs. 10, 11).

Right Grip on Right Wrist: D is in the right guard 1. A is reaching with his right hand for D's right wrist. (a) BEFORE: D sidesteps to his left and deflects A's right wrist or forearm with a parry 2. He continues with a circular spring-slash to the same area, delivered after first pivoting to the right on the ball of the left foot and then stepping back with the left. One possible followthrough is to proceed in rapid succession with a thrust to the midsection and a slash to the right knee. Pay attention to the footwork (Figs. 12-15).

(b) SECURED: Same as Left Grip (b ii), p. 96, but the override is clockwise only and is followed by a severe wristlock, which D may use by tightening his grip and curling his wrists downward to bring A to his knees and then immobilize him face down. This is the crossedwrist control (Figs. 16-18). Double Grip on Wrist from Above: D is in the right guard 1. A attempts a double grip on D's right wrist from above the thumb. (a) BEFORE: As in the previous techniques Left Grip (a) and Right Grip (a), pp. 94, 97. Both techniques apply. (b) SECURED: As in Right Grip (b) above, except that both of A's wrists are wedged instead of one, which is even more painful.

Double Grip on Wrist from Under: This refers to the situation where D has lifted his arm holding the stick high and A has succeeded in grabbing it from below. D delivers a low direct kick to A's closest shinbone (Figs. 19, 20). Remember that in this case, as earlier mentioned, if A lets go, D takes guard 3, after any retaliation. In the

technique we are describing here, it is assumed that A still hangs on to his grip. This may be due either to the fact that D did not choose to kick hard enough, aiming only to create a diversion so that he can exploit it, or because A can resist the pain inflicted.

If A retains his grip, D grasps the upper tip of the stick with the left hand and, loosening his right grip, slides the stick lower and brings its tip against A's face, throat, or collarbone. D then inserts the stick under A's left wrist and breaks the double grip using a wide counterclockwise rotation of the stick, first under A's left wrist, then over his right. Now D thrusts to A's midsection and slashes at the most accessible knee (Figs. 21-24).

Assuming that D wants to bring A under control, he may throw and immobilize him as follows. When A doubles up under the impact of D's thrust, D comes behind A and, sliding his stick in front of A's shinbones, D takes a symmetrical double grip on the stick on either side of A's ankles. Pulling smartly with his arms, and pushing with the upper part of his body against the back of A's knees and calves, D throws A face down. This is the shin-block throw. During A's fall, D slides the stick away from in front of A's shins and immobilizes him by applying pressure on the Achilles' tendons on either side of A's ankles. This is the Achilles' heel pin, or the Achilles pin. D may also hold it by kneeling on the stick, thus freeing one or both hands (Figs. 25-27).

Double Grip on Two Wrists D is in guard 2 (a) BEFORE: When A is about to touch D's wrists (in other words, when he is committed to his attack), D bends his wrists fully upward, steps back with one foot (e.g., the right), and lifts his arms while bending well at the knees. All this is done simultaneously and foils A in his attempt to catch D's wrists. D delivers a right slash to A's left ribs, followed by a thrust to the midsection and a slash to A's right side (Figs. 28-30).

(b) SECURED: A has secured a firm grip on D's wrists. D kicks A's most accessible shinbone with his left foot, sets it on the ground, opens the left hand and overrides A's wrists with the stick; using a counterclockwise motion of his right wrist (Figs. 31, 32). Bringing the leading tip (i.e., the tip closest to the potential impact area) close to his left hand, D grasps it and sharply pulls the stick down as he retreats (Fig. 33). The pull, which must come from D's shoulders, breaks A's grip. D sidesteps to the left, then follows with a

right circular spring-slash to one or both of A's wrists and with a thrust to the midsection (Figs. 34-36). When A doubles up, D slides behind him and throws him with a shin block, followed by an Achilles pin.

Hand Grip with Pull D is in guard 1, holding the stick with his left hand. A grabs his right hand and pulls him violently in order to spin him around and come behind his back to apply a choke or an armlock. D goes along with the pull, leading with the hips, but without allowing A to spin him around. Leading with the hips, D takes a jump, with the left foot landing near A's right foot (Fig. 37). In the process, D delivers a right low direct kick to A's right shinbone and, pushing ahead with his right hand, he ducks under A's right arm, and pivots leftward on the ball of his right foot. Using his leftward momentum, D delivers a left slash under A's armpit (Figs. 38, 39). D slides behind him in order to apply the figure-four stick-choke as follows. With his left hand, D slides the stick across A's throat and cradles its leading tip in the bend of his right elbow, while with his right hand he pushes the back of A's head toward the stick. D must try to bring his elbows as close to each other as possible and keep A's balance broken backward (Figs. 40-42). In order to achieve this, he might have to knee A's lower back.

Caution! This is a very dangerous choke. Practice with great care and use only if you are in serious danger and it is warranted. Should D take A to the ground fast, D facing down, D's feet sliding backward, this choke could prove fatal to A. However, with proper care it can be practiced quite safely. Alternatively, when D is behind A, he may use the shin-block throw and Achilles pin (see Figs. 25-27, p. 101). D may also choose to stop after the slash on A's ribs, or to supplement it with a forward push and a kneeing to A's lower back. This illustrates the variety of possible combinations and the choices of degree of severity of retaliation open to D. 2. AGAINST MAJOR FRONTAL ATTACKS These attacks involve grips on various parts of D's clothing, his head, and body, with attempts to push, pull, hug, strike, and apply headlocks or chokes. For this type of attack, the "before" techniques become even more important, particularly for the weaker person.

Lapel Grip, Pull, and Strike to Face D is in guard 2. (a) BEFORE: As A is about to secure a grip with the left hand on D's right lapel (in other words, when A has committed himself to his attack), D sidesteps to the right, leading with the right foot. He pivots toward the rear left on the ball of the right foot, deflects A's left forearm with a symmetrical double-grip parry (Fig. 1), and follows with a right circular spring-slash to A's left wrist or lower forearm. Here are some of the options A now has at his disposal. (i) Thrust to A's floating ribs, followed by a figure-four stick-choke (Figs. 2-5). (ii) Same thrust followed by a shin-block throw and Achilles pin.

(iii) A right slash to A's kidneys followed by a leg-lift throw performed as follows. As A bends back under the pain, D pivots until he faces A. Now A and D are left side by left side facing opposite directions, and A's balance can be broken backward as a result of the slash to the kidneys. D throws A by sweeping one or both feet from under him using the stick in a wide, clockwise, circular motion, striking the lower calf. D holds the stick with a left middle grip and one tip with the right hand. The leading tip of the stick is used to sweep against A's legs (Fig. 6). D must use his hips and shoulders in the broad clockwise lift, which, if properly performed, will throw A on his back. Whether A falls on his back or not, D may continue to retaliate with slashes or thrusts as warranted. (b) SECURED: A has secured a grip on D's lapel(s). There are two possibilities. (i) A does not pull immediately. D spreads his feet apart, lifts the left tip of the stick, while lowering the right in a clockwise motion aimed at deflecting a potential blow by A's right hand, and digs the left tip of the stick (i.e., the tip closest to the left hand) into A's sternum, neck, chin, or face (Fig. 7). Upon A's reaction, D sharply lifts the stick, catching A's left elbow from below, and breaks the grip. At the same time, A's left arm is deflected toward his own right. Now D pivots to his rear left on the ball of his right foot and positions himself so as to deliver a right circular spring-slash to A's left arm. This may, of course, be followed by other slashes or thrusts according to earlier examples. The practicing reader will have become convinced by now that a large repertory of slashes and thrusts is not required for effective retaliation. Accurately striking specific fancy targets is not a requirement either. (ii) Should A pull immediately, D goes along with the pull, stepping deeply with his right foot to A's left side and bending his knees low. He digs the stick in A's face as before, and deflecting his left arm, D steps behind A for a figure-four stick-choke, a shin-block throw, and an Achilles pin, as warranted.

Double Lapel Grip D is in guard 2. (a) BEFORE: As in Lapel Grip (a), p. 107, but applying the technique to both arms (Fig. 8).

(b) SECURED: A's double grip on D's lapels puts him in immediate jeopardy because A now has considerable control over D and can follow up with a number of swift attacks, such as a butt to the face, a knee to the groin, or a backward or forward throw. D must act fast. He is in imminent danger of losing his balance and his first concern should be to retain it. (i) From guard 2, D steps back, bending his knees well and dropping the hips. This will increase his stability. D lets go of his left-hand grip on the stick. Now, inserting the stick (held in his right hand) between A's arms, D again secures a grip with his left hand and digs the tip of the stick under A's chin or sternum. As A relaxes his grip, D sharply twists the stick counterclockwise, lifting A's left elbow and pushing down on A's right arm (Figs. 9, 10). A's grip is now completely broken and D, sliding his right foot to A's left side and then behind A, applies a shin-block throw or a figure-four stick-choke to bring him under control. For an effective application of this throw, care must be taken to let the stick glide down A's body as D initiates the push, which he completes when the stick has reached A's lower shins. ii) From guard 1, D steps back with his right foot. He then brings the stick over A's arms, grasps it in a symmetrical double grip, and shoves it, pushing with both hands, against A's nose, striking repeatedly very fast. Inserting the right tip of the stick between A's arms, D then relinquishes his right-hand grip in order to secure it again under A's left arm. D similarly releases his left-hand grip, securing it again under A's right arm. D is now in a position to dig the stick into A's sternum, after which he twists the stick counterclockwise, completing the technique as in (1) above (Figs. 11, 12).

Sleeve Grab with Pull D is in right guard 1. A attempts to grab D's right sleeve with his left hand and to pull him in order to initiate an attack. (a) BEFORE: When A is about to secure a strong grip, D steps lithely to his rear right leading with the right foot and, by bringing the left foot behind the right, D presents his right

side to A. With a wide counterclockwise motion of his right hand, D overrides A's forearm with the stick and breaks the grip by pulling down on both ends of the stick. At the same time, D retreats by sliding back his left foot followed by the right (Figs. 17-19). As usual, D takes a left guard 3 by sliding the right foot behind the left. (iii) D is again in guard 1. Quickly, A attempts to throw D with a judo shoulder-throw (morote-seoi-nage) (Fig. 13). D lowers his hips and pushes them forward while twisting them toward his rear right, pushing away, and blocking A's left hip with his left hand. At the same time, he jabs the short end of the stick into A's lower abdomen or face (Figs. 14, 15). One or more jabs will make A release his grip, and D will find it possible to administer a figure-four stick-choke (Fig. 16), or a shin-block throw followed by an Achilles pin.

(b) SECURED: D does not resist A's pull but steps in, sliding the right foot next to A's left foot while dropping his hips low. At the same time, D lifts the left end of the stick and drops the right in a clockwise motion meant to deflect any possible attack by A. Then D digs under A's chin, pushing him back. When A releases or weakens his grip, D deflects A's left arm by pushing it with the stick under the elbow (Fig. 20) and comes behind him to apply a figurefour stick-choke, or shin-block throw and Achilles pin. Alternatively, D sidesteps as described in (a) above, and thrusts to A's midsection. The harder A pulls, the harder the impact of the thrust (Fig. 21). Sleeve Grab and Push (a) BEFORE: As in the technique Sleeve Grab (a), p. 113.

(b) SECURED: A pushes D from behind by the right sleeve, which he has seized with his left hand. Immediately, D jumps ahead further than A's push, landing on the left foot. As he is landing, he cocks the right leg for a side-of-foot kick to the nearest target A is presenting. Then D brings down his right foot, pivots to the right, and delivers a right slash to A's face, forearm, or knee. (Fig. 22-24).

Front Hair Grab with Pull D is in guard 2. (a) BEFORE: A is reaching for D's hair with the right hand. D uses a defense similar to Lapel Grip (a), p. 107. (Figs. 25, 26)

(b) SECURED: D thrusts to A's midsection and applies the crossed-wrist control on A's right wrist as follows. With the right hand holding the stick, D overrides A's wrist from A's little finger side and, crossing D's left wrist beneath the right, he secures a grip on the stick with the left hand. His right palm is facing toward him. Now, retreating from A, D bends his head and crushes A's wrist (Figs. 27-29). As A slackens his grip, D pulls away his head to free it and may pull A to the ground to immobilize him. Alternatively, if A does not slacken his grip, D lets go of his left grip on the stick and delivers a right slash to A's right knee or ribs. Then with a symmetrical double grip, D strikes A's right elbow with force up and to A's left, thus breaking A's grip and forcing him to pivot toward his own left. D, leading with his left foot, slides behind A to apply a figure-four stickchoke, or a shin-block throw and Achilles pin. Front Bearhug: Arms Pinned D is in guard 2. (a) BEFORE: As in Lapel Grip (a), p. 107, the best defense is to deflect the attack before it is secured.

Alternatively, D may step back with one foot and, raising the stick smartly, catch and lift A's arms from below. He can then deliver a right slash to A's left ribs, a thrust to the lower abdomen, and a slash to the right knee.

(b) SECURED: D stomps A's right instep with the left heel, steps back with the right foot, dropping the hips low and sharply lifting the elbows. This weakens A's grip, and D, taking advantage of the extra space available to him for maneuvering, pushes up with the stick at the level of A's elbow and ducks under it. D now pivots toward his own rear left and performs a symmetrical double-grip parry to A's left arm (Figs. 30-32). He may then jab with the stick A's left floating ribs and slide behind A for a choke, throw, or immobilization.

Front Bearhug: Arms Unpinned D is in guard 2. (a) BEFORE: D thrusts under A's chin or sternum, sliding back on his right foot and dropping the hips. He then delivers a right circular spring-slash to A's wrists, forearms, or collarbone (Figs. 33-35).

(b) SECURED: D stomps A's left instep with his right heel. Upon A's reaction, D, holding the stick with both hands, jabs at A's kidney area with its short end (Fig. 36). As A lifts his chin with the pain, D inserts the stick under it, grasping the stick in a symmetrical double grip, and pushes A's chin back using the power of both arms. This push will force A to break his bearhug. D may throw A on his back as follows. He takes a step with the left foot to A's right side while twisting his hips toward his own rear left, so that he can lift his right knee high and insert his right leg between A's legs from behind. D extends this leg to the rear with a thrust while pushing on the stick, forcing A on his back. During the extension of his right leg, D bends well his left knee and points his forehead toward the ground, as if he wanted to dive through. When A starts falling, D turns his head to the left, twisting his body in the same direction. This is an A.S.P. leg drive (Fig. 37). D may also continue the

retaliation on the fallen A with a circular spring-slash to the closest shinbone, a thrust to the ribs, and a circular spring-slash to the head, forearms, or wrists, as warranted. Front Headlock D is in guard 2. A attempts to hook D's head with the left hand as the first step to a wrestling-type headlock which he plans to secure with his right arm, thus pinning D under his right armpit. Pressure will then be applied by A using both arms and interlocked hands.

(a) BEFORE: When A is extending his left hand, D sidesteps to the right and deflects A's outstretched left arm with a parry 5 performed with a symmetrical double grip, striking A's left arm above the elbow. D then pivots leftward on the ball of the right foot, bringing the left foot behind it. D positions himself by sliding the right foot behind the left, thus retreating one step, and delivers a circular spring-slash to A's left wrist (Figs. 38-40). He may follow with a thrust to the floating ribs and a two-hand slash to A's nearest knee.

(b) SECURED: As soon as D feels that A has a grip on him, he pushes forcefully with his left hand just above A's right knee to prevent the latter from lifting him. Should A succeed in doing so, there is a danger of a necklock by extension of D's cervical vertebrae. Holding the stick in his right hand, D strikes up A's crotch. Upon A's reaction, he switches grips, grasping the stick with the left hand at the same place where the right was. With the right hand D grasps the stick at the tip extending beyond and behind A's legs. With a forceful clockwise motion of the stick inserted between A's legs, D makes him spin in that same direction and thus breaks his hold (Figs. 41-44). A's back is now turned, and D retaliates with a thrust to the kidneys followed by a figure-four stickchoke, or with a slash to the right temple and a slash to the left knee.

Push Against the Chest D is in guard 2. A is pushing on D's chest with one or both hands, either with a continuous push, or with a series of sharp jerky shoves (Fig. 45). The technique described here is versatile and applies to both cases. Assuming that A pushes D with his left hand or with both hands, D retreats first with the left foot, then with the right, and pivots to his rear left on the ball of the right foot, thus giving way to the push. At the same time, D deflects A's left arm with a symmetrical double-grip parry 5. D is now facing a direction at right angles to A's push. Sliding back his left foot, D gets into the position for a right circular spring-slash to A's wrist, followed by a thrust to the left ribs and a slash behind the left knee (Figs. 46-48). One-Hand Choke D is in guard 1. A attempts to reach with his right hand and choke D. (These techniques also apply to two-hand chokes.) (a) BEFORE: D sidesteps to the left leading with the left foot and deflects A's right hand with a symmetrical doublegrip parry 2. Then he pivots to his rear right on the ball of his left foot and strikes A's right wrist with a circular spring-slash. Upon A's reaction, D brings the right foot close to the left and slides the left behind A. Now D has the options of a figure-four stick-choke, or a shin-block throw with or without the Achilles' heel pin.

(b) SECURED: We assume the worst possible case, where D has hardly any freedom to maneuver. A is upon D and chokes him against a wall using his right hand. D cannot sidestep or retreat. There is only one direction in which A cannot prevent him from moving and D uses it. He lets himself slide down against the wall all the way to sit on the ground or to sit in a deep squat. He then attacks with the stick the most accessible target among the following three: neck (under the chin or the Adam's apple), solar plexus, or groin (Figs. 49, 50). Upon A's reaction, D may insert the stick between A's legs and, holding it symmetrically, strike A's crotch, then make him spin clockwise, as described in Front Headlock (b), p. 123. D may also continue with thrusts and slashes, a choke, a throw, and pin. Further, D may use a stick knee-throw by holding the stick as in the case just mentioned and applying pressure just above the forward knee with one grip while pulling the stick with the other. A will fall on his back. Instead of sliding down against the wall, D may kick A's closest shinbone and, always holding the stick symmetrically with both hands, deliver a right jab under A's left armpit. D uses A's reaction to deflect the arm toward A's right, by striking it from below, just above the elbow. Now D slides the stick on A's left upper arm and comes behind him to apply a figure-four stick-choke. Two-Hand Choke D is in guard l. (a) BEFORE: As in One-Hand Choke (a), p. 125.

(b) SECURED: D spreads his legs, right leg in front of the left, and drops his hips low. He overrides A's arms with the stick held in the right hand and delivers a right slash across A's face. Then, inserting the stick from above, between A's arms, he grasps the lower tip with the left hand and twists the stick clockwise. The lower tip of the stick lifts A's right arm from under, pushing just above the elbow, using A's left arm as a fulcrum (Figs. 51-53). D ducks under A's right arm and comes from behind to apply a figure-four stick-choke, or a shinblock throw and Achilles pin.

Downward or Side Chop D is in guard 2. A attacks with the right fist in an overhead attack directed at the left temple or the left collarbone. Sidestepping to the left, D deflects the attack with a symmetrical double-grip parry 2. As soon as the attack is deflected, D gives a two-hand slash across A's face with the right hand leading, then thrusts to the midsection and slashes to the right knee (Figs. 54-56).

Reverse Strike to the Face D is in guard 2. A attempts a backhand slap across D's face with his right hand (Figs. 57, 58). Here we must consider two possible situations. (Incidentally, these comments also apply to other striking attacks.) (i) If D has room to maneuver, he jumps in order to retreat out of the range of the attack. (ii) If D has little room to maneuver, he must catch A as A positions himself to gather momentum, that is, when A is first swinging his right arm from right to left before delivering the blow by swinging from left to right. When A's hand passes right in front of D during the first swing, D jumps lithely to A's right side, landing on the left foot. D uses a symmetrical double-grip parry 2 to block A's arm just above the elbow. Then D may slide the stick on A's (right) upper arm as in One-Hand Choke (b), p. 125, and apply a figure-four stickchoke.

http://www.americanselfprotection.com/frontal_files/image060.jpg Alternatively, D may pivot to the rear right on the ball of his left foot and deliver a circular spring-slash to A's right elbow, followed by a thrust to the ribs, and a slash behind the right knee. D may also dodge A's attack by dropping low; he may thrust to A's solar plexus (Fig. 59). Then, standing up, deliver a right two-hand slash to A's right side of the neck, followed by a leg-lift throw on A's left side (Fig. 60). Note: Sliding the stick on A's arm before applying the figure-four stick-choke is important because it keeps the contact with A and helps to prevent any spinning action on his part, which would be hard to control. 3. AGAINST PUNCHES, KICKS, TACKLES There is a considerable difference between punches, kicks, and tackles delivered by experts and those delivered by untrained people. Naturally, it is preferable to train in defensive techniques applicable to both categories. Unless he believes in miracles, D must develop a degree of expertise which, at the very least, will enable him to evade such attacks by appropriate footwork and body positioning. Training should emphasize such techniques which, by the way, should work even if D does not use the stick. Initially, the natural tendency to use the stick for blocking should be resisted, because it is so easy to place more reliance upon it than is advisable against an expert. Blocking should be mainly an added feature to evasive maneuvers, which should lead to positions favorable for retaliation. Blocking should not be relied upon exclusively. Here are some general comments in the light of what has just been said.

The last thing to do against a qualified boxer is to box. Unless a qualified boxer himself, D's chances of success are very slim. Whether a boxer is a southpaw or not, he has to follow his opponent with the leading foot so that he can strike with full power in good balance. The dangerous area to avoid is inside his guard. D will minimize his chances of receiving the full impact of a punch by moving constantly outside and away from this area, For example, facing a boxer holding a normal guard, D should take a southpaw (right) guard and move backward to the left rear (counterclockwise), away from A's leading foot. If A is judged to be dangerous then, to prevent him from coming too close, the rolling kick can be used (see p. 68). Its element of surprise and its efficacy when well performed are remarkable. When A is closer, D may attack his right shinbone, then his left, and then his groin in rapid succession with, respectively, low direct kicks and high direct kicks. The best time to catch a boxer unawares is when he is lifting his arms to take a guard. Again, assuming that A is holding a normal boxing guard, D pivots to the rear left and attacks A's groin or inner thigh with a right instep kick as A is in the process of lifting his arms. This could be a light kick which will hurt A only moderately. However, coming from under, it will have a considerable surprise effect, making A extremely cautious. If D thinks that A is really dangerous, he may use the point of his shoe, rather than the instep, and impart enough force to his kick to make it momentarily incapacitating. A boxer is not very likely to push a contest against an opponent who uses his feet efficiently, unless of course he has a serious reason. He knows that he is at a disadvantage of reach and power and that he is facing an opponent who will strike anywhere. This technique may be applied directly, without pivoting, with either foot, independently of A's guard. It is extremely versatile. One important point should be made here. While an attacker's attention will be focused on the stick, the use of the feet will bring about a decisive element of surprise which can then be exploited with the use of the stick. Another important point to keep in mind when training is to condition oneself to mental mobility and versatility, in order to be able to use the technique most appropriate to any given situation. This could be a dodge only, a kick, a blow with the stick, a throw, or other technique. The student must also match this mental attitude with physical mobility, studiously avoiding static stances and stilted motions. Any attempt by a non-expert to block a kick with his hands will often result in painful injury to him. D should first learn to evade kicks effectively and in full balance, before even thinking of retaliation. Jumping away from the danger area within the reach of A's kicks is perhaps the best defense whenever possible. Naturally, the stick provides a strong and convenient means of blocking kicks. However, at least initially, D should not think in terms of blocking kicks, but rather about how he can best evade them. For instance, if D faces a high direct kick, the first concern is to stay out of reach. Knowing how to watch A is most important: D must look through A's chest so that his field of vision covers A's knees and feet. The knees are particularly important since all kicks involve them more than any other joint. As A starts his kicking motion with the right leg, D steps to the left with the left foot and starts his evasive action by bending slightly at the waist, away from the kick. As the kick

progresses, D lowers his hips and pivots on the left foot toward his right rear in a wide arc, at the end of which he is facing the same direction as A. D's arms are relaxed as he is holding the stick in guard 2. A's right foot misses D, who hooks A's right heel from below while on its way down. D then lifts it with both hands, backing up a few steps at the same time. This will throw A violently on his back. Caution: Do not practice against anyone who has not mastered his breakfalls. Another technique D should learn to defend against is the circular, or roundhouse, kick previously described (see p. 67). When A kicks with the right foot, D jumps in a wide arc in the same direction but away from the kick. The object here is not to evade the kick proper, but rather to familiarize oneself with a method of controlling a blow at the end of its momentum and at its weakest point (in this instance, A's knee). The same general approach applies also to tackles, while A can also be avoided with appropriate footwork and body positioning, as we shall see. Punches D is in guard 2. A attacks with one or a succession of punches. D sidesteps on the side of the first punch, deflecting it with an appropriate parry. For instance, assuming that the first punch is a left jab, D sidesteps to the right, leading with the right foot, and deflects the punch toward his left with a high symmetrical double-grip parry 5. This maneuver will not only take D out of the danger zone and make it difficult for A to follow through, but it will also enable D to retaliate effectively. In this instance, D delivers a left circular spring-slash to A's attacking arm, followed by a thrust under the ribs and a two hand slash to the closest knee. Alternatively, the initial parry may be followed with a right slash across A's face, a thrust to the midsection, and a slash to the knee. Naturally, there are many possible combinations, which are left to the reader's imagination.

High Direct Kick D is in guard 2. Let us assume that A aims at D's groin, which he wants to kick with his right foot (Fig. 1). While there are many possibilities, they all follow the same underlying considerations.

(i) D pivots clockwise on the ball of the left foot to face the same direction as A. D slides his left hand toward the middle of the stick and, when A misses with his kick, D catches under his foot with the leading tip of the stick just above the heel, lifting it smartly (Figs. 2). As we have earlier described, A will fall violently on his back (caution, see above). D may then retaliate with thrusts and slashes as required.

(ii) D sidesteps to the left and parries the kick with a parry 3 (Fig. 3). He then slashes across A's face with the right, palm facing up, thrusts to the midsection, and finally slashes to the nearest knee.

(iii) D blocks the kick with a symmetrical double-grip parry 4 and at the same time deflects A's foot toward his own right by pushing down with his right hand (Fig. 4). As soon as D has A's foot out of the way, he steps in with the left foot and delivers a right slash across A's face, following it with thrusts and slashes as warranted. There is nothing to stop D continuing with a figure-four stick-choke if necessary. Circular (Roundhouse) Kick D is in the right guard 3. A attacks with a right circular kick to D's midsection.

(i) D can easily get out of range simply by changing guard from right to left, and retreating as earlier described (see p. 44). When A's foot passes by, D delivers with force a slashparry 3 to behind A's heel, in the same direction as it is moving (Fig. 5). This, properly delivered, will make A pivot on his left foot and present his back to D. D may then thrust to A's kidneys, and may continue with one of the retaliatory techniques already described.

(ii) D steps to his front right in a circular motion, his right foot following a circular arc. He is moving in the general direction of A's kick, but away from it. D's body is now at about A's knee level. D blocks A's shin with a high symmetrical doublegrip parry 5 (Figs. 6, 7). He delivers a slash, palm facing down, to A's head, followed by a thrust to the midsection, and a slash to the nearest knee. Note: When delivering thrusts and particularly slashes, use the hand positions most natural for striking the closest target by the fastest possible route.

Tackles D is in guard 2 and A attempts to grab his legs (Fig. 8).

(i) D may easily stop A by dropping the hips and thrusting in the direction of A's head, then following that thrust with a circular spring-slash.

(ii) D may also flatten A on his face using a symmetrical parry 4 aimed at his nape (Fig. 9). (iii) D retreats first with the left foot, then with the right, pivots to the rear on the ball of the right foot so as to face the same direction as A, deflecting at the same time A's left arm with the right tip of the stick (Fig. 10). D may then either thrust downward between A's shoulder blades or kidneys, or may slide back with his right foot and deliver a circular spring-slash to A's back or nape. 4. AGAINST ATTACKS FROM THE REAR AND THE SIDE Common sense dictates that anyone considering the possibility of a surprise attack from the rear should take steps to face it. With the exception of a few cases, attacks from the side can, with some modifications, be handled like attacks from the front or the rear. There is usually an element of surprise in all attacks from behind. D has a very considerable advantage over the person without a stick because there are two things he can easily do with a reasonable chance of stopping A.

(i) He can spread his legs one behind the other, drop the hips, and thrust to the rear, before pivoting to face A. The thrust must be directed so that the stick follows a path closest to D's body. For instance, if D thrusts to his rear left, the stick must slide on his left ribs. After the thrust, D must step forward on the side opposite to the thrust (in this case, the right) and pivot, slashing as he faces A (Figs. 1, 2). (ii) Alternatively, D may jump forward, preferably to the side he feels the first contact, and pivot, again slashing as he faces A.

Overarm Bearhug D is in guard 2. (a) BEFORE: As soon as D feels A's arms around him, he may use either one of techniques (i) or (ii) just described on p. 137. If A is quite close, but has not yet secured his grip, D kicks back on A's shinbone or stomps his right instep with the right heel. D then sets his right foot down, slides the left foot toward his left, dropping the hips low and lifting the elbows so that the stick is sliding on his body. In other words, the elbows are lifted in the plane of A's body. Now D can slide his right foot to the left, between his left foot and A's left foot, bringing it behind A's foot in a rounded step. All this amounts to a 45-degree pivot toward his rear right. D thrusts to A's left ribs and, upon A's reaction, slides behind him for a choke, a throw, and immobilization. Alternatively, D may continue his pivot, face A, and throw him with a left leg-lift throw (Figs. 3-6).

(b) SECURED: D arches his back and butts A's face with the back of his head, stomps A's right instep with the right heel, and breaks A's grip by crushing A's wrists against his chest with the stick held symmetrically (Figs, 7, 8). Two things may then happen. (i) A releases his grip. Then the situation reverts to the previous one (a) and is handled accordingly. (ii) A does not release the grip, but his wrists are pinned against D's upper chest. D jumps forward with his right foot, bending the right knee well and extending his left leg to block A's left leg just below the knee. D's left toes are pointing toward his right and his left knee must be slightly bent. A is pulled forward and D shakes him off by sharply twisting his upper body toward his rear right. D must be careful not to break his pull on A; it must be sustained throughout the technique. A may be thrown down, although this is not D's aim; he only wants to shake him off. D continues pivoting until he faces A. Now D delivers a right slash, palm down, to A's face and continues with thrusts and slashes as in earlier techniques.

Underarm Bearhug D is in guard 2 when A secures his attack. He attempts to lift and throw D down. (The "before" technique is similar to the previous one and will not be repeated.) D's first concern is to prevent A from lifting him. He achieves this by wrapping his left foot around A's left leg from the outside. Now, when A tries to lift D, the latter, keeping his left foot hooked around A's left leg, kicks his right foot high so that in its backswing it strikes A's left knee or upper shinbone with the right heel; D butts A's face as in Overarm Bearhug (b), p. 138. (Fig. 9) Assuming that A's left hand is on top of the right, D grasps A's left wrist with the left hand and with the right he grinds the short end of the stick on the back of A's hand (Fig. 10). When A slackens his grip, D, still holding A's left wrist, sets his right foot down and slides a big step forward with the left. foot. He then steps with the right, on which he pivots toward his rear left, twisting A's left wrist counterclockwise so that A's palm is facing up. During this twisting action, D must put strength in his left little finger while pressing with the thumb on the base of A's index finger. D keeps A's left arm extended and delivers a right circular slash to behind and above the elbow, followed by another slash to the kidneys (Fig. 11). D may now apply a leg-lift throw or a figure-four stick-choke.

Rushing Attack from Behind D is in guard 2 and becomes aware of A's attack as he is almost upon him. Immediately, D drops low, almost squatting, and thrusts the stick to the rear in the general direction of A's groin or midsection. A is essentially "impaled" on the stick (Figs. 12, 13). D rolls away with a forward roll and stands up to face A in a left guard 3.

Rear Grip on Two Wrists D is in right guard l. A has secured a grip on each of D's wrists from behind. D stomps with the right heel A's right instep, slides to the left leading with the left foot and, pivoting to the rear left, he ducks under A's left arm. This pivot will break A's left grip. During the pivot, D must fully extend his right arm so as to break A's right grip (Figs. 14, 15). If this grip is not broken, then D may use the crossed-wrist control (see p. 98). At the end of his pivot D may deliver a right slash to A's kidneys and upon A's reaction, he may throw him with a left leg-

lift. Alternatively, he may deliver a circular spring-slash to A's nearest forearm, followed by other thrusts and slashes as required (Figs. 16, 17).

Rear Elbow Pin D is in left guard 1. A immobilizes both of D's elbows. With his right heel, D stomps A's right instep, or kicks his right knee. At the same time, D turns the palm of his right hand so that it faces A, and slides his right foot forward. Now he can pull his right arm, which must be kept relaxed, as through a sleeve, through A's hold. D's pull must come through the shoulder and he must keep his arm relaxed if he is to succeed (Figs. 18, 19). Now D moves his right foot around and to the left and inserts the stick in A's bent left elbow from behind, and turning it in a counterclockwise motion coordinated with a spiraling downward motion of his body in the same direction, he brings A face down on the ground with his forearm behind his back in a chicken-wing armlock position. D's four right fingers and thumb hook and hold the stick controlling A's left wrist. D may also use his right forearm to block A's left forearm.

Lifting A's forearm by applying downward pressure with D's left hand on the stick will keep A helpless on the ground (Figs. 20, 21).

Nelson D is in left guard 1.

(i) A is about to secure, or has secured, a full or a half nelson. D inserts the stick vertically behind his head, in contact with his back and between it and A's chest. Then, bending the knees, D pulls smartly on the upper tip of the stick with both hands, bending forward at the same time (Fig. 22). This will invariably break A's hold. D steps forward with the left foot and pivots to the right to face A, thrusting to his solar plexus and slashing to the nearest knee.

Mugging Attack D is in guard 2. A attempts to mug D, holding him by the neck and wrist. D immediately lets go of the stick on the side of A's neck grip and gets hold of A's forearm, hanging onto it with his weight. Assuming A is choking D with his right forearm, D should hang on with the right hand and hold the stick with the left. Now D stomps with his right heel A's closest foot, bends his left knee as much as he can, then kicks up his right foot as high as he can in order to gather momentum for what follows. As D's leg is swinging downward, he accentuates its momentum and wraps it around A's right leg. In the process, D twists his hips to the right and lifts the left hand holding the stick straight up, almost as if to deliver an uppercut. Moving in a spiraling downward clockwise motion which will break A's hold, D throws A on his back (Figs. 26-28).

(ii) D stomps A's right instep with the right heel, sets his foot down, sidesteps to the left leading with the left foot, and slides his right foot around and behind A's left foot. D now inserts the stick held in the left hand behind A's legs and secures a symmetrical double grip with the right hand positioned between them. Then, pivoting leftward, D lifts A's legs from behind the knees. As A starts falling, D slides the stick out from behind A's legs, pulling with the left hand. If A still hangs on, a jab to the ribs with the stick will break his hold and balance (Figs. 23-25). D may retaliate further with a circular spring-slash to A's forearms, followed by more thrusts and slashes. Should A still hang on, D jabs the side of A's neck, and inserting the stick under his chin, throws him with a concerted action of the stick (Fig. 29). D may retaliate on the fallen A with circular spring-slashes and thrusts as warranted. Nape Attacks D is in right guard 1. (i) If A pulls on D's collar at the nape, D does not resist the pull, but moves along, pivoting in order to deliver a slash to A's face, ii) Against a push, barroom style, D does not resist either, but, on the contrary, moves forward faster than A is pushing. This gives D the opportunity to cock one leg, say, the right, for a side-of-foot kick to A's closest target (Figs. 30, 31). When A releases his grips, D sets his kicking foot down and, continuing to pivot to the right, he slashes with the stick held in the right hand, palm down, across A's neck. He may, for example, follow this with a thrust to the midsection and a slash to the right knee.

Side Headlock D is in guard 2. (a) BEFORE: A reaches for D's neck with the left hand, assuming he is on A's left side. D sidesteps to the right, behind A's foot, and smartly lifts the right elbow so that the plane of his bent arm is approximately vertical. Thus D deflects A's left arm and breaks A's balance forward with a simultaneous push from his bent elbow in that direction (Figs. 32, 33). Now D pivots leftward on the ball of his right foot, thus bringing the left foot behind the right, and delivers a left circular springslash on A's left elbow. Sliding his right foot behind the left, D may follow up with a right circular spring-slash on the right side of A's neck.

(b) SECURED: A holds D's head under his right armpit and applies pressure with both arms, wrestling headlock style. Here there are two possible situations. (i) D's left shoulder is behind A's right side. Holding the stick with the right hand, D inserts it between A's legs and grasps it with the left in a symmetrical double grip. D then strikes upward at A's crotch, and upon his reaction, pushing the stick against A's left leg with the right hand in order not to lose contact, D switches grips and spins A counterclockwise in order to break his hold (Figs. 34-37). When A presents his back to D, the latter may retaliate with a thrust to the kidneys and, depending on the distance, he may follow with a slash to the nearest knee, a figure-four stick-choke, or a shin-block throw with an Achilles pin. Many possible retaliations exist depending on A's spin and his distance from D.

(ii) D's left shoulder is trapped against A's body. D pokes A's lower abdomen with the stick. If' this does not break A's hold, it will at least make A relax his grip (Fig. 38). D inserts the stick between his neck and arms, and under his left armpit, over A's grip. He then presses down the other tip with one or both hands, dropping at the same time on the left knee in one block. This will break A's hold. Then, inserting the stick behind A's right heel, D grasps the protruding tip with the left hand and with a concerted action of both hands lifts A's right heel while blocking A's right knee with either his upper left arm or armpit. A will fall on his back and D may retaliate further with thrusts and slashes. This is a stick knee-throw (Fig. 39).

5. AGAINST KNIFE ATTACKS As with punches and kicks, there is a world of difference between an expert and an untrained person using a weapon, say a knife or a handgun. The guiding principle against armed attacks is simple to formulate but difficult to apply. It is best not to resist unless you absolutely have to. If it is a question of pocket money, it is not worth the risk. The most superficial injury will entail hospital costs far greater than the pocket money you may have to part with. Only if you feel that your life or some other valuable item concerning you or those close to you is in danger should you attempt to use defensive techniques. This means two things: you have to become proficient in these techniques and you have to use good judgment. The latter is the hardest because in most cases you may have to come to a fast decision. How can you know that someone threatening you with a weapon really means to use it? A rule to follow is to be willing and ready to take decisive advantage of any mistake made by your attacker. This is by no means an easy decision to make, but your life may depend on it. Just remember that mild-mannered murderers are not rare. In the case of an armed assailant, it is very dangerous to assume that one single technique will be sufficient to subdue him. However, you increase your chances of escaping serious injury or even death by making sure that your first response is as decisive as possible. Always attack the eyes. No other part of the anatomy is as vulnerable. Leniency is not in order with anyone trying to kill you. Besides, an attack to the eyes will not necessarily cause permanent damage. You must condition yourself mentally and physically to strike the eyes in case of emergency. Frequently visualize someone approaching you as a dangerous

assailant and imagine yourself striking his eyes. Think always in terms of minimizing the danger to you. Use common sense in avoiding places where armed attacks might occur. Above all, avoid being cornered and having your movements restricted. Making a jump followed by a forward roll (see p. 76) is invaluable in this respect. Practicing with a partner armed with a soft rubber knife, who really means his attack, will easily convince you of its effectiveness. Yelling or screaming in a long sustained way is also helpful and any realistic practice should include it. Faking a counterattack against your assailant, yelling, then rolling to either one of his sides in order to land behind him standing is a most effective training against knife attacks. First practice this technique on a smooth soft surface, like a mat, then practice it on a hard smooth surface, like the floor, and finally on rough ground. Failure to follow these steps will result in lesser effectiveness. When attacked by a knife-wielding opponent, your first reaction should be to get out of reach. Then get hold, if you can, of something which could foil the attack. If nothing is available, use items from your clothing. A handful of sand or dirt, or any liquid to the eyes can be very useful. All this applies whether you are barehanded or with a stick. Use the stick to keep him at bay. Should you kick, kick fast and return even faster to a position of good balance. Again, condition yourself to strike the eyes at the first opportunity. This applies to all situations when you are in danger of being killed or maimed. The groin is the next best target. The techniques given assume that you have nothing else but a stick in your hands.

Overhead Attack D is in guard 2. A holds the knife in his right hand. The previous comments apply whether D has a stick in his hands or not, as already mentioned. Holding a stick, however, will give D a considerably better chance to defend himself. A attacks with an overhead thrust of the knife (Fig. 1). D sidesteps to the left leading with the left foot, then brings the right foot behind the left so that his left side is facing A. At the same time, D deflects A's attack with a symmetrical double-grip parry 2, which he immediately follows with a right circular springslash across A's eyes, a thrust to the ribs, and a right circular spring-slash to A's right wrist or elbow, in order to make him drop the knife (Figs. 2, 3). D kicks the knife behind him with his right heel and takes a left guard 3.

Reverse

Slash

D is in guard 2. A attacks with the right hand, swinging the knife from left to right. D sidesteps to the oblique forward left, leading with the left foot, and blocks the attacking arm at the elbow with a symmetrical double-grip parry 2 (Figs. 4, 5). The same notions of timing as for the reverse strike attack also apply here (see p. 128). D pivots to his rear right on the ball of his left foot as he parries, then he immediately slashes with the right, palm up, across A's eyes, following through with a right circular spring-slash on A's right wrist, thus making him drop the knife (Figs. 6, 7). D may throw A on his back with a right leg-lift, while sliding his right foot forward. He may also retaliate with an attack to A's groin.

Thrust at Close Quarters D is first in right guard 1. A attacks him with a right-hand thrust to the abdomen. D sidesteps with the left foot and pivots on the ball of that foot to the rear right while pulling his hips back. D parries A's attack with a right parry 3, slashing at A's right wrist (Figs. 8, 9), immediately following this slash with another, palm down, to A's left temple and a circular spring-slash to A's right wrist in order to make him drop the knife, followed with a thrust to A's groin. As A doubles up, D jumps behind him and applies a shin-block throw and immobilization. Alternatively, D may use a parry 2 to catch A's wrist from below, then follow up with a right slash, palm up, across A's eyes and follow through as above (Fig. 10). Thrust from a Distance A is rushing to stab D, perhaps changing the knife hands at the last moment in order to confuse him. A may also use his left hand in order to create an opening and stab D with the right. D is in right guard 1. He uses the jumping retreat to stay away from A during the latter's first attempts at stabbing him. Naturally, this can keep A at a distance, but it will not bring him under control. A now makes a decisive attempt to stab D. The latter keeps calm and jumps to the side, on the side of A's attack, if possible (but not necessarily so) using a slash-parry 3 on A's wrist. Without stopping the momentum of his arm, D slashes across A's eyes, palm down, then follows with a circular spring-slash to A's nearest forearm, preferably on the knife-wielding side. D may also follow through with a thrust to the midsection and, as A doubles up, with a right circular spring-slash to the base of the skull. He may also control A with a shin-block throw and Achilles pin. In view of the severity of the attack a more severe retaliation is fully justified. 6. AGAINST A HANDGUN Disarming an opponent holding a gun is in any case both dangerous and difficult. Against a capable gunman it is almost impossible. Success depends on whether your attacker makes one or both of the following mistakes: he comes within your reach; or he allows you to distract him somehow, for instance, by moving about or looking behind him.

The techniques described here are to be used in desperation, when you believe that you are not going to be spared, or when your attacker attempts to tie you up. Indeed, you would then be completely at his mercy with no guarantee that he is going to spare you and no chance to defend yourself. Again, it is easy to see that the first condition for successful defense is good judgment and sound evaluation of the situation. Other prerequisites are l. 2. Get Use out of the the line of most fire in appropriate less than half a technique. second.

3. Get hold of the gun, or the hand holding it, by the most direct and shortest motions, after you get out of the line of fire. 4. Execute the defensive technique as quickly as possible, but without sacrifice of accuracy. Strike the eyes at the first opportunity. 5. Use good psychology in leading your attacker to believe that you are eager to comply. Lull him into overconfidence. 6. Look through his upper chest, as if he were made out of glass. Your peripheral vision will thus encompass all his body. Do not look directly at the gun; it will have a demoralizing effect on you, besides limiting your field of vision. However, keep your eye on the gun after you have secured a grip on it or the hand holding it. 7. Keep shoulders, hips, and knees relaxed. Initiate all moves from the hips as much as possible. Remain well balanced throughout the techniques. 8. Some knowledge of handguns is quite useful: secure it. A stick gives the defender some protection against a knife wielding opponent. Against a gunman, however, he can use it only as a means of diversion. This means in fact that D must condition himself to handle such situations as if he did not have a stick at his disposal.

Frontal Holdup D is in guard 2. A, with the gun in his right hand, holds up D at arms length. He commands him to raise his hands and to drop the stick. D complies immediately and raises his arms while still holding the stick (Fig. 1). He focuses his gaze behind A, as if there were someone there. If A takes the bait and is momentarily distracted, on the split second of A's distraction, D sidesteps to the left and, bending slightly at the waist, pivots to the right on the ball of his left foot, to a position at right angles to A. Letting go of his left grip on the stick, D slashes A's wrist with the right, propelling it thus toward A's left side (Fig. 2). If all this is done correctly with good timing, it will get D out of the line of fire. Immediately, D secures a grip with the left hand on A's right wrist, from above. (D will have fewer chances to miss his grip if he slides his left hand on A's lower forearm, stopping at the wrist.) D now cuts across A's eyes with a right slash, palm up, and gets him to drop the gun with a right simple circular slash-parry to A's right hand (Figs. 3). D now has several options. (i) Slide the stick against A's throat and come behind him for a choke.

(ii) Kick the gun away and come behind A for a shinblock throw and Achilles pin. (iii) Insert the stick under A's armpit for an entangled stick control and immobilization. Whiplash D is in guard 2. A attacks him right-handedly with the gun butt in an overhead swing. The defense is similar to that against Overhead Attack, p. 153. Holdup from the Rear D is in guard 2. A orders D to raise his hands and drop the stick. A may be fielding the gun with either hand. D complies, but drops the stick behind him, on A's hands, and performs one of the following techniques. The stick is used for diversion. As D is lifting his arms, he attempts to see which hand is holding the gun. D must make sure that it is the gun against his back and not A's finger. D may resort to another way of finding this out. He lifts his arms, elbows shoulder high, relaxes and leans lightly against the object on his back. A's natural reaction would be to push back and, unless D wears heavy clothing, he will generally be able to tell between the hard impact of the gun and the relatively soft

impact of a finger. If D has any doubts, he should refrain from using the following techniques. Before he tries them, he must somehow make sure that the gun is against his back. Once lie is sure of this, he does not necessarily have to know on which side A is holding the gun before acting. D may also in a show of fear raise his arms begging, "Don't shoot, please don't shoot," dropping the stick behind him, presumably because of uncontrollable fear (Figs. 4, 5). Then D makes use of the diversion he has created. Starting his motion from the hips, D pivots clockwise on the heel of the right foot and drops his extended right arm in a slashing sharp motion relatively close to his body, deflecting the gun holding hand as he pivots completely to face in the opposite direction to A (Fig. 6).

(i) A holds the gun with the right hand. Pivoting still further, D slides his left hand on A's right forearm and wraps it around A's right wrist, securing a firm grip on it. Then, with an extended left arm, D leads A in a wide clockwise circle. During this movement, D makes sure that his left side stays close to A's right side. What D has done so far is to deflect A's gun, while getting out of the line of fire, and to establish control on A's hand holding the gun (Fig. 7). When D meets with resistance because A is pulling back, he steps back with his left foot, reverses his pivoting action, and throws A as follows. Upon reversing the direction of his pivot, D strikes A in the eyes with the tips of his right fingers, tensing up his hand, palm down, right forearm parallel to the ground. D should not let his elbow drop as he strikes (Fig. 8). This is a severe retaliation which is proportional to the severity of A's attack. A will lift his hands to protect his eyes. D takes advantage of his reaction by grasping A's right hand from beneath with both hands, D's fingers following the lines of A's fingers. Now D twists A's wrist upward and backward toward the ground, as if he wanted to curl A's fingers into A's palm. At the same time, D slides his left foot to the left, sharply pulling A's hand in that direction. This wrist control and following actions will throw A on his back (Fig. 9).

When A is about to land on his back, D kicks him in the ribs with the right foot and takes the gun as follows. D grasps the gun from under the trigger and when A relaxes his grip as a result of D's kick, he twists the gun away so that the handle slips between A's thumb and fingers, making sure that the muzzle is always pointed away from him (Fig. 10). It is a good idea for D to emit a sustained yell as he is performing this technique. Besides the psychological effect the yell will have on A, it also protects D's eardrums in the event the gun is fired, by relieving the external pressure on the eardrums. If the gun has an accessible hammer, D may prevent its firing by inserting his right thumb so that the hammer cannot drop. While there is a slight chance of injury to his thumb, it is worth taking. (ii) A holds the gun with the left hand. The same preliminaries also apply here, so at that point it is not really necessary for D to know which hand is holding the gun. D yells as he strikes A's eyes with the left fingers. D makes use of A's instinctive reaction of lifting his hands to protect his eyes by grasping the hand holding the gun and applying the wrist control just described.

Alternatively, D may press A's left arm against D's chest with D's right arm, and knee A in the groin with the left knee. Then D may strike A in the eyes with the fingers of the left hand (but never in training) and may reach for the gun with the same hand to disarm A (Figs. 11, 12). Grasping the gun from under A's grip, thumb pointing in the direction of the handle, D tears it away so that the handle slips between A's thumb and fingers, i.e., the weakest part of the grip. Disarming may be done in the standing position or after A has been thrown on his back. To throw A, D thrusts his left leg between A's legs from behind, while breaking his balance backward by pushing under his chin with the left forearm near the left elbow. D follows A in his fall, dropping on the left knee, landing near A's left side (or even on it) without loosening his grip on A's left arm. If absolutely necessary (but, again, never in training), D may strike A in the eyes with the fingers of his left hand and then tear the gun away, if it has not yet been released, in the manner described above. D may also strike A's face with the gun butt (Figs. 13-16).

7. AGAINST ATTACKS WITH A CHAIR

A chair can be used in three different ways: thrusting, swinging from side to side, and in an overhead attack. D has a very good chance to defend himself because the mobility of the stick largely offsets the mass of the chair.

Chair Thrust D is in guard 2. With the left hand A holds the back of the chair and with the right he holds the front of the chair's seat. He advances upon D thrusting with the back feet of the chair. D sidesteps to the right with the right foot and deflects the attack with a symmetrical double-grip parry 5, followed by a right slash, palm down, across A's eyes (Figs. 1-3). D may then give a right instep kick to the groin. Chair Swing D is in guard 2. As A swings the chair from right to left, D steps in deep with one foot and blocks A's left arm with a symmetrical double-grip parry 5, aiming to block it above the elbow. By sliding behind A, D may apply a figure-four stickchoke (Figs. 4, 5). Overhead Attack with a Chair D is in guard 2. As A is lifting the chair in order to smash it on D's head, D smartly thrusts the stick held in a symmetrical double grip under A's elbows and thus blocks the attack (Fig. 6). D then knees A in the groin with the right knee, while holding A's arms up. Then, pushing A's arms to the right, D steps around A with the left foot and applies a figure-four stick-choke. Alternatively, D may omit kneeing A in the groin and immediately deflect A's arms to the right after blocking them, and then step around him with the left foot to apply a figurefour stick-choke. The block is thus more like a deflection, and this is more in line with A.S.P. theory.

8. AGAINST SEVERAL OPPONENTS

D is in guard 1 and faces several opponents. He uses initially the overhead circular parry to keep them momentarily at bay, then with appropriate timing he rolls between his opponents and comes behind one or two of them. When he gets up, he incapacitates the closest one with a side-of-foot kick, a slash across the face or the windpipe, or a thrust to the groin. Using rolls and footwork, he must manage to deal with one opponent at a time (see Figs. 27-29, p. 43; 3-5, p. 65; 1-6, pp. 76-77). At the first opportunity, using the element of surprise he has created, D makes a run for safety. Only very expert and highly trained people can realistically expect to deal with more than one opponent effectively. Others will do well to avoid being cornered and take off as soon as possible. It is obvious that there are many possible situations. Here we can only give general guidelines.

9. ATTACKED WHILE SITTING

Frontal Attack D is sitting on a chair and has the stick on his knees or by his side. When A is near, D thrusts the stick in the direction of A's face or throat (Figs. 1, 2). If there is not sufficient room for maneuvering, D stands up and pushes A to one side holding the stick with a symmetrical double grip. If there is enough room for a forward roll, then D makes one and comes behind A, either for further retaliation, or assuming guard 3.

Side Attack D sits side by side with A, who attacks him. From D's left side, A grabs D's lapels with the right hand, throwing a left hook at him. Stick on his knees, D uses a symmetrical doublegrip parry 6 to stop the punch and immediately thrusts under A's chin. Then D pushes A to the left side by applying pressure, with the stick held in a symmetrical double grip, under A's right armpit. A releases his grip and D may retaliate further if warranted (Figs. 3-6).

10. AGAINST AN OPPONENT GRABBING THE STICK When A secures a grip on D's stick, there are two distinct possibilities: D is about as strong or stronger than A, in which case the techniques will practically always work; or D is weaker than A, meaning that only very considerable training will allow D to defend himself. In the latter case, D's chances of success will always be proportional to the degree of surprise he is able to achieve. The techniques described below therefore emphasize the element of surprise. Left-Hand Grip: Thumb Pointing Down D is in right guard 1 and A grabs the stick below D's grip with the left hand, thumb pointing down. D immediately kicks A's nearest shinbone with the left foot (low direct kick) while bringing the left fist in front of his chest in a protective posture (Figs. 1, 2). In this and all the following techniques where D kicks A, if A ceases his attack, D at once retreats and takes the guard 3.

Assuming that A hangs on, D grabs the stick by the middle with the left hand, palm facing away from him (Fig. 3). He may thrust to A's lower abdomen with the long end. Now D sidesteps to the right with the right foot, bends his knees, and lifts the stick high enough to enable him to hook A's wrist with his fingers and press the wrist against the stick in contact with his right thumb. By directing the right tip of the stick (short end) downward and in the direction of A's body, D applies pressure against A's ulna (underside of the forearm) and brings him to his knees. Pulling the stick away from him, while maintaining the pressure on the ulna, will put A face to the ground. D may immobilize A by kneeling with his right knee just above A's left elbow (Figs. 4, 5).

Left-Hand Grip: Thumb Pointing Up This is similar to the previous attack except that now A's thumb is pointing up. D immediately kicks A's closest shinbone with the left foot and, upon A's reaction, twists his own right wrist counterclockwise so that the stick is vertical. D grasps the upper part of the stick with his left hand and immediately secures a full grip on A's left hand by sliding his right hand upward. Leading with the left hand, which is always holding the stick, he spirals with a wide leftward (counterclockwise) motion toward the ground, pulling A with him. In the process, D, using his right fingers, curls A's left fingers in as if he were trying to force them into A's palm. By maintaining the pressure with his fingers D brings A to the ground, face down. D may further immobilize A by kneeling above his left elbow with the right knee. This is an inverted wrist stick-control (Figs. 6-8).

Outer Right-Hand Grip D is in guard 2. A grabs the tip of the stick with his right hand to the outer side of D's left hand (Fig. 9). D kicks A's nearest shinbone with the left foot and pushes down with his right hand so that the stick becomes vertical. Upon A's opposing reaction, D reverses the direction of his motion and digs into A's sternum, throat, or face with the left-hand tip. This will make A release his hold (Fig. 10).

Middle

Right-Hand

Grip

D is in guard 2. The same technique as for Outer Right-Hand Grip, above, applies when A grabs the stick between D's hands. Similar techniques apply also to two-hand grips on the stick. In all, it is essential that the stick be brought up to the vertical by D while he drops his hips. From that position D will either apply pressure against A's ulna, forcing A to release his grip, or he will dig the tip of the stick into A's body (Figs. 11-14). 11. AGAINST AN OPPONENT GRABBING THE STICK: Advanced Techniques We will now deal with some advanced techniques which require a keen sense of timing and are best exemplified by defenses against rushing attacks.

Headlong Rushing Attack (a) BEFORE: There are two possibilities.

(i) D is in left guard 3. A rushes at him in an attempt to grab the foremost tip of the stick with both hands (Fig. 1). As he is about to reach it, D steps back with the right foot and pivots to the rear left, removing the tip of the stick from A's reach, and immediately delivers a right or a left circular spring-slash to A's hands, wrists, or forearms. (ii) D is again in guard 3, and A rushes to grab the stick, developing considerable momentum in the process. D leads A in the direction of the attack, keeping the stick just ahead of A's grasp, while pivoting clockwise. Suddenly, passing the stick over A's head, he sweeps one or two feet from under him in a leg-lift throw (Fig. 2). Caution: This technique works only if A has developed substantial momentum, making the fall very hard. Do not practice with partners who are not well trained in breakfalls. Instead of a leg-lift throw, D may, reversing the motion of the stick, slash A across the nape, and then follow through with other slashes and thrusts.

(b) SECURED: Should A secure a grip on the stick, D steps back with the left foot, bends the knees, and using the left hand as a fulcrum, brings the stick to the vertical by pushing down with the right hand. According to A's reaction, D may bring his left foot forward, digging the right-hand tip of the stick into A's lower abdomen, side of neck, or face (Figs. 3, 4). Alternatively, D may step forward with the left foot and, with extended arms, pivot clockwise in a complete about-face, pushing the upper end of the stick first up, then down behind A's head (Figs. 5-8). This will have either of two effects: either A's balance will be broken and he will fall on his back, releasing his grip in order to break his fall; or he will spin around so that D may apply pressure on his right ulna, bring him to his knees, and then force him down face to the ground.

Rushing Attack with Double Grip D is in right guard 3. Right hand foremost, A rushes and grabs the stick with two hands (Fig. 9). There are several possible defenses. (i) D leads A in a wide rightward circle (clockwise) and overrides A's left wrist on the ulna side with the end of the stick held by A. Upon applying a digging downward and forward thrust toward A, he forces him to his knees. With another thrust against his chest, D may put A on his back, or if A retains a grip, the stick will put him face down. (ii) D may, after A has secured a grip, move his hands in a vertical circle, directing the stick above A's head, then pulling it down behind A's furthest shoulder. If A does not let go, he

will be thrown on his back. If A lets go, D may continue with thrusts and slashes. (iii) In a similar situation to (ii) above, D may also lead A in the direction in which he is rushing. When A is past D's right side, D steps toward A with the left foot and, pivoting in a complete clockwise circle, drops his own end of the stick in order to lift the tip A is holding well above A's head. D throws him on his back by pulling down the stick behind A's back following the line of A's spine. If A does not fall, D thrusts the stick in the direction of A's chest by reversing his motion. A will either let go or be thrown on his back. Double Grip with Stiff Arms D is in guard 2. A has secured a grip with both hands on either side of D's right hand. (i) D and A are close together and A has a firm grip on the stick, arms almost fully extended. D relaxes and initiates a leftward pivot, which is resisted by A. As A pulls in the opposite direction, D blends in with and accentuates A's motion. D steps with the left foot between his own right foot and A's feet, bends the knees well and, positioning the stick vertically, D lifts his arms while completing the about-turn pivot. D throws A on his back by pulling his hands behind the head as earlier illustrated (see Figs. 6-8, p. 178). The stick is released by A in order to break his fall.

(ii) A general defense against similar situations is as follows. With his left hand, D grasps A's right hand from above so as to cover the wrist and the thumb, He leads A in a wide rightward (clockwise) circle, which D initiates by stepping with the left foot near and to the outside of A's right foot; while pivoting to his right rear. D leads A's right hand with an extended left arm, D and A facing the same direction. When D feels A's resistance to this lead, he steps back with the left foot and pivots to face A, suddenly changing direction. With the right hand, D then applies pressure on A's right fingers, following their lines as if he wanted to curl them into A's palm (Fig. 10). At the same time, D twists A's hand and wrist in the direction of his radius (thumb side) and pulls it sharply down toward his own left. This composite motion will throw A on his back and loosen A's grip on the stick. D may kick A's right side with a right low direct kick if necessary to take away the stick (Fig. 11). We have seen this wrist control applied in Holdup from the Rear (i), p. 162.

Double

Grip

on

the

Tip

with

Pull

A has secured a double grip on the tip of D's stick and pulls. D pulls back in order to make A pull even harder, then suddenly he pushes hard, thrusting the stick sharply toward A's groin in the direction of the ground, aiming well beyond A. Properly performed, this push will throw A on his back, or at least get him to release the stick (Fig. 12). 12. AGAINST AN ATTACKER HOLDING A STICK There are two possibilities: D alone has no stick, or both D and A have a stick. The latter case has already been dealt with in Chapter 5, Stickfencing.

Thrust A rushes against D, holding the stick like a bayoneted gun, in an attempt to thrust at his midsection (Fig. 1). (i) D sidesteps to the left, pivots to the rear right, and grasping the stick between A's hands, leads him in a wide clockwise circle. D uses a grip with his left hand, which he keeps as close to the left side of his body as he can. When D meets with resistance, he changes direction, facing A, and grasps the stick with both hands to shake off A in a wide, vertical, circular, up-and-down motion which follows the direction of A's attack (Figs 2, 3).

(ii) D evades the thrust, pivoting to his rear left. As the stick passes by, he strikes it down with the right fist and throws A on his back with a backhand punch to the face (Figs. 4, 5). Unbelievable as it seems, when A has enough momentum and D's timing is right, D does not even have to touch A's face to make him fall. A's feet moving in the forward direction, he will be thrown on his back by his own reaction to avoid D's punch.

Overhead Slash Against an overhead slash to the temple or collarbone, D steps forward with the right foot by A's right side and thrusts sharply his extended right arm to deflect A's right arm, which is leading A's two-hand slash with the stick. Without stopping A's momentum, D deflects and guides A's right arm, accentuating its downward motion. Then, pivoting to his rear right on the ball of his left foot, D faces the same direction as A. Grasping A's right wrist from above with the left hand, D performs a wrist control after leading A clockwise. This forces A on his back (Figs. 6-8).

Reverse Slash A is holding the stick in his right hand and slashes at D from left to right, aiming at the face. D jumps lithely to A's right side leading with right foot and blocks A's swing with both forearms held vertically at the level of A's wrist and middle arm. Then D grasps A's right wrist from above (Figs. 9-11). D performs a wrist control, forcing A on his back as earlier explained.

COMBINATION SEQUENCES In order to condition our reflexes to blend stick blows with kicks, A.S.P. has a series of combination sequences or "comseks." These are not to be confused with kata; we are not fighting an opponent who attacks with a predetermined sequence. In fact, we are careful to avoid conditioning our reactions along these lines, because, in real life, this could be a serious handicap. We cannot expect our attacker to follow any particular series of moves. The only purpose of the following comseks is thus to develop balance, coordination, and smooth motions, while carefully avoiding set reactions. Each sequence is followed by a series of thrusts and slashes, all of which have been previously illustrated.

Sequence 1

Left guard 2 (left foot forward) ; low direct kick with the right foot, set it down; low direct kick with the left foot, set it down, taking the same guard; high direct kick with the right, raising the stick in a symmetrical double-grip parry 1 slightly higher than the forehead; set the right foot down in front of you (Figs. 1-5). Pivot leftward (counterclockwise). Deliver in rapid succession: a downward two-hand slash, left hand leading at the lower tip and the right hand just above it; a low slash from the right, hands held in the same position; and a two-hand thrust straight ahead of you, right arm forward. Always slash and thrust leading with the hips.

Sequence 2 Left guard 2; low direct kick with the right foot; without setting it down, deliver an instep kick, holding the stick in a vertical position with the right hand (thumb up) below, and the left hand (thumb down) above, as in a symmetrical doublegrip parry 2, but held very close to the body; set the right foot down; twist the hips to the right, changing the position of the hands to a symmetrical double-grip parry 5, which is the same as the preceding one, only held on the other side of the body, left hand below, right hand uppermost; give a left side-offoot kick and set the foot down forward (Figs. 6-13). Pivot toward your rear right (clockwise), delivering a right two-hand slash (right hand leading, closest to the trailing tip, with the left hand above it, thumb pointing up) to an upper target; follow with a two-hand thrust, right arm forward, to a middle target; this in turn is followed by a right two-hand slash, the stick being swung from overhead to a low target in a broad leftward motion. For all these moves, the right foot remains forward.

Sequence 3 Right guard 2 (right foot forward) ; low direct kick with the left foot, setting it down forward; twist the hips to the left, bringing the stick into a vertical position, left hand uppermost, right hand below; deliver a right side-of-foot kick; pivot from a pigeon-toed position, giving a circular kick with the left foot, stick still held in the same position; bring the left foot behind the right (Figs. 14-22). Make a two-hand reverse slash (with the right hand leading at the lower tip, and the left hand above, thumb pointing down directing the stick) ; follow with a right circular spring-slash, right foot forward; give a two-hand reverse slash, leading with the left hand.

Sequence 4 Right guard 2; left low direct kick; set the foot down; right circular kick, the stick held vertically, left hand uppermost, right hand below; pivoting from a pigeon-toed position, give a left side-of-foot kick, stick held in the same position; set the left foot down forward (Figs. 23-31). Pivot clockwise and deliver a right two-hand reverse slash, right foot forward; without moving the feet, deliver a right circular spring-slash; follow with a two-hand thrust, right arm forward.

Sequence 5 Right guard 2; left side-of-foot kick, stick vertical, right hand uppermost, left hand below; right circular kick, stick held vertically, but with the left hand uppermost, right hand below; then, pivoting from a pigeon-toed position, give a left side-of-foot kick, stick vertical, now held with the right hand above, and set the left foot down forward (Figs. 32-42). Pivot clockwise and perform a stick dig-in as follows. The left hand is closest to the tip which digs into the target, going from below and then digging upward; the right hand holds the other tip and pulls down, enhancing the digging action; the right foot is forward. The right hand then slides next to the left in a normal grip to give a two-hand downward slash, followed by a left two-hand thrust (left hand leading, right hand directing) to a middle target.

Sequence 6 Right guard 2; cross-step and deliver an instep kick with the right foot, stick held vertically with the left hand uppermost, right hand below; side-of-foot kick with the left, stick held vertically, but with the right hand above and left below; jumping side-of-foot kick with the right; jumping forward with the right foot leading, keeping the stick in the same vertical hold (Figs. 43-53). Bring the right foot behind the left and about-face to the right; give a twohand slash from the right to an upper target, with the right foot forward; give a right twohand thrust to a middle target; deliver a right spring-slash. Now make a left forward roll, stick held with both hands, and make a right heel spear as you stand up (see p. 68) ; set your right foot behind the left and about-face to the right, delivering a right two-hand reverse slash, then resuming left guard 2. Get into right guard 2 (Figs. 54, 55). Now start the same series of sequences on the other side: begin Sequence 1 in right guard 2 and reverse the instructions for all the following techniques.

The American Self Protection Association, Inc. Home of America's first Mixed Martial Art Training Method for the Entire Family Undergraduate Ranks

UNDERGRADUATE INTRODUCTION: A.S.P. was developed from the standpoint of principles, rather than using the piecemeal individual technique methods common to most martial arts. During the development of A.S.P., three problems had to be tackled. The first had to do with the selection of attacks, which could realistically occur in todays world. Next, defensive techniques had to be devised which use a few, very versatile, elements of motion for developing conditioned reflexes by their repeated use against carefully selected attacks. Then, a safe method of training had to be devised, which would prepare the students to react instinctively, safely, and realistically against unrehearsed sequences of attacks. In real life, when the defender foils the initial attack, he may have to use another evasive action in ease of a renewed attack, or to retaliate, if he so chooses. Therefore, one has to address all these possibilities. If the first attack is successful, the defender may not have another chance, and this is why we put a great deal of emphasis on evasive tactics. There is also the fact that there are people who dislike violence and do not care to retaliate. Even they, however, would like to learn to avoid an attack. Sometimes, evasive techniques are enough to discourage an attacker. They are studied in A.S.P. under the name of "before" techniques, in contrast to the "secured" ones, in which the attack has fully materialized. It is unrealistic to assume that one single technique or retaliation will take care of an attacker, so we have adopted a "fail-safe" approach of retaliations and combinations thereof. We believe that the defender must also be given some real choices of severity in retaliation so that he stays within the spirit of the law. It is impossible to teach anyone good judgment, but by giving him real choices we increase his chances of avoiding excesses. We strongly believe in prevention techniques, for these are the most accessible to the greatest number of people and, particularly, weaker people. In undergraduate (below Black Belt) sparring, the student defends against an attacker, who desists of his attack once foiled; then he attacks anew for a few minutes in a non-rehearsed sequence, before changing roles with the defender. In Black Belt sparring, the defender faces two or more attackers in rapid succession, so as to increase his speed of reflex response. In over thirty years of the official existence of A.S.P., we have gathered convincing evidence that this training method prepares one well and safely for real-life situations. A.S.P. emphasizes smooth flowing motions. Blocking is generally avoided because it is not easily accessible to weaker persons and has an adverse effect on speed. Deflections and dodging techniques are extensively used. We do not believe that all situations can be handled indiscriminately with punches and kicks alone, with join twisting techniques alone, or with throws and grappling alone, as some oriental arts seem to preach. Even our basic system follows an integral approach using the most appropriate response to any given attack. This is achieved in a simple, yet effective way accessible to anyone in good health willing to exert himself moderately. A.S.P. affords

also a simple, practical way to keep the mind-body relationship in good order. We do not believe in combative knowledge as an end in itself. Again, A.S.P. is concerned also with the legal aspects of self-protection and gives its practitioners real choices to proportion the severity of their retaliation to the potential severity of a given attack. We believe A.S.P. to be a complete and through system of integrated self-protection accessible to most and well suited to the needs of modern man. No one should take our word for it: trial yields proof. A.S.P.A. (name and insignia filed with the U.S. Patent Office, #865,959, March 4, 1969) was formed for the specific purpose to develop and disseminate A.S.P. here and abroad and to conduct research in the field of combative arts and sports. It is fully realized that any self-protective body of knowledge must continuously adapt to a fast changing world in order to keep abreast of all the new hazards imposed upon man by his environment. Red Belt I: Defenses against wrist and hand grips (ten techniques). These are the best suited for introducing the student to the understanding and use of the five principles. Nine of them involve no falls, so the student has the time to perfect his breakfalls. Red Belt II: Defense against unarmed major attacks from the front. No locks and chokes are used throughout the whole Black Belt I program, because they are difficult to master as well as not needed for effective basic self-defense. Three basic throws are included. Red Belt III: Continuation of the above. Defenses against punches and kicks. Red Belt IV: Defenses against major attacks from behind and the side, and defenses against an opponent armed with a knife. Red Belt V: Continuation of the above, plus defenses against a gun from the front and back, and other miscellaneous attacks. Brown Belt I: Review and refinement of all previous techniques. Brown Belt II: PSYCHOSOMATIC EXERCISES for mind-body coordination and selected BASIC STICKFIGHTING TECHNIQUES. Brown Belt III: Defenses on the ground. More dodging techniques. More defenses against kicks.

2.0 NOVICE RED BELT PROGRAM PURPOSE OF THE PROGRAM: To train the student in basic attack avoidance techniques, in simple linear and circular motions using kicks in combination, and in falling and rolling safely. Introduction to selfdefensive aerobics A.S.P.. Requirements: Good moral character, sincerity, eagerness to learn, regular training and knowledge of the following: A. Theory, B. Falling Safely,

C. The Basic Kicks, D. First Kicking Sequence Combinations (Comsek I), and E. Motion Practice (optional for test by instructor choice) 2.1 THEORY 2.1.1 Principles of the Fighting Arts Explained Distance: The ability of judging accurately the distance from which an attack can be successfully landed, or evaded, is so important as to be an absolute necessity. Obviously, if you are out of the range of an attack, you do not have to worry about it. On the other hand, if you do not judge accurately the proper distance, you will reach your opponent, or will foil his attacks only by chance. Direction: When an opponent attacks in your direction and, after he is committed to that direction, you change your position dodging his attack, you may be able to unbalance him and find an opening for counter-attacking. For instance, suppose you face an opponent when he attacks and, as the attack is about to reach you, you change to a perpendicular position by stepping back and around with the right foot, which you bring behind the left. The attack will miss, and you may be able to disturb your opponent's balance, in order to throw him, or to deliver a blow. Also, you should be able to judge your opponent's position at the time your attack will reach him, exactly as if you were shooting at a moving target. Timing: No attack, or defense, can be successful without proper timing. Speed is important for timing. Occasionally, appropriate timing gives the impression of speed. A good sense of distance, direction, and timing is necessary for accuracy in attack and in defense. Momentum and Leverage: Both serve to develop power, either for delivering a blow or a kick, or for breaking a hold. Gathering momentum in order to swiftly transfer it onto a small area of your opponent's body, develops penetrating power and is the principle behind "focused" blows and kicks. 2.1.2 Meaningful Training One of the main differences between fighting arts and sports is that, in the latter, one has to abide by rules and conventions necessary for safe practice. It follows then, that while attacks and defenses must be performed safely, they must also be realistic and closely duplicate actual situations, else the self defensive aspects of a sport are of questionable usefulness. It is pertinent to say a few words about safety because its importance can hardly be overemphasized. Here enters also a psychological factor: the more you overdo it the easier to get discouraged Slow down when necessary, but do not give up. No real ability of any kind can be achieved without sustained effort. Depending on age and physical condition, you should train two or three times a week. Results are hard to achieve with less training, while training more than three times a week is necessary only if you aim to become a champion. Stamina, or cardiovascular efficiency, understood as the ability of the organism to efficiently utilize oxygen, is one of the main attributes of physical fitness. You can increase your stamina in many ways. In our experience, excellent results are obtained as follows: Start jogging for as long as you can without getting exhausted, then walk fast. Slow down and keep walking until you recuperate, then jog again and so on. No matter what you do, keep moving continuously for no less than twenty minutes. Persist until you can jog for the full twenty minutes, without worrying about how much distance you have covered. Then try to increase your speed, without reaching exhaustion. We shall not describe here any other exercises, jogging alone prior to ASP training sessions, is adequate. Perhaps you ask yourself what other sports specifically help in ASP. Many do indeed, but the most relevant are: ping-pong, and fencing for fast eye and

reflexes, skiing, dancing, sprinting, broad jump, high jump, and soccer for strong legs and a good sense of timing, and last, but not least, training appropriate to boxing. Breathing is directly related to stamina and relaxation. Ever noticed how your breath becomes shallow under tension and how much faster you get exhausted? The degree of relaxation in the performance of any skill is directly proportional to the degree of its mastery. Whether you drive a car, or you perform on parallel bars, the more experience you have, the less tense you will be and, up to a point, the less tense you are, the faster your reflexes. If this means that you have to practice, practice and practice again, it also means that it is to your disadvantaged to spread yourself thin over a large number of techniques; rather, it is best to concentrate on a few versatile and efficacious ones. Relaxation also accelerates tremendously recuperative processes. Speed, with which you can take advantage of any open target, is related to fast reflexes and proper timing. It is not, however, sufficient in itself without accuracy. You must see, react, and be able to properly judge the distance and direction of your target. To accomplish this, your field of vision must encompass the body of your opponent, so as to enable you to see all his movements. You must look through his upper chest. Focus your eyes beyond him, as if he were made out of glass. Safety is a prime consideration, not only from a liability standpoint, but also as a determining factor for the growth of any sport. Since the existing myths about the various forms of self-defense tend to scare many people away, it behooves us to prove that ASP is truly accessible and safe for anyone to practice and still offers a true challenge to the fighter and a meaningful method of self-defense to the average practitioner. 2.1.3 Preparation ASP is a very complete form of physical training. Only few auxiliary exercises, if any, are necessary. In this textbook we shall confine ourselves to some general comments on physical conditioning. Exercises will be given in our other books. The ability and tolerance to physical exertion vary from person to person. It is, therefore, important to approach training in a way which gradually increases them without undue strain, exhaustion, or persistent muscle soreness. You are not overdoing it if, at the end of each session, you are feeling pleasantly tired, but not fatigued and, should you get any sore muscles, their soreness will not persist beyond the second day after training. 2.2 BREAKFALLS 2.3 KICKING Kicks are the most powerful blows you can deliver. They also help to keep your opponent at a safe distance. The kicks described here* can be mastered with moderate practice and will give you much confidence. You need not become an acrobat to be efficient. But as in anything else, your mental attitude is of the utmost importance. Practice consistently, in a relaxed way, mentally letting your weight settle down, so that at any moment you will have maximum balance. Kicks practiced in slow motion are excellent for developing balance control. For this reason we start by studying some simple kicks. 2.2.1 Stances and Footwork In ASP as in all fighting arts, it is essential to use body positions and ways to move about most appropriate for attack and defense. These must he consistent with the requirements of balance, coordination, accuracy, speed, timing, and power. *For illustrations refer to Comsek I, Pg. 14. Mobility is perhaps the most important attribute for attack and for defense. Power is of great value only together with mobility, while static power is of much less value in fighting. The point has been well recognized throughout the ages and needs no belaboring. A good stance, therefore, should accomplish mainly two things: allow for

mobility and allow for good balance (stability) in attack and in defense. As long as any stance complies with these two requirements, it is a "good" stance; there are literally scores of "good" stances. For this reason, in ASP and ASP kickboxing, we practice only two basic training stances (the Full Distance and the Half-Distance Basic Training Stances) with the understanding that each fighter will develop his own. This is what actually happens in boxing and to a greater degree in karate where people study a great number of formalized stances, but in competition each one departs from these "classical" stances and uses his own. A determining factor for the choice of a stance is the distance from the opponent, and our two stances differ from each other precisely in this respect. 2.3.1.1 Basic Training Stances: Right or left? The answer to this question is: both. In ASP we strive to develop ambidextrousness. We must be able to fight almost equally well on both sides. Here we shall describe only the: 2.3.1.2 Full Distance Basic Training Stance (BTS) This is the most commonly used stance in ASP and ASP kickboxing because it lends itself well to the use of the feet. As previously, we will describe all techniques on one side only. Reverse the instructions for the other side, with the understanding that practice on both sides is necessary for proficiency. Stand at ease and step back with the right foot, so that the feet are almost perpendicular to each other at shoulder width. The left foot points directly ahead at an imaginary opponent while the right foot points to the right. Shoulders should be parallel to a line joining the right and left toes. The left leg is extended, but not tense, while the right knee is slightly bent. Weight is distributed on both feet, but slightly more on the right (rear) foot. Keep body straight and look straight ahead. Now bring the right fist to heart level, about two inches away from the chest, nails facing it. Make sure the right elbow is in light contact with the right side. Lift left fist, nails facing down, left knuckles at shoulder level and left elbow slightly bent. Left arm is almost but not fully extended. Practice with a partner at full distance, so that you can reach him only with your extended leg. Take the BTS simultaneously and train to look through each other's upper chest, as if you were made out of transparent glass. Notice that the field of vision encompasses all the body. In general, you should be well supported on your standing foot: this means the heel and sole must be in firm contact with the ground. The hips must be the starting point of all kicks, and must move smoothly: push them out in the direction of the kick. Always aim slightly beyond the target and let it come in the way. We shall describe the following kicks: Low direct, high direct, side-of-foot, instep, circular, jumping, rolling, and heel spear. The instep, side-of-foot, circular, and jumping kicks are studied using the isometric principle. For example, if you kick with the right foot, you punch hard in the opposite direction with the left fist. It is easier for beginners to learn that way, since the thrust of the leg is partly offset by the punch. The harder you punch, the easier it is to keep your balance. Keep in mind that this is only a training method. If one wishes to develop power, one must first learn to punch and kick in full balance. Power is then developed by withdrawing the hand or foot delivering the blow, after full extension is reached, at higher speed than during its travel toward the target. Kicks and punches are described in more detail, in our book on ASP Kickboxing. All kicks are described here from the Left Full Distance BTS. 2.3.2 Low and High Direct Kicks The preferred striking foot is in the rear position. In this textbook we look at the practical aspects of kicking, therefore, we do not consider kicking above the groin. A good practical target is the shinbone: it is easy to reach and offers a large vulnerable area. Either side of

the front part of the foot may be used to kick the shinbone. Arms, with closed fists, are folded in front of the chest. The sweeping movement of the kicking leg starts from the hips with a slight twisting action so as to face the target squarely. The kick is delivered with a quick action of the knee, which is kept relatively relaxed. The ankle is in a locked position, toes curled upwards, heel lower than ball of foot. Supporting leg is slightly bent, foot firmly anchored to the ground; the body is straight from head to ankle as the kick is delivered. Push hips out in the direction of the kick. The line of the shoulders should be perpendicular to this direction. For a low direct kick, the corresponding knee bends only enough for efficient snapping action. For a high direct kick, the leg is bent first, knee relaxed, so that the thigh is close to the chest; after the kick is delivered the leg returns to its starting position by reversing the cycle. 2.3.3 Side-of-Foot Kick The right (kicking) leg is to the rear. Pivot on the ball of the left foot, so that its toes point squarely to the left. Leave the right foot in the initial position, toes on the ground, as you twist the hips to the left. The right hip is lined up with the target and the right forearm is now near the chest; the left arm is bent, in line with the shoulders, while the palm of the left fist is facing the body. Look through the opponent's middle chest, over your right shoulder ("gunsight" position). Now lift the right leg, foot slightly cupped inward, so that its right side is parallel to the ground. Bend the knee high, thigh close to chest, and with a swift pumping action, strike the target with the side of the foot near the heel. Throw a left punch as you kick, for balance, and think of actually punching someone behind you, for better application of the isometric principle. Remember to pull back your foot faster than you kick and to return to initial position by reversing cycle. Supporting leg is slightly bent, foot firmly anchored to the ground. The right fist may either remain in front of the chest, or come in front of the groin. 2.3.4 Instep Kick Specifically used for an attack to the groin and the inside of the thigh, this kick is delivered in a whip-like manner, either with the rear or with the forward foot, from any position, with equal efficacy. Leading with the hips, pivot on the ball of left foot, toes facing left and shift weight on the same foot twisting body so as to bring the right side in line with the target ("gunsight"). Bend right knee, shin forming approximately a 45 angle with the ground and bring your right heel in front and slightly above the left knee. The foot is bent at the ankle and points to the left as far as possible. Strike with the instep, in an upward whipping motion, while fully thrusting the left arm in the opposite direction. Return to starting position by reversing the cycle. Supporting leg is slightly bent, foot well anchored to the ground. As you strike, lean backwards, in order to be able to reach farther and to add more impetus to the whipping action. In the instep kick, the bent knee points to the target, while in the sideof-foot kick, it points to a direction perpendicular to the target. 2.3.5 Circular Kick Same start as for the side-of-foot kick, except that you lift 12 your shin parallel to the ground. Strike the target with a circular motion of the foot while using an isometric punch. Supporting leg must be fully extended, pushing hips out as you kick. Reverse cycle to return to start position. Should one continue the pivoting action and deliver the kick with a thrust of the heel, toes pointing down, then the circular kick becomes a "Heel Spear". 2.3.6 Jumping Kicks To perform a jumping kick with the right foot, from the left BTS, jump forward, landing on your right foot, toes pointed inward, to the left, and line up the right hip with the target. Then jump again switching supporting (left) foot with other foot. At the same time, cock the right

leg, as for the side or circular kicking positions described above, then strike your selected target using the momentum gathered during the jump. 2.3.7 Rolling Kick From the left BTS take a forward step with the right foot, toes facing slightly to the left (inward). With a wide circular motion of the right arm, let your body be carried into a right forward roll. As you roll from the back of the right shoulder to the left hip, kick with a thrusting action of the right leg. The kick is directed to the opponent's lower abdomen, or groin. Stand up using forward momentum and pivot to face him. In order to perform this kick properly, line up with the target and take care not to land on the tip of the right shoulder. Thrust attacking leg shortly after it has passed the vertical direction. Appropriate timing is crucial. 2.3.8 Kneeing Kneeing is a special case of kicking. 2.3.8.1 Direct Kneeing: Strike lifting sharply bent knee, and let target come in the way. Take the same position as for the delivery of a high direct kick. 2.3.8.2 Circular Kneeing: Prepare as for a circular kick, and swing the knee toward the target in a wide circular motion, leading with the hips. NOTE: All kicks were described for the right foot, assuming left foot is forward. However, they can also be delivered with the forward (left) foot by shifting the weight on the right foot and proceeding in a similar manner. In the case of the instep, side and circular kicks, this weight shift must be preceded by a quarter turn to the right so as to line up the left (kicking) hip with the target. Feet are parallel, both pointing to the right. Since standing on one foot makes for precarious balance, kicks must be delivered as fast as possible and the kicking leg must be withdrawn likewise. Except for the low direct and instep kicks, where one tries to reach as far as possible, try to stay as close to the vertical as you can. Start all kicks with a relaxed leg, tense muscles upon impact and relax again as you withdraw. Do not drop knee of attacking leg too soon. Withdraw foot first, then lower knee. This affords better balance and extra protection. An important point to remember is that, except for the low and high direct kicks, the hip corresponding to the kicking foot must be well lined up with the target; failure to do this will impair the accuracy of your kicks. For instance, when you kick with the right foot, you should line up the right hip with the target. As you must push out the hips in the direction of a kick, make sure to retract them when the leg is pulled back. The importance of hip action, of their suppleness and of strong abdominal muscles for smooth and powerful kicks, cannot be overemphasized. Move relaxed. Drain tension from shoulders and let your weight "settle" in the lower abdomen. Feel it as if it were concentrated in one point. Imagine it as your center of gravity. This technique will help you to remain relaxed. Glide feet lightly and swiftly on the floor, but do not sacrifice accuracy of motion to speed. Increase speed only as your ability to perform correctly improves.. Look straight ahead as if through the upper chest of an imaginary opponent. Use minimal tension at the ready position and full tension at the moment of impact. Then release tension at once and withdraw attacking leg fast without lowering it too soon. Calmly concentrate on the technique you are performing. You can achieve this by a negative process of elimination of anything that does not pertain to the technique at hand. Concentration is an attribute of champions. 2.3.9 Exercises in Kicking Combinations (Comseks) and Their Purpose

It is necessary to move in full balance switching from one technique to the next smoothly, fast, and in full power, shifting weight and position as required. It is also necessary to develop appropriate muscular control in order to efficiently achieve the alternations of tension and relative relaxation while delivering punches and kicks. In order to reach these goals, we have three exercises we call Comseks, word coined from COMbinations SEQUences. It must be clearly understood that the purpose of the Comseks is to help the student develop the above attributes while studiously avoiding to freeze his reflex responses to predetermined sequences of attacks and defenses. He should develop his reflexes mainly by sparring against the widest possible variety of partners. This is in our opinion the most meaningful way. We shall describe here only the first of the Comseks: 2.4 COMSEK I: THE PIVOTING KICKING SEQUENCES 2.5 MOTION PRACTICE (BASIC ELEMENTS OF MOTION)

COMSEK I: THE PIVOTING KICKING SEQUENCES The purpose of this exercise is to train in footwork and kicks, particular attention being paid to the use of the hips. The emphasis is on pivoting and switching from one kick to the next, shifting the weight in full balance, and on developing muscular control of the legs and abdomen. Use is made of the isometric punches, the positioning of the arms blending with the motions of the body. Since we aim at proficiency on both sides, the left sequence is immediately followed by the right, which again leads into the left so that, this as well as the two other Comseks, can be endlessly performed. They constitute one of the finest methods of physical conditioning. Comsek I comprises six sets of three kicks each. We start from the left BTS and, at the end of the sixth sequence, we end up in the right BTS, from which we perform the six sequences on the other side. All the points mentioned earlier in connection with the footwork and kicks apply here. Movements should be smooth and continuous, paying particular attention to the proper use of the hips. The isometric punches must be meant as if they were actually directed against an opponent behind you. Always direct your kicks to a specific, though imaginary, target. l. Left BTS: -Low direct kick with the right foot; set right foot forward toes pointing to the oblique right. -Low direct kick with left; set left foot forward toes pointing to the oblique left. -High direct kick with the right; set right foot forward toes' pointing ahead and make an about face to the left leading to the.... 2. Left BTS: -Low direct kick with the right; without setting the right foot down, pivot on the ball of the supporting (left) foot to the left and, after lining up the right side of the body in one plane with the bent right knee deliver an . . . . -Instep kick with the right; set right foot forward toes pointing to the oblique right. Twist hips to the right assuming the "gunsight" position and deliver a -Side-of-foot kick with the left; set left foot forward toes pointing ahead and make a about face to the right leading to the .... 3. Right BTS: --Low direct kick with the left; set left foot forward toes pointing to the oblique left. Twist hips to the left assuming the "gunsight" position and deliver a ....

-Side-of-foot kick with the right; set right foot in a pigeontoe position* to left and close to the left foot. Toes of both feet point at each other, and the knees are turned inward pointing also at each other. Body must be as erect as possible. Shift weight on the right foot and line up left hip for a .... -Circular kick with the left, which should be delivered in the exact same direction as the preceding side-of-foot kick. Your hips have made a complete 360 turn; set left foot behind supporting (right) foot and assume the .... 4. Right BTS: -Low direct kick with left foot; set left foot forward, toes pointing to the oblique left. Twist hips to the left assuming the "gunsight" position and deliver a .... -Circular kick with the right; set right foot to the left, toes pointing to those of the supporting (left) foot and, going through the same pigeon-toed pivot described above. deliver a .... -Side-of-foot kick with the left; set left foot forward, toes pointing ahead and make an about face to the .... 5. Right BTS: Without stopping the turning motion of the hips, let them lead you into the "gunsight" position for a .... -Side-of-foot kick with the left; set left foot forward toes pointing to the oblique left and assume the "gunsight" position leading to a .... -Circular kick with the right; set right foot for a pigeontoed pivot as above leading to a .... --Side-of-foot kick with the left; set foot forward toes pointing ahead and make an about turn to the right leading to the .... 6. Right BTS: Cross step bringing the left foot behind the right, toes in opposition, knees well bent. The feet are almost parallel to each other. Shift weight on the left foot and deliver -Instep kick with the right; set right foot forward toes pointing to the oblique right. Assume the "gunsight" position leading to a .... -Side-of-foot kick with the left; set left foot forward, toes pointing to the oblique left and deliver a .... -Jumping side-of-foot kick with the right; set right foot behind the supporting (left) foot and make an about face to the.... Right BTS: To start the whole sequence again on the other side. *The feet should be close together. In the photograph the feet are purposely further apart, in order to show the positioning of the toes.

SPECIAL ASPECTS OF A.S.P. By Dr. Evan S. Baltazzi One of the main goals of A.S.P. is to be accessible to a great cross-section of people. Some of us are gifted with excellent reflexes and coordination while others are less so. For this reason, I have included in the first degree A.S.P. program at the beginners level some exercises that help the student to increase coordination and improve reflexes. At the same time he or she learns elemental motions such as pivoting, the gliding feet, leading with the hips, and in general, footwork that is part and parcel of body motion management. To this effect I have selected some before" techniques that is techniques that allow someone to avoid the brunt of an attack. Here is a selection, which however is not limiting. The instructor may devise his or her own techniques chosen in the same spirit. 1. Slapping Exercise: For developing a sense of distance, direction, timing, and increasing the field of vision. Choose a partner and stand facing each other at such distance that your open palm can touch his cheek. Gently mean to slap him. He is supposed to evade your attack by looking through your chest to increase his field of vision, and bending back his torso without moving his feet. After dodging your attack he returns to the starting position. Continue to attempt to slap him first slowly, then with increasing speed. At first your attempts are predictable: right,

left, right, left, then they become random like right, right, right, left, right, right, left, left, and so on. 2. C-Deflection: Have a partner stand in front of you at arms length and let him try to reach your upper chest, for instance, with his left hand. As he is about to touch you deflect his extended arm with the area between the thumb and the index finger of your open right hand. Keep your bent arm at shoulder level as you pivot to your rear left on your right foot. Do not pivot more than at a right angle, keep your eyes on your partner and initiate your pivot from the hips. Your left foot describes a ninety degrees arc and comes to settle behind the right. Key element of motion: pivoting. 3. Elbow down and pivot: Have your partner push you on the chest with both hands. At his push step back with your right foot, bend your right arm tight by your right side, elbow pointing down and pivot to your rear left as above. 4. Elbow up and pivot: Your partner throws a left jab aimed at your chin. You deflect it raising your right elbow forearm parallel to your right side and elbow higher than your head, which you tuck in as you pivot to your rear left. 5. Sweep and pivot: Your partner reaches for your belt with his left hand. As he is about to touch you, you sweep his reaching arm with your right forearm and you pivot to your rear left. 6. Stop swim and pivot: Your partner is reaching to you with open arms as for a bear hug. Take one step back with your left foot and stop him with your extended arms hands clasped (not crossed fingers); indicate a strike against his sternum with the knuckle of the index finger. Then deflect his arms with a wide sweeping motion close to your body as for a swimming breaststroke, while pivoting to your left rear on your right foot as above. 7. Thrust, deflect, and pivot: Your partner attacks with an overhead strike with his right hand. You thrust your right arm fully extended aiming just above your partners right ear as you take a long step to his right side with your left foot. This deflects his attack while you pivot to your rear right on your left foot to come near his right side. 8. Thrust, swim, and pivot: Your partner chokes you with both hands against a wall. Join hands as for praying and thrust them upwards grazing your nose while at the same time you are bending your knees sliding against the wall. This will break the choke and you continue with a swimming motion as above while taking a step with the right foot and pivoting to your rear left. 9. Extend and pivot: Your partner puts his arm around your waist. Extend both arms by your sides palms facing down and pivot on the foot nearest your attackers side to come behind him. 10. One elbow up and slide feet: Your partner is on your left side and attempts to put his right arm around your neck or your shoulders. You lift sharply your left elbow fully bent, left thumb grazing your left side so that your elbow is thrust behind your partners arm. At the same time you tuck your head in as you slide your left foot behind him followed by the right foot. Key element of motion: sliding feet. 11. Two elbows up and slide:

Your partner is behind you and attempts a rear bear hug. Spread your legs wide as you lift sharply both elbows by your sides forearms perpendicular to the ground. Slide your right foot to the right in line with your partners feet followed by your left foot, then slide your left foot followed by the right ending thus behind your partner. Your feet describe a V lying on its side. 12. Slide and slash: Your partner is on your right side and behind you and he grabs your upper right sleeve. Bringing your right hand at heart level, step back with the right foot as you drop your right arm to come from under around and behind your partners arm. Then lifting it high, slash down with your extended right arm grazing the inside of your partners attacking arm. At the same time take a side step with your left foot and bring the right foot against it. This slash and pull will break the grip. Coordination Practice: Also built into the basic program are motions specifically selected for improving ones coordination. These have the appearance of exceptions to the usual defensive motions. Below are given a few examples. In all you will find the five principles with varied emphasis while training in essential elements of motion. A. Reverse wrist grip on the same side. Step in with the foot opposite the grip. B. Overhead attack. Slide one foot and extend the opposite arm (entering exercise). C. One hand choke. Kick with the inside foot. D. Front head lock. Drop on the knee on the side of the attack and turn head in the direction of the attacker.

"The main theory behind the A.S.P. learning methodology is not to teach numerous techniques, but to teach elements of motion and few techniques with wide spread applicability to different situations. In addition, individual techniques from the program taken out of context, while quite effective, are not A.S.P. and the student will not benefit much in terms of ease of learning and degree of retention." Evan S. Baltazzi A.S.P.; A NOVEL APPROACH TO HOLISTIC SELF PROTECTION: By Evan S. Baltazzi, D.Sc., D.Phil. Writing today about a novel approach to the martial arts and sports is like bringing "coals to Newcastle". One becomes immediately suspect of "me too-ism" and empire-building, since there are many well known cases of people who generated new schools and systems, mainly for the purpose of bestowing upon themselves the highest possible ranks and a level of authority they were otherwise denied. Nothing more than some experience in the martial arts and the ability to read and write is needed. Books on the subject abound, and classifying selected techniques is easy enough. The only question is whether one would want to be bothered with this type of exercise. I would not. Then why was American SelfProtection (A.S.P.) developed? Origins of A.S.P. Its Rationale Anyone who, like myself, has been exposed for many years to the martial arts, with their rigorous training and respect for hierarchy and tradition, is at odds with himself when he starts questioning their methods and content. He is reluctant to voice his doubts and to break his allegiance. I have been in the martial arts since the age of thirteen when I took up fencing. After very considerable exposure to savate, Judo remained my main interest for many years. Together with it, I took up jujitsu, then Aikido, both of which I enjoyed. The

more I delved into the martial arts, the more questions popped into my mind. While I never doubted the validity of their techniques, I became less and less convinced of the effectiveness of their systems, the relative permanence of the knowledge thus acquired and its accessibility to many who could otherwise benefit from it. When I was captain of the Oxford University Judo team in England, our team beat Cambridge for three years in a row, the last time 5-0. This was in 1954 at Oxford, in the Albert Gymnasium. After the matches, I demonstrated jujitsu techniques, which were quite well received. Since we were the local boys, we were surrounded by our public, congratulated and asked a barrage of questions. It was then that my doubts crystallized, when it struck me bow little the public had understood how hard we had trained and how fugitive the results of our training were. At that very time, I decided that there must be a better way. If the martial arts were to be modernized, a way should be found by which the student would: (a) Develop mindbody coordination in a truly accessible, practical way. (b) Gain a much higher yield for his efforts. (c) Retain better what he has learned. (d) Be able to progress at his own pace and get recognition for it. (e) Acquire the ability to develop his own techniques with the elements he has learned. (f) rind enough variety to suit his needs and inclination. (g) Be able to apply his knowledge effectively within the law. Since I am a research scientist by profession, I decided to use my rather unique experience in the martial arts and in scientific research. First, I had to find the key to the door which should be opened. Rather than looking for differences among the many combative techniques I was familiar with, I started looking for underlying principles. Soon, I became convinced that a high yield approach to useful training in terms of technical knowledge and mental conditioning could be devised by: (a) Making systematic use of the common principles underlying all martial arts. (b) Using selected techniques as a means to train the student in the application of such principles, rather than as a goal in themselves. (c) Making use of elements of motion (kinesiological elements) with wide applicability. These elements, by constant repetitive use against a variety of attacks, would then become conditioned reflexes. Thus, not only would they be easier to acquire, but they would also be retained much longer by the student, and the type of a given attack would take secondary importance. (d) Finally, devising a system which would appeal to the fighter as well as to the housewife, with something in it for both. The task became clear. Keeping in mind the goals, a BASIC system had to be developed first. This task took me almost twelve years. (Drawing upon my background, it would have taken me only a few weeks had I thrown together "borrowed" techniques.) Then, in 1965, overcoming my reluctance to be known as another "new master" with "another school", I made it public. After much soul-searching, I called my systematic method American Self Protection* (A.S.P.) because I was aiming beyond mere self-defense. I also wished to give more than lip service to mind-body coordination, which I believed to be essential. Practice of A.S.P. truly imparts the ability to protect oneself mentally as well as physically. IN SUMMATION, A.S.P. IS A SYSTEMATIC METHOD FOR DEVELOPING MOTOR SKILLS PARTICULARLY SUITED TO THE MARTIAL ARTS AND SPORTS. AT THE SAME TIME IT DEVELOPS MIND-BODY COORDINATION. A.S.P. IS NOT A

CONCOCTION OF VARIOUS MARTIAL ARTS TECHNIQUES, BUT A SYSTEM AND METHOD TO ACQUIRE SAFELY ANY COMBATIVE KNOWLEDGE FASTER AND RETAIN WHAT HAS BEEN LEARNED MUCH LONGER THAN WITH ANY OTHER METHOD. ASP TECHNIQUES TAKEN OUT OF CONTEXT, WHILE QUITE EFFECTIVE, ARE NOT ASP AND DO NOT DEMONSTRATE THE ASP SYSTEM AND METHOD. This statement situates all martial artists in relation to A.S.P. Once understood, it proves to be an ally rather than a competitor or a foe. U.S. Patent Office Registration Numbers: 865,959 (March 4, 1969) and 926,581 (January 4, 1972). A martial artist who wishes to take up A.S.P. has only to condition himself to see beyond individual A.S.P. techniques. In passing, we count several martial artists in our ranks. It is now necessary to clarify certain aspects of the fighting arts and sports in order to situate A.S.P. in this context. Considerations on the Fighting Arts and Sports The origins of all fighting arts are survival and war. Man is deeply ingrained fighting spirit is such that, when strife subsides, he finds pleasure in duplicating fighting under more or less safe conditions. He cannot, however, easily dismiss the horror and the killing which are its integral parts. Rationalizing, he tries to guide his fighting instincts toward apparently worthwhile goals. Readiness against aggression is a time-honored subterfuge. Thus, the channeling of the fighting spirit and excess energy of youth are the origin of all combative sports. Through their practice, young people are benefited in the area of general physical fitness and appropriate mental attitudes, learning to accept challenge and face victory and defeat. Physical mental and even spiritual benefits derived from the practice of combative sports have been recognized through the ages, and young people of both sexes have been and are being encouraged to practice them. It is in this context that the various warlike arts in which one either uses his own body as a weapon, or weapons as such, became idealized into the various combative sports as we know them today. Their practice has become safe to a large extent by the adoption of rules of more stringent nature. With the progress of civilization and man is increased concern for his fellow man, restrictions aiming toward greater safety were gradually introduced resulting in more or less stylized forms of fighting, with or without weapons. Typical examples of such evolution can be found in the comparison of modern fencing to ancient and medieval forms of sword fighting and or primitive all-out weaponless fighting to Graeco-Roman wrestling. The main differences among various combative sports reside mainly in their systematic approach to the corresponding knowledge and in the rules adopted in order to make their practice safe. For instance, men have noticed from time immemorial that poking someone in the eyes or twisting his joints brought about spectacular results. Depending on a number of reasons, such dangerous practices were either eliminated or stylized for safety, according to the often arbitrary requirements of each particular fighting system. It would be naive to consider that any one person or people has invented such elements. For example, many Judo, jujitsu or Aikido holds are known in their fundamentals to free style wrestlers; however, much of this knowledge cannot be used in the practice of their sport because it happens to be prohibited by its rules. Many other such parallels exist. In actuality, it is hard to draw a sharp distinction between a safely practiced fighting art and a socalled combative sport. Much confusion exists in the use of these terms. Such nomenclature should be understood as a distinction in the extent of potential danger. In recent years, particularly after World War II, many oriental martial arts were introduced to the Western World, mainly because of the impression they made on members of the Allied Forces stationed in Japan. These arts known hitherto under the inappropriately exclusive

name of "martial" were transplanted to Europe, Australia and the Americas where they quickly met with great popularity. In view of this historic development, systems of fighting knowledge imported from Japan were generally considered by the non-initiated as an exclusively Japanese invention. Later, when it was realized that the Japanese did not have the monopoly on such knowledge, Chinese and generally oriental martial arts were incorporated under the "martial" denomination. Today, the word "martial" (pertaining to the Graeco-Roman god of war Aries, or Mars) is almost exclusively used in connection with oriental martial arts and sports. Few will accept this term as applicable to e.g., fencing, savate, free style, Graeco-Roman, Swiss and Turkish forms of wrestling, cornubreton or any other nonoriental combative system. This state of affairs is unfortunate because it creates the wrong impression. Since the bulk of the population in Australia and the Americas is descended from European immigrants, we shall briefly consider the evolution of fighting arts in Europe. Even the most superficial student of European history will be amazed by the incredible number of fighting arts and weapons used by Europeans since earliest recorded times. Ample evidence of this may be seen by any casual visitor to European historical museums. The student of European history will also notice that the intermingling of essentially all the European peoples through wars and invasions, and their astounding technological advances, tended to destroy traditions related to various forms of fighting as soon as these became of questionable usefulness. Furthermore, the interpretation of ideas and fighting methods, and the slow disintegration of the rigid feudal structure prevalent in the Middle Ages, led Europeans toward new fighting arts and sports better adapted to their needs. Where tradition was somehow maintained, as for instance in the case of fencing, unexcelled mastery was the result. On the contrary, isolation and social thought patterns of an essentially feudalistic society helped many oriental nations such as China and particularly Japan to maintain their traditional combative systems and to develop from them sports suited to local needs. However, there is no doubt that the elements in Judo, Aikido, etc., were known since ancient times. They have only been put together in a way to yield systems best suited to local needs at the time of their inception. Their novelty then resided precisely and uniquely in the system and not in its elements. The foregoing should not be misconstrued as an attempt to detract anything from the many merits of the oriental martial arts - far from it. Let us repeat, oriental martial arts introduced to the West have many merits which, however, are neither unique nor novel. Principles of the Fighting Arts Explained All fighting arts, whether shooting a gun, using a knife or one s bare hands, are based on five principles. These principles are neither six nor four, they are five and five only. They are also universal, and should not be confused with the attributes, the qualities, such as good balance, coordination, speed, accuracy and so on, that one must develop in order to be successful in any form of combat. (1) Distance: The ability of judging accurately the distance from which an attack can be successfully landed, or evaded, is so important as to be an absolute necessity. Obviously, if you are out of the range of an attack, you do not have to worry about it. On the other hand, if you do not judge accurately the proper distance, you will reach your opponent, or will foil his attacks, only by chance. (2) Direction: When an opponent attacks in your direction and after he is committed to that direction, if you change your position, dodging his attack, you may be able to unbalance him and find an opening for counter-attacking. For instance, suppose you face an opponent

when he attacks and, as the attack is about to reach you, you change to a perpendicular position by stepping back and around with the right foot, which you bring behind the left. The attack will miss, and you may be able to di sturb your opponents balance, in order to throw him, or to deliver a blow. Also, you should be able to judge your opponent s position at the time your attak will reach him, exactly as if you were shooting at a moving target. (3) Timing: No attack, or defense, can be successful without proper timing. Speed is important for timing. Occasionally, appropriate timing gives the impression of speed. A good sense of distance, direction and timing is necessary for accuracy in attack and in defense. (4) Momentum* and (5) Leverage: Both serve to develop power, either for delivering a blow or a kick, or for breaking a hold. Gathering momentum in order to swiftly transfer it onto a small area of your opponent s body develops penetrating power and is the principle behind focused blows and kicks. SITUATING A.S.P. A.S.P. is a self-protection system concerned with man as a whole, since self-protection of the mind, as well as the body, is by far more important than self-defense per se. In order to te practical, A.S.P. is simple and contains little that is vague or esoteric in nature. Since modern man thinks along pragmatic lines and, being solicited by many activities, has little time to devote to any one field, his efforts must be guided toward high yields. *More accurately, kinetic energy. For this reason, the techniques developed for basic A.S.P. are simple, versatile, yet efficacious: they build conditioned reflexes through the repetition of a small number of simple motions. A.S.P. also teaches to work with principles rather than with a large number of individual techniques: thus, the kind of a given threat becomes relatively unimportant. Furthermore, the defender is given a very real choice to proportion the severity of his defense to that of a given attack. Many of the recently imported arts hardly take into consideration the legal aspects of self-defense; one may well win a fight, but land in jail and have to face lengthy and very, very costly legal procedures. The movements of the human body and their combinations are almost infinite in number. Developing intricate and complex systems is, therefore, much easier than developing a simple yet efficient one. This is particularly true if such a system is well rounded and aimed at developing appropriate motor skills, while at the same time being accessible to a broad cross-section of students. To this effect, the techniques selected for A.S.P. had to combine efficacy, versatility, simplicity and completeness. A.S.P. comprises two essential parts: (1) "Somatic A.S.P.", which studies means of protection against physical attacks; and (2) "Psychosomatic A.S.P.", dealing with the mind body relationship and appropriate practical knowledge and exercises. In its basic form, "somatic A.S.P." comprises fifty defensive techniques against fifty different armed and unarmed attacks selected on a basis of their frequency in the modern world. Defensive techniques of limited applicability are discarded since basic A.S.P. aims at the development of conditioned reflexed by repetition of a few versatile elements of great effectiveness. "Psychosomatic A.S.P." includes exercises for mental and physical balance, for breathing, relaxation and emotional control. Basic A.S.P. does not make use of chokes and joint twisting techniques. In spite of their spectacular results when properly applied, they are hard to master and harder to apply successfully in actual fighting. Versatility and efficacy are obtained with body positioning and leverage. Blocking techniques are not used since they require strength and destroy relaxation. Rather, basic A.S.P. makes use of deflections. Throwing and striking techniques and attacks on pressure points are simple and kept to a strict minimum. Indeed, efficient self-defense requires only a few techniques mastered to

perfection. Complexity generates confusion and, therefore, inefficiency. Chokes and locks are dealt with in intermediate and advanced A.S.P. Defense against multi-opponent attacks, attacks from certain animals and techniques for giving help to others are also part of intermediate and advanced A.S.P., which also includes many other aspects of selfprotection. There is no question that A.S.P. includes techniques common to other fighting arts and no attempt is made to conceal this fact. This is perfectly normal and to be expected. When the founder of Judo, Jigoro Kano, put his system together, he borrowed freely from existing arts; even the name "Judo" was not new. The same is true for other "arts" or sports, for example Aikido, karate and savate. The progression of human knowledge is based on previous human knowledge in a continuous sequence. In the field of the fighting arts, one can always say by watching a technique supposedly "belonging" to one art that it really belongs to another. Examples: Judo and free style wrestling; karate and French boxing; Aikido and jujitsu; sabre fencing and kendo. The truth is that a so-called new art is really a new systematic approach to a given type knowledge, nothing more. In the fighting arts, as in warfare, one has to adopt a strategy. A.S.P. has adopted that of working with principles rather than with individual techniques. Its unified approach to all fighting arts and sports is based on the guided application of the common underlying principles of distance, direction, timing, leverage and momentum. A practical, technical let us say, attempt to "normalize" the approach to the fighting arts must also rely on judiciously selected training methods aiming at developing the desired understanding and attributes. Because A.S.P. has either developed or selected specific, simple and versatile techniques along these lines, when said techniques are viewed individually and out of the context of its master plan, the whole point of A.S.P. is missed. This is what some martial artists fail to grab. A.S.P. Guidelines and Progression Guidelines: Any form of self-protection must consider man as a whole, otherwise it becomes not only incomplete, but also inefficient. Most of us will, fortunately, never have to face the brunt of a physical attack. All of us have to live with ourselves and others every day of our lines. As mentioned, A.S.P. is geared to self-protection, including physical fitness and mind-body coordination. Confidence and skill go hand in hand. Practice is essential in developing any skill. However, such practice must be consistent with the proper understanding and application of the principles involved. Only then will it result in applying the appropriate techniques instinctively, without much forethought. Practice according to the Five Principles develops balance besides other important attributes. One cannot perform at his full physical potential when even slightly off balance. Balance should not be achieved to the detriment of mobility. It is true that balance is improved when one lowers his center of gravity by bending the knees, while spreading and staggering the feet to increase the base of support. Such position, however, invariably results in some loss of mobility and must be taken only to brace momentarily against an attack threatening one s balance. The natural erect posture, or one close to it, is best for balance and mobility and should be adopted whenever possible. Efficient use of leverage, particularly in lifting, requires one to be quite close to the object be is about to lift. The resulting favorable lever arm ratio helps lifting with minimum expenditure of energy. On the contrary, developing momentum (kinetic energy) through the use of centripetal force requires the longest radius possible and, therefore, the greatest distance

from the axis of the body to the point where this momentum is to be applied. Power developed via leverage or momentum is best used against one of the many weak areas of the opponent, or for directing and guiding his movements, rather than opposing them. In A.S.P., smooth flowing motions are emphasized. We shy away from blocking, not only because it is not accessible to weaker persons without extensive training, but also because we believe that it has an adverse effect on relaxation and coordination. Instead, we make extensive use of dodging techniques and deflections which we believe to be essential for "somatic" self-protection. Progression: A. Our first concern is to develop coordination, and particularly with the kicks, balance. B. After this goal is reached, kicking and striking are further studied with the fullest use of the body. The so-called "focusing" is studied only at later stages, so that A.S.P. exponents may kick or strike adding the extra dimension of "focusing" only when the situation calls for it. There are several parts of the body which can be used to deliver blows in self-defense as well as in retaliation. In order to develop skill in their use, one has to learn not only where to strike, but also how to strike. We said earlier that, for effective self-defense, retaliation is secondary to body positioning and shifting. In keeping with this emphasis, we study initially means to retaliate only as related to specific techniques. This does not mean that we neglect kicking and striking. However, our approach is a radical departure from the well-publicized karate methods. We believe that teaching students the so-called "focusing" at the early stages of their training is unnecessary, besides being dangerous. When called for, a well-placed kick in one of the many vulnerable areas of the human body does not have to be "focused" to be damaging. Qn the other hand, a "focused" kick will cause unnecessarily severe damage, entailing considerable liability on the part of its user. Anyone initially conditioned to use only "focused" kicks and blows will use such when the opportunity presents itself. Should he attempt to pull his blows or kicks too soon, these will be ineffective and, if he does not pull them, they may be unnecessarily damaging and even lethal. Against a moving target such as the human body, "focusing" affords little control. If one, however, has learned first to use ordinary kicks and punches in full balance and, after he has mastered this he is trained in "focusing", he then has the choice not only of the target, but also to the type of kick or blow he is going to use. We in A.S.P. believe that this degree of freedom is invaluable. Striking and kicking techniques are studied systematically only after body shifting has been mastered, also for another reason. If they were studied first, they would invariably create a wrong impression of security in the mind of the student. He may be led to believe that he can handle well a given situation with striking and kicking techniques alone, little realizing that this can be achieved only with long and arduous training and, even then, with very impermanent results. Getting out of the way of an attack first, by appropriate motion of the body, is the essence of self-protection. Retaliation should follow, only when necessary. Many more people can be taught to evade an attack than to retaliate efficiently. While some would not want to retaliate, even if they knew how, all would want to evade an attack. C. Means of controlling an opponent with joint twisting techniques, chokes and pins are gradually introduced. Grappling is studied initially with a view of getting back to the standing position, or making the opponent give up by appropriate application of controlling techniques. At a later stage, stickfighting is introduced because, besides its didactic value, it deals with one of the simplest and most accessible weapons. It is of particular value to older and weaker persons.

D. An A.S.P. system of physical fitness is incorporated from the beginning. Other aspects of self-protection are studied later, and special emphasis is placed on practical exercises for keeping the mind-body relationship in good order. Means of recognizing people who are potentially dangerous on other accounts than bodily harm are also dealt with. E. In the Black Belt A.S.P. First Degree program, neither locks nor chokes are used, for two reasons: (a) They are not necessary for efficient self-defense. (b) They require lengthy training in order to be mastered enough so that they can be applied against an opponent, who is bound to be less cooperative than a training partner. Their study is part of advanced A.S.P. programs, where every basic technique is shown to lead to controlling locks and chokes if desired. Variations are kept to an absolute minimum, in order not to confuse the student with many alternatives. Besides, with the elements he learns, be will have no difficulty devising his own. Promotional requirements do not include technique variations. Competitive aspects of A.S.P. Because it includes essentially all facets of self-protection, A.S.P. comprises several kinds of competition: (1) technical sparring (a) without and (b) with controlling techniques*; (2) combination kicking and striking forms, or "comsek"; (3) free style kicking and striking (kickboxing); (4) grappling; (5) stickfighting. *locks and chokes Perfectly safe and accessible to any whole and healthy individual, A.S.P. technical sparring is the basic form of competition and an integral part of every training session. At this first stage, the speed of reaction is all important and retaliation per se is de-emphasized, and explained above. This is the utilitarian aspect of A.S.P. accessible to the majority. A.S.P. technical competition aims to duplicate under safe conditions encountered in real life, and to develop in the contestants the capability to react instantly to various attacks. This must be achieved in a sportsmanlike manner and without any injuries. To achieve this, all attacks must be clearly executed and all defenses must be carried out without brutality. The attacker must desist from his attack once it has been foiled, and the defender must desist from his retaliation once it has achieved its defensive purpose. Inconclusive and/or vague situations must be discontinued at once by common accord of all contestants. Any departure from the above guidelines is penalized. The contestant with the least penalty points wins. Technical sparring and competition are mainly concerned with speed of reaction and with developing coordination and body motion management. They are easily accessible to both sexes: male and female students practice together and co-ed classes are the rule. Children may also participate, thus making A.S.P. a true family sport. As the student progresses, he is expected to react faster and faster, and to follow up on a given defensive technique. For this reason, graduates of basic A.S.P. spar and compete against two or more opponents and may also use technique combinations. A.S.P.A. Structure and Ranking The A.S.P. Association, A.S.P.A., a not for profit corporation, is structured to include, under the main A.S.P. body, several divisions with vice presidents responsible for them. Typical divisions are related to kickboxing and law enforcement. Recognizing the value of the belt ranking system, A.S.P. has adopted one specific to its needs, because it sets short term goals for the student and affords recognition after these have been successfully reached. The A.S.P. student must choose, after having mastered the basic system, whether he wants to become an expert or be content with knowledge adequate for self-

protection. Becoming an expert requires complete dedication and constant effort. On the other hand, useful practical knowledge can be maintained and improved with moderate practice. There are ten black belt A.S.P. ranks. Specialized ranks in kickboxing and law enforcement also exist. Martial Artists and A.S.P. The A.S.P. Association (A.S.P.A.) welcomes martial artists and, upon adequate proof, awards equivalence, provisional and full-fledged A.S.P. ranks. The following points must be kept in mind: If A.S.P. is to be true to itself, it must maintain its integrity. It follows that A.S.P. must be taught separately as an entity. Gleaning A.S.P. techniques and incorporating them into "self-defense" programs is counterproductive and negates the very purpose for which A.S.P. was developed. As stated earlier, A.S.P. techniques must be studied within their context, else they lose much of their meaning and the student misses the very point for which A.S.P. was developed. Naturally, this does not mean that a martial artist joining the A.S.P.A. should drop out of his earlier art. It just means that he should not mix it up with A.S.P. If he is sincere and stays with A.S.P., be will find in fact that it will help him considerably in refining his martial art techniques, while progressing in A.S.P. rank at the same time. Martial artists joining the A.S.P.A. will also discover that essentially all their previous knowledge is relevant. However, they are expected to make a conscious effort to: (a) Consider A.S.P. as a whole and see beyond its individual techniques. (b) Master at least the basic program leading to Black Belt A.S.P. First Degree. Even martial artists with moderate experience may accomplish this with limited study, because of its effective approach to teaching. There is a great need for qualified A.S.P. instructors. Upon application, bona fide black belts may be awarded a provisional black belt A.S.P. rank to enable them to start instructing. They are also allowed two years to qualify for a full-fledged A.S.P. rank. Mastering the basic program is essential, because it not only establishes ones understanding of A.S.P. philosophy, but also his sincere intention to give A.S.P. a fair try. We do not expect anyone to take our word about the benefits of A.S.P. Trial yields proof. But it must be meaningful and fair. The General Public and A.S.P. Even at the basic level, the person who has no inclination to become an expert will get a well-rounded body of self-defense and body-mind coordination knowledge with a superior yield in terms of his investment in time and effort. For the reasons stated above, he will also retain the acquired knowledge much longer. This is true even for retarded and handicapped persons. However, we do not wish to mislead anyone into expecting miracles without training, which in its simplest form (after some techniques have been mastered) involves mental conditioning and constant awareness. The best system in the world can give anyone only a fighting chance, which is directly proportional to his age, physical condition and degree of training. There are simply no panaceas and no miracles. One must be prepared to expend a minimal effort, at least to the point of developing some vital conditioned responses to common attacks. A.S.P. does this with better efficiency than any other system. A.S.P. is now known in several countries. Evan S. Baltazzi, D.Sc., D.Phil.

2.2 FALLING SAFELY

The following techniques should be practiced on a mat, or on three or four thicknesses of rugs or blankets Although we are giving here only one side, you must practice on both, the left side following the right! 2.2.1 Rolling Falls These are most important and must he studied very carefully, particularly the forward rolls, which may be used f-or defense as well as for attack. With practice one can roll safely on a hard surface. 2.2.1.1. Forward Roll: Stand relaxed, feet shoulder wide, and step forward with the right foot; this step should be somewhat longer than your normal step. Now pivot on the balls of the feet so that the toes point slightly inward. lift right arm straight above head, relax wrist and let it drop, fingers pointing straight ahead. Fix head in a forward bent position, without tensing the muscles of the neck, by directing the gaze toward the upper chest. Looking at that point will keep the head protected throughout the roll. In a reaching circular movement, without tensing, bend right knee and push body forward with left foot, using the ball of right foot as support only, not for propulsion. Failure to do this will make you roll sideways. The body is propelled forward and rolls diagonally from back right shoulder to left hip. Get up using forward momentum. Positioning the feet properly is essential for easy recovery. They should be pointing in the same position as when you began. Saying "yes" as you roll has a beneficial psychological effect in that it helps to counter the mental tendency to hold back. Practice slowly at first, gradually increasing your speed. As you become familiar with this technique do not stop after one roll, but take several in succession. With practice you will find that you need not touch the mat with the hands. Next, take a jumping step off the left foot, land on the right, and roll as above while reaching with right arm as far forward as possible until the roll becomes a lunge and roll. After this step is mastered, practice lunge-rolling over obstacles (example: a partner on all fours). This is not a stunt and should not be considered one. Besides its use in actual selfprotection, it has important mental and physical advantages: it trains the mind to think beyond obstacles and leads the body to the limits of its performance capabilities. Many who have thought it impossible to lunge-roll even over one person have found, to their amazement, that they could get over three, four, or more. The secret lies in thinking beyond the obstacle: if the mind stops at the obstacle, the body will also stop there. When thinking beyond the obstacle, the body will follow to the limit of its capabilities. Naturally, you must understand your physical limitations.

2.2.1.2 Side Roll and Pivot: This technique is essential for effective protection on the ground. Lie on the back, extend the arms above head in line with legs, and start rolling to one side to the limit of available space. An indication of the degree of relaxation is the ability to roll parallel to the line of your initial position without angling away from it. If you are not relaxed, you will not he able to achieve the desired result. Practice on both right and left sides, gradually increasing speed to the limit of your capability. Now you are ready for the next step. Roll completely once to the left and then pivot on your back sharply, turning to the right, so that your body is now perpendicular to the line it occupied at the start. Then take a defensive posture, by completely bending knees and elbows, while crossing forearms in front of the chest, wrists on either side of the throat.

2.2.1.3 Back Roll: The beginning is the same as with the forward roll, except you start by first taking one step backward with the right foot. Bend the knees, at the same time looking down at the chest, squat, and roll backwards as if trying to throw both hands over the right shoulder. In the process, put the right instep on the floor to support the weight of the body and roll over the right shoulder. Practice both right and left rolls. Next, sitting on a low stool, fall backward and roll. Later you can try this technique from a chair, or even from a higher stool. Make sure to choose a chair which will not injure your back during the fall. As you fall, push hard with your buttocks against the angle of the back rest and the seat.

2.2.1.3 2.2.2 Flat Falls Mostly used in training and free sparring. 2.2.2.1 Forward Breakfall: To start, kneel on the mat, toes curled upward and in contact with it. Relax arms, drop shoulders, bend elbows, and bring open hands in front of face, palms, facing forward, tips of forefingers touching each other. Forearms must now be parallel with the body. Do this a few times to familiarize yourself with the movement and then fall face down, straight from the knees, breaking the fall with the WHOLE LENGTH of forearms and open hands. Remain relaxed. Turning face to one side will provide extra protection. As you fall forward, the knees should not hit the mat: spread legs as you fall. Properly performed this technique will not hurt the elbows, even on a hard surface. As in all flat falls, you must exhale hard as you land. Later, after some experience attempt from a standing position with your center of gravity falling straight down to the matt and legs extending behind.

2.2.2.2 Back Breakfall: Stand up, and bring the extended arms shoulder high, palms down. Relax shoulders, then, gathering momentum, whip both arms backward as far as their momentum will carry them. Repeat this maneuver several times so that you get the feel of the whipping action with which the extended arms must strike the mat. Now, as you lift the arms to the starting position just described, squat down, chin on chest, and roll backward, striking the mat in a whip like motion, arms approximately 30 away from the sides. The chin must be relaxed and in contact with the chest to the end of the technique. In order to absorb the shock, most of the length of the arms must strike, palms down, when the small of the back hits the mat. Practice from sitting position first, rolling backward gently, and timing the striking action of the arms with the contact of the small of back with the mat. Once you have mastered the breakfall as described above, try it from the standing position, jumping backward and breaking the fall. Finally, have a partner push you, and break your fall with the same technique. Again, the chin must he held against the chest to prevent the back of the head from hitting the mat. NOTE: The body is an elastic medium; vibrations created by the impact of a fall, even on a mat, will travel through the body and reach the brain, thus creating dizziness. A bad fall can hurt: Protect yourself from injurious effects by positioning the body so that no vital part is exposed to the impact, and by preventing the vibrations generated by the fall from reaching the brain. The latter is achieved by creating another set of vibrations with different timing which, traveling through the elastic medium of the body, by interference, counteracts the vibrations caused by the fall. Striking the mat with extended arms creates this interference. On a hard surface, striking with the heels instead of the arms should be emphasized, since the heels are usually protected by shoes and are, therefore, less vulnerable to pain.

2.2.2.3 Right and Left Side Breakfalls: After the previous breakfall has been mastered, it is a simple matter to execute the side breakfalls. Jump backward, as in the case of the back breakfall, and shift to the right or left side, breaking the fall with the corresponding arm in exactly the same fashion. Do not cross the legs, but keep them at about right angles to each other. Such positioning prevents the knees and ankles from hitting each other. For instance, for the right side breakfall, the right side of the body and the right side of the right leg, slightly bent, are in contact with the mat upon landing. The sole of the left foot is on the mat to the left of the right foot, while the left knee is in a plane almost perpendicular to the mat.

COMSEK I: THE PIVOTING KICKING SEQUENCES The purpose of this exercise is to train in footwork and kicks, particular attention being paid to the use of the hips. The emphasis is on pivoting and switching from one kick to the next, shifting the weight in full balance, and on developing muscular control of the legs and abdomen. Use is made of the isometric punches, the positioning of the arms blending with the motions of the body. Since we aim at proficiency on both sides, the left sequence is immediately followed by the right, which again leads into the left so that, this as well as the two other Comseks, can be endlessly performed. They constitute one of the finest methods of physical conditioning. Comsek I comprises six sets of three kicks each. We start from the left BTS and, at the end of the sixth sequence, we end up in the right BTS, from which we perform the six sequences on the other side. All the points mentioned earlier in connection with the footwork and kicks apply here. Movements should be smooth and continuous, paying particular attention to the proper use of the hips. The isometric punches must be meant as if they were actually directed against an opponent behind you. Always direct your kicks to a specific, though imaginary, target. l. Left BTS: -Low direct kick with the right foot; set right foot forward toes pointing to the oblique right. -Low direct kick with left; set left foot forward toes pointing to the oblique left. -High direct kick with the right; set right foot forward toes' pointing ahead and make an about face to the left leading to the.... 2. Left BTS: -Low direct kick with the right; without setting the right foot down, pivot on the ball of the supporting (left) foot to the left and, after lining up the right side of the body in one plane with the bent right knee deliver an . . . .

-Instep kick with the right; set right foot forward toes pointing to the oblique right. Twist hips to the right assuming the "gunsight" position and deliver a -Side-of-foot kick with the left; set left foot forward toes pointing ahead and make a about face to the right leading to the .... 3. Right BTS: --Low direct kick with the left; set left foot forward toes pointing to the oblique left. Twist hips to the left assuming the "gunsight" position and deliver a .... -Side-of-foot kick with the right; set right foot in a pigeontoe position* to left and close to the left foot. Toes of both feet point at each other, and the knees are turned inward pointing also at each other. Body must be as erect as possible. Shift weight on the right foot and line up left hip for a .... -Circular kick with the left, which should be delivered in the exact same direction as the preceding side-of-foot kick. Your hips have made a complete 360 turn; set left foot behind supporting (right) foot and assume the .... 4. Right BTS: -Low direct kick with left foot; set left foot forward, toes pointing to the oblique left. Twist hips to the left assuming the "gunsight" position and deliver a .... -Circular kick with the right; set right foot to the left, toes pointing to those of the supporting (left) foot and, going through the same pigeon-toed pivot described above. deliver a .... -Side-of-foot kick with the left; set left foot forward, toes pointing ahead and make an about face to the .... 5. Right BTS: Without stopping the turning motion of the hips, let them lead you into the "gunsight" position for a .... -Side-of-foot kick with the left; set left foot forward toes pointing to the oblique left and assume the "gunsight" position leading to a .... -Circular kick with the right; set right foot for a pigeontoed pivot as above leading to a .... --Side-of-foot kick with the left; set foot forward toes pointing ahead and make an about turn to the right leading to the .... 6. Right BTS: Cross step bringing the left foot behind the right, toes in opposition, knees well bent. The feet are almost parallel to each other. Shift weight on the left foot and deliver -Instep kick with the right; set right foot forward toes pointing to the oblique right. Assume the "gunsight" position leading to a .... -Side-of-foot kick with the left; set left foot forward, toes pointing to the oblique left and deliver a .... -Jumping side-of-foot kick with the right; set right foot behind the supporting (left) foot and make an about face to the.... Right BTS: To start the whole sequence again on the other side. *The feet should be close together. In the photograph the feet are purposely further apart, in order to show the positioning of the toes.

SPECIAL ASPECTS OF A.S.P. By Dr. Evan S. Baltazzi One of the main goals of A.S.P. is to be accessible to a great cross-section of people. Some of us are gifted with excellent reflexes and coordination while others are less so. For this reason, I have included in the first degree A.S.P. program at the beginners level some exercises that help the student to increase coordination and improve reflexes. At the same time he or she learns elemental motions such as pivoting, the gliding feet, leading with the hips, and in general, footwork that is part and parcel of body motion management. To this effect I have selected some before" techniques that is techniques that allow someone to avoid the brunt of an attack. Here is a selection, which however is not limiting. The instructor may devise his or her own techniques chosen in the same spirit. 1. Slapping Exercise: For developing a sense of distance, direction, timing, and increasing the field of vision. Choose a partner and stand facing each other at such distance that your open palm can touch his cheek. Gently mean to slap him. He is supposed to evade your attack by looking through your chest to increase his field of vision, and bending back his torso without moving his feet. After dodging your attack he returns to the starting position. Continue to attempt to slap him first slowly, then with increasing speed. At first your attempts are predictable: right, left, right, left, then they become random like right, right, right, left, right, right, left, left, and so on. 2. C-Deflection:

Have a partner stand in front of you at arms length and let him try to reach your upper chest, for instance, with his left hand. As he is about to touch you deflect his extended arm with the area between the thumb and the index finger of your open right hand. Keep your bent arm at shoulder level as you pivot to your rear left on your right foot. Do not pivot more than at a right angle, keep your eyes on your partner and initiate your pivot from the hips. Your left foot describes a ninety degrees arc and comes to settle behind the right. Key element of motion: pivoting. 3. Elbow down and pivot: Have your partner push you on the chest with both hands. At his push step back with your right foot, bend your right arm tight by your right side, elbow pointing down and pivot to your rear left as above. 4. Elbow up and pivot: Your partner throws a left jab aimed at your chin. You deflect it raising your right elbow forearm parallel to your right side and elbow higher than your head, which you tuck in as you pivot to your rear left. 5. Sweep and pivot: Your partner reaches for your belt with his left hand. As he is about to touch you, you sweep his reaching arm with your right forearm and you pivot to your rear left. 6. Stop swim and pivot: Your partner is reaching to you with open arms as for a bear hug. Take one step back with your left foot and stop him with your extended arms hands clasped (not crossed fingers); indicate a strike against his sternum with the knuckle of the index finger. Then deflect his arms with a wide sweeping motion close to your body as for a swimming breaststroke, while pivoting to your left rear on your right foot as above. 7. Thrust, deflect, and pivot: Your partner attacks with an overhead strike with his right hand. You thrust your right arm fully extended aiming just above your partners right ear as you take a long step to his right side with your left foot. This deflects his attack while you pivot to your rear right on your left foot to come near his right side. 8. Thrust, swim, and pivot: Your partner chokes you with both hands against a wall. Join hands as for praying and thrust them upwards grazing your nose while at the same time you are bending your knees sliding against the wall. This will break the choke and you continue with a swimming motion as above while taking a step with the right foot and pivoting to your rear left. 9. Extend and pivot: Your partner puts his arm around your waist. Extend both arms by your sides palms facing down and pivot on the foot nearest your attackers side to come behind him. 10. One elbow up and slide feet: Your partner is on your left side and attempts to put his right arm around your neck or your shoulders. You lift sharply your left elbow fully bent, left thumb grazing your left side so that your elbow is thrust behind your partners arm. At the same time you tuck your head in as you slide your left foot behind him followed by the right foot. Key element of motion: sliding feet. 11. Two elbows up and slide: Your partner is behind you and attempts a rear bear hug. Spread your legs wide as you lift sharply both elbows by your sides forearms perpendicular to the ground. Slide your right foot to the right in line with your partners feet followed by your left foot, then slide your left

foot followed by the right ending thus behind your partner. Your feet describe a V lying on its side. 12. Slide and slash: Your partner is on your right side and behind you and he grabs your upper right sleeve. Bringing your right hand at heart level, step back with the right foot as you drop your right arm to come from under around and behind your partners arm. Then lifting it high, slash down with your extended right arm grazing the inside of your partners attacking arm. At the same time take a side step with your left foot and bring the right foot against it. This slash and pull will break the grip. Coordination Practice: Also built into the basic program are motions specifically selected for improving ones coordination. These have the appearance of exceptions to the usual defensive motions. Below are given a few examples. In all you will find the five principles with varied emphasis while training in essential elements of motion. A. Reverse wrist grip on the same side. Step in with the foot opposite the grip. B. Overhead attack. Slide one foot and extend the opposite arm (entering exercise). C. One hand choke. Kick with the inside foot. D. Front head lock. Drop on the knee on the side of the attack and turn head in the direction of the attacker.

American Self Protection Association Test Form For Novice Red Belt - February 7, 2004 Student Name: Score: /F Test Fees: P

Test Date: BREAKFALLS Back 3 Side (Left & Right) 3 Forward 3 Rolling (Forward & Backward) 3 KICKS & PUNCHES Direct Kick 3 Circular Kick 3 Side of Foot 3 Direct & Reverse Punches 3 Uppercut & Plunging Punches 3 Rolling Kick 3 COMSEK I (footwork only) 20 MOTION APREPARATORY@ EXERCISES (optional) From A Slapping Attack Standing (swing back & step 3 forward) From A Belt Grab (c-deflection) 3 From A Shove Against The Chest (elbow-up & pivot) 3 From A Punch (elbow-up/down & c-deflection) 3 From A Frontal Attack (stop thrust & swimmers 3 deflection)

From An Overhead Strike (entering practice) From A Choke Against The Wall (swimmers deflection/knee groin throw) From A Side Hold While Standing (swing around) From A Rear Bear Hug (Side Slide Behind/Stomp & Pivot) From A Sleeve Push/Pull (slide & slash/jump & kick) From A Reaching Attack While On Back (log roll) From A Same Side Normal Grip (leading or turning) Kickboxing; Advancing, Retreating, Skip forward/backward, Switching OTHER ASPA Theory TOTAL POSSIBLE/TOTAL SCORED INSTRUCTOR NOTES:

3 3 3 3 3 3 3 3

10

Test Form For Novice Red Belt

3.0 RED BELT FIRST GRADE PROGRAM Requirements: All the previous, plus knowledge of techniques #1 to 10 inclusive. PURPOSE OF THE PROGRAM: Ten techniques are devoted to defenses against wrist and hand grips because they are the simplest and best suited for teaching the student the application of the five principles to defensive situations, The first nine do not involve any falls so as to give the student time to master his breakfalls and rolls for safe practice. Initiation to free sparring with the techniques learned. Because of the importance of rolls in attack and defense, they must be incorporated in all training and free sparring. After performing a defensive technique one should immediately execute an appropriate roll complemented by an appropriate kick. A.S.P. does not use kicks aiming higher than waist level. High kicks may be good for training and for show, but they are neither necessary nor accessible to many. SIMPLE ATTACKS FROM THE FRONT: In the following techniques simple blows and kicks are used. To develop skill in their use, one has to learn not only where to strike, but also how to strike. For effective self-defense retaliation is secondary to body positioning and shifting In keeping with this emphasis, we shall describe means to retaliate only as related to specific techniques. 3.1 IMPORTANT COMMENTS ON BASIC ASP SELF DEFENSE TECHNIQUES The basic ASP techniques were chosen because of their efficacy, but also and mainly because they condition the student to the use of the Five Principles. This is the first and MOST important step. Beginners usually think of the retaliation part of the techniques as being the most important. Actually, at this stage it is the /east important Dodging an attack, or foiling it by appropriate body positioning and shifting in accordance with the Five Principles, comes first. UNLESS YOU UNDERSTAND THIS, YOU WILL NOT UNDERSTAND ASP. THE TECHNIQUES YOU WILL LEARN ARE A MEANS TO AN END AND LOSE THEIR

MEANING IF YOU TAKE THEM INDIVIDUALLY, OUT OF CONTEXT. IF YOU ARE INCLINED TO DO SO, STOP HERE AND DO NOT WASTE YOUR TIME READING ANY FARTHER. ASP is not a bunch of individual techniques thrown together like so many so called "systems". In the defensive techniques required for the first degree Black Belt ASP, neither locks, nor chokes are used, for two reasons: (A) They are not necessary for efficient self-defense. (B) They require lengthy training in order to be mastered. Their study is a part of the more advanced ASP program, where every basic technique in this book is shown to lead to controlling locks and chokes. We have kept variations of the techniques given here to an absolute minimum, in order not to confuse the student with many alternatives. Besides, with the elements he has learned, he will have no difficulty devising his own. Promotional requirements do not include technique variations. Confidence and skill go hand in hand. Practice is essential in developing any skill, however, it should be consistent with the proper understanding and application of the principles involved. Such practice will result in applying the ASP techniques instinctively, without much forethought. Initially all techniques must be practiced slowly until their constituent parts have been properly understood and performed. Speed should develop as a result of practice. The Attacker must permit the Defender to execute the technique, offering only passive resistance. Active resistance results often in injuries and slows down the learning process. Blows and kicks must be simulated and replaced by pushing or touching. However, the person who is supposed to receive them must react realistically, as if he were really hurt. This is very important for meaningful practice. As mentioned earlier (and it bears repetition) the most important part of every defensive technique is the one enabling you to foil the attack and to place your opponent in a position from which he can be easily hurt or thrown. Speed is most important here. The retaliation part of each technique, however, must be done more slowly, in order to avoid injuries. Practice according to the. Five Principles develops some very important attributes the first of which is balance. One cannot perform at his full physical potential when even slightly off balance. However, balance should not be achieved at the detriment of mobility. It is true that balance is improved upon lowering one's center of gravity by bending the knees, while spreading and staggering the feet to increase the base of support. Such position, however, invariably results in some loss of mobility and must be taken only as an expedient to brace momentarily against an attack threatening one's balance. The natural erect posture, or one close to it, is best for balance and mobility and should be adopted whenever possible. Efficient use of leverage, particularly in lifting, requires one to be quite close to the object he is about to lift. The resulting favorable lever arm ratio helps lifting with minimum expenditure of energy. On the contrary, developing momentum though the use of centripetal force requires the longest radius possible and therefore, the greatest distance from the axis of the body to the point where this momentum is to be applied. Power developed via leverage or momentum is best used either against one of the many weak areas of the opponent, or for directing and guiding his movements, rather than opposing them. The large unprotected and rather soft abdominal area and the area near the floating ribs are very vulnerable to blows, particularly during inhalation, when the abdominal muscles are relatively relaxed and the lungs are filling with air. Conversely, exhaling sharply when receiving a blow, gives you some protection, because it tenses the abdominal muscles and braces them against the impact. It is also helpful when delivering a blow, because it firms

up the large muscles of the trunk and abdomen and helps in the effective transmission of the power of the trunk to the opponent, either through one's own body or through his limbs. There are several parts of the body which can be used to deliver blows in self-defense as well as in retaliation. In order to develop skill in their use, one has to learn not only where to strike, but also how to strike. We said earlier that for effective self-defense, retaliation is secondary to body positioning and shifting. In keeping with this emphasis, we shall describe means to retaliate only as related to specific techniques . AS THE ASP STUDENT PROGRESSES HE WILL FIND THAT THE INITIAL KICKING OR STRIKING TECHNIQUES BECOME LESS AND LESS NECESSARY. All techniques must he considered as potentially dangerous and must he practiced with caution When retaliating, either make a gentle but firm contact, or preferably, keep your momentum, but deflect it from the target. The techniques are numbered sequentially in the order they must be studied. Now some definitions: A stands for Attacker, D stands for Defender, Normal Grip: the thumb of the gripping hand points up and away from the body, Reverse Grip: thumb points down and toward the body. 3.2 WRIST AND HAND GRIPS #1. Left Hand Against Right Wrist - Normal Grip. (Fig 1-1,2,3) The attacker A, grabs with his left hand in a normal grip D's right wrist. The latter immediately opens his hand and spreads his fingers. His shoulders remain low and relaxed and he clues not pull back his wrist. These two points: opening the hand and not pulling back the wrist, are important. Opening the hand and extending the fingers, facilitates the rotation of the wrist. On the other hand, pulling back one's wrist makes the transmission of D's force less efficient, because it shortens the length of the lever involved. D protects himself by placing the left fist in front of the chest and then kicks with the right foot A's lower shinbone. In training, a gentle but firm contact is advisable. It does not matter if D kicks A with the other foot: ASP techniques allow for variations, however, at this stage D always kicks with the foot on flee side of the attack in order to minimize confusion. In general, he must retaliate on the closest target (shinbone in this instance). Then D sets his foot under A's grip. This point is also important because D's right wrist and the ball of his right foot become an axis around which D pivots to his left like a door around its hinges, gathering momentum with a leftward swing of both arms. Pivoting to the side of A, is thus achieved with least effort. This fundamental pivot must be mastered at the onset. Here again we want to create a conditioned reflex, because D should always position himself so that it is not easy for A to follow with another attack. Obviously, A may let go after a kick to the shinbone, but he may also hang on the continue with another attack. This is why we study a complete technique which will always work, whether the kick brings about the expected reaction or not. ASP also takes into consideration the fact that at times a kick to the shinbone is not warranted. In this situation, indicating the intention to kick in order to bring about a reaction on the part of A may suffice. As D pivots to the left, he turns his wrist in that direction and bends it so that the thumb points toward his own body. The upper part (radial) of D's wrist is brought to bear against A's thumb and forefinger. D pushes down with his right wrist. This motion, together with D's pivoting, brings the lower bony side (ulnar) of his wrist against the crotch of A's hand, which serves as a fulcrum, and breaks the hold. D's arm is held in relaxed-rigid extension: relaxed-rigidity* is constantly used in ASP. Now D's wrist is free, he keeps and increases the momentum gathered, by continuing to swing his arms to the left. Then D, brings his right fist, at the level of the left ear and gathering momentum, strikes with the side of the fist below the tip of A's nose. Before he strikes, D slides back his right foot which comes to rest

behind A's left foot. Keeping shoulders relaxed, D should step first and strike after, D is now behind A's left side and has the possibility to pursue retaliation with a double punch below A's floating ribs. NOTE: The basic motions involved in this and other defenses are used repeatedly with the object to becoming conditioned reflexes. The retaliations described in this book are only examples: many other possibilities exist. Their importance is secondary; in this technique for instance getting out of the grip and behind A is more important than retaliating.

#2. Left Hand Against Right Wrist. - Reverse Grip with Pull. (Fig 2-1,2,3) A graps D with a reverse grip, thumb pointing down and, turning his back, forces him to follow. This attack is often used against girls and women. D does not resist, but thrusts his right hip forward first and places his right foot under A's grip, toes pointing rightward, leg completely extended, in line with A's foot. D must keep the right side of his body in a straight line from head to ankle. If D attempts to pull the upper part of his body back, rather than to thrust his hip forward he will fail against a stronger opponent. His right arm must be extended and relaxed, the pull coming from the back at the shoulder. His right arm is now

acting only as a connecting rod. The object is to stop the impetus of A's pull for a fraction of a second. This time will enable D to gather enough momentum for the technique he is going to perform, and also then, to utilize the extra momentum developed when A pulls harder as soon as he meets with resistance. D gathers momentum by swinging in relaxation his body and arms fully extended to the left, as far as possible without moving his feet. He then changes direction, and swings back to the right to strike with force the back of A's hand with the palm of his left hand. This energy transfer, timed with the swing of D's body to the right, will liberate his hand easily. D, holding now A's left wrist, swings his arms to the left, steps forward with the left foot, and retaliates with a right punch to A's floating ribs. *After D has mastered this kinetic transfer technique, he may free his wrist as follows: he opens his hand and rotates his wrist counter clockwise in a wide motion: the pressure on A's thumb liberates D's wrist. The preliminaries are the same as in the previous technique.

#3. Right Hand Against Right Wrist - Normal Grip. (Fig 3-1,2,3)

D immediately opens his hand wide and spreads his fingers apart. From this position, D protects himself by placing his left fist in front of the chest, and kicks with his right foot (same side as the grip) A's closest shinbone. Then D places his right foot under the grip, and slides his left foot as far back as he can, so that his right arm is fully extended, in order to develop maximum momentum. Then, with a swinging motion as previously described he frees his wrist by slapping A's wrist with the palm of his left hand. The narrow side of D's wrist must be so positioned as to face the weakest part of A's grip, between the thumb and the forefinger. D is holding A's right arm as he swings back to the left, thereby leaving him wide open to retaliation. D throws a right punch to A's solar plexus. *Relaxed-rigidity is obtained when D is relaxed but thinks of his body and limbs are being in rigid extension. +Alternatively, D may strike with his hand crescent A's Adam's apple.

#4. Right Hand Against Right Wrist - Reverse Grip. (Fig 4-1) Although it might appear unlikely to the non-initiated, this attack is studied because it is the beginning for a number of most severe wrist and arm twisting techniques, studied in intermediate and advanced ASP. Starting from this technique, the preliminaries described in detail previously will not be repeated. D kicks A's closest shinbone with the right foot then sets it under A's grip. D steps to A's right side with his left foot. Now D positions his right wrist so that the thumb points toward his body, as in technique #1, and liberates it by bringing to bear his weight against A's thumb and forefinger. To this effect, D bends the knees and twists his hips leftward, swinging both arms in the same direction. This is a typical ASP technique utilizing leverage and body weight transmitted through relaxed-rigid extension of the arm. After having liberated his right wrist, D gathers momentum swinging arms and body first to the left, then to the right and strikes the base of A's skull with the side of his right fist. This is a severe retaliation. However, as in all' techniques described, an example of retaliation is given which D does not have to follow. For instance, he may choose to strike A's floating ribs. D must use judgment according to the situation. *If the grip is very strong, D will be able to free his wrist by stepping behind A, to the oblique right with his right foot, as he bends the right arm for an elbow jab under A's floating ribs. In case A pulls away with such grip, he must be considered much less dangerous: D may liberate his right wrist by bending it in the direction of the thumb and imparting to his arm a wide, circular movement to the right (clockwise).

#5. Two Hands Against One Wrist from Above - Normal Grip. (Fig 5-1,2) D opens immediately his right hand and kicks A's closest shinbone with the right foot, which he then sets under A's grip. D closes the right hand into a tight fist and reaches with his left hand between A's arms to grasp it from antler, palm facing the right middle fingers. D pivots then to the left, first spreading his elbows apart, then thrusting his fists toward A's right shoulder. The lower bony part of D's left forearm (ulnar) forms a lever with the upper bony part of A's right forearm (radial) as fulcrum. By keeping his left wrist unbent, his elbows, pushing out, up and around, toward A's right shoulder, D develops a powerful lever. After D has liberated his wrist, he keeps his leftward momentum and when this is coming to an end he changes direction and strikes with the side of the right fist A's nose tip or side, as previously.

#6. Two Hands Against One Wrist from Under - Normal Grip. (Fig 6-1) Similar to above, except the D's left hand goes now under and in between A's hands to grasp the upper part of his right fist. Spread elbows apart as you pivot, and thrust fist out down and around toward A's right side.

#7. Two Hands Against Two Wrists Before Normal Grip is Secured. (Fig 7-1,2) A attempts to grab D's wrists. D slides one foot back and bends the knees. In doing so he lifts A's arms by bending upwards his wrists to cradle A's wrists in the crescents formed by his thumbs and index fingers. Bending the knees is very important, otherwise, D may not be able to avoid A's attack. Then D pushes A's arms up, while keeping his own extended, and kicks A's closest shinbone with his rear (left) foot. D sets this foot under A's corresponding wrist, pivots rightwards on the ball of the left foot and at the same time, throws A's arms in the opposite direction, to the left. A's right side is now wide open for retaliation and D may for instance, strike it with a left elbow jab. This is the only preventive, "before", technique in basic ASP which is classified separately from the "secured" one. Here D learns to move his body in unison with A. As A moves toward D, the latter must move away from A at the same speed so as to keep their mutual distance almost unchanged.

#8. Two Hands Against Two Wrists - Normal Grip is Secured. (Fig. 8-1,2,3)

Same attack as previously, but D was not able to prevent the grip. D opens his hands, kicks A on the shinbone sets the kicking foot under A's grip, and slides the other foot back, far enough to swing his arms open and pull A forward. D's extended arms serve only as connecting rods: he should not attempt to use them otherwise, because against a stronger and heavier opponent, he will undoubtedly fail. D must relax the shoulders and pull with the body; all he wants is to make A react so as to grab his wrist. A's reaction is to bring his hands close together. Since D is expecting just that, he helps A to achieve his purpose, then, with his left hand, D grasps A's left wrist. Now, D pointing the fingers of his right hand toward his own body, thrusts his right wrist in that direction, bringing his right forearm close to A's left forearm. The thinner upper part of D's wrist applies pressure against A's thumb and forefinger. By dropping the hips and extending the right forearm and fingers toward the direction of his own left knee, D breaks the hold. He then bends the knees and pivots leftward lifting at the same time A's left arm to expose A's side, against which he retaliates at will with a punch or an elbow jab.

#9. Handshake. (Fig 9-1,2)

A typical situation, where most likely, A does not mean any harm. He only gets to be nuisance, repeatedly trying to prove his strength by crushing D's hand. Obviously, there is no call for a kick to the shinbone: it would be way out of proportion to A's "attack" and intentions. D cups his right hand bringing his fingers as close together as he can, meanwhile faking a kick to A's shinbone. Upon A's reaction, D sets his right (kicking) foot under A's grip and takes a step with the left foot to A's right side. Then D brings the right foot behind the left in a wide arc. He is now close to A, facing the same direction. D, swinging his fully extended left arm in a wide circular motion from behind, he lets the side of his left hand drop essentially by its own weight, on A's right wrist: The aim is very easy: D does not even have to look, all he has to do is to think about touching his own right fingers with his falling left hand. D must not lift the right hand; he must keep both shoulders down, utilizing thus the longest trajectory available to him in order to develop maximum momentum. As D strikes, he slides to the right, away from A, and pulls his right hand out from A's grip. D should not bend at the waist while performing this technique.

#10. Handshake with Pull. (Fig. 10-1, 2, 3) A has grabbed D's right hand and is giving it a sharp pull. D relaxes, and goes along with the pull, hips leading. He jumps forward bringing his left foot near and to the outside of A's right foot. D kicks A's right shinbone with his right foot, and continues with his forward momentum. D passes under A's right arm and finds himself behind him, still maintaining what was initially A's grip. Now, D lifts A's arm in a wide circle, over A's head, and places his left hand on A's left shoulder. D throws A on. the back by kicking behind A's left knee with his left heel, and pulling up and away with his body. The important point here is to pull with the body; if A's size makes it necessary, D takes a few short steps backwards in order to throw him down. As A hits the working area, D pivots leftward and, facing A's head, extends fully A's right arm in the same direction. A's side is now open for a kick which, at D's choice, may be severe, moderate, or mild. D may kick A on the ribs, or stomp A's armpit, or temple. Like practically all basic ASP maneuvers, this one may be followed with joint twisting techniques. This is the "Nape Throw", first technique requiring knowledge of breakfalls. * A knee lift to the groin may be used instead of a kick to the shinbone.

NOTE: lT lS PERHAPS PERTINENT TO EXPLAIN WHY TEN TECHNIQUES ARE DEVOTED TO WRIST AND HAND GRIPS. THE REASON FOR THIS EMPHASIS IS THAT THESE ATTACKS ARE THE SIMPLEST AND THE BEST SUITED FOR TEACHING THE STUDENT THE USE OF THE FIVE PRINCIPLES ON WHICH ALL ASP RESTS.

Student: Instructor: Overseeing Instructor: BASIC ATTACKS (Score 1-3) Before 1. Left hand against right wrist, normal grip

Test Date: Rank Tested For: Total Score: Secured Notes

2. Left hand against right wrist, reverse grip with pull 3. Right hand against right wrist, normal grip 4. Right hand against right wrist, reverse, grip 5. Two hands against one wrist from above, normal grip 6. Two hands against one wrist from below, normal grip 7. Two hands against two wrists before normal grip is secured 8. Two hands against two wrists normal grip is secured 9. Handshake 10. Handshake with pull 4.0 RED BELT SECOND GRADE PROGRAM Requirements: All the previous, plus techniques #11 to 20 inclusive. PURPOSE OF THE PROGRAM: Defenses against ten major unarmed attacks from the front emphasizing the use of the five principles and the repetitive use of simple motions for very effective self-defense. Continue refining kicking combinations in straight and circular lines. 4.1 MAJOR UNARMED ATTACKS FROM THE FRONT #11. One Hand Lapel Grab and Pull with Intent to Strike. (Fig. 11-1,2,3,4,5,6) We are now entering the subject of major attacks. Whenever the case warrants it, we are first describing what can be done preventively then we see what can be done after the preventive attempt has failed because poorly timed. This approach is not found commonly outside ASP. Evasive techniques have been chosen to be as simple and versatile as possible. Because of their applicability to a wide variety of attacks, we use them repeatedly to create conditioned reflexes. Some common attacks seem to have been omitted. The reason for this is brevity, since they can be easily related to attacks described here. The attempted attack is indicated as "before", and the attack proper as "secured". "Before." As A's left hand is about to reach him, D bends hack his torso, leading A to commit himself fully to the direction of his attack. Then, D takes a short step to the right, pivots on the ball of the right foot toward his rear left, while deflecting A's wrist with his right hand, arm fully extended. D secures a light grip on A's left wrist, shifts his weight on his left foot, and attacks the upper outer part of A's left knee with a right side-of-foot kick. CAUTION!! Notice that D is now on the left side of A, safe from another similar attack. This technique is also applicable against the beginnings of attack with two hands. "Secured". A has secured a left grip on D's lapel (either one) and pulls. D does not resist, but deflects the pull by sliding his right foot to A's right side in a large step, hips leading, torso as straight as possible. In this strong posture, D must have his right knee bent, toes of the left foot pointing slightly inward, to the right, as he pulls A's left sleeve down. If A is not wearing a jacket, D applies a downward pressure on the inside of A's left elbow with a slash of his right forearm. During this maneuver D protects his left side and face by an upward

sweeping motion of his left arm, at the end of which his left fist is close to the left ear. This motion should be regarded as primarily defensive; after mastering it, however, the student may chose to strike simultaneously with his elbow the solar plexus, the ribs, the chin, or the face of his opponent. This depends on their relative physiques and positions. The harder A pulls the harder he gets hit. D now changes the position of his forearm from vertical to horizontal and strikes A's windpipe, or upper lip, with the bony part of his forearm (ulnar) in order to break his balance backward and set him up for the throw which follows: D lifts the left knee as high as possible and drives his left leg between A's legs, through A's crotch, high from the rear, until it is completely extended from hip to toes. This is a continuous sharp motion which A performs while dropping the hips and stretching the body forward. A is violently thrown. There is no sweeping or winding motion, but only a complete extension of the body from head to toes. This throw can be performed from any position of A's feet. During A's fall, D secures a grip on his left arm by the wrist or sleeve, which he pulls up as A lands on the mat. Thus A is placed in a retaliation position similar to technique #10. Simultaneous extension of A's arm as he hits the ground is essential for proper control. The throw described here is the "Leg Drive" and can be performed by D upon applying pressure on A's windpipe or chin, either with the bony part of the forearm (ulnar), or with the heel of the hand, depending on their relative build. In all cases the blow, or pressure, is applied in a lifting motion in order to break A's balance backward.

#12. Double Lapel Grab with Intent to Butt with Head or Shake. (Fig 12-1,2,3) "Before" A reaches to grab D by the lapels. D takes a short step back with the right foot, bends the torso backwards just as A is about to reach him, and thrusts his hands toward A's ears, so that the outside of his forearms comes in contact with the inside of A's forearms. Then, taking a big step with the right foot toward A's left, D defects A's attack with his extended arms in a wide outward and forward circular movement. D should use his weight as he steps forward, making it bear on A's arms, while keeping his own arms fully extended. Else, he will undoubtedly fail against a stronger opponent. Simultaneously. D pivots on the right foot toward the outside his left. D is now lifting A's left forearm with his right forearm and controls it with his extended right thumb. When A's arm is high enough to make his left side vulnerable, D retaliates with a right elbow jab to A's side. This technique is an example of the "Swimming Deflection" typical of ASP. It is also applicable against one hand reaching attacks.

"Secured." A has secured a grip on D's two lapels. Immediately D slides his left foot back, bends his knees deeply and brings his bent right arm, elbow foremost, in front of his face to ward against a possible butting attack. D does not resist A's pull, but uses it to increase the impact of the blow he delivers with the side of his right fist under A's right ear. Then D grasps A's right sleeve* with his left hand, pulls it straight down, and performs the "Leg Drive" applying pressure on A's chin with the heel of hand, or on A's windpipe with the bony part (ulnar) of his right forearm. He uses a lifting motion to break A's balance backward. +Alternatively, he may kick A's shinbone, knee or groin.

#13. Sleeve Grab and Pull. (Fig 13-1) "Before" As A starts grabbing D's sleeve with his left hand, D jumps lithely to his right side leading with the right foot, his left foot falling behind it in line with A's feet. With a circular motion. D swings his right arm upwards, out and around A's left arm from right to left (counter clockwise). Then I) brings his right arm down in a cutting motion as if he were holding an ax. Simultaneously he drops the hips and slides away from A, keeping his torso

straight. This breaks A's grip very easily. The technique must be performed with broad and continuous motions. "Secured" A has secured a grip and pulls D in order to make him pivot and hit him in the face. D does not resist the pull, and deflects it by sliding backward his right foot, to A's left, while deeply bending the knees. D pivots to face A, lifting for protection, both arms bent at the elbow, fists at ear level, and proceeds with a "leg Drive". The position leading to the "leg Drive" is similar to Fig 11-4.

#14. Sleeve Grab and Forward Push. "Before." Identical to #13. "Secured." As A pushes D forward, D relaxes and jumps sideways and forward in the general direction A is pushing, but faster than A's push. He waits for A to catch up with him, as he cocks his right knee for a side-of-foot kick, or a leg spear. The hold is broken as a result of this kick. #15. Belt Grab and Forward Pull with Intent to Strike. "Before." Similar to #I11. By the time A is committed to his attack, but just before he touches D's belt, D pulls in his abdomen and swiftly pivots around and to the outside, his left. With his right hand, D deflects A's arm and lightly grasps A's left wrist, retaliating as in # 11. D must not attempt to grasp A's wrist outright, or he may fail. He must first establish contact with A's arm, then let his hand slide down to A's wrist. *see techn. # 11. "Secured." With his left hand, A has secured a tight grip on D's belt and pulls him forward, intending to strike. D does not resist, but thrusts his hips forward, deflecting A's pull by sliding his right foot to A's left side, protecting himself and performing the "Leg Drive" as in # 11. #16. Hair Grab. (Fig 16-1,2,3,4) "Before." Similar to #11, with the difference that D moves his head back to evade the attack. "Secured." A has secured a grip on D's hair with his left hand and pulls him down with the intention to hit him in the face, either with his right fist, or with his left knee. D does not resist but deflects A's pull, by sliding his right foot outside A's left foot. D protects his face against a possible kneeing by folding the right forearm in front of his abdomen, right wrist facing down. D braces the latter with the back of his left elbow held perpendicularly to it, so

that his left forearm and fist protect the left side of his face and neck. Simultaneously, D kneels on his left knee in front of A's left foot and, always keeping the right forearm in contact with A's left leg, D punches A's groin with his left fist. Such combined action prevents A from hitting D in the face and keeps A's knee from gathering too much momentum. D performs the "Knee Throw" as follows: He grasps A's left heel as low as possible with the right hand, and throws him by applying a hard blow, not a push*, with the left elbow against the inner upper side of A's left knee, while simultaneously pulling on A's left heel. As he falls, D passes A's left heel from the right hand to the left and runs around A's body toward the side of A's head. D is now facing the same direction as A, and has a choice of kicking retaliations. D must make sure not to pull with his right arm on A's leg, else A will pivot and D will not be able to take the advantageous position described above. D's arm must be relaxed, his function being mainly one of connecting rod. *The "Knee Throw" is a versatile throw which can be used in many situations. For instance, against a lapel grab by A, D may drop straight down on a knee and perform the "Knee Throw" as described.

#17. Front Bearhug Over Arms. (Fig 17-1,2) "Before." D responds by clasping his hands together, fingers not crossed, knuckles foremost, and delivers a blow to A's sternum or solar plexus. The intensity of the blow is augmented by A's momentum. D uses the created reaction to perform the "Swimming Deflection" and to retaliate as in #12. "Secured." D turns his head to the left and strikes below A's floating ribs simultaneously with both fists, palms facing up. D then stomps his right heel against A's left instep, scraping A's shinbone in the process. Then he takes a short step back with his left foot, dropping the hips and lifting his bent elbows high, forearms perpendicular to the ground. D pivots on the right foot to his rear left, simultaneously pushing A's arms to the right, out of the way. To achieve this, he places his right palm under A's left elbow, so that A's left side is now open to retaliation.

#18. Front Bearhug Under Arms. (Fig 18-1) "Before." As in # 17.

"Secured." The beginning is the same as in #17. After delivering the stomping, D uses A's reaction to strike or push A's chin up with the heel of his right hand, keeping his right forearm as close to A's chest as possible. Then he puts his left hand around A's head and either inserts his middle finger into A's mouth between A's left cheek and teeth, or claws A's left face and eye, or grasps and pulls A's left ear. In training, however, D places his open hand against A's cheek and nose and pulls gently. D twists A's head to the left with a concerted action of both hands. The result is to break A's balance toward his rear right. D now turns the hips to the left and throws A with a "Leg Drive," using the concerted action of his body and arms. Retaliation, if necessary, is carried out as previously described. Note that at D's discretion, this technique may be relatively mild or very severe. *In training, make gentle contact.

#19. Front Head Lock. (Fig 19-1,2,3,4,5) The attack can be dangerous and even fatal by extension of D's cervical vertebrae, should A succeed in lifting him. "Before". By far the best defense. Due to the rather wide movements necessitated, D has nearly always a good chance to foil A's attack before it is secured. This is achieved by lifting a bent arm on the side of the attack, forearm perpendicular to the ground, while pivoting away from the attack. The initial backward motion of the body to insure A's commitment should not be omitted. Retaliation with a side-of-foot kick on A's knee. "Secured." D's head is held by A's right arm. D immediately pushes on A's right leg just above the knee with his left hand, arm fully extended. This will prevent A from lifting D. D strikes A's groin with his right fist and drops on the left knee, simultaneously twisting his body and head to the right. To get the hold on his head released, D inserts his right hand near A's wrist and pushes it away. This combined brusk downward motion will free D's hand from a very strong grip. D slides now his left hand low behind A's heel and applies a "Knee Throw." D increases its power by setting his right knee on the ground and taking a short forward step with the left foot. A variation of the "Knee Throw", the "Groin Throw", consists in punching A's groin upwards while D's hand pulls on A's heel. It is a very severe technique.

#20. Shove Against Chest of Shoulder. (Fig 20-1) The technique described below, applies either to a fast jerky shove, or to a steady push with one, or two hands. D retreats with the left, then with the right foot, to get A's commitment. Bending the elbow against the body, he lifts his right forearm, fist closed, and deflects A's attack by pivoting to the rear left on the ball of his right foot. A is carried forward by his momentum and, as his unprotected left side passes by D, the latter retaliates with a side-of-fist punch to the side or the nose, or with a side-of-foot kick to the knee. D must not attempt to reach for A's arms with his right forearm, which must stay as close to his body as possible; he should pivot around it as a door around its hinges.

5.0 RED BELT THIRD GRADE PROGRAM. Requirements: All the previous, plus techniques #21 to 30 inclusive. PURPOSE OF THE PROGRAM: Continue the study of defenses against ten more major unarmed attacks from the front using the same guidelines.

#21. One Hand Choke. (Fig 21-1,2) "Before." Same as # 1 I . "Secured." The intent here is to kill and a severe technique is justified. A is choking D with his left hand. D turns his head to the side, lifting the shoulders at the same time, thus partially protecting his windpipe with his sternocleidomastoid muscle (the thick muscle on the side of the neck). Then, D slides back his left (inside) foot and drops his hips. At the same time he crosses his extended arms over A's attacking arm, and strikes A's eyes with his spread fingertips in an upward jabbing motion. Then D kicks A's closest shinbone with his left (rear) foot which he then sets next to his right foot. Then he strikes A's arm with his own crossed forearms downward, while dropping his hips even lower and sliding his right foot back to gain distance. This combined motion breaks the hold. D retaliates by sliding forward his right foot, to A's left side, pivoting to the rear left, and delivering a right side-offoot kick to A's left knee. +Alternatively he may knee A's groin, such severe retaliation being fully justified. Striking someone in the eyes will be distasteful to many. However, if a person attempts to kill you, you must make sure that you put him out of action, so that he cannot renew his attack. For a much weaker person, no other retaliation will achieve this goal as definitively. For a woman, this may be her only chance of survival. The eyes are tougher than most people realize. A relatively mild pressure or blow can bring about the assailant's temporary incapacitation without permanently damaging the eyes. When extreme danger dictates striking the eyes, make sure that the direction of the blow is upward and the elbow of the striking arm does not drop much below the level of the hand. In training, stay at a safe distance from A's eyes. This technique is excellent for developing coordination.

#22. Two Hands Choke. The same general comments apply here. "Before." Use the swimming deflection described in #17 "Secured." Essentially identical to #21, except that D's crossed arms go over both A's arms. +Alternatively, an upward thrust of D's clasped hands between A's forearms will break the hold and place D in a situation similar to "before". #23. Down or Side Strike (Fig 23-1,2,3)

The attack is aimed at D's side of neck, shoulder, or head. A weak person will not have the shadow of a chance to block such attack, without extensive training. For effective blocking, the timing must be such as to catch the attack at its beginning, before it develops much momentum. A much better way is to deflect the attack, so that it passes harmlessly by D's side. Here again we use the "Swimming Deflection". Assume that A attacks D with the left arm, D remains calm and relaxed, thus increasing his speed of reaction. He crosses his extended arms in an upward thrusting wide circular movement, left arm moving leftwards and right arm moving rightwards in two overlapping circles. It is immaterial which arm is uppermost. D bends back his torso, while his arms deflect A's attack with a sweeping motion, as he slides his right foot close to A's left foot, A's attacking left arm slides harmlessly over D's left arm. A common mistake for D is not to thrust his arms fully extended, particularly the one on which the attack is being deflected (the left in this instance). On Fig 23-1 D's position is shown after the initial thrust, where his right arm is slightly bent in order to guide A's left arm in its downward motion, without actually stopping it. If D's arms are not fully extended he will tend to block A's attack; D must remember to look through A, so as to watch all of A's body with his secondary vision. Now D is at A's side and the latter cannot follow easily with another attack. As A's left arm moves downward, D pivots slightly to the left on the ball of the right foot, and cocks his left elbow and fingers ready to strike A's eyes. It is important to understand that D does not necessarily have to strike A's eyes, but he may either indicate his intention of doing so, or push A on the face. A, by reflex reaction, will: (a). Pull back his head making it easier for D to break his balance to the rear. (b). Pull back his attacking arm, thus bringing it under D's control. Now D steps with his right foot behind A's feet and pivots to the rear left on the ball of this foot, in a wide circle, to face the same direction as A. Then he slides the right foot behind A's right foot so that their feet are in line. In the process, D grabs A's left arm with his left hand, palm down, close and above the elbow, and performs the "Nape Throw". By now the student will be advanced enough to attempt, with due caution, the "fighting" Nape Throw. D either pulls A by the hair, or slides his right hand on A's right shoulder and across his neck to hook him under the chin, or below the nose. With an up and back pull, D completes A's unbalance. The rest of the "Nape Throw" is similar to the one described already*. D must pull with the body . This is a severe throw which may he lethal if the back of A's head hits a hard surface. It can he practiced harmlessly, however, by exercising due caution.

#24. Reverse Strike to the Face. (Fig 24-1) A brings his right fist above the left ear and is ready to strike D's face. D lithely jumps sideways bringing his left foot close to A's right side, and moving in the direction of the blow, but further than its reach. He protects his face with the sides of both forearms held close together and bent perpendicularly to the direction of the blow. D must move fast enough so that, without blocking A, he may use his momentum for a variation of the "Nape Throw". As ASP training progresses, D will find that he does not have to use a kick in order to throw A. A proper up, away, and down tug, will achieve this with considerable violence. Here is an example of a technique apparently omitted: a slapping or punching attack coming from the other side, i.e., from the left. All D has to do is to first dodge by bending back the torso, then, as A's fist goes past his nose, D moves in and continues as for the reverse strike. +D may also evade A's attack either by jumping backward, or by dropping straight down with proper timing. In the former case, D may retaliate with a jumping, circular, or side-oftoot kick. In the latter, D may retaliate with a "Knee" or a "Groin" throw on the side of the

attacking arm, throwing thus A in the direction of his own momentum. However, D must not give in to the apparent ease of such techniques at the expense of the first one. He should study them only alter he has mastered it, keeping in mind the goals of basic ASP, which aims further than teaching a few tricks.

#25. Punch to the Face. This defense is meant against a wild punch to D's face by someone who knows little or nothing about boxing. D moves back the torso and head to dodge the blow and sidesteps, using the technique described under # 23. *+D does not attempt to stop A's forward momentum if it is too strong, but, after performing the deflection as described, he comes behind A and throws him on his face by pushing in the direction of his momentum, or kneeing him on the lower spine; he may also strike the floating ribs, or the kidney area. This also valid for a downward stabbing attack. #26. Boxer Getting Ready to Box. (Fig 26-1) The last thing to do against a qualified boxer is to box. Unless you are a qualified boxer yourself, your chances of success are very slim. Whether a boxer is a southpaw or not, he has to follow his opponent with the leading foot so that he can strike with full power and good balance. The dangerous area is situated inside his guard. D minimizes his chances of getting the full impact of a punch by moving constantly outside and away from this area. For example, facing a normal left guard boxer, take a southpaw right guard and move backward to the rear left (counter clockwise) in a circular motion, away from A's leading foot. The best time to catch a boxer unaware is during the short interval when he is lifting his arms to take a guard. Assuming that A is a normal guard boxer, D pivots to the rear left and attacks A's groin or inner thigh with a right instep kick, as the latter is in the process of lifting the arms. This could be a light kick which will hurt A only moderately, but coming from under it will have a considerable surprise effect inciting A to use a lot of caution. D may continue with one of the kicking combinations of Comsek I; if D thinks A is really dangerous, he may use the point of his shoe, rather than the instep and impart enough force to his kick as to make it momentarily incapacitating. A boxer is unlikely to push a contest against an opponent who uses his legs efficiently, unless he has a very serious reason. He knows that he is at a

disadvantage of reach and power and that he is facing an opponent who will strike anywhere. +The same technique may be applied directly without pivoting, with either foot, independently of A's guard. However, the student should learn it first as described above.

#27. Jab by Boxer. D was not able to react fast enough for #26 and A throws a left jab at him. D, always in the southpaw position, deflects (not blocks) A's arm with his bent right forearm elbow pointing up, as in Fig 19-1, while he pivots to the rear left on the ball of his right foot. D attacks A's knee with a right side-of-foot kick, and may continue with one of the kicking combinations. Against a punch to the midsection, D deflects the attack similarly with his bent right forearm held almost perpendicularly to the ground, elbow pointing up. Thus, by appropriate positioning of his right forearm and elbow, D protects all his upper body. * ASP includes several defenses against a boxer which are studied at later stages. 5.1 SOME REMARKS ON KICKING ATTACKS. In basic ASP we study only defenses against a few common types of kicks. These are adequate for kicking attacks by non-experts. Any attempt by a non-expert to block a kick will often result in painful injury .to him. One should learn first how to evade kicks effectively and in FULL BALANCE before even thinking of retaliation. Naturally, jumping away from the dangerous area within the reach of A's legs is perhaps the best defense, whenever possible. NOTES: Kicks and how to foil them are described extensively in our book on kickboxing: #28. Direct Kick. (Fig 28-I) Low. Defense and retaliation against this kick is part of the third grade Brown Belt Program. *The advantage of this method is that the forearm points always down, and only the height of the elbow must be adjusted according to the blow. We believe that this method is preferable during the early stages of training. High. There is a world of difference between a kick delivered by a savate or karate expert, and one by a football or soccer player. However, the evasive technique given below applies to both. Retaliation, would be much harder against a kickboxing, savate, or karate expert. Those who wish to be able to face experts should become experts themselves.

There is no question of blocking such kick, and ASP students would do well to accept this fact at the onset. Their first concern is to stay out of reach. The importance, not of watching, but knowing how to watch A is paramount: D must look through A's chest so that his field of vision covers A's knees and feet. The knees are particularly important since all kicking techniques will involve them more than any other joint. As A starts his kicking motion with his right leg, D steps to the left with his left foot and starts his evasive action by bending slightly at the waist, away from the kick. As the kick progresses, D drops the hips and pivots on the left foot toward his right rear in a wide arc, at the end of which he is facing the same direction as A. D's left arm is relaxed at the shoulder as it hangs at his side. A's right foot misses D, who now bends his left arm and hooks A's right heel from below, while on its way down D then with his right hand grasps A's foot under the heel and lifts it with both hands simultaneously backing up a few steps. This will throw A violently on his back. CAUTION should be exercised in training and this throw should not be practiced against anyone who has not thoroughly mastered the breakfalls.

#29. Circular Kick. (Fig. 29-1,2,3) This kick is also known as "roundhouse" kick, and the same remarks apply here. As A kicks with the right foot, D jumps in a wide arc in the direction away from the kick. The object here is less to evade the kick proper, as to familiarize oneself with the method of controlling a blow at the end of its momentum and at its weakest point, A's knee in this instance. D's jump will enable him to catch A's leg at expanded momentum by wrapping around it from below (clockwise) his left forearm. Now D pivots slightly to the left and strikes with his right fist the side A's right knee. The blow will make A pivot on his standing foot and face down. D throws A by pushing forward and downward with his body and arms. +He may also control him with a leg entanglement which, if pressure is applied, becomes a leg lock. However, this is not part of the basic program.

#30. Front Tackle .(Fig 30-1) A attempts to apply a running tackle on D. Assuming that D is facing A, he retreats two quick steps, first with the left then with the right and pivots to his rear left on the ball of the right foot. D's left foot describes a wide arc and comes to rest behind D's right foot. D drops the hips and strikes A at the base of the skull with the side of his right fist, or along the spine with his elbow, depending on their relative position. Practice pivoting on both sides. CAUTlON!

6.0 RED BELT FOURTH GRADE PROGRAM Requirements: All the previous, plus techniques #31 to 40 inclusive. PURPOSE OF THE PROGRAM: Study defenses against ten major surprise unarmed attacks from behind. Starting the study of defenses against armed attacks and its scope. Same guidelines. 6.1 UNARMED ATTACKS FROM BEHIND

Rarely does one expect an attack from behind without turning to face it. Common sense dictates that anyone considering the possibility of a surprise attack from behind, should take steps to avoid it. #31. Overarm Bearhug from Behind. (Fig 31-1,2,3,4,5) Whether the Bear hug is placed high or low, the response is the same. "Before." As soon as D feels A's arms around his, he lifts the elbows bent, forearms parallel to the body (key point). Simultaneously, D drops the hips, steps to the right with his right foot, which he sets in line with A's feet, and follows with the left; he then pivots to the rear left on the ball of the right foot, his left foot describing a wide arc. Now D is on A's right side facing in the opposite direction. D slides his right foot behind A's right foot and retaliates with an elbow jab below A's ribs. This sideways sliding and pivoting motion is fundamental and must be mastered before proceeding further. Properly performed it will take A by complete surprise. "Secured" D stomps with his left heel A's left instep and butts A with the back of his skull. This will result in A lifting his left foot. At the same time D bends his arms and encircles tightly A's forearms from below, while rounding his back for better contact. D now does a jumping "split" propelling his left (stomping) foot forward and thrusting backward his right leg, to the outside of A's right ankle, D's right toes must point down and slightly in, exactly as for a "Leg Drive". D's weight is mainly on his left leg, which is bent, so that the knee is above the toes. He completes the motion by dropping the hips very low, and sharply twisting the body to the right. This will shake A off D's back and may throw him down. D must place himself so that, in the final phase of the technique, his right side is in a straight or a concave line. In other terms, his right buttock must not protrude at such angle as to prevent A from falling. The "before" technique is also applicable here, taking advantage of A's reaction to D's initial blow.

#32. Underarm Bearhug from Behind. (Fig 32-1,2,3) A has enlaced D's body and attempts to lift him before throwing him down. D prevents this by encircling from the outside A's right leg with his own. At the same time, utilizing A's lift, he lifts his left leg high to kick A's right knee with his left heel, simultaneously attempting to butt A's head with the back of his skull. D loosens further A's grip, if necessary, by striking the back of A's hands with a knuckle fist*, or by pressing his thumb on the point between A's thumb and forefinger. Then D slides his right foot downward along A's right calf, behind the heel, and throws him with a "Knee Throw" as follows: D pushes sharply back with his buttocks and, grabbing A's right heel with two hands, sits on A's knee. As A starts falling back, D lifts his right leg with both hands and delivers a kick with the left heel to A's groin; D then steps over A's right leg with his left leg and walks around A's right side to come behind his head and finish as in #19.**

#33. Two Hands Against Two Wrists from Behind. (Fig 33-1,2) D stomps A's left instep with the left heel and proceeds as in #31 "before". Make sure to keep the arms well rounded as you move. The right wrist is liberated during the last part of the technique by an extension of D's right forearm and open hand, which breaks A's thumbforefinger grip. Similar retaliation as in #31 "before". The shorter A the more D must bend his knees. *Formed by closing a tight fist, with the second knuckle of the middle finger protruding. **The apparent complexity of this technique aims at training D to use blows, pressure points, holds, and throws in a continuous flowing manner.

#34. Elbow Pin from Behind. (Fig 34-1,2) "Before." As per #31 "Secured." D turns his palms so they face A, stomps A's right instep with his right heel and, pivoting on the left foot, he moves his right foot forward* first then around and to the left, in a wide arc. In the process he pulls his right elbow free. The pull must come from the hips through the .shoulder, and D's right arm most remain relaxed at all times. It should slide through A's grip as through a shirt sleeve. D is now on A's left side, but facing in the opposite direction. He throws A with a "Leg Drive" by grasping with his right hand A's hair (in training A's back collar) and pulling up, away, and down in a continuous motion. D does not bother to liberate his left arm from A's grip, but using his left hand, he first lilts up then pushes A's left sleeve (arm) down in a circular forward motion. Retaliation on the fallen A may take one of the previously described fortes.

#35. Nelson (Full or Half). (Fig 35-1,2)

D may prevent A from securing such hold by keeping the body relaxed and erect, while pushing shoulders and arms down, or by pressing the tips of the bunched fingers of one hand against his forehead, elbow pointing straight ahead. Should the hold be secured, or about to be secured, D stomps with his left heel A's instep and slides his right foot to the right; his left foot following to come around and behind A's feet in an arc. D bends at the waist dropping the hips, and enlaces both A's legs behind the knees. He acts as though he wanted to lift A by squatting. Then, with his left hip against A's right hip, D pivots sharply to the right while he throws A's legs to the left, breaking thus his grip. As A falls, D retains control of his left arm and finishes as usual by extending A's arm and kicking his side. It is not necessary for D to lift A in order to throw him. Alternatively, D falls back on top of A and, turning his head toward A, retaliates with an elbow drive to the solar plexus. After the grip is broken, D stands up with a back or side roll.

#36. "Mugging" Attack. (Fig 36-1,2) In this attack A attempts to choke L with the right forearm. Assuming that A was not able to pull D to the ground at the onset of the attack, D turns his head to the right to relieve the pressure, then he puts his right hand, palm down, on A's choking arm, hangs on with his weight, and kicks him with the left heel, as he lifts his left arm straight ahead. D then sets his left foot down, close to the right, and kicks up high with the latter. As D's right leg comes down, he pivots .sharply to the right on the ball of his left foot, wrapping as far as he can, his right leg around A's right leg and, without setting his right foot down, so as to bring the weight of his body to bear on A, D performs a variation of the "Leg Drive" as follows: He slides his right leg on A's right leg in a downward spiraling motion and finishes as usual. This throw must be accompanied with a deep bend of the left knee and a forward motion of the body, as if D wanted to dive head first through the ground. Well performed, it is practically irresistible. *NOTE: In general, after delivering a kick against an attack from the rear, D moves forward with the same foot, but sideways with the ocher foot, according to what the technique calls for.

#37. Nape Push. Barroom style attack by grabbing the collar and the seat of the pants. 1. If there is room, D moves faster than A pushes and executes a forward roll. This will get him out in all cases. If A is directly behind D, he will receive a punishing kick. 2. If there is no room for a roll, then D moves faster than A pushes, puts his hands on the floor in a diving forward motion and kicks A with the heel to the shinbone, knee, inner thigh, or groin on the side closest to D. For instance, if A is on D's left side, D steps forward with the right foot and kicks A with the left foot. +If A pulls on D's nape, rather than pushes, and if D has succeeded in keeping his balance, all he has to do is to pivot to the side and kick A's knee. #38. Side Head Lock. (Fig 38-1,2,3) "Before." Only one attack from the side is studied in basic ASP, since most attacks from the side may be reverted to attacks from the front, or the back. A is on D's right side and attempts to get D's head in a lock using his left arm. D dodges A's attempts by lifting above his right arm bent at the elbow, forearm and fingers perpendicular to the ground. Simultaneously, D tucks in his head lifting the shoulders, and slides the right foot to the right, behind A's legs. This motion deflects A's arm forward and places D behind A, from where he can retaliate either with a "Nape Throw", a forward push, or an attack with his right knee to the base of A's spine. "Secured. " D relieves the pressure by squeezing A's waist with both arms and applying, in an upward direction, his thumb knuckle* below and slightly to the back of A's floating ribs. Taking advantage of A's reaction to pain, D clasps with his left hand his right hand, which he has inserted between his head and A's body, and drops straight down on the right knee (closest to A), simultaneously turning his head to the right. A's hold is broken, and D throws him with a "Knee Throw" by grasping his heel with the left hand, and driving his right elbow against the inside of A's left knee. An alternative technique is to place the left foot in a circular motion between A's feet, while dropping on the right knee. This places D in front of A's left leg enabling him to apply the fundamental forms of the "Knee, or Groin Throw." Should the initial pressure technique fail, depending on his relative position to A, D may: a. Attempt to strike A in the eyes with his fingers.

b. Strike A's crotch from behind with a thumb knuckle fist. c. Strike A's groin with a knuckle fist from the front. All three attacks are severe and should be used with caution only when warranted by the situation.

6.2 CONSIDERATIONS ON ARMED ATTACKS - KNIFE In basic ASP we study only a selected number of techniques chosen because they lay the foundation to more advanced knowledge. Only weapons are considered which are used at close range, such as the knife and the revolver. Attacks with sticks and similar weapons are not described because ASP defenses against knife attacks may very well be used in such cases. As with punches and kicks, there is a world of difference between an expert using a knife or revolver and the untrained person. The guiding principle against armed attacks is simple. Never use the techniques described here unless you absolutely have to. If it is a question of pocket money, it is not worth the risk. Only if you feel that your life, or some other very valuable attribute concerning you or those close to you is in danger should you attempt defensive techniques, Naturally, this

means that you must use good judgment. How can you know if anyone with a weapon means to use it? A rule to follow is to be ready and willing to decisively take full advantage of any mistake made by the attacker. This is a hard decision to make, but your life may depend on it. Remember that mild mannered murderers are not rare. In case of an armed assailant, it is particularly dangerous to assume that a single technique will be sufficient to subdue him. However, you increase your chances of escaping serious injury, or even death, by making sure that your first response is as decisive as possible. Always attack the eyes: no other part of the anatomy is as vulnerable. Leniency is not in order against anyone who tries to kill you. Besides, an attack to the eyes will not necessarily cause permanent damage. You must condition yourself, not only by practice, but also by thinking about striking the eyes in case of emergency. Visualize frequently any one approaching you as a dangerous assailant and see yourself attacking his eyes. Think always in terms of minimizing the danger to you. Use common sense in avoiding places where armed attacks may occur; above all avoid being cornered, and having your movements restricted. The jumping roll described earlier is invaluable in this respect. Practice with a partner armed with a soft rubber knife, who is really meaning his attack, will easily convince you. Yelling or screaming in a long sustained way will also be of help and any realistic practice should include it. Faking a counter attack against your assailant, yelling, then rolling toward either one of his sides to land behind him is a must for effective training against knife attacks. Naturally, after mastering this technique on a smooth soft surface, you must practice it on hard surfaces, and finally on rough ground. Failure to go through these steps will result in lesser effectiveness. When attacked by a knife wielding opponent, your first concern should be to get and stay out of reach. Your next concern should be to get hold of something which could foil the attack. If nothing is available, use items from your own clothing. A handful of sand or dirt, or a glassful of liquid to the eyes can be quite useful. Next use your feet to keep him at bay, kick fast and return even faster to a position of good balance. Failing this, use the techniques described below. Again, condition yourself to strike the EYES at the first opportunity. This applies to ALL situations when in danger to be maimed or killed. The GROIN is the next best target. *Formed by squeezing the thumb with the fingers closed in a tight fist, so that the thumb knuckle nearest to the wrist protrudes. #39. Downward Stabbing Attack. (Fig 39-1,2,3,4) A attacks D, holding the knife in his right hand. We assume that evasive motion will not take D out of the dangerous area, unless he uses his arms to protect himself. A blocking action is out of the question for any one without extensive training. Timing is crucial and unless D catches A's arm at the beginning of the attack, when it has not gathered enough momentum, the attack will go through, particularly if A is stronger than D. D can achieve efficient protection by using the "Swimming Deflection" method. He thrusts his crossed arms upward in the direction of A's head, catching A's arm from under with FULLY EXTENDED arms. D's shoulders must remain relaxed so that the arms can pivot around them, guiding, not blocking, A's attack. It is immaterial which arm is uppermost as long as D does not attempt to block A. The importance of this thrust and extension cannot be overemphasized. D times this with a sliding motion of the left foot to the left, shifting his body to come close* to A's right side. Then, in a continuous motion, D pivots to the rear right, on NOTES the ball of his left foot facing A at about 45. A's attacking right forearm will slide harmlessly on D's right arm. D's

left arm bends parallel to the mat, guiding A's attacking arm from under and keeping it under control against D's chest. From this position, keeping the elbow high, D strikes A's eyes with the fingers of his right hand. In training, D uses the same motion but deflects it upwards at a safe distance from A's eyes. Such attack results in A bringing his hands to his eyes by reflex reaction. The student will notice that either one of the maneuvers given taken alone will protect him. Indeed, the thrust of his arms, or the sidestepping and pivoting action are sufficient in themselves. This will convince him of their combined efficacy. D continues pivoting on his left foot, then slides it behind A in order to throw him with a "Nape Throw". During the fall A's right wrist is controlled by D's right hand. Chances are that A will drop the knife. If not, D takes it away by extending A's right arm and passing Is right wrist from his right to his left hand; D applies pressure with his left thumb, pointing in the direction of the knife blade, against the base of A's pinky. D first stomps Is right temple* with his right heel, and only then disarms him with the right hand, after A's reaction has loosened his grip on the knife. If D is afraid that A may renew his attack, he may slash the inside of A's wrist with the knife which is now in his possession. Admittedly, the retaliation is severe, however, it is proportional to A's intentions. *D must get close enough to A so that, in the event he is unable to fully control his momentum, the knife will always miss him. D may also take advantage of this situation in other ways to be described in more advanced texts.

#40. Side Slash. (Fig 40-1) A holds the knife in his left hand and slashes from right to left. Again the distance between A and D is short. D jumps to the left of A with the right foot, elbows bent, forearms perpendicular to the ground, establishing contact with A's arm WITHOUT BLOCKING ITS MOTION, as in #24 (Reverse Strike). To an outside observer, A seems to be pushing D to the left with his forearm. At the end of its course, D grasps A's wrist with the right hand, and attacks A's eyes with the left fingers. D throws A with a "Leg Drive" by grasping his left wrist with both hands and lifting it above A's head, toward the rear, in order to break his balance. D proceeds to retaliate and to take the knife away as above. D may also use A's momentum to throw him by pulling at the shoulders with both hands without stopping to strike the eyes. When this technique is properly performed, A has the impression of being sucked into a void and can be thrown only by the action of D's arms. Speed and timing are of the essence and this technique provides excellent training for both. A stomping kick on A's head will end the contest. In training, stomp the mat above A's head.

7.0 RED BELT FIFTH GRADE PROGRAM Requirements: All the previous, plus techniques #41 to 50 inclusive. PURPOSE OF THE PROGRAM: Defenses against armed attacks, knife (continued). Starting the study of defenses against handgun. Defenses against miscellaneous attacks and several attackers not included earlier. Application of rolls in self-defense. Same guidelines. #41. Knife Thrust. (Fig 41-1,2,3) A is holding a knife in the right hand and attacks D with a thrust directed to the abdomen. Using the principle of attack commitment, D moves first the threatened part of the body away from, then around and to the outside of the thrust (to D's right in this case) and catches with his left hand, from above, A's right wrist as it passes by. D must not attempt to grasp A's wrist outright, or he will most likely miss. All D has to do is to establish contact with A's right forearm, and then slide his hand down to grasp the wrist from above. With extended left arm, D pivots to the rear right, leading A's arm in a wide arc. Upon A's reaction to pull back, D does not resist but goes along with it and strikes A's eyes with his right fingers. As A retracts his right arm to protect his eyes, D moves in lifting A's arm with both hands straight above and behind his right shoulder, in order to throw him with a "Leg Drive". D disarms A as previously. +When D masters the proper movement, he may throw A with a continuous motion of his arms without using his leg. D may also perform this throw by pushing upward with the palm of his right hand A's right elbow in a circular motion directed behind A's head. Alternatively, instead of throwing A, D may knee him to the groin. Like almost all basic ASP techniques, this leads into a variety of locks and chokes.

#42. Attack with a Knife from a Distance. (Fig 42-1,2) A attacks D in a manner indicating training in knife handling. A tries to create an opening with his left hand in order to stab D with the right, switching perhaps hands at the last moment so as to confuse him, D is in real danger because he faces an expert and he may have to chose the lesser of two evils: the possibility of a knife wound anywhere above the groin, which may be fatal, or the possibility of injuring his legs. Statistically, the latter is less dangerous. D must now use all his powers of observation and timing. Should he guess which hand will strike, and if the distance is right, he may have a chance to jump to the side and apply #41. In the process of jumping to the side, D protects his body with a tight circular motion of his forearm deflecting the knife thrust to the outside. For instance, if D jumps to A's right with his left foot, he deflects A's right handed thrust with a counter clockwise motion of his right forearm and retaliates with a side-of-foot kick to the side of A's right knee. Alternatively, when A lunges, D evades by jumping back and around as for the jumping dodge*. When A gets ready for a renewed attack by pulling back the blade, D yells and

lunge rolls aiming a kick straight at A's groin. Should the kick land, it will end the contest right there. Note that only the lunge-roll should be used, D's body must roll as close to the ground as possible, below A's line of thrust. This technique will prove to the student the importance of the lunge-roll. Should D land between A's legs, he can also throw him and severely injure A's knee by one of the defenses on the ground #1, #2, or #3. In case D misses, he should side roll and get up, ready to kick again. Timing for the "Rolling Kick" is of the essence. By practicing with a rubber knife, D will soon be able to time his retaliation accurately.

7.1 HANDGUN Disarming an opponent holding a gun is difficult and dangerous. Against a capable gunman it is almost impossible. In all cases you can be successful only if he makes the following mistakes: 1. He comes within the reach of your hands or feet. 2. He allows you to distract him somehow, for instance, by moving about, or looking behind him. The techniques described here are to be used in desperation when you believe that you are not going to be spared, or when the opponent attempts to tie you up. Indeed, you will be then be completely at his mercy with no guarantee that he is going to spare you. It is easy to see that the first condition for a successful defensive technique against a handgun is good judgment and good evaluation of the situation. Other prerequisites are: 1. Use the most appropriate technique. 2. Get out of the line of fire in less than 1/2 second, which is average person's reaction time. 3. Get hold of the gun, or of the hand holding it, by the shortest and most direct motions, after you are out of the line of fire. You must try to control it throughout the technique from then on. 4. Execute the technique as quickly as possible and STRIKE THE EYES at the FIRST opportunity. 5. Use good psychology in leading your opponent to believe that you are ready to comply. Lull him into overconfidence. 6. Look `through' his upper chest as if he were made out of glass. Your secondary vision will then encompass all his body. DO NOT look A T the gun. However, keep your eyes on the gun after you have secured a grip on it, or on the hand holding it.

7. Relax shoulders, hips and knees. Initiate all moves from the hips and remain well balanced throughout the technique. 8. Finally, keep in mind that some knowledge of handguns is helpful. Secure it. *pg. 53 # 43. Hold-Up with a Handgun at Half-Distance. (Fig 43-1,2,3,4,5) A holds up D at arm's length in a typical situation. D lifts his arms so that the elbows are in line with the shoulders, in order to indicate his willingness to comply with A's orders without really jeopardizing his chances of success. D must not look at the the gun but straight ahead through A's chest. His field of vision will thus encompass A's hand and gun. To increase his speed of action, D relaxes the body, particularly the hips. He attempts to direct A's attention by focusing momentarily his gaze behind A's left shoulder and by using an almost imperceptible motion of the right fingers. Assuming A takes the bait, D starts his evasive motion from the hips, followed closely by the legs. He pivots to the rear right, his right foot describing a wide arc. As D's hips start moving, his left hand drops on A's right forearm and slides to grasp A's hand from above, thumb on the base of A's pinky and fingers around his thumb. D extends A's arm leading it in a wide circular leftward motion and, upon A's reaction to pull back, pursues as in #41. The gun is taken away after kicking A. D must yell while performing this technique in order to distract A and to protect his own eardrums in case the gun is fired.

#44. Hold-Up with a Handgun at a Distance. (Fig 44-1,2,3,4,5) A holds D at such distance that the above technique is impossible. The situation is almost hopeless, particularly against a capable gunman. However, if D is desperate, and feels that he is not going to be spared anyway, and if the distance is not too great, he still has a chance to survive. This is an advanced technique included to demonstrate that even in such apparently hopeless cases there is still a possibility of protection. This technique depends on the fact that it is hard to shoot accurately an object falling below the horizontal as determined by one's hip line. D looks through A's chest as in #43 and then, suddenly, focuses his gaze behind A's left shoulder, as if he were looking at someone; at the same time he makes an almost imperceptible motion with the fingers of his right hand in order to divert momentarily A's attention. If A takes the bait, D uses the fraction of a second during which he is distracted and, in a rotary motion to the outside of the gun's line of fire, he takes a big leap to his forward left at about 45 of that line. He then lunges for A's right knee, corresponding to the hand holding the guts. while emitting simultaneously a long sustained yell. Note the zigzag motion to

reach A's knee. D thus offers a limited target and has about a 50% chance to get away with a grazing wound rather than a lethal one. D applies a "Knee Throw" on A's right knee. As A starts falling, D introduces his right arm under A's left leg and thrusts it in the direction of A's head. D ducks under A's leg and goes for the hand holding the gun. D may also approach A from the right, without this maneuver, however, this method is less desirable. The reason for this maneuver is to approach A in such manner that he cannot shoot D without taking the risk of shooting himself. D goes for A's right wrist with his right hand first, then with his left and immobilizes it against the ground. Keeping A's right wrist under control with his left hand, D strikes A in the eyes with the fingers of his right hand and disarms him. *Should the distance be greater, a lunge-roll to the side away from the gunman, followed by running in zigzag pattern interrupted by lunge-rolls will afford D a chance of survival.

#45. Gun Whiplash to Face. A attempts to whip D on the head with a handgun. The situation is similar to #39 and is handled accordingly. #46. Hold-Up from Behind. (Fig 46-1,2,3,4,5,6) A holds-up D from behind. D attempts to look which hand is holding the gun. However, this is not necessary provided D can make sure that A really holds the gun against his back and not A's finger. D may also resort to another way of finding out if this is the case. He lifts his arms, elbows shoulder high, relaxes, and leans lightly against the object on his back. A's natural reaction would be to push back and unless D wears heavy clothing, he will generally be able to tell between the hard impact of the metal and the relatively soft impact of a finger. If D has any doubts he should refrain from using the following techniques. Before he tries them he must be sure that the gun is against his back. Once he is sure of this, he does not have to know whether A holds the gun with the right hand, or with the left. I. A Holds the Gun with the Right Hand. Starting the movement from the hips, D pivots to the right, on the heel of the right foot, and drops the right arm EXTENDED at about 30 angle from his right side. This is a slashing downward motion and, as D continues his pivoting action, he wraps his right forearm around A's right forearm, folding it against his own chest with a counter clockwise slash against the inside of A's right elbow joint. D protects his face and further gets hold of the gun from below with his left hand. His fingers are wrapped around the trigger, muzzle and barrel (if any) and his thumb prevents the hammer (if any) from dropping. Such grip will prevent a revolver or a gun with hammer from being fired. At this point, D drives his right knee to A's groin and may throw him with a "Leg Drive" D takes the gun, upon A's reaction to his retaliation, by tearing it away from the weakest part of A's grip, so that the handle slips between the thumb and the fingers. D yells as he performs this technique. II. A Holds the Gun in his Left Hand. The same pivoting and deflecting motions are used here. D yells as he strikes A's eyes with the left fingers and controls tightly A's left arm between his right forearm and chest. D knees A to the groin with his left knee and, upon his reaction, throws him with a "Leg Drive", following him in his fall by dropping on the left knee. D disarms A by pulling the gun away as before.

7.2 MISCELLANEOUS #47. Downward Attack with a Chair. (Fig 47-1,2) This technique develops the sense of timing. A grabs a chair from his left side and lifts it above his head in order to strike D an overhead blow. D jumps with his left foot to A's right side bending deep by the left knee and extending the right leg in front of A's legs. D's right arm extends behind A's legs and his right hand grabs A's left lower calf as his left hand grabs A's lower right shin. D pushes A towards his own (D's) back simultaneously lifting and blocking A's legs. As A, carried by his own momentum and D's push, falls face down, D gets up and either moves away from A, or retaliates with kicks. This technique is dangerous when practiced with a chair. In training, A goes through the motions of attacking D without a chair and ends with a forward breakfall. *A forward roll on either side of A will also take D away from the danger zone and place him behind A.

#48. Encirclement by Several Opponents. (Fig 48-1)

The object here is to avoid physical contact and to avoid being cornered. This technique develops the sense of distance and timing. Training to use the "Rolling Kick": A stands in front of D and extends his right hand to the right, level with his groin, palm facing D. D yells and lungerolls kicking A's hand (assuming that it is A's groin) during the last part of the roll. This exercise develops D's sense of distance; after he masters it, D is ready for the technique proper. Several participants encircle D in an attempt to corner him against a wall. D yells, fakes an attack on one assailant by extending his right arm toward his eyes and lungerolls between his opponents. He kicks back using a "Heel Spear" as he gets up, to ward against an attack from the rear. D rolls wherever he sees an opening. When this technique is correctly performed, D cannot be stopped by his opponents, even though they know his intentions. The most common mistake is to wait too long before rolling. Finally, D uses this technique against repeated attacks by three or four opponents until he is either caught by them, or becomes exhausted. The importance of such training cannot be overemphasized.

#49. Running Attack from Behind. (Fig 49-1,2) Here again is a technique chosen in preference to others, because it develops the sense of timing. If D expects an attack from behind his best bet is to turn around and face his assailant, or, at shorter distance, pivot to the side and kick him. In this case the assailant is upon D, and has achieved the element of surprise. When D becomes aware of A's attack, he drops straight down with a deep knee bend, twists his torso to the right and, placing his hands flat on the ground, extends his legs completely so that his body is perpendicular to A's. As A starts stumbling over him. D reestablishes himself to his former posture by grouping his legs near his hands and reversing the process, thus imparting further impetus to A's forward fall. D yells while performing this technique which resembles a "burpee". Practice on both sides as usual. If A does not fall forward, he may be easily thrown on his back with a "Knee Throw".

#50. Attack While Sitting on a Chair. (Fig 50-1) In this basic technique A approaches D from the front, and it is assumed that there is enough room for D to roll forward. D protects the upper part of his body with crossed arms as illustrated and, depending on the distance, strikes A with a low, or a high direct kick. D must kick in a snappy fashion, not pushing, because A's impact may make him topple backwards. After delivering this kick with the right foot. D directs this foot leftward, to the side, and takes a forward roll which places him away from A's reach and behind his attacker. D yells as he kicks, rolls, and kicks back in the process of getting up. After he gets up, he pivots to face A. This concludes the fifty basic techniques of Somatic ASP. All fifty must be practiced with a partner, first slowly, then faster, the right side immediately followed by the left. After your first retaliation, always be on the alert for renewed attack. At the first sign of such intention, nip it in the bud.

8.0 BROWN BELT FIRST GRADE PROGRAM Requirements: All the previous, with a higher degree of perfection than required for Red Belts. PURPOSE OF THE PROGRAM: To review and refine all previous programs.

9.0 BROWN BELT SECOND GRADE PROGRAM Requirements: All the previous, plus the Psychosomatic Exercises, Techniques #51-62. PURPOSE OF THE PROGRAM: To introduce the student to the mind-body coordination exercises (psychosomatic) and to the basic elements of Stickfighting A.S.P. PSYCHOSOMATIC A.S.P. EXERCISES: "Calmness should be investigated in a place of turmoil." A Chinese Garden of Serenity by Hung Tsu-ch eng (Ming Dynasty) translated by Chao TseChiang, 1959. THESE EXERCISES ARE AN INTEGRAL PART OF SELF-PROTECTION, SINCE THEY HELP TO MINIMIZE STRESS AND EMOTIONS, WHICH ARE INHERENT TO ANY KIND OF CONFRONTATION. IT WOULD BE A SERIOUS MISTAKE TO CONSIDER THEM OF SECONDARY IMPORTANCE. EVEN WHEN NOT ATTACKED, ONE HAS STILL TO LIVE WITH HIMSELF EVERY DAY OF HIS LIFE. In today's troubled world, mental patients outnumber all others. Few would not recognize the great need for preventive mental hygiene. Yet many ignore the importance of the mindbody relationship in maintaining personal health, physical, emotional, as well as mental. Science has not yet understood the precise relationship between mind and body. There is no doubt that there is a very close one and that heavy penalties are to be paid when we do not keep it in good order. THIS IS THE LEADING CAUSE FOR PEOPLE SEEKING ESCAPE FROM REALITY IN ALCOHOL AND DRUGS. But it is all very personal and only our own experiences will tell us if we are on the right track. One person may feel good physically and mentally after exercising strenuously, while another may require something different to achieve the same result. The Socratic "know thyself is challenging, but essential in understanding our experiences and our relationships, as well as for our guidance in life. The term psychosomatic is derived from the Greek psyche (mind, soul) and soma (body). In the following few exercises we are dealing with three important areas of the mind-body relationship, namely, relaxation, breathing, and balance. None can be ignored in daily life without adverse effects. Psychosomatic exercises may be practiced at home, without any special equipment by any reasonably healthy person. The results obtained in terms of well-being by practicing psychosomatic A.S.P. are far beyond what might be expected from the required effort. One may practice anywhere, wherever convenient, however, for our purpose we have assumed that these exercises will be practiced first thing in the morning as one wakes up and is still in bed. Exercises marked with a "B" (Table 1) lend themselves to such variation. Those selected for night practice are indicated with an "N" and a number suggesting a sequence. Psychosomatic A.S.P. should be practiced with tenacity, albeit with detachment and without any anxiety concerning results. These will come soon enough. Tenacity without anxiety is the key to success.

Negative feelings such as worry and anxiety always work against us and prevent us from achieving another important requirement, concentration. It may surprise some that concentration is not achieved by thinking hard about a given subject, but by thinking about it to the exclusion of everything else. Putting it differently, we concentrate on a given subject by keeping it alone in our mind and not by forcing it there among other things. For instance, if we want to concentrate on relaxation, we shall succeed in doing so by eliminating from our thoughts everything creeping in that is not relaxation. Since our mind cannot remain empty for very long, relaxation will be the only subject to occupy it. You must perform all exercises with concentration. The ability to concentrate has many beneficial results. Among others, it helps us exclude from our mind negative thoughts such as anger, fear, envy, revenge. Either we control our thoughts, or they control us. Negative thoughts adversely affect our lives and our health, while good, hopeful, kind thoughts have a healing effect. Forgiving is always better than holding a grudge, because it frees our mind from a destructive burden. We hurt ourselves more than the person who has angered us. While sometimes forgiveness does not seem to be in order, it is usually the better course. This is true for all negative feeling and thoughts. Concentration helps us to exclude from our minds those that can harm us. WHEN A THINKING MAN BECOMES AWARE OF HIS EXISTENCE AND FATE AS A HUMAN, HE KNOWS THAT HE HAS ONLY ONE REAL CHOICE: TO LIVE AND DIE WITH DIGNITY, WHILE REMAINING TRUE TO HIMSELF, NO MATTER WHAT HIS RELIGIOUS BELIEFS MIGHT BE. THE DIGNITY THAT HIS ABILITY TO THINK CONFERS HIM, NOTHING AND NO ONE CAN DEPRIVE HIM OF, UNLESS IT DESTROYS SUCH ABILITY. #51. Stretch and Twist (Fig. 51-1) Lying on your back, extend your arms above your head, while stretching your body, toes curled up and heels pushing out. Push your hips in the direction of the heels, so that one leg stretches longer than the other, in alternation. Do this for a least five seconds, yawning hard at the same time. Then go limp. Repeat once more. Now bring the arms alongside the body, fingers curled in, wrists bent upwards and repeat with shoulders and hips the same motions as previously. Finally, turn the shoulders in one direction, while gently twisting and stretching the hips and head in the opposite direction as you are crossing one leg over the other. Same duration as the first part of the exercise.

C #52. Concentration-Relaxation The detailed instructions below are meant to help beginners. With practice, you can relax at will. As you are lying in bed, put a pillow under your upper thighs. Keep your body straight, with its weight evenly distributed. Otherwise, some unbalance will occur, which is always accompanied by some muscular tension. You must feel comfortable. Now place your hands, palms down, on either side of the groin and take three deep breaths as an introduction to calm breathing essential to relaxation. Then, look at a point on the ceiling, address yourself by your name, saying: " you are going now to relax for 15 minutes; after that, your muscles will come back to their normal tone and you will feel wonderful and rested". Close your eyes and say to yourself: "I am now breathing deeply and calmly, I am relaxing". Make no effort to control your breath, let it be calm and natural. Throughout the exercise, keep your eyes closed and direct effortlessly your gaze in the general direction of the tip of your nose. This will help you concentrate by slowing down wandering thoughts, since closed eyes tend to wander with them. Now start relaxing muscular groups in the following order: Muscles of the scalp. Say: "I am relaxing now the muscles of my scalp. The muscles of my scalp are completely relaxed". Wait a couple of seconds. Then proceed similarly with the muscles of the forehead, then with those around the eye sockets. The latter are a key group, which must be carefully controlled. Then, proceed with the muscles of the cheeks, the jaw (key group) and the back of the neck (key group). Let your jaw hang loose so that the tips of the upper teeth touch the upper part of your lower lip; thus, you will breathe through the nose, your throat will not dry up, and you will relax your jaw easier. Now you have completed the relaxation of an important area: your head and neck. Visualize that somebody is lifting your head from the bed and then lets go of it: your head falls back on the bed like lifeless. From now on, we shall refer to this process as "lifeless visualization." It helps very much in achieving relaxation. During all this time your breathing is kept even and calm. Continue with the upper left arm, the forearm, the hand (key group), then proceed with "lifeless visualization" of the left arm, as before. Continue with the right arm, the abdomen, the hips and small of the back (key group), then the legs, each time ending with "lifeless visualization." Now visualize your whole body as being lifted and hanging like a rag doll. As a help to keeping your mind from wandering, either repeat the sequence, or keep repeating to yourself: "My mind is blank and my body is relaxed" at the calm rhythm of your breathing. You will go through various stages of

relaxation, as you will discover. With practice you can reach the stage of complete relaxation. When your skeletal muscles start relaxing, you will feel rather uncomfortable: they are so used to being tense that you will feel them twitching and restless. Don t give into the temptation to get it over with. After a time, you will go through the second stage of the relaxation process and you will feel your body getting heavy; if at this stage you want to move any muscle, it will take a fraction of a second before its normal tone is restored. In the third stage of relaxation, you will feel very light, like floating on a cloud, and you will be able to control to some extent involuntary muscles. It is a wonderful sensation. It takes some practice to reach that stage, but it is well worth the effort. Keep in mind that it is very unlikely that you will be able to relax sitting or standing, if you do not master first relaxation in the lying position. It must be stressed that relaxation is different from sleep. One may sleep without being relaxed muscularly. It is well known that tired soldiers can sleep standing and even marching. Mastering relaxation will allow you to go to sleep, but only when you so desire. Again, the technique given here is meant to be helpful to beginners. With practice one can relax without going through all the previous steps. #53. Abdominal Contraction Next exercise involves the muscles of the diaphragm and other muscles involved in breathing. Contract your abdominal muscles slowly and steadily, as if you wanted to have your abdomen touch your spine, while exhaling completely and bringing your loins and back in contact with the work area. Keep this position for seven seconds counting slowly, onesecond, two-seconds, etc. Let your muscles return to normal slowly, and ONLY THEN INHALE. Repeat this cycle at least twice. #54. Mock Breathing It is similar to the previous exercise, except that when your abdominal muscles come back to the normal position, you do not inhale, but you expand the chest to the maximum, AS IF YOU WERE BREATHING IN. Hold this position for seven seconds, then let air rush in. Repeat a minimum of four times. This exercise is meant for the diaphragm and the thoracic (rib cage) muscles involved in breathing. #55. Rhythmic Breathing (Fig. 55-1,2) Stand at ease, well in balance, and exhale slowly, as completely as you can for the count of 10 seconds. Pull in the abdomen at the start of the count, and at the end lower shoulders and head. Hold this position for 2 seconds, then inhale freely, but relatively slowly at your own comfortable pace. DO NOT ATTEMPT TO CONTROL YOUR BREATH at this stage. Breathe in completely, straightening shoulders at the start, and pushing the abdomen out for maximum capacity at the end, head leaning back, palms facing out. Lock in your breath while expanding the diaphragm; hold it for 20 seconds, without forcing; then exhale for the count of 10 seconds. This cycle is repeated ten times in full concentration. If this is hard at the beginning, cut all counts by half and work up, gradually, to the indicated length. Never force yourself. Repeat a minimum of ten times in full concentration. When this becomes easy, make it more difficult by increasing the counts, for example, 12 exhaling, 24 holding. The count of 2 after each exhalation does not have to be altered. Finish the exercise by exhaling completely, while pulling your abdomen in, bending at the waist and folding your arms tight on the chest, hands on shoulders. Thus, you expel most residual air from your lungs. Stay in this position for a count of 7 seconds, then unfold your arms, relax, and inhale, while taking the erect posture. Repeat at least twice, switching the relative position of the arms each time, the arm that was on top comes now under. Thus, each of your lungs gets, in turn, maximum compression. Practice outdoors, whenever possible.

#56. The Reed (Fig. 56-1) Lie flat on your back, lift up your legs straight and roll as far back as you can without rolling over. Place your hands, palms down, one on top of the other as far up as possible between your back and the work area. STAY in this position for 10 seconds, then rock your legs gently in the direction of your head, back and forth, heels jutting out, as explained in #51 for another 10 seconds. Then, swivel the hips parallel to the work area, from right to left and vice-versa for the same count. You must feel a massaging

action on the spine. Now, slide the hands lower by a couple of vertebrae and repeat. Continue until you reach the tailbone, taking an average of seven such changes to do so. At that time, throw the legs forward and sit up in one block, without pulling out your hands from behind your back. This exercise affords an excellent massage of the medium and lower spine. You may increase your counts at will after you have mastered the "Reed" as described.

#57. The Locomotive (Fig. 57-1) This exercise stretches mainly the upper spine and complements the "Reed". Sit on the floor, roll on your back, chin on chest, and stretch gently trying to touch the floor with your toes. If you are not able to do this initially, do not force, but work gradually toward that goal. Reach as far as you can and stay there for 10 seconds. Then roll back into the sitting position and grab all your toes with the corresponding hands, elbows between the knees, which are bent so that the heels come close to the crotch. Extend your right leg and arm, as far as you comfortably can and then some. The arm resists the extension of the leg, while the head turns to the left, as far as possible. The right leg then returns to its initial position, and the left leg is extended as the head turns to the right, as far as possible. This is repeated a minimum of five times for each leg, the fingers holding always the toes. Then both legs are extended and the head is bent forward, so that the chin touches the chest. This position is held for 10 seconds.

#58. The Bellows (Fig. 58-1) Lie on your face, right cheek on the work area, palms flat on it, near the shoulders. Exhale completely, pulling your abdomen in for a count of ten; then inhale as you push up, arms completely extended. The lower thighs, hips relaxed, are in contact with the work area. The inhalation accompanying this motion is done at your own rhythm (for example, it could last 3 seconds). Then, hold your breath for, let us say, 20 seconds. Exhale as you return to the initial position for a count of 10 seconds (20:2); this cycle is repeated at least six times, the head turning alternately to the right and left. Upon completion, bring your arms alongside the body, palms up, and relax for 2 3 minutes, breathing calmly. This exercise induces an excellent abdominal massage, which can be made even more efficient by inserting a pillow under the abdomen, and bends the spine in the opposite direction as exercises #56 and 57. The "Bellows" may be followed by a number of push-ups, at will, exhaling while pushing up and inhaling while coming down. Care must be taken that the rhythm allows thorough exhalations. A good target is one hundred such push-ups, followed by relaxation as above.

#59. Figure 4 (Fig. 59-1) This exercise is designed for balance. Standing up, bend your left leg behind your right and grab the instep of the left foot with the right hand, palm facing forward. The left hand dangles relaxed alongside the body. You look now like a "4", more or less. The palms must face forward, because it helps to bring together the shoulder blades and expand the rib cage, allowing for a better posture and improved breathing. Stay in this position, stretching the spine, as straight as possible, for 30 seconds. Then, jump in place in a continuous supple fashion for 10 seconds. Repeat twice. Then switch feet. In this, as well as in the other exercises, notice that static and dynamic sequences alternate. A.5. P. is not confined only to static or dynamic situations, but deals with both. When you have mastered this exercise, repeat it with closed eyes. While this is somewhat more difficult, it is very beneficial for balance. Indeed, it allows you to find how good your balance is. When your eyes are open you can see reference points, which help you to continuously adjust your balance. This is impossible with closed eyes, and your balance becomes dependent upon your intrinsic sense of it and on your degree of relaxation. Concentrating on your center of gravity (a couple of inches below the navel) helps much to keep your balance with closed eyes.

#60. I and Y (Fig. 60-1,2) This exercise appears more difficult than it really is. Kneel down facing a wall. Cross your fingers on top and slightly to the back of your head and position it on the floor next to a wall. It is a good idea to use a thin cushion or rug. Now, take a kneechest position and throw your legs up as for a forward roll (mean to roll). Your forward motion will bring your legs and back against the wall. Stretch your body straight up using the wall as support and stand on your head. Return to the knee-chest position by reversing the sequence. DO NOT GO ANY FURTHER BEFORE MASTERING THIS PART. Now, move the feet away from the wall and keeping the feet together in full extension, count 10 seconds; then, open them wide, so as to feel their weight bearing on the hip joint. Relax and hold for another 10 seconds. Rotate the feet from the ankles simultaneously in one direction, when your feet are together, and in the opposite direction when they are apart. In the first position you are looking like an "I" and in the second like a "Y". Alternate positions three times minimum, concentrating fully on the exercise. If this is too much for you, cut down time in half and work up to full time. Come down from the inverted position, bringing both legs together, stretched, as slowly as you can, moving the hips toward the wall in order to counterbalance their weight. Now, take again the knee-chest position and rock gently back and forth on the top of your head and knees, bringing the chin in contact with the chest each time you rock forward. Repeat ten times, then go limp. Extend arms, palms on the work area, chin on chest, stretch the spine by curving it as the cat does. Repeat three times then get up. This exercise calls for balance and relaxation, and demonstrates their important relationship to coordination. If your balance is not so good you will feel tense and the rotation of the feet will be difficult to coordinate. Also, if you do not use your hips properly to counterbalance the weight of the legs as they come down, you will not be able to do the last part of the exercise slowly, and your legs will drop fast. Learning to use the hips for balance is essential, since the center of gravity is located in the general lower abdominal area.

Finally, this exercise improves the blood circulation in the brain. A note of caution: If your neck or head hurt as you practice this exercise, or if you feel dizzy, stop immediately. Try again another day until you master it, but only if your doctor approves.

#61. Vibrator This is a dynamic relaxation exercise. Standing at ease, with weight equally distributed on the balls of your feet, shake your hands from the wrists, as fast as you can. The more relaxed you are the faster you will be able to shake. The result is a vibration transmitted throughout the body, which counteracts the buildup of muscular tension. Minimum duration: 30 seconds. #62. Water intake It is recommended to drink one or two large tumblers of water in the morning. Keep in mind that water requirements, as food requirements, have an important individual parameter. PSYCHOSOMATIC A.S.P.

TABLE OF BASIC EXERCISES* #51 Stretch and Twist B N4 M #52 Relaxation-Concentration B N5 M SM #53 Abdominal Contraction B #54 Mock Breathing B #55 Rhythmic Breathing** B N3 M SM #56 Reed B M #57 Locomotive B M #58 Bellows B M #59 Figure 4 N2 SM #60 IandY N1 M #61 Vibrator N6 #62 Water Intake M SM * Sequence may be altered **May be practiced in bed with minor adjustments. Arms are stretched on each side, palms facing up. Chin is lifted up at the end of breathing in, and lowered when breathing out. B May be practiced in bed N Night exercise; subscript indicates suggested sequence M Minimum series (8) SM Strict minimum series (4) BASIC STICKFIGHTING TECHNIQUES: Please refer to "Stickfighting: A Practical Guide for Self-Protection", by the author, Chas. E. Tuttle, Publishers, Tokyo, Japan 1983, pp. 1-89. STEP BY STEP PSYCHOSOMATIC A.S.P. EXERCISES: 51. STRETCH AND TWIST [Purpose: stretch spine]: A) Lay on back, toes up, heel forward, arms above head, fingers in and palm up. (see 511,A) B) Yawn hard and push hips down (right hip down & right palm up together, then left) C) Do above twice for 5 seconds D) Bring arms in, fingers in and palm up. (see 51-1,B) E) Yawn hard and push shoulders and hips down (right hip down and right palm down, then left) F) Do above twice for 5 seconds G) Cross one leg over the other (see 51-1,C) H) Look in the direction of the (up) leg I) Do twice for 5 seconds 52. CONCENTRATION-RELAXATION [Purpose: relaxation, concentration]: A) Place a pillow under your upper thighs B) Lay on your back keeping as straight as possible C) Place palms, face down, on either side of the groin (lap) D) Take three deep breaths E) Look at a point on the ceiling and say "'Name' you are going now to relax for 15 minutes, after that, your muscles will come back to their normal tone and you will feel wonderful and rested." F) Close eyes G) Say, "I am now breathing deeply and calmly, I am relaxing."

H) Breath naturally I) Direct eyes to tip of nose to keep them from wandering J) Say, "I am now relaxing the muscles of the scalp, the muscles of my scalp are completely relaxed." K) Waite a few seconds L) Same as J. for the following 1. Forehead 2. Eye sockets (key) 3. Cheeks 4. Jaw (key) 5. Back of the neck (key) M) Lifeless visualization (Pick up and drop visually) (head) N) Same as L. continued 1. Upper left arm 2. Forearm 3. Hand (key) O) Lifeless visualization of left arm P) Same as L. continued 1. Upper right arm 2. Forearm 3. Hand (key) Q) Lifeless visualization of right arm R) Same as L. continued 1. Abdomen 2. Hips 3. Small of the back (key) 4. Legs with lifeless visualization as in O. and Q S) Visualize whole body being lifted and hanging like a rag doll 53. ABDOMINAL CONTRACTION [Purpose: work muscles of diaphragm and others]: A) Lay on your back, hands in lap B) Contract abdominal muscles slowly and steadily toward the spine C) Straighten back so that there is complete contract with floor during exhale D) Hold exhale position for approximately seven seconds E) Relax muscles F) Inhale naturally G) Repeat twice 54. MOCK BREATHING [Purpose: work muscles of diaphragm and others involved in breathing]: A) Same as A. through D. of 53 B) Expand the chest to maximum but don't inhale C) Hold for seven seconds D) Let air rush in E) Repeat 4 times

55. RHYTHMIC BREATHING [Purpose: lungs-maximum compression]: A) Stand at ease B) Exhale slowly, as completely as you can for 10 seconds C) Pull in abdomen at the start, at the end, lower shoulders and head (see 55-2) D) Hold positions for 2 seconds E) Inhale naturally, straighten shoulders, head back, palms facing out (see 55-1) F) Hold breaths for 20 seconds G) Exhale for 20 seconds H) Repeat 10 times in full concentration I) Practice outdoors if possible. Cut time in half if necessary. 56. THE REED [Purpose: massage spine, stretch lower spine]: A) Lie flat on back, lift legs and roll back as far as possible B) Place hands, palms down, one on top of the other as far up between your back as possible (see 56-1) C) Hold for 10 seconds D) Rock heels upward for 10 seconds as in 51. E) Swivel hips for 10 seconds F) Move hands towards lower back G) Swivel hips for 10 seconds H) Continue until you reach tailbone I) Roll forward and up without remaining hand from back 57. THE LOCOMOTIVE [Purpose: stretch upper spine-compliments the reed]: A) Sit on the floor, roll back and touch floor with toes B) Hold for 10 seconds C) Roll forward into sitting position, grab toes (butterfly) D) Locomotive, head turn (see 57-1) E) Repeat 5 times for each leg F) Both legs out, stretch down, touch toes G) Hold for 10 seconds 58. THE BELLOWS [Purpose: abdominal massage and stretch]: A) Lie on face, right cheek on work area, palm flat at the shoulders B) Exhale completely 10 seconds with abdomen C) Inhale as you push-up, arms completely extended (see 58-1) D) Thighs and hips stay relaxed and in contact with the work area E) Hold breath for 20 seconds F) Exhale and return to the start position, 10 seconds G) Repeat at least 6 times, head turns alternately right and left H) Upon completion, bring arms alongside body, palms up, and relax for 2 to 3 minutes. I) Could be followed by push-ups 59. FIGURE 4 [Purpose: balance]:

A) Bend left leg behind right, grab instep, palms outward (see 59-1) B) Palms are out in order to bring shoulder blades together and expand rib cage allowing for better posture and improved breathing C) Hold and stretch spine for 30 seconds D) Jump in place 10 seconds E) Repeat above twice then switch feet F) Repeat with closed eyes G) Concentrate on center will help 60. I AND Y [Purpose: balance and relaxation, blood circulation to the brain]: A) I position against wall B) Away from wall, hold 10 seconds (rotate ankles) C) Spread legs apart and hold for 10 seconds (rotate ankles) D) Repeat 10 times (rocking motion) E) Repeat entire sequences 3 times (see 60-1&2, A-E) 61. VIBRATOR [Purpose: relaxation]: A) Standing at ease, with weight equally distributed on the balls of your feet B) Shake your hands from the wrists, as fast as you can. C) Hold for 30 seconds, entire body 62. WATER INTAKE: A) Drink one or two tumblers in morning and night (several cups/day). 10.0 BROWN BELT THIRD GRADE PROGRAM Requirements: All the previous, plus the following. PURPOSE OF THE PROGRAM: Learning defenses from the ground, special attack dodging techniques, and defenses against kicks. 10.1 DEFENSES FROM THE GROUND In this book we shall study only those defenses which provide the possibility of escaping an attack when on the ground, while allowing us to retaliate. Grappling in itself is studied as a separate subject. Assuming that you are on the ground, you can keep an opponent at bay by pointing at him your feet and legs. With knees close to the body, lift head and torso off the ground, shift on one of your sides and use forearms, elbows and hands to spin on your buttocks, so as to always point the feet at an opponent. The feet may be used not only to parry and deliver kicks, but also as we shall see, for throws. Should he get so close as to prevent you from spinning, then cross forearms and tuck in chin to protect the windpipe. In this "porcupine" position it becomes easier to defend. However, the best defense is to keep opponent at bay. If you become proficient at spinning and using your feet you can defend with some chances of success

even against a knife wielding attacker. The best way to get up from the ground and gain distance also is with a back roll. Let us now consider four situations differing mainly in terms of distance between D and A, going from the farthest to the closest. In the first situation, D can control A with his feet alone. Then A comes closer and D can control him with his lower legs, then A is over D's side, and finally, he is on top of D as in a grappling situation. #63. First Situation (farthest). (Fig 63-1) D is on the ground and his attacker rushes at him from the direction of the left or the right shoulder. According to a general principle in ASP, D reacts only after the attacker is fully committed to his attack and has developed enough momentum. D must realize that he cannot roll faster than A can run, therefore A's commitment is essential before D starts rolling. D extends his arms above the head and with extended legs, rolls sideways, away from A, as far as necessary to pivot and face him (side roll and pivot). At the end of the roll, D protects his groin and throat with bent legs and elbows. A is now on the side of D's feet. This technique is very versatile and quite efficacious, but we give here only one of several possible applications. Suppose for instance that D attacks A's right leg with his right foot. With foot bent upwards in the direction of the toes, D hooks A's right heel from the outside. Simultaneously, with the side of his left foot, D kicks the inner side of A's right knee. This will throw A down violently. As A is falling, D keeps A's right foot still hooked, and coordinates his motions with A, so as to get up as the latter lands, ready for further retaliation. Alternatively, he may get up with a back roll.

#64. Second Situation (far). (Fig 64-1) Similar to the previous, only now A is closer and reaches for D. D stretches his legs so that one of A's legs, for instance the right, is between them. D kicks with the right instep the inside of A's right thigh (or groin, if warranted) and, by applying a scissor like action with the legs, the inside against the inside of A's thigh and the outside at the level of A's ankle, D grabs A's arms and rolls leftward, to the outside of A's captured leg. A will fall on his head and right shoulder. This scissor like thrust must be directed up and around, mainly with D's right leg, which has delivered the blow to A's groin. In practice, D helps and guides A into a right forward roll.

#65. Third Situation (closer). (Fig 65-1,2) Suppose now that the attacker is on D's right side, close enough for D to control his right leg by the trousers, or otherwise under his right armpit. D kicks A's abdomen, or groin, with the left heel and throws him, facilitating his fall by bending the right thigh behind A's right heel. After A falls, D may kick him again in the groin with his left heel and get up with a back roll. +In any of the three first situations, D may roll away and kick in order to stop A. He may then use A's reaction to proceed with one of the described techniques.

#66. Fourth Situation (closest). In order to illustrate the difference between other fighting sports and ASP, we consider the case of judo immobilizations. These can practically always be broken by the application of pressure or striking techniques on the vital points mentioned in this book. In short, judo is mainly a sport, while ASP is also a fighting art. 10.2 DODGING TECHNIQUES

Since an important part of self-protection entails getting out of the way, or out of the reach of an assailant, particular emphasis is placed on dodging techniques. They all have in common to induce the attacker to commit himself to a course of action, so that it will not be possible for him to easily change the direction of his attack. The body does not move initially as a block, but first the part under attack moves away from it, so as to lead the attacker to commit himself. Only then the rest of the body shifts in appropriate fashion to complete the dodging technique. #67. Jumping Dodge. (Fig 67-1,2,3) An extremely versatile technique, the "Jumping Dodge" applies to all standing attacks. It has been described briefly in relation to technique #42. Here we describe it in more detail on the right side. Suppose A rushes toward D for any kind of attack of the reaching or striking type. D withdraws the right foot and lifts the right hand level with his opponent's eyes, fingers spread apart, thumb bent and tucked under the palm, as if he were about to strike A's eyes. If D thinks that the situation calls for it, he may do so. Bringing about a reaction on A's part is all he really wants. With right arm extended, D shifts his weight onto the right (rear) leg, lifts the left knee bent, thigh parallel to the ground and, gathering momentum, jumps back and around toward his rear left (counter clockwise), he is now in a position perpendicular to the direction of the attack. Without losing height, D's left knee swings out and around like a flywheel, to help him in this change of direction, D sets his left foot behind the right and, without stopping the momentum his arms have gathered, he swings them back, around and forward, as he steps forward into left rolling kick aimed at his opponent's crotch. A was attacking D in a given direction and, after he had committed himself to that direction, D changed to a perpendicular one. Now, if A attempts to redirect his attack, he will be momentarily unbalanced and wide open for retaliation. It is very important for D to react at the last possible moment, when A's attack is almost there: keeping calm and relaxed is essential. It takes some practice to master this technique, but it is well worth the effort, particularly since it applies to cases where D does not care to come to close quarters with his attacker. If D does not wish to roll and kick, he may let his momentum carry him one or two more sliding steps back. It is easy to gain thus a lot of distance for any purpose D chooses. As D reestablishes himself from his forward roll, he uses a heel spear to protect himself from any attack from the rear.

#68. Dropping Dodge. (Fig 68-1) Described briefly as applied to technique #47, this dodge allows D to get behind his opponent, and is particularly useful against striking attacks. Suppose A swings at D with his right. D moves his head back and away from the attack, as he thrusts both arms, hands overlapping like a protective wedge, in the direction of A's face. With the right foot D takes a big step outside A's left leg and drops low, left knee almost touching the ground. A misses D who, either starts moving away in the direction of his first step, or pivots around ready for retaliation. A must mean his attack and keep his momentum to give D a chance to apply the technique; A must carry his momentum to a forward breakfall or roll. The resulting smooth movement will help both partners to practice meaningfully.

#69. Pivoting Dodge. (Fig 69-1,2) This dodge is used throughout basic ASP. It develops smooth coordination between the arms legs and body and trains D to place himself on the side and behind his opponent. D may practice this dodge with or without a partner. He stands relaxed, feet apart at shoulder width and swings the arms in front of him in two overlapping circles, as he bends the torso backwards. D will notice that the thrusting circular motion of his extended arms protects his

body and head from being hit. At the same time, he steps with the left foot forward and to the left at approximately 45 from the direction he was initially facing; then he pivots to the rear right on the ball of the same foot. D's right foot describes a wide arc ending behind his left foot, which places him on A's side. D keeps the momentum of his arms as they come down, and swings them to the right. He now closes his fists and reverses their motion, swinging now hard to the left in an attack against the face or the abdomen of his opponent. All motions must be smooth and continuous. D will find that practiced upward and downward these simple motions will protect efficiently all his body from the groin up. For the downward motion it is assumed that D's abdomen is under attack and therefore, this is the part of the body he retracts first. A contact between D's arms and the arms of an actual opponent is not necessary for the successful performance of this technique.

10.3 AGAINST KICKS Dodging a kick with as little motion as absolutely necessary is desirable so as not to lose ground to the extent of becoming incapable to retaliate. The best dodging techniques let an attack flow by and add its momentum to the impetus of the retaliation. Particular care should be taken not to advance on an attack before dodging it first. Otherwise, if your timing is wrong, you will receive much punishment. Only experts can effectively dodge while moving inside the attacker's defenses. Beginners will do well to learn to dodge first without losing ground and wait for the opponent to come close carried by his own momentum, before retaliating. In the dodges described below, both partners start from the left BTS unless otherwise specified. #70. Against a Right Low Direct Kick to the Left Shinbone. Lift left leg as for a high direct kick. #71. Same Attack. Slide left foot on the floor either to the right or to the left, avoiding an unnecessarily wide motion. #72. Counter. In both cases, D may use the foot he dodges to deliver a side-of-foot kick to A's right (kicking) shinbone. #73. Stop Kick. (Fig 73-1) D may also prevent (stop) A's kick in its preparation by shifting his weight to his rear (right) foot, twisting his body to the right and extending his left leg, toes of the left foot pointing to

the right. A's shinbone hits against D's side-of-foot. D must keep his left foot tensed at the ankle just as for a side-of-foot kick.

#74. Against a High Direct Kick to the Groin. (Fig 74-1) Shift forward (left) foot to the right, leading with the hip, so that the attacking (right) foot almost grazes your left buttock. Drop left arm by your left side, wrist turned outward and hand cupped, so as to catch his foot on its way down. Step with left foot to the oblique left and set foot under his right thigh. Retaliate with a right punch to the face or with a throw performed by sweeping his left calf with your right calf in the direction of his left toes. If you cannot step in with the left foot, twist hips to the left and attack with a right side-of-foot kick to the inside of his left (standing) knee.

#75. A Method of General Applicability. You can dodge a kick by retreating and changing stance. For example, from the left BTS slide your left foot behind the right switching to the right BTS. Notice that this removes you from the danger area, but essentially you do not lose ground since your right foot stays in

place and all you have to do to return to your initial position, is to slide back the left foot. This dodge is very efficient and versatile and it is particularly recommended for beginners. #76. Against a Circular Kick. As opponent kicks with the right foot, take a big step with the right foot to your oblique right, moving in the same direction, but away from the kick. At the end of this step you find yourself at the level of his knee. Then, take a step to your oblique left with the left foot, ducking low under the attacking leg, and throw him with a "Knee Throw" #77. Same Attack. Alternatively, you may throw him by lifting from under the attacking leg with your shoulders. #78. Same Attack. As A kicks with the right foot, D dodges the kick by changing BTS from left to right and strikes with his right side of fist A's foot behind the heel, in the direction of the kick. The impetus of the blow added to the momentum of the kick, will make A spin toward his left and present his back to D. The latter retaliates with a jumping side-of-foot kick, either on A's small of back, or on the back of his left knee. A is thus thrown violently.

10.4 HINTS FOR WOMEN Women are, by nature, muscularly weaker than men and, with some exceptions, much less prone to physical violence. Usually, they find it repulsive to hurt someone physically and to resort to violent and severe measures. Any meaningful training for women must take this into account; lack of muscular strength is much less of a handicap to women than this mental attitude. Numerous examples exist of attacked women hesitating to resort to violent measures until it was too late. It is hesitation combined with lack of strength, more than anything else, that makes women vulnerable. Because of this, building conditioned reflexes is perhaps more important for women than for men. They must pay particular attention to the dodging techniques so that they can foil an attack before major bodily contact. If the attacker does not attempt physical contact and asks only for money, or some other relatively unimportant object, a woman often will be better off to part with it, rather than be exposed to attack. However, if such an attack is attempted, her reaction should be immediate, with all the determination at her disposal. She may have only one chance, and hesitation could be fatal. Developing this attitude is the most difficult part of self-protection for women, and no effort should be spared to condition them mentally to this effect. A determined woman fighting all

out will deter many an assailant. Screaming is a powerful tool, whether anyone will hear you or not,, but it is helpful in conjunction with action. Screaming without going into action, particularly if you know that no one will hear you, will do more harm than good. It is appropriate to mention here that there is no secret formula and no pat answer for all situations. As long as a bodily attack has not been attempted, try to act self-assured and relaxed, to try to talk your attacker out of action. Unless you want to deceive him and thus make him more vulnerable to a decisive attack, never let him come close to you or touch you; do so without acting panicky. Keeping your distance is essential. Do not make the mistake of throwing projectiles which can be easily dodged. or which will not incapacitate: you will only succeed in angering him. Eventually you will run out of things to throw, and he will catch you. Do not use your shoes as projectiles, because losing them may hamper your flight; besides, you can use them more efficiently at close quarters. Do not take them off unless they have high heels. The first thing to do, if you are not impeded by your garments and high heels, is to run for safety. If he runs faster than you and is about to catch you, roll, then get up and start running in the opposite direction. You can be prepared for an eventual attack at all times by carrying in your purse a small container of pepper with a snap-on plastic cap. Throw the pepper in his eyes. Alternatively, a small aerosol can any unpleasant spray aimed at the eyes will discourage many an attacker; at the very least it will give you a head start for running. If you have at your disposal a liquid of any sort, including water, throw it in his eyes: this also will create enough of a diversion for you to start running. There are special products on the market for repelling an aggressor, but they are beyond the scope of this volume. Should the above fail, and your attacker comes closer, then you can use any sharp object at all against his face or groin. The eyes are the preferred target. A very efficient weapon is an umbrella used for thrusting. When you strike with a stick or umbrella, use thrusts in preference to ant, other blows because thrusts are more difficult to parry. Remember that a rolled newspaper or magazine may be used efficiently for thrusting, too. It stands to reason that if your hands are full, you must drop everything except the one item which may be used for thrusting. If nothing like that is available, use your shoe heel, not as a club, but for thrusting only.

PURPOSE: The main purpose in creating this web site was to make available the American SelfProtection System to the general public and to the members of the American SelfProtection Association (A.S.P.A.), Inc. in the U.S. and abroad. Even persons without any experience in A.S.P., who do not wish to follow its promotional progression will be able to understand, practice, and benefit from the exercises and information at this web site. Those who wish to progress in A.S.P rank will find the complete program from Novice to Black Belt X. We have adopted a belt ranking system only because of its didactic and psychological value. In order to derive full benefit from A.S.P, one should follow its progression as presented. While A.S.P. techniques taken out of context are quite effective, they lose much of their didactic value in terms of yield and degree of retention. Their progression follows the same consistent philosophy as in earlier volumes devoted to the ancillary programs of kickboxing and stickfighting A.S.P. By involving mans instinct of self -preservation in training as well as in competition, A.S.P. reaches deeper than sports where the object is either to score points by well placing a ball, or winning a race. It also reaches deeper than other overspecialized contact sports because it is so much broader in scope and instead of just lip service, A.S.P. affords its practitioners a real opportunity to involve their minds as well. Combative knowledge is the most spectacular part of A.S.P. but not the most important one. Indeed, one may live all his life without ever being attacked physically, but he has to live with himself every single day. Our modern lifestyles involve interests and activities in numbers and diversity unknown to earlier generations. It becomes rather obvious that any system of self-protection based on self-improvement must afford high yields in terms of efficiency and degree of retention of the acquired knowledge, if it is to reach a large number of people in a world driven by fads. In summation, A.S.P. is a method for developing motor skills, which has been successfully applied to many areas of self-protection. FOUR LEVELS OF STUDENTS: I. Introductory Level (See Novice Red Belt): To assist the student in deciding if he/she wants to take the promotional path, while giving him/her some practically useful self-protective knowledge. II. Basic Promotional Levels: Leading to the rank of Black Belt I, II, and III degrees. This level offers well-rounded selfprotective knowledge, accessible to anyone with modest athletic capabilities wishing to exert him/herself moderately. III. Intermediate and IV. Advanced Promotional Levels: For those wishing to acquire well-rounded self-protective expertise. Intermediate includes Black Belt IV, V, and VI degrees. Advanced includes Black Belt VII through X. The primary source of information for the A.S.P. "Main Program" is taken directly from the following four references: A. Kickboxing - A Safe Sport, A Deadly Defense, by E. S. Baltazzi, Chas. E. Tuttle, Rutland VT, publishers, 1976; second printing 1981; third printing 1984. [OUT OF PRINT BUT AVAILABLE ON-LINE CLICK HERE] B. Basic American Self-Protection, by E. S.. Baltazzi, Evanel Associates. publishers, Northfield, OH, 1972; second printing 1976; third printing 1978; fourth printing 1981. Contains the complete program from Novice Red Belt to Black Belt A.S.P., and was

the official textbook of A.S.P.A., Inc. [OUT OF PRINT BUT AVAILABLE ON-LINE CLICK HERE] C. Stickfighting - A Practical Guide for Self-Protection. Complete Instruction Manual for Men and Women, by E. S. Baltazzi, Chas. E. Tuttle, Tokyo, Japan, publishers, 1983. Contains the complete A.S.P. stickfighting method for sport and self-defense. [OUT OF PRINT BUT AVAILABLE ON-LINE CLICK HERE]. The current updated text available from Dr. Baltazzi is: D. Self-Protection Complete. The A.S.P. System. A Complete System of Holistic Body-Mind Self-Protection. For Mental and Physical Fitness. For Self-Defense and Prevention. For Sport, by E. S.. Baltazzi, Evanel Associates, publishers. Contains all the Official Programs from Novice to Black Belt X degree A.S.P. inclusive.

1.0 INTRODUCTION The origin of all fighting arts is survival and war. Man's deeply ingrained fighting spirit is such that when strife subsides, he finds pleasure in duplicating fighting under more or less safe conditions. He cannot, however, easily dismiss the horror and the killing which are its integral parts. Rationalizing, he tries to guide his fighting instincts toward apparently worthwhile goals. Readiness against aggression is a time honored subterfuge. Thus, the channeling of the fighting spirit and excess energy of youth are at the origin of all combative sports. Through their practice, young people are benefited in the area of general physical fitness and appropriate mental attitudes, learning to accept challenge and face victory and defeat. Physical, mental and even spiritual benefits derived from the practice of sports, have been recognized through the ages and young people of both sexes have been and are being encouraged to practice them. It is in this context that the various warlike arts in which one either uses his own body as a weapon, or weapons as such, became idealized into the various combative sports as we know them today. Their practice has become relatively safe by the adoption of rules of more or less stringent nature. With the progress of civilization and man's increased concern for his fellow man, restrictions aiming toward greater safety were gradually introduced resulting in more or less stylized forms of fighting with or without weapons. Typical examples of such evolution can be found in the comparison of modern fencing to ancient and medieval forms of swordfighting and of primitive all-out weaponless fighting to Graeco-roman wrestling. The main differences among various combative sports reside mainly in their systematic approach to the corresponding knowledge and in the rules adopted to make their practice safe. For instance, men have noticed from time immemorial that poking someone in the eyes, or twisting his joints brought about spectacular results. Depending on a number of reasons, such dangerous practices were either eliminated or stylized for safe practice, according to the often arbitrary requirements of each particular fighting system. It would be naive to consider that any one person or people has invented such elements. For example, many judo, jujitsu, or aikido holds are known in their fundamentals to free style wrestlers; however, much of this knowledge cannot be used in the practice of their sport, because it happens to be prohibited by its rules. Many other such parallels exist. In actuality, it is hard to draw a sharp distinction between a safely practiced fighting art and a so-called combative sport. Much confusion exists in the use of these terms. Such nomenclature should mainly be understood as a cautioning to practitioners against the extent of potential danger.

In recent years, particularly after WWII many oriental martial arts were introduced to the Western World, mainly because of the impression they made on the minds of members of the Allied Forces stationed in Japan. These arts known hitherto under the inappropriately exclusive name of "martial", were transplanted to Europe, Australia, and the Americas where they quickly met with great popularity. In view of this historic development, systems of fighting knowledge imported from Japan were generally considered by the non-initiated as an exclusively Japanese invention. Later, when it was realized that the Japanese did not have the monopoly of such knowledge, Chinese and generally oriental martial arts were incorporated under the "martial" denomination. Today, the word "martial" (pertaining to the Graeco-roman god of war Aries, or Mars) is almost exclusively used in connection with oriental martial arts and sports. Few will accept this term as applicable to e.g., fencing, savate, free style, Graecoroman, Swiss, and Turkish forms of wrestling, cornu-breton, or any other non-oriental combative system. This state of affairs is unfortunate because it creates the wrong impression. The Japanese, Chinese and some other with vested interests in this field, carefully cultivate this misconception which serves them so well. A brief excursion in history will perhaps serve to clarify some facts. Those who wish to keep their mind open will be easily convinced that neither exclusivity, nor superiority exist on the part of the oriental systems. Since the bulk of the population in Australia and the Americas has originated from European immigrants, we shall briefly consider the evolution of fighting arts in Europe. Even the most superficial student of European history will be amazed by the incredible number of fighting arts and weapons used by the Europeans since earliest recorded times. Ample evidence of this may be seen by any casual visitor of European historic museums. The student of European history will also notice that the intermingling of essentially all the European peoples through wars and invasions, and their astounding technological advances tended to destroy traditions related to various forms of fighting as soon as these became of questionable usefulness. Furthermore, the interpenetration of ideas and fighting methods, and the slow disintegration of the rigid feudal structure prevalent in the Middle Ages, led Europeans toward new fighting arts and sports better adapted their needs. Where tradition was somehow maintained, as for instance in the case of fencing, unexcelled mastery was the result. On the contrary, isolation and social thought patterns of an essentially feudalistic society helped many oriental nations such as China and particularly Japan, to maintain their traditional combative systems and to develop from them sports suited to local needs. However, there is no doubt that the elements in e.g., judo, aikido, gung fu, etc. were known since time immemorial. They have only been put together in such a way as to yield systems best suited to local needs at the time of their inception. Their novelty then resided precisely and uniquely in the system and not in its elements. The foregoing should not be misconstrued as an attempt to detract anything from the merits of the oriental and in particular the Japanese martial arts. Far from it. We are only challenging the claims to exclusivity and unquestionable superiority of many exponents of the so-called "martial" arts. Particularly so, since such claims extend not only to a given martial art per se, but also, to the supposedly inherent superiority of Orientals as its exponents. The so prevalent attitudes of granted superiority and infallibility of many oriental "masters" cannot be justified by facts and should be dismissed as braggadocio. Let us repeat, oriental martial arts introduced to the West have several merits which, however, are neither unique nor novel. It is, furthermore, questionable whether they are well suited to occidental, or even to modern needs in general. It would seem that there is room for a combative system better adapted to

the modern way of life. Such is the "Art of Self-Protection" known also as ASP, a new SYSTEM which has been developed with the needs of modern man in mind. WHAT IS ASP? ASP is a self-protection system concerned with man as a whole, since self-protection of the mind, as well as the body, is by far more important than self-defense per se. In order to be practical, ASP is simple and contains little that is vague or esoteric in nature. Since modern man thinks along pragmatic lines and, being solicited by many activities, has little time to devote to any one field, his efforts must be guided toward high yields. For this reason, the techniques developed for basic ASP are simple, versatile, yet efficacious: they build conditioned reflexes through the repetition of a small number of simple motions. ASP teaches also to work with principles rather than with a large number of individual techniques; thus, the type of a given threat becomes relatively unimportant. Furthermore, the defender must be given a very real choice to proportion the severity of his defense to that of a given attack. Many of the recently imported arts hardly take into consideration the legal aspects of self-defense; one may well win a fight, but land in jail, and have to face lengthy and very, very costly legal procedures. The movements of the human body and their combination are infinite in number. Developing intricate and complex systems is, therefore, much easier than developing a simple yet efficient and, for all practical purposes, well rounded selected on a basis of their frequency in the modern world. It also comprises exercises for developing timing, the sense of distance and direction, and the use of the principles of leverage and momentum. Defensive techniques of limited applicability are discarded since ASP aims at the development of conditioned reflexes by repetition of a few versatile techniques of great effectiveness. 1. ASP aims to personal well being. 2. ASP imparts the ability to protect oneself mentally and physically. ASP is a body of systematic knowledge just like wrestling, judo, aikido, fencing, boxing, karate, and savate, only it is better adapted to the modern way of life. Students of ASP are encouraged to study other fighting arts and to compare results in terms of similar efforts. It is this author's belief and observation that the yield of ASP is superior. Other. systems are either unilateral, or esoteric, or vague, or require a lifetime of dedication. ASP can also be used to help others. Let us see first what ASP does not claim to be: It does not claim to be the one and only superior art because no art can seriously claim that. It does not claim that it renders its practitioners invulnerable for this reason: the best art in the world can only give a fighting chance in case of danger. It does not claim to render its practitioners "fearless of no man". Being fearless is a frame of mind independent of fighting knowledge. Besides, it is well known that many acts of bravery were performed by men who were afraid indeed. It does not claim to be an "instant" art to be learned in ten easy lessons. It DOES claim that it can give its practitioners a fighting chance in case of danger as well as any other art, but with considerably better yield in terms of efforts devoted to its study. It claims also that it is better adapted to the needs of modern man. ASP SHOULD NOT BE REGARDED AS A CONCOCTION OF JUDO, AIKIDO, JUJITSU, KARATE, YOGA, ETC., As stated earlier, the elements of these arts were known since time immemorial and no one can claim that he has invented them without considerable lack of modesty and without distorting the truth. Such elements, however, may be organized in different ways to yield different systems. ASP is one of them in its own right. It is not in competition with any other system such as judo, karate, etc. Its goals are distinct and well defined: "To keep in good order the mind-body relationship and to afford a fighting chance in case of danger." These

goals are attained with minimum effort and maximum efficiency. ASP comprises two parts: (I) "Somatic ASP," which studies means of protection against physical attacks and, (2)"Psychosomatic ASP," dealing with the mind-body relationship with appropriate practical knowledge and exercises. and leverage. Blocking techniques are not used since they require strength and destroy relaxation. Rather, ASP makes use of deflections. Throwing and striking techniques, and attacks on pressure points are simple and kept to a strict minimum. Indeed, efficient self-defense requires only a few techniques mastered to perfection. Complexity generates confusion and, therefore, inefficiency. Chokes and locks are dealt with at a later stage. Defense against multi-opponent attacks, attacks from certain animals and techniques for giving help to others are part of intermediate and advanced ASP, which also includes many other aspects of self-protection. ASP Guidelines and Progression Perhaps it will help to better understand ASP if we briefly describe its guidelines and progression. A. Any form of self-protection must consider man as a whole, otherwise it becomes not only incomplete, but also inefficient. As already mentioned, ASP is geared to total selfprotection, including physical fitness and body-mind coordination. B. Man lives in the society of his likes. None of his actions may disregard his responsibility toward his fellow man, no matter who he is. For instance, if one pushes me, I have no right to kick him in the groin. The defender must always proportion his defense to the attack, else he is legally liable. In order to do this efficiently, it is imperative that he be given a choice of retaliations through appropriate conditioning. Naturally, because one could apply a given technique this does not imply that he must abdicate his judgment. C. The best and most efficient bodily, "somatic," self-protection against armed and unarmed attacks is accessible to any whole and healthy individual. This is evasive action. Therefore, the first goal for efficient self-protection is to learn how to dodge an attack. Retaliation, if necessary, is subordinate to this goal. D. In his daily active life man prefers the erect posture to all others. The sense of balance enabling him to preserve this posture is at the same time delicate and essential to selfprotection. Indeed, a good sense of balance increases one's capability of avoiding attacks. Here is a blueprint of ASP progression: 1. Our first concern is to develop coordination, particularly with what is described in ASP as body motion management, that is to say, the use of the body to evade an attack and to position oneself advantageously for retaliation. Initially at least, the latter is mainly achieved with throws emphasizing the use of balance, weight, leverage and momentum. Striking and kicking techniques are deliberately deemphasized. These are studied, however, but mainly as a means to develop coordination and, particularly the kicks, balance "Somatic ASP" in its basic form comprises fifty defensive techniques against fifty different armed and unarmed attacks 2. After this goal is reached, kicking and striking are further studied per se in conjunction with the fullest utilization of the body. The so-called "focusing" is studied at later stages, in such manner that ASP exponents may kick or strike adding the extra dimension of "focusing" only when the occasion calls for it. 3. Means of controlling an opponent with joint twisting techniques and chokes are gradually introduced. Finally, grappling is studied mainly with a view of getting back to the standing position, or making the opponent give up by appropriate application of controlling techniques.* unnecessarily damaging, and even lethal. Against a moving target such as the human body, "focusing" affords little control. If one, however, has learned first to use ordinary kicks and punches in full balance and after he has mastered this, has been trained

in the extra dimension of "focusing", he then has the choice, not only of the target, but also of the type of kick or blow he is going to use. We in ASP believe that this degree of freedom is invaluable. ASP Style 4. An ASP system of physical fitness is incorporated from the beginning of training. Other aspects of self-protection are studied later, and special emphasis is placed on exercises for keeping the body-mind relationship in good order. Means of recognizing people who are potentially dangerous on other accounts than bodily harm are also dealt with. WHAT IS THE DIFFERENCE BETWEEN ASP AND THE "ORIENTAL MARTIAL ARTS"? l. ASP reaches a broader public. Grappling and kickboxing have been purposely left outside the basic promotional program. The homemaker, as well as the fighter can progress, find something worthwhile for their taste and needs, and receive recognition in doing so. Those who are interested in grappling and kickboxing may practice these skills in special classes. 2. ASP is to the martial arts like the new mathematics are to the old. It deals with basic principles leading to a variety of applications, rather than with several individual techniques. *NOTE: Name and insignia filed with the U.S. Patent Office #865,959 March 4, 1969. For this reason, the yield and degree of retention are much higher. Furthermore, the legal aspects of self-defense are never lost from sight. 3. ASP aims at an integral approach. We do not believe that all situations can be handled indiscriminately with PUNCHES AND KICKS alone, with JOINT TWISTING alone, or with THROWS alone, as some martial arts seem to preach. In our basic system we achieve this integral approach in a simple, yet effective way accessible to everyone in good health who is willing to exert him/ herself moderately. 4. ASP offers a practical way to keep the mind-body relationship in good order.

THE FIVE PRINCIPLES EXPLAINED: All forms of fighting with or without weapons, in attack or in defense, rest on FIVE and ONLY FIVE UNIVERSAL PRINCIPLES. It is immaterial whether one fires a naval gun or uses his bare fists. A very common mistake is to confuse these PRINCIPLES with the ATTRIBUTES, or individual qualities, necessary for effective fighting. Such as fast reflexes, strength, good coordination, balance, etc. These vary, not only from person to person, but also for the same person as a function of time. Indeed, one s reflexes and strength are not the same at twenty and at sixty. Sickness and worry can affect him even at the age of twenty, while the FIVE PRINCIPLES ARE INDEPENDENT OF THE INDIVIDUAL AND THE CIRCUMSTANCES, THEY ARE ALWAYS VALID, BECAUSE UNIVERSAL. They are: DISTANCE, DIRECTION, TIMING, MOMENTUM (KINETIC ENERGY TRANSFER) and LEVERAGE. We are explaining them below. DISTANCE: The necessity of judging accurately the distance from which an attack can be successful is obvious, while if one is out of the range of an attack, he does not have to worry about it. Should an attacker misjudge the proper distance of his target, he will reach it only by chance. DIRECTION: When one who is being attacked in one direction, changes the direction of his position as the attack is about to land, not only will he evade it, but he might also place himself so as to be able to retaliate powerfully. For example, an opponent is facing me and attacks with a left jab; if I move my head back as I pivot on my right foot toward my rear left, thus assuming a position parallel to the direction of the attack, I shall be safe from it and able to retaliate. Furthermore, if I am the attacker and I am able to accurately judge the distance and direction of my target, I will be able to reach it with a high degree of probability. This is what a hunter does when he shoots at moving game. TIMING: Proper timing in attack and defense is so obvious as not to necessitate any explanation. At times, good timing gives the impression of speed. MOMENTUM AND LEVERAGE: Both serve to develop power which is then transferred onto the target either in the form of a blow, for breaking a hold, or for throwing an opponent. Actually the term momentum is used

for the sake of brevity. Momentum is the force possessed by a body in motion, impetus. The kinetic energy thus developed is transferred onto the chosen target. The smaller the latter, the more penetrating the result. This is the principle behind the so-called "focused" kicks and punches. As for leverage, all motions of the human body involve it. Even releasing an atom bomb by pressing on a button involves the use of leverage. There are NO other principles governing attack and defense!

FM 23-25 WAR DEPARTMENT BASIC FIELD MANUAL BAYONET WAR DEPARTMENT WAR FM 23-25 BAYONET This manual supersedes FM 23-25, 2 January 1940. Attention is directed to FM 21-7 for details as to how appropriate Training Films and Film Strips are intended to be used and how they are made available for use during training with the bayonet. WASHINGTON, 1943. WAR DEPARTMENT WASHINGTON 25, D. C, 7 September 1943. FM 23-25, War Department Basic Field Manual, Bayonet, is published for the information and guidance of all concerned. [A. G. 300.7 (23 Jul 43).]. BY ORDER OF THE SECRETARY OF WAR: G. C. MARSHALL, Chief of Staff OFFICIAL: J. A. ULIO, Major General, The Adjutant General. DISTRIBUTION: R2, 4, 44 (5), 7 (15); Bn 2, 4, 7, 19, 44 (5); C 2, 4, 44 (10), 7, 19, (20), 9 (2); IC and H 5 (10). (For explanation of symbols see FM 21-6.) 7 SEPTEMBER 1943 BASIC FIELD MANUAL

DEPARTMENT

TABLE OF CONTENTS Section I. GENERAL: The spirit of the bayonet Uses of the bayonet Principles of bayonet fighting Developing bayonet fighter II. POSITIONS AND MOVEMENTS: General Guard High port Whirl Long thrust Withdrawal from long thrust Short thrust and withdrawal Parries Butt strokes and slashes III. GROUP ASSAULT TACTICS: General Group assault tactics IV. BAYONET AND KNIFE DISARMING: General Bayonet disarming Knife disarming V. ADVICE TO INSTRUCTORS: The instructor Conduct of classes Sequence of training Conduct of training Training aids Training in group assault tactics Assault course Bayonet and knife disarming SECTION GENERAL

Par. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26

Page 1 1 2 2 3 4 5 7 7 9 11 11 14 20 21 26 27 29 34 35 37 40 41 57 58 60 I

1. THE SPIRIT OF THE BAYONET The will to meet and destroy the enemy in hand-tohand combat is the spirit of the bayonet. It springs from the fighter's confidence, courage, and grim determination, and is the result of vigorous training. Through training, the fighting

instinct of the individual soldier is developed to the highest point. The will to use the bayonet first appears in the trainee when he begins to handle it with facility, and increases as his confidence grows. The full development of his physical prowess and complete confidence in his weapon culminates in the final expression of the spirit of the bayonet fierce and relentless destruction of the enemy. For the enemy, demoralizing fear of the bayonet is added to the destructive power of every bomb, shell, bullet, and grenade which supports and precedes the bayonet attack. 2. USES OF THE BAYONET a. A determined enemy may not be driven from his position by fire alone. Making full use of cover and concealment, he will often remain in his position until driven out in hand-to-hand combat. The bayonet or the threat of it, therefore, is the ultimate factor in every assault. b. At night, on infiltration missions, or whenever secrecy must be preserved, the bayonet is the weapon of silence and surprise. c. In close combat, when friend and foe are too closely --1-intermingled to permit the use of bullets or grenades, the bayonet is the primary weapon of the infantry soldier. 3. PRINCIPLES OF BAYONET FIGHTING a. The bayonet is an offensive weapon. With it, aggressiveness wins. Hesitation, preliminary maneuvering, and fencing are fatal. The delay of a fraction of a second may mean death. b. The bayonet fighter attacks in a fast, relentless assault until his opponent is destroyed. He takes instant advantage of any opening; if the enemy gives no opening, the attacker makes one by parrying his opponent's weapon and driving blade or butt into him with killing force. c. As the throat area is especially sensitive to attack by the bayonet, an opponent will act instinctively to protect this area from a thrust. By threatening his opponent's throat with the point of the bayonet, the attacker will frequently cause him to uncover other vulnerable parts of the body. Other sensitive parts frequently exposed to the attacker's thrust are the face, chest, abdomen, and groin. 4. DEVELOPING BAYONET FIGHTER From the outset bayonet training will be conducted with constant emphasis on developing proper form, quickness with the rifle and bayonet, footwork, and accuracy. Continued striving for these four essential qualities will develop the coordination, balance, speed, strength, and endurance that mark the expert bayonet fighter. Differences in conformation of individuals may require minor deviations from the prescribed bayonet technique. Those deviations which do not detract from the effectiveness of the individual's attack will be disregarded. --2-SECTION POSITIONS AND MOVEMENTS II

5. GENERAL a. In assuming any position or executing any movement, the bayonet fighter relaxes the muscles not used directly in the effort. He holds the rifle firmly but without tenseness. Tense muscles induce fatigue and retard speed. b. By proper emphasis in training, all movements become instinctive. The bayonet fighter strikes automatically at openings and presses the attack relentlessly. He avoids any fixed sequence of movements. He achieves balance in all his movements and constant

readiness to strike instantly in any direction and to keep striking until his opponent has been destroyed. At all times he watches his opponent's bayonet and body. The positions and movements described in this section are designed to accomplish these ends. c. The bayonet fighter's positions are guard, short guard, and high port. He executes the following movements: whirl, long thrust, short thrust, withdrawal, parry right and left, vertical and horizontal butt strokes, smash, and slash. The beginner learns these movements as separate actions. By training, however, he learns to execute them in varying combinations as swift, continuous actions. --3-6. GUARD a. TO ASSUME POSITION OF GUARD (1) Face the opponent. (2) Leading with the left foot, take a short step and space the feet laterally as well as in depth, toes pointing toward the opponent. Bending the knees slightly, incline the body slightly forward, hips level (fig. 1) . (3) At the same time throw the rifle forward, point of the bayonet moving straight toward the opponent, and catch the rifle with both hands. This movement must be swift and sure. (4) Grasp the rifle with the left hand, palm against the left side of the rifle at the most convenient point forward of the balance, usually just in front of the lower band, with the left arm slightly bent. With the right hand, palm to the left, grasp the small of the stock. To prevent bruising the right forefinger, hold the small of the

FIGURE 1.--Guard. --4-stock so that the finger is not touching the trigger guard. Hold the under and inside portion of the forearm against the comb of the stock, with the base of the butt snugly against the side of the hip. Hold the rifle firmly but not rigidly with both hands, without canting it. Point the bayonet at the base of the opponent's throat. (5) Balance the weight of the body on both legs, ready for instant movement in any direction. (6) Keep the eyes on the opponent's bayonet and body. b. SHORT GUARD To assume the position of short guard from guard, bring the rifle back so that the right hand is at the right hip. This is a convenient carrying position when moving through dense woods, brush, trenches, around buildings, or when the enemy may be encountered suddenly at very close quarters. c. COMMON ERRORS (1) Feet not separated in a well-balanced stance. (2) Hips not facing straight forward. (3) Body too erect. (4) Right forearm not firmly pressing comb of stock against the body. (5) Left arm straight, or bent too much. (6) Rifle gripped tensely, restraining freedom of movement.

(7) Point of bayonet too high. 7. HIGH PORT a. TO ASSUME POSITION OF HIGH PORT From the position of guard, without changing the position of the feet or the grasp of the hands on the rifle, carry the piece diagonally across the body, sling to the front, until the left wrist is level with and in front of the left shoulder (fig. 2) . --5-b. EMPLOYMENT IN JUMPING TRENCHES AND HURDLING OBSTACLES (1) To jump holding the rifle at high port, throw the piece sharply upward and forward from the high port on taking off, and bring it back on landing. This jumping will also be practiced with the position of the piece approximately maintained with the left hand alone, leaving the right hand free to assist in clearing the obstacle. (2) To jump holding the rifle in the guard position, snap it up quickly on taking off, maintaining the grasp of the hands, and start the piece down from the highest

FIGURE 2.--High port. --6-point in the jump. The piece will be snapped down to guard position as the jumper alights. 8. WHIRL To execute the whirl from the position of guard, bring the piece to high port, whirl to the left about by pivoting on the ball of the left (leading) foot, and resume the position of guard. 9. LONG THRUST a. EXECUTION (1) To execute the long thrust from the guard position, advance the rear foot and lunge forward, extending the entire body (fig. 3) . (2) Complete the extension of the body as the rear foot strikes the ground. During this movement drive the rifle, gripped firmly by both hands and guided by the left hand, forcefully in a straight line at the opponent's throat or other opening on his body. Quickly extend the left arm to its full length so that the bayonet darts toward the target. At the instant of full extension, hold the butt of the rifle inside of and pressed against the right forearm, bend the leading knee, incline the body well forward, and straighten the rear leg. (3) Keep the eyes on the point of attack during the entire movement. (4) If the thrust is evaded, move in swiftly with another thrust, or butt stroke. Retraction and recovery after the thrust will be instantaneous. There must never be any lingering in the extended position. (5) The power of the long thrust comes from the arms, shoulders, back, legs, and weight of the body. The distance from which the long thrust is launched depends --7--

FIGURE 3---Long thrust from position of guard. --8-on the reach and speed of advance of the attacker. The maximum distance for each individual is determined by trial at the thrusting dummies. It is imperative for each soldier to know his reach and be able to judge his attack distance accurately so that his thrust will reach the target. By increasing the number of steps, the soldier will be trained to execute the thrust with either foot forward. b. COMMON ERRORS (1) "Telegraphing" the thrust by drawing the rifle back just before delivering the thrust. (2) Thrust made with the arms alone and not with the power of the legs and body. (3) Thrust accompanied by a slight slash, preventing straight forward penetration. (4) Point of bayonet carried too high, or at a lateral angle to target. (5) Butt not braced against inside of the right forearm. (6) Body not inclined far enough forward. (7) Loss of balance, caused by taking too long a step. (8) Leading knee not sufficiently bent. (9) Eyes not on the point of attack. 10. WITHDRAWAL FROM LONG THRUST a. EXECUTION To withdraw if the long thrust has been made with the right foot forward, advance the left foot and jerk the rifle straight back along the line of penetration with the force and weight of the entire body, carrying the body to the rear by straightening the forward leg (fig. 4) . If necessary, maintain balance by shifting the right foot to the rear. If the long thrust has been --9--

FIGURE 4.--Withdrawal from long thrust. --10-made with the left foot leading, bring up the right foot sufficiently to maintain balance, and withdraw in the same manner as above. If the opponent is down, place one foot on him and withdraw. In any event, withdraw instantly, prepare to execute the short thrust or a butt stroke or assume the position of guard or short guard. Do not linger in the extended position. b. COMMON ERRORS (1) Not making the withdrawal vigorously, caused by using the arms alone to make the withdrawal. (2) Not withdrawing the bayonet back on the line of penetration, caused by allowing the butt of the rifle to drop. 11. SHORT THRUST AND WITHDRAWAL a. EXECUTION Being in the guard or short guard position, or on withdrawal from a long thrust, execute the short thrust in the same manner as the long thrust, except that the leading foot is advanced in lunging forward (fig. 5) . The short thrust is used when an opponent is encountered suddenly or at a range too close for the long thrust. Practice will include executing the short thrust with either the right or left foot forward. b. WITHDRAWAL Withdrawal from a short thrust in the same manner as from a long thrust. Upon completion of the withdrawal, recover to the guard position, or execute another thrust or butt stroke. 12. PARRIES a. PURPOSE The parry is an offensive blow to create an opening by beating the opponent's --11--

FIGURE 5.--Short thrust.

bayonet out of the way. It is made by a forward and lateral speed. The lateral movement of the blade is limited to the opponent's weapon clear of your body. The momentum of thrust or butt stroke. The position of the opponent's weapon the parry. The parry invariably --12--

movement of great force and extent necessary to beat the the parry is continued into a will determine the direction of

will be made in the direction that will best create an opening for instant execution of a thrust or butt stroke. b. EXECUTION (1) PARRY RIGHT (a) To parry right from the position of guard, lunge forward as in a long thrust (fig. 6) . (b) At the same time, thrust the piece diagonally forward and to the right by straightening the left arm in the direction of the parry, moving the butt to the right and keeping the piece parallel to the guard position. Keep the comb of the stock pressed firmly against the under and inner surface of the right forearm. Limit the diagonally forward movement to beat the opponent's blade just clear of the body. (c) Continue the parry into a long thrust during

FIGURE 6.--Parry right.

FIGURE 7.--Parry left. --13-the same forward step. As the bayonet strikes the opponent's blade, beating it clear of the body, and at the instant the bayonet glances off of the opponent's weapon, drive it into him in the same continuous movement.

(d) To parry right preceding a short thrust, execute the movement as described above, making the parry just prior to the forward lunge with the forward foot. (2) PARRY LEFT To parry left, lunge forward as in the parry right, thrust the rifle forward and to the left so that the butt is approximately in front of the left groin, deflecting the opponent's bayonet clear of the body (fig. 7) . The parry left is followed by a thrust, or by a butt stroke in case the point of the bayonet is not on a line toward the opponent. c. COMMON ERRORS (1) Failure to use sufficient force and speed, caused by using the arms alone without the weight and momentum of the body. (2) Making a wide sweeping movement, without any forward movement of the piece. (3) Eyes not on the opponent's weapon. 13. BUTT STROKES AND SLASHES a. GENERAL The bayonet fighter does not use butt strokes and slashes in combat when it is possible to use a thrust. But he can use them advantageously in many situations, particularly in close-in fighting when there is not enough room to deliver a thrust or immediately after a thrust that has been evaded. When using a butt stroke the fighter can often knee his opponent in the groin, trip --14-him, or kick him in the legs. Butt strokes and slashes lend themselves especially to fighting in trenches, woods, and brush, or in a general melee when lateral movements are restricted. b. EXECUTION (1) VERTICAL BUTT STROKE SERIES (a) To make the vertical butt stroke from the guard position, step in with the rear foot and, at the same time, drive the butt forward and upward in a vertical arc to the groin, solar plexus, or chin. Put the force of the whole body into the blow (fig. 8). The vertical butt stroke may also be started from a crouched position so as to hit low points on the opponent's body while offering him a small, difficult target. (b) SMASH If the opponent moves backward and the vertical butt stroke misses, step forward swiftly with the left foot (fig. 9) and drive the butt at his head, extending the arms fully forward, and advancing the right foot to retain balance. (c) SLASH If the opponent again retreats out of butt range or falls, continue to advance, slashing diagonally downward with the bayonet. Guide the slash toward the junction of the neck and shoulder, hitting either this point or the head, throat, or arms. If the slash misses (note that a miss brings the movement close to the position of guard), continue the attack vigorously. (2) HORIZONTAL BUTT STROKE SERIES In this series the plane of the rifle and bayonet is horizontal instead of vertical. (a) HORIZONTAL BUTT STROKE To make the horizontal butt stroke from the guard position (fig. 11), --15--

FIGURE 8.--Vertical butt stroke. --16--

FIGURE 9.--Smash following vertical butt stroke. drive in vigorously, advancing the rear foot, and swing the butt diagonally upward through an arc to the opponent's head or body. (b) SMASH If the horizontal butt stroke misses because the opponent has moved backward, deliver a --17-smash, maintaining the butt in the same horizontal position. (c) SLASH If the smash misses, continue the attack with a slash, executing the movement as directed in the vertical butt stroke series. c. COMMON ERRORS (1) Failure to reach out at the opponent.

FIGURE 10.--Slash following smash. --18--

FIGURE 11.--Horizontal butt stroke. (2) The force of the arm and body not in the movement, occurring when the plane of the bent right arm is not in the plane of the rifle and bayonet. (3) Insufficient speed. --19-SECTION GROUP ASSAULT TACTICS III

14. GENERAL a. While actual bayonet fighting is individual, each man must understand from the very first that he is fighting for his organization and not for himself alone. When one body of soldiers assaults the position of another group, none can know which enemy he will engage until the attackers get within bayonet range. No man knows whether he will be suddenly confronted and attacked by several enemies at the same time, or if one of several friends will confront a single enemy. The fighters who have the teamwork, skill, and presence of mind to capitalize quickly on such inequalities will gain momentary numerical advantage. b. If two soldiers, suddenly confronting one of the enemy, are able to put him out of action in a few seconds, they can quickly turn on another opponent. Such systematic assaults occurring in the first critical seconds of meeting in hand-to-hand fighting may reduce the enemy's initial strength by many men. In another few seconds these tactics can operate with annihilating effect on the remainder of the enemy. However, if assault groups lack a prearranged system of team attack, a single enemy --20-can hold off a pair of bayonet fighters for a few seconds, by which time one of his comrades may rush to his assistance and end the two-to-one advantage which existed. c. To be effective, group assault tactics must be simple and flexible, since it is impossible to predict what the exact situation will be until the opposing fighters are within a few paces of each other. Movements are fast and automatic, for the quickness and turmoil of hand- tohand fighting will rarely permit verbal coordination of attack. 15. GROUP ASSAULT TACTICS a. TWO AGAINST ONE (1) APPROACH Two bayonet fighters, part of an assaulting echelon, approach a single enemy. Since these fighters cannot know what the opponent will do, they cannot plan for coordinated action at this stage. Hence they advance directly forward on a run, neither one converging on the opponent. (2) CONTACT As the fighters get within bayonet range, one of them initially will be opposed by the single enemy. The selected man advances upon him in a frontal attack.

--21--

The other man quickly advances until opposite the opponent's flank and then turns sharply to strike his exposed flank or rear. (See also figs. 12 and 13.) (3) ALTERNATIVE ATTACK If the enemy turns suddenly toward the flanking fighter to fend him off, he thereby exposes himself to the fighter making the frontal attack. This man strikes instantly.

In any such coordinated attack, the man who makes the kill usually is the one who is not closely engaged with the enemy's bayonet (fig. 14). The entire operation is carried out in a few seconds. The approach, contact, and attack flow into one continuous assault. --22--

FIGURE 12.--Group assault tactics, two against one--the approach.

FIGURE 13.--Group assault tactics, two against one--contact.

FIGURE 14.--Group assault tactics, two against one--alternative attack. --23-b. THREE AGAINST TWO (1) APPROACH

Three attackers approach two of the enemy. At this stage none of the three knows who will be engaged initially by the enemy. They advance directly forward at a run.

(2) CONTACT As they get within bayonet range, two of the attackers will normally be engaged by two of the enemy. One attacker is thus left momentarily free. He continues directly forward until opposite the flank of the nearest or most accessible enemy, at which point he veers suddenly toward that enemy and strikes him in the exposed side, as in the two-against-one maneuver. The other two attackers maintain their frontal attacks. With one enemy disposed of, the other enemy is struck in the flank by the first free attacker who can reach him. If either enemy being attacked on his flank turns to defend himself, he leaves himself open to the attacker making the frontal assault.

--24--

c. TWO AGAINST THREE In a situation where two bayonet fighters are confronted by three of the enemy, they dart to the flanks, leaving the enemy in the center the last to be encountered. When one of the attackers has disposed of his opponent, he immediately attacks the remaining enemy.

d. ONE AGAINST TWO Where two of the enemy confronts one soldier, this man darts forward and immediately turns to the flank of one or the other enemy. Under no circumstances does he permit himself to he caught between them. By moving quickly to one side or the other, whichever is more expedient, he keeps the nearer enemy between himself and the farther enemy, and concentrates on disposing of one enemy at a time.

--25-SECTION BAYONET AND KNIFE DISARMING IV

16. GENERAL a. The soldier who in combat becomes unarmed because of a lost or useless weapon, is not helpless. He does one of two things: he immediately secures another weapon, any weapon, and continues to fight; if this is not possible, he disarms his opponent and kills him with his own weapon. b. The temporarily unarmed fighter reacts just as aggressively as if he were armed. With his eyes, his brain, and his muscles he gets set for a timed, close-in attack. The time is that instant when the opponent has charged, or committed himself to a thrust from which he is unable to recover or to counter the unarmed fighter's sudden maneuver. c. The basic principles in disarming are: (1) Do not "telegraph" or give away the intended disarming movement to the attacker before he charges. (2) Whatever the movement used, use it at the last possible moment and at top speed. d. The disarming movements described herein are simple maneuvers. Through training they become instinctive. --26-If the soldier does not immediately succeed in wresting the enemy's weapon from him, several supplementary attack movements may be employed effectively. Such movements include-(1) Kneeing him in the groin and kicking him in the knee, shin, or instep. (2) Hitting him with the elbow, fist, and heel or outer edge of the hand on the face, throat, neck, or solar plexus. (3) Jabbing his eyes or throat with stiff fingers. (4) Suddenly throwing anything at the eyes of an armed attacker, as he closes in, that will distract him momentarily and provide an opening for the disarmer. 17. BAYONET DISARMING a. FIRST METHOD With the right hand, parry the opponent's bayonet to the left at the same time side-stepping to the right. With the left hand, palm up, grasp the rifle between the bands. Then with the outer edge of the right hand, strike the inside of the attacker's left elbow and grasp his upper forearm. Keeping a firm hold on the rifle, move quickly past the attacker on his left, jerking the rifle up and backward in an arc over his shoulder. If he still retains his hold on the rifle, kick and hit him, yanking the piece loose; whirl, and attack him with the bayonet. b. SECOND METHOD With the left hand, parry the opponent's bayonet to the right, at the same time side-stepping to the left. With the right hand, palm up, grasp the rifle between the bands. Then with the left hand, palm down, grasp the receiver and jerk the piece sharply up and backward in an arc over the attacker's --27--

FIGURE 15.--To disarm an opponent, following a right hand parry. --28-shoulder. Keeping a firm hold on the rifle with both hands, move quickly past the attacker, twisting the rifle out of his hands; smash him with the butt, or whirl and attack him with the bayonet. 18. KNIFE DISARMING a. GENERAL To disarm an opponent armed with a knife, the basic actions are to deflect the knife and immediately apply pressure, or a blow, to cause the attacker to release the knife. The disarming movements described are those which the soldier uses to meet a right-handed attacker. For a left-handed attack, the directional movements of the disarmer are reversed. b. OVERHAND ATTACK With the left forearm, block the knife arm before it becomes extended. The forearm is bent at the wrist to prevent the knife arm from slipping sideways. Bring the right foot forward, driving the knee into the groin, or, if that is not possible, stepping past to protect the front of the body. Carry the right forearm under and behind the opponent's upper arm and grasp your left wrist with the right hand. Backward pressure will cause the opponent to drop the knife and will probably break the elbow. c. UNDERHAND ATTACK Side-step quickly to the left outside of the thrust and knock the knife arm to the side with the left forearm. With the right hand, grasp the opponent's right wrist, and at the same time bring pressure on the right elbow with the left hand or forearm. As the opponent's wrist is twisted, the left hand continues to put pressure on the right elbow from above. By placing a leg in front of the opponent's nearest --29--

FIGURE 16.--To disarm an opponent following a left hand parry. --30-leg, you are in a position to kick out the leg and throw him to the ground. d. AGAINST OTHER TACTICS Against a knife fighter who does not use overhand or underhand thrusts or slashes, but moves his weapon in swift arcs in all directions, disarming tactics are extremely difficult if not impossible. Against such an opponent, it is best to keep out of range of his blade and to attack him by throwing anything at his face and kicking at his knees, meanwhile keeping alert for an opening to get inside the range of his weapon.

--31--

FIGURE 17.--To disarm an opponent who uses overhand attack. --32--

FIGURE 18.--To disarm an opponent who uses underhand attack. --33-SECTION V ADVICE TO INSTRUCTORS 19. THE INSTRUCTOR a. The instructor should have a good physique and be able personally to demonstrate all the positions and movements. He must possess an intense enthusiasm, vigor, and those qualities of leadership which will inspire the best efforts of the men being trained. These qualities, or their lack, will be reflected in the efforts of the men. b. The instructor impresses upon the men that the bayonet fight may be the culmination of a gruelling advance or a determined defense under conditions when men approach exhaustion. Therefore, throughout the training, he emphasizes continued driving forward with the bayonet by sheer power of will even though the body may be ready to collapse. c. The instructor avoids boisterous, bullying, impatient methods. He uses a clear, earnest, and encouraging delivery to secure alert and willing response. d. The instructor does not use or encourage the use of profanity to instill fighting spirit. He encourages --34-spontaneous yelling but does not demand forced yelling. Noise is no substitute for enthusiasm of ability. e. Men must be in good physical condition before commencing bayonet training. Further conditioning is progressive. To obtain best results the instructor does not permit the men to become unduly muscle-sore. f. Explanations and demonstrations are concurrent. They are brief and clear. The instructor and assistants first demonstrate at full speed; then at slow motion, broken down and analyzed so that the details of the movement are clear to the pupils. g. The instructor stresses speed, balance, timing, and judgment of distance. Since tenseness counteracts all those qualities, he emphasizes relaxation of muscles. h. Each man must think and act for himself. Therefore, the instructor avoids the harmful practice of turning bayonet work into a drill. Training by command should be used only at the start of the training. As quickly as possible, training should be by coach-and-pupil methods, in order to insure eye and muscle coordination, without command. i. Teamwork is instilled in the men during instruction in group assault tactics and on the assault course. (See pars. 24 and 25.)

20. CONDUCT OF CLASSES a. MASS FORMATION A mass formation; preferably of not more than 200 men, may be used during training in the fundamentals of bayonet technique, positions, and movements. The formation is similar to that used in massed calisthenics except for increased distances and intervals between --35-men. This formation will frequently be found advantageous in order to utilize the services of an instructor of outstanding qualities of leadership who can imbue a mass with enthusiasm and effort. Trained assistants aid in making corrections. Backward men are taken out of the formation for additional instruction. b. GROUP FORMATION (1) For bayonet training in platoons or smaller groups, the men form in two ranks at normal interval. The instructor designates one man in the rear rank as "base man," who immediately assumes the position of high port. The instructor then commands: 1. form for bayonet training, this man (pointing) base, 2. MOVE. At the command move, the base man assumes the guard position. The remainder of the men of the rear rank run to the right and left, respectively, to secure 3-pace intervals, face to the front, and assume the position of guard. Each front rank man runs by the shortest route to a position about 10 paces from and immediately in front of his rear rank file, whirls about, and assumes the position of guard. While moving to positions all men carry rifles at high port. (2) To assemble the group, the instructor commands: 1. assemble, 2. MARCH. At the command march, the base man originally designated assumes the position of "attention." All others form on him at a run and assume the position of "attention." (3) To form for more detailed instruction, being in two ranks facing in as described in (1) above, the instructor stands at one end of the formation and directs the opposite ends to close toward the center, producing a three-sided formation. This position is suitable for conducting a conference or demonstration that can be --36-seen and heard by the entire group. Upon completion, the instructor directs "Back to your places." c. EMPLOYMENT OF TRAINING STICK As soon as working knowledge of positions and movements has been learned, either in a mass formation or in platoon or smaller group formations, the men continue to practice working in pairs as coach and pupil, using the training stick. (See par. 23d. ) In handling the training stick, the coach is speedy and aggressive. He moves fast in offering logical targets at proper distances and avoids restricting the pupil's freedom and vigor of movement. He is on the alert to detect and correct errors made by the pupil. The coach-and-pupil method permits individual instruction, provides variety in the frequent interchange of duties, and affords an excellent means of developing coordination in both coach and pupil. (See FM 21-5.) d. QUICKENING EXERCISES Five or ten minutes devoted to quickening exercises at the beginning of training periods relax the men and help to develop coordination of muscles used in bayonet combat. The exercises may include boxing, wrestling, personal contests, and group games involving teamwork. (See FM 21-20.) Calisthenics are not recommended for this purpose. 21. SEQUENCE OF TRAINING The following sequence is suggested at the beginning of bayonet training. Periods should not exceed 50 minutes.

a. FIRST PERIOD (1) Lecture: Spirit of the Bayonet. (2) Positions and movements. --37-(a) Guard and short guard. (b) High port. (c) Whirl. (d) Long thrust and withdrawal. (e) Short thrust and withdrawal. (3) Practical work under centralized control in mass formation or in platoon or smaller groups under assistant instructors. b. SECOND PERIOD (1) Review previous lesson. (2) New movements. (a) Vertical butt stroke and return to guard. (b) Horizontal butt stroke and return to guard. (c) Parry right, thrust, withdrawal; against each other advancing; repeated on the run. (d) Parry left, vertical butt stroke; against each other. c. THIRD PERIOD (1) Review previous lessons. (2) New movements. (a) Vertical butt stroke series. (b) Horizontal butt stroke series. (c) Thrusting at swinging dummies from a halt and from a walk. d. FOURTH PERIOD (1) Review previous lessons. (2) Training sticks--introduction. (3) Thrusts and parries with training stick--coach and pupil--without scabbards. (4) Thrusting at swinging dummies from a run. --38-e. FIFTH PERIOD (1) Review (practice thrusts and parries with the training stick). (2) Butt strokes with the training stick. (3) Group assault tactics--two against one--with scabbards. (4) Parries and thrusts at dummies from a run. f. SIXTH PERIOD (1) Review all movements with training stick. (2) Group assault tactics: (a) Two against one. (b) Three against two. (c) Two against three. (d) One against two. (3) Assault course, at a walk. g. SEVENTH PERIOD (1) Review. (2) Assault course, at a run.

h. EIGHTH PERIOD (1) Review. (2) Assault course, at a run. i. NINTH PERIOD (1) Disarming, bayonet and knife. (2) Assault course, at a run. j. TENTH PERIOD (1) Review disarming, bayonet and knife. (2) Assault course, at a run, with pack and haversack. k. Continuing and repeated periods of bayonet practice --39-are necessary to train and keep the bayonet fighter in condition. These periods should follow the basic training outlined above. Twenty minutes of practice during 3 days of each week are required to maintain form and physical perfection. Emphasis during such periods will be placed on assault course practice and other training procedures of a varied and vigorous nature. 22. CONDUCT OF TRAINING a. Front sight covers for rifles so equipped will always be attached for bayonet training. b. The pupil first practices movements in slow motion, rather than by the numbers, to acquire form and precision. He then increases his pace in order to develop progressively greater speed and aggressiveness. c. Initial training in parries includes the actual parrying of an opponent's piece to acquire a sense of distance, force, and timing. The men work by the coach-and-pupil method in two ranks. Both ranks have rifles with bayonets fixed and scabbards on. The instructor directs the coaches to thrust at half speed. The pupils, in the other rank, parry right and thrust, or parry left and thrust, or butt stroke at half speed. After practicing for about 1 minute at will, the instructor directs the coach and pupil to reverse their relation. He supervises and controls the exercise to detect errors, to avoid sparring tactics, and to give equal practice to both ranks. He limits this exercise to brief periods only. d. As soon as men attain a degree of proficiency in positions and movements, they use the training stick. Its purpose is to give the soldier a small target which --40-he can attack with speed, force, accuracy, and aggressiveness without endangering the coach. The pupil uses the bare bayonet so that both coach and pupil will become accustomed to seeing it. e. Training on the swinging dummies emphasizes judgment of distance, balance, and force. The instructor stresses full extension of the body and piece to attain a maximum reach. f. Practice in group assault tactics and on the assault course develops the essential element of teamwork. g. Throughout bayonet training the instructor trains the men to see and strike instantly at any opening, thus developing coordination between eyes and muscles, and mental and physical alertness. He combats all tendencies toward tense, mechanical, plodding motion and slow reaction to sudden situations. h. Instructors may improvise training techniques which will assist in developing the essential qualities of the bayonet fighter and add them to the training procedures outlined herein.

23. TRAINING AIDS a. DUMMIES Dummies of various types should be constructed as an aid to training. (1) Thrusting dummies can be made by pressing suitable materials, such as cane, willow, bamboo, swamp grass, or small brush, into a rectangular form approximately 36 by 12 by 9 inches. This material is bound together with wire or rope, a heavy cardboard placed on one side, and the bundle covered with burlap or other suitable material. --41--

FIGURE 19.--Thrusting dummy. (1) Dummy in fixed frame. --42--

(2) Swinging dummy and frame. (May be made free-swinging for advanced training by disconnecting anchor.) (2) Suggested frames and their specifications are shown in figures 19, 20, and 21. (3) Where the construction of thrust dummies is required in large quantities, some mechanical method of construction should be improvised. For details of construction of a hand-power press, see figure 22. (4) Details of construction of the vertical butt stroke dummy are shown in figure 23. (5) The horizontal butt stroke dummy is made by stuffing heavy cloth or burlap bags with some light material --43-such as straw or old rags. For details of construction, see figure 24. (6) Additional dummies for use on the assault course, and suggested types of obstacles, include those shown in figures 25 to 35, inclusive. (See par. 25.) b. SWINGING DUMMIES When the techniques of the long thrust and short thrust have been learned, the men practice thrusting at paper disks or

FIGURE 20.--Parry and thrusting dummy. --44--

FIGURE 21.--Movable thrusting dummy (with ground frame). --45--

FIGURE 22.--Press for construction of thrusting dummies. circles painted on swinging dummies. Groups consist of not more than six or eight men per dummy. They remove scabbards and proceed as follows: (1) The soldier scratches a takeoff line on the ground for the first few thrusts. He makes a full extension of --46--

FIGURE 23.--Vertical Butt Stroke dummy.

the body and rifle in a correct long thrust, to determine the proper location of this line. The position of the leading foot is the location of the take-off line. He discontinues the use of the take-off line as soon as he learns the range of his thrusts, since its continued use will cause him to concentrate on his feet rather than on executing a proper thrust. (2) The soldier first executes the thrust from a halt. He then executes it after advancing several paces. He gradually increases the distance and speed of advance. Finally, he makes the advance at a run from a point about 20 paces from the dummy. When he is about 5 paces from the dummy he assumes the guard position before executing the thrust. He advances in a practical --47--

FIGURE 24.--Movable horizontal butt stroke dummy (with ground frame). --48--

FIGURE 25.--Prone dummy to be attacked.

FIGURE 26.--Individual prone shelter with prone dummy to be attacked.

FIGURE 27.--Fox hole with exposed head. To be attacked by a thrust. --49--

FIGURE 28.--Hurdles to be stepped over.

FIGURE 29.--Log balance and horizontal ladder.

FIGURE 30.--Fence vault. --50--

FIGURE 31.--Wall scale.

FIGURE 32.--Ditch jump. --51--

FIGURE 33.--Tunnel crawl.

FIGURE 34.--Double apron fence. and natural way, without regard to which foot is to the front when making the thrust. (3) After mastering the procedure outlined above, the soldier will execute a long thrust at one circle and one or several short thrusts at other circles in quick succession. c. WITHDRAWAL BOARDS (1) The instructor uses withdrawal boards to teach the --52--

FIGURE 35.--Surprise dummy, to be hung from any tree limb along the assault course. This dummy is to be attacked by the soldier at the moment that it is dropped in his path. More than one such dummy may be used. --53-use of the weight of the entire body in making a withdrawal when the bayonet has become tightly imbedded. (2) The boards may be any pieces of lumber 1/2 to 1 inch thick, 4 inches wide, and 11/2 to 2 feet long, placed on the 4 by 4 swinging dummy uprights by nailing or screwing the lower end of the board to the upright aboutfeet from the ground. (3) The pupil inserts his bayonet, scabbard removed, between the board and upright. The coach presses the upper end of the board so that the bayonet is clamped. The difficulty of withdrawal illustrates the necessity for proper technique. d. TRAINING STICK (1) The training stick is made from any light piece of wood about 6 feet long and 1 inch thick. One end is padded with cloth or waste; a 5-inch loop of stiff rope or insulated thick wire is attached to the other end. (a) When the coach places either end of the training stick on the ground, the pupil immediately assumes the guard position (fig. 36(1)), and threatens the coach with his point as long as he is close enough to attack. The coach then offers either end of the stick in varying positions. (b) If the ring is presented, the pupil attacks either with a long or short thrust, as indicated by the distance between his point and the stick (fig. 36(2)). If the ring is holed, the withdrawal is made and the position of guard resumed, or the attack continued if another target is offered. (c) If the padded end of the stick is thrust at the pupil (fig. 37(1)), he executes a right or left parry (fig. 37(2)). Care will be exercised that the coach does --54--

FIGURE 36.--Ttrusting at ring of training stick. --55--

FIGURE 37.--Thrusting at padded end of training stick. not swing the stick into the pupil. If sweeping movements are made with the stick, the pupil will probably develop a sweeping parry. (d) If the coach presents the padded end of the stick, the pupil delivers a butt stroke at it. If this is a miss, he comes on with a smash and slash until he hits the padded end. As soon as he hits it, he resumes the guard, or continues the attack if the coach continues to offer a target. (2) To develop the pupil's accuracy in hitting a target, the coach initially lets the pupil penetrate or strike the target. As the pupil attains accuracy and speed, however, --56-the coach draws the target away to cause the pupil to miss. The coach then quickly places the target to indicate the next attack. Whenever the pupil pierces the loop in a thrust or strikes the padded end in a butt stroke, he automatically assumes the guard position, ready to continue the attack. (3) For parries, the coach holds the training stick at the loop end in the manner of a pool cue, with the padded end toward the pupil. The coach stands about 12 feet in front of the pupil. Guiding the stick initially with his left hand, the coach thrusts the padded end directly at the pupil's head or body, lunging forward as he thrusts. The pupil parries the stick in the most expedient direction. The coach immediately follows up by presenting a suitable target for the attack which must follow the parry. 24. TRAINING IN GROUP ASSAULT TACTICS a. GENERAL Training in group assault tactics will not begin until the soldier has become proficient in bayonet technique. The men practice group assault tactics in groups of three and five, with fixed bayonets covered with scabbards. The movements are gone through as in actual combat, except that the represented enemy is struck lightly, simulating the actual killing blow. Individuals who simulate the enemy in group assault practice will not take the offensive, but will remain on the defensive in order to illustrate plainly to the attacker the principles and tactics involved.

When the enemy (or any attacker) has been touched on the body by the opponent's bayonet, he drops to one knee --57-and remains out of action until that bout terminates. After the principles have been learned, the men rotate so that each fights in every position several times. Initially, practice will be at half speed, emphasizing position and coordination. When the men acquire these essentials, they accelerate the pace to top speed. b. SEQUENCE OF TRAINING Group assault tactics will be practiced in the following sequence (see par. 15): (1) Two against one enemy. (2) Three against two of the enemy. (3) Two against three of the enemy. (4) One against two of the enemy. 25. ASSAULT COURSE a. PURPOSE A qualification course requiring the execution of fixed sequences of movements to achieve a score in points as an indication of proficiency of the bayonet fighter has been eliminated from bayonet training. Assault course practice incorporated in the sixth and subsequent periods of training (see par. 21) accomplishes the following: (1) It provides practice in bayonet fighting under conditions approximating combat conditions. (2) It aids the bayonet fighter to develop speed, strength, and endurance. (3) It offers a challenge to the soldier's determination and will power which are so essential in combat. (4) It provides a means of instilling habits of group action and teamwork in assault tactics. (5) It furnishes a gage of proficiency in bayonet fighting. (6) It provides a means for maintaining a state of proficiency --58-by continued periodic training, including practice after hours. b. DESCRIPTION (1) Assault courses should be laid out on rough terrain, preferably wooded. The length of the course may vary from 200 to 300 yards. The number and type of obstacles on the course will depend upon local conditions and the ingenuity of the builder. The builder should make effective use of natural obstacles, such as streams, ravines, ridges, and thick woods. He should improvise artificial obstacles, such as trenches, ditches, craters, wire entanglements, fences, log walks, hurdles, and horizontal ladders. (2) Targets should consist of logically placed dummies, preferably movable, so that the course can be altered frequently. The builder should place surprise targets at various points, and suspend dummies from trees to swing out as the attacker approaches. He may hinge others to swing out from behind trees or thickets. He can build thrusting and butt stroke dummies with 4- by 4-inch timbers, set into boarded holes. He can move the dummies by placing similar holes at different points on the course. He should include several targets for employment of group assault tactics. (3) The course should have six lanes, permitting one-half squad to run the course under the squad, assistant squad, or other designated leader. c. RUNNING THE COURSE

(1) Because of variations in local terrain and differences in the placement of obstacles and dummies, there should be no fixed time limit. The soldier first runs the course --59-at a moderate pace, and increases the speed as his technique and physical condition develop. (2) The instructor insures discipline and organized control. He designates one man in each assaulting group as the leader, and the group operates as a team. (3) The instructor and his assistants will he stationed along the course to observe the methods of attack and to make corrections, when necessary. 26. BAYONET AND KNIFE DISARMING a. Practice in disarming methods will not be undertaken until the soldier has had thorough training in bayonet fighting, since the instinctive movements and basic principles of bayonet fighting form the basis for disarming techniques. This practice will follow the initial training in group assault tactics and in running the assault course. b. The instructor should first conduct practice in bayonet disarming with scabbards on; or in the case of knife disarming, with empty scabbards or sticks representing knives. As the men gain proficiency and confidence, they will practice with bare blades. c. The skill and speed necessary in the execution of disarming tactics will be acquired through frequent practice periods of brief duration. However, since disarming is an expedient rather than a basic method of combat, time will not be devoted to this training at the expense of training in bayonet fighting. --60--

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