“HAND TO HAND COMBAT FOR AMPHIBIOUS SCOUTS UNITED STATES NAVAL AMPHIBIOUS TRAINING BASE — : FT. PIERCE FLORIDA GULBRANSON, CAPTAIN USN . | COMMANDING OFFICERPREFACY This manual has doen prepared as a guide to the. Band to Hand Combat course tangat the Anphibious Secut. Tho saterial contained herein, is primarily dexived froa the combat fore of the Ten Shin Shinyo Ry vyetex of Jin Titers Zhe student who expects to de successful in hand to band cozbat cust saintain @ phystcully fit tody and an alort mind. Se must practice until he has gained real speed and precieton in the execution of those forno and should review frequently to raintaie bie skill. Box- ing and Jin Jitsu should not be considered rival eystene of fighting. They aupplenent each ether perfectiy and the sxart atudent of hand to hand combat yil) acquire a knowledge of both, Itoto to de noted that Jiu Jitsu is core than an unrelated minber of done breaking holds. It io a ethod of fighting based upon the principles of loverage, tistng, nonentux, equilitriua, vital touches, and above all, the principle of non-resiatance or the taking advan- tago of the opponent's efforts. Tha student should prac- tice the tricke beth right and left handed with the above principles constantly tn sind. when profictoncy hae beon getned re vill find that he Ls atle to, in.any aituation, inetinctively derive his own trick. different than those contained in this manual, but based on tho anne principles and every bit as gacd. X wish to exprove ny thauxe to Liout. Colonel Linwood Oritfin, USA., for his holpfel criticies and for hie preparation of the chapter on Kaifo Fighting. Cz Ce: Captain, U. S. Savy ConzandingBRIEF KISTORY OF JIU JITSU Tho Japanese trace the origin of Jiu Jiteu dack to the Mythological Ages and give various stories te account for it. It 49 generally credited that during the Ming Dynasty in China, the srt wae introduced from that country to Japan. There exists in North China today, a syste: of self defense that seoxs very closely relatee to the Jiu Jiteu practiced by the Samurai. It seens quite evident, however, that it's per- fected form ic due entirely to Japanese efforts. At the close of the feudal ora in Japan, the best known schools scattered throughout the empire were! Shimnet Sakkawateu Ryu, Ryolehinto Ryu, Arato Ryu, Kyushin Ryu, Kito Ryu, Atayama Ichiden Ryu, Kiralu Ryu, Sekiguchio Rya, Tenehin Shinyo Ryn, Yoshin Ryn, Takenouchi Ryu. Tose systems were based upon practically {dentical principles, though sonetine: applied in a different manner. The most highly accredited of these achools was probably the Tonehin Shinyo Rya. The basic principle or aim of the old schools was to gain control over an armed or an unarmed assailant. This "control" consisted - of a very ovident threat to life or list so as to bring about a surrender of the opponent. The control was to ve gained, if possible, without injuring the opponent. If necessary, how- ever, he was to bo injured or killed to gain the control. When Adniral Perry opened up Japan and modern civil~ ization and fire arms were Introduced the instructors began to lose their pupils and Jiu Jitsu vas rapidly becoming a for- gotten art. In 1882, Baron Jigoro Kano originated a new school of Jiu Jitsu thet he called Judo or Jiudo. This method vas evolved dy taking from and modifying other systens and is based upon almost identical princtples as certain schools of past ages, Kugusuka, Tawara, Kumuichi and Kempo. Jt elabor- ates upon Tda Juteu which was a part, but far from being the whole, of the older schools of Jiu Jitsu. Jindo ie taught primarily as a sport, and av a method of physical an¢ mental culture. It concentrates on tripping and throwing (Tia Jutsu). The dangeroue leverages and dlovs are not stressed, and are not taught to the student until ne has spent a num- der of years mastering the throws. Jiudo as a sport has be- come very popular. It has practically displaced sil other aystens of Jiu Jiteu and has become 60 well known that the very vord Jindo is now used interchangeably, though mictaken- ly, with the word Jiu Jiteu.TABLE OF CONTENTS FALLS AND ROLIS : Preliminary Exercises sss eee ee ee Te OWOU RAIN wong cos) rier etree i Side Falls. 2 ee ee ee tt ee ee Back Fold ve ee ee ew es Regaining a Standing Position... + «+ Falling with a Rifle... + eee ee eee Throw #1 Oinage "Toss Overhead"... +. ~ Throw #2 Sukui. "Shoveling" . eel ae Throw #3 Ude Makikomi “Arm Twiet™ . » . DaPENSE AGAINST WEAPONS Defenee 1 Pistol held tn front. eee ee 1B Defense $2 Pistol held in front out of regch ss - + + + + eo 20 Defense #3 “Pistol held to left of spice. . ++. +e ee eee Defense # Pistol held to right of sping... e+e eee ab Defense #5 Pistol held low on spine.. se eee ee ee ee ee 2O Defonse $6 Overhand blow with club- +e eee ee ee ee ee OT Defense #7 Hifls . ay eee ee, ha aye e8, Defense ¥6 “Underhand slash vith knife. 6.5 eee ee ee ee 32 Defense #9 Bayonet Thrust-. ee see ee ee ITAL agmas Ate Mi "Vital Touches® 2. Mathode of Delivering Blows... see Weapons of Opportunity ee ee he ee KICKING Back Kick 2.2 - eee eee 51 Front Kid. ee ee te ee ee eee et ee Block #1 Low Kicks 6 ee esr ee ee ee eB Block $2 High Kick © es ee ee et ee ee ee in Block #3 Kicks When om Back sss eee te ee ee ee ee BO Block #4 Kicks When on Side or Face... se eee eee ee 5B gHOKES Choke #1 Akoncra "Phunb to the Throat! se ee ee ee eo Choke #2 Hikkoshi Xeage “Tossing By Drawing Hip... + +++ ob Cho! Mawari Iri "Bounding with lapel"... + e+e eee OS Choke #4 Ushiro Zims “Down Behind” . . wae a ee i Tz he Choke #5 Hadaka Snime “Strangling Naked". - ©. 6+. 0+ + Kateu "Vivication® . 6 ee ee eesTABLE OF CONTERTS PAGE Back Chok® oe see ee ee te OD Graspod from Behind»... - + +s ees aro eo Graeyod from Behind’. - + +++ ++ = Se 2782 Front Choke + + eee ee ee eee Sicts) os Front Choke». ese te ee fe ee oie. Bb Front Choke se eee ee ee Rone 186 Bear Hog. ss + secs + elie vensoua ee a, (89) Grasped Wrists Dio Te’ “*Hand Release” + + 90 are eet sea 2 + 92 te ee OM 26 9 Eacapo $13 Grasped Wrists. . 6 6 eee eee ee aaa Becapo #12 Kant on Cheat oe eee eee ee ee ee ee VII COMBAT FORMS | Form #17 2 eee tee Bonding and Grasping a Wrist 2. ee eee te eee ee eo 200 Yorn $1 Xote Gaishi “Hand Turning". © 6 66 ee ese ee © 302 Form #2 Kote Gaiehi “Hand Turning’. <6 1 eee + es ee © 102 Form $3 Kata Makiktoni “Shoulder Wheel"... - - + - ++ + 204 Form # Kote Oaishi *Hand Turning", 6. ie ee + eee + + 205 Fors #5 Hiki Maki Udo *Palling are Twist™ ©. 6... . 5 208 Porm # Tengu "Goblin's Gript. . . . 2 ee e Evaro: e108. Yorm #7 Taka fo Dori "?aking Arm Up High"... . sie AlO Form #8 Kate Otoshi "Shoulder Dropping"... - + eee dd Form $9 Kata Otosni. “Shoulder Droppingt .. . . - wo B18 | Porm #10 Kata Otoshi "“Snoulder Dropping" « . «+ + sie ena ' Form #11 Ude Ho Ma “Under the Arn”... e+ + + + eee au | Form #12 Heart Blows - - +e ee eee ee ee eee . Form #13 Takabasani “Taking Hold Up High". . . « + wee MO ea Form #13 Ude Ord “Arm Lock”... Se ee ee ar ee Ale! | Form #15 Ude Pri *arm Lock". © 26 ee ee ee = ns aD Form #16 Ude Ori “Arm Lock". 6s se eee eee oe + 6 120 | Bie irc s rere eves ¢ 221 VII DYING A PRISONER Moop Kiet 25 aes an cia etine sehen die sts eels is 1040). Mawa Koke “Ropingy§ 220s ec ete ete eae e ee Ik CLUB PIGHTIEG Holding a O1U 2 ee ee ee ee yp ee i er Graapi$2 oso) 6 socio eo iy oe sie oe oe ol ats eS Grasp 93. +»Attack #3 Hatchet”: - «+. Attack #2 Knife . eos + eos Attack #3 Club + eee ee Attack #4 Piano Wire + - Attack #5 Baro Hand Attack Attack #> Two Han Attack. « * QUIPE FIGHTING i Enife Fignting.. ses 6%Caution! Because of the dangerous aatuce of Jia fits all possible precautions must be taken to prevent in- jucy while studying the art. don sign is two guick pats on your The submi If both Aonds are tied up own or your partner's body. two stampsion the mat. When @ hold becomes painful give the submis- sion sldn. Be expecially coutious of elbows, as they’. will anap without much prefiminary pain. Release a hold inmodiately when the subais- sion sign is. given. Practice alf holds slow motion, Do not be- come excited and apply » hold with a quick jerk er snap. . Do’ net resist a hold when it is being prac- ticed on you. Cooperate with your partner so that he may fearn the proner techaique ond da not try to enter into @ contest with him. Speed is developed through the eliaination of lost motion by perfecting the technique. It is not developed through trying to do a trick ‘fagt’.MAUCHI "HOW 0 FALL WITHOUT HURT +The force of a fall 1s broken by turning the downward force into a rolling force, and by beating the wat with the stiffened arm and the soles of t feot. Boating tends to rebound the spins before it hits, and provents the instinctive placing of tne © hand to catch oneself wnich could result in a broken wrist. Beating witn the flat of the feet helps broak the force of the fall but it is usually preferable to crocs the lege as an aid in quickly recovering an up- right position. A person skilled in falling can take m hard fall on: concrete eidewalk with no more injury than @ atinging of the arms and feet TEACHING TIPS Tell the student to dest six inches from his nips. It 18 seldom that he will do $0 end it 1s sat- jafactory if the arm beats further out, even up to a ninety degrae angle from nte body. Phe effort to deat closer will improve nis fors. . Insiet that the hands ate turried in when going into a forvard fall. hie will help prevent sprained wrists. Ae the student gains proficiency and takes longer dives he will tend to point hia fingers forverd, There will be no berm to this now. Training must be progressive with the student building up to ths narder falls. Do not forca a aan deyond Ais capabilities or the result will be a sprained. shoulder, or even & sprained or broken neck. “> When throwing a man release hin for an easy. fall and hold onto him for e hard fall.PRELIMINARY EXERCISES Turn a number of simple forward somersaults keeping the head tucked in and the body rolled up tight. Lay on the back and bring the hands together about six inches above the stomacn with the arms held etiff. Strike the mat with the palm and arms about six inches from the hips as hard as possible. This should be a rebounding blow the arms returning to their former position. Lay on the right (left) side and roll onto the back beating the mat with the left (right) arm. Lay on the back twist up onto the left hip. Cross the right leg over the left and stamp with the flat of the right foot outside of the left knee. At the same time beat the mat with the left arm. Alter- Rate to the right and left.FRONT FALL Place the hands on the mat vith the fingers turned toward each other and touching. Tuck the head’ in tight, chin pressing against chest. Turn a somer- ault by springing forward making first contact on the vack between the shoulders. Hepeat the above arching the back beating with both arms and stamping with the soles of the feet. Repeat springing forward a little further end progressively dive over greater spacesPlace the right foot forward. Put tho right and left jands close to the inside of the right ankle. fuck the head well in, force both hands back and lift up on the left leg. You will fali into a roll that ie partly straight forward and partly to the right side. Beat with the left arm and stamp with tho flat of both feet. Repeat epringing forward a little further and progressively dive over groater space.BACK FALL - Sit down, zoll onto the back and beat with oth arms and stamp with the feet. Arch the back and Keep the head tucked in. Sit on the heels and repeat. Stand up juap ‘back and repeat.REGAINING & STANDING FOSIT LON The fest may either be stamped to help bréak the force of the fall or may be placed in suck a posit- fon that they"aid in recovering an upright position. As you fall, bond your left leg at the knee so that your left ankle ts under the imee of your-ex- tended right leg. The force of the fall will roll you up into_a standing position. Turn to the left on the alls of your feet as you roll up s6 that you are fac ing the person who threw you.FALLING WITH A RIFLE Hold the rifle in the "Port Arms® ‘position. Raize it slightly and tuck it in close to the chest. By tucking in the head it will now be possible to nake forward and aide falle as outlined before. The deatings-with the arme in thie case must be diafonsed with, Hold the rifle ia the *Fort Aras" position run forward lean down and oxtene the arms ao as to drive the butt of the gan into the ground. Fall in- to a prone position on your stomach breaking the force of the fall by supporting your weight on the ~tfle. . 5TRROW $1, OINAGE "TOSS OVERHZAD" Knael on your left knee. Your coapanion ttanding behind you, places hie right arm over your right shoulder, Grasp his right hand with your lett and hia right shoulder with your right hand, Pull down on his arm and lean forward so a8 to throw him over your head- Youlare standing ané your opponent grasps you from behind, his arms over yours. Lift your arms so ac to loosen his grip and at the sane tine reach for his right-hane and-shoulder, drop to your left knee and throw him ax above. Master the throw as given above and thon start using the right foot to kick back on the op- ponents right-ankle when aaking the throw.THROW $2, SUKUI "SHOVELING. Grasp your opponent's right elbow with your _ left hand and his left shoulder with your right hand. Aw your opponent pushes you or rushes inte you plant your left foot and keeping both legs perfectly wife ait down, Keep the legs at a ninety dagree angle and perfectly stiff and allow.the right leg to swing cut- aide of and behind him. Pull down on hia right elbow and push up on his left shoulder and throw him over » your left leg.2 THROW $3, UDD - MAXIKOMI "ARM TWIST" ¥row-your opponent's right side grasp bis right hand with your right hand and pull his arn ecrose your cheat. Pass your left arn under his right arm to thy back of his neck or grasp hie left coat -"~ 2apel. Throw yourself onte your back to that your head is just in front of his foot. With s firm twist- tng hold on hie right hand, force your opponent over your body to your opposite side. CAUTION: hie is an extronely hard fall.TEFEKSE AGAINST VEAPOXS The defence of an unarmed man against one who is armed can be divided into two @istinet steps: Firet the block.or di verting the weapon and Second the wounter- attack. The block or divereion requires specd and prectsion which.can only come from continuols practice. The counter-attack follows the lock as rapidly and with as much econony of notion as possible. Usually several differ- ent counter-attacks are possible Considerable tine should: be spent practicing the blocks and diverstons only. When the countereattack: is practiced, care mustibe taken that the block ts stl] clean- ly done and isnot, slighted in the eagerness of making the, counter-attack. In the following forms it is as- aunaed the weapon ie held in the right hand. 1716 DavENsy #1, PISTOL HELD IN FRONT Raise your hands as ordered. Do not extend thes any higher thas necessary to satisfy hie demand, The wppor arm- should ba horizontel, elbow on the same level as the shoulder. Watch his eyes. When he shifts his eyes from yours slap down bard against the knuckles of his gun hand with your open left hand, diverting the gun to his left. At the same time pivot your body to the left. After striking inutently grasp his hand.COUNTER-ATLACK i You ere holding his right hand with your left. Drive your right hand onto the ack of his hand and twist it back and out- ward applying Form #1. i Alternate counterattacks would be Form $8 or to pul) his arm across your chest.” end apply the arm leverage desertbed in : Becepe #12. 1320 DEransz $2 PISTOL HELD IN FRONT BUT OOT OF BEACH Xf your opponent holds the gun well back out ‘of reach but extends his left arm to frisk you, elap his left elbow with your right hand so aa-to turn his body to his right. COUNTER-ATEACK . With your left filet deliver a blow to the bage of hie ckull and quickly step be - hind him, Resch both hands under his right arm, grasp hie gunhand and pull it up into the center of his back into a hamuer~Lock. Here the @iserming takes place. Hit him over the head with the pistol or continue as deacrited in Form #b.2:22 DSYENSE #3 PISTOL KELD 1H BACK IN GENTZR OR TO LEST OF SPINE ‘ : Mfurn to the right bringing your right elbow back and down as you turn so a6. to strike and aivert his gun arm. Hold the upper arm vertical as you turn. Inmediately graep-his right hend with your right. a COUNTER-ATTACK, ~ Deliver a dlow with your left fist te the bago of nie akul] and perform Porn #5. This la an extrenely advantageous position and there are many Alternate counter attacks possible: : Tarow #3 (Af the pistol has been dropped) Porn #6 Yorn #7 (possibly) “Fora #8° (very’ good) Porm #1 Becape #12 7 sil2324 Derensz gh : ee. PISTOL HELD IN BACK TO RIGHT OF SPINS Turn to, your left bringing your eft elbow back and down ae you turn so as. te strike and divert his gun ars. Hold the upper arm vertical as you turn. Innediate-_- iy grasp his right hand with your left. * COUBTZR-APTACK fee Deliver a right heel of hand blow to hie Jaw or a fist blow to his throat. With your right knee strike his testicles and then. step behind his right leg with your right. Continue as deocrited in Zscape #8. An alternate counter-attack would ve to pass your loft ars around his gunarn . and perforn the arm leverage described in Escape $b.25DEFENSE #5 PISTOL HELD VERY LOW IN BACK “Tura right or left as appropriate © straightening the arm and diverting the gun with your fore arm. : COUNTER-ATTACK . Same as for Defense #3 and pl. 26DEFENSE gb OVERHAND BLOW WITH & CLUB OR RNIB esp in withiyour right fore-urm-held horizontally and atop the jotting his descending wrist contact your fore-arn. Instantly slide S Pignt hand down and grasp his right hand. COUNTER-ATTACK Ig you have caught hie arm up high defore the blow is fully develop- se yse the arm lock described 4n Porn #15- a If the blow is further developed and his arm is lower use Form #7 or be counter-nttacka listed in Defence #3 for a pistol hold to loft of spine. weDEYENSE #7. : : RIFLE IN FRONT Your opponent holds his rifle with or without vayonet at hip level on hie right side. Hie left hand mais is extendad‘iinder the barrel and hie right hand grips at the triggsr. Pivot your body to the left so as to be outside cf the line of fire. Slep dova vith your right hand atthe end o f the barrel] to divert the muz- 2le te his Lefts Graop the aurzie with your right hand fingera on top. and thumb underneath. RIFLE IN BACK Pivot your bedy to the right and divert the end of hie rifle to hie left with your right arm. Use the arm ao described in pistol defenses, diverting with uppor arm if rifle is high and ty straightening the arm if low. Graep the wuzule with your right hand, fingers on top and thunbd underneath. 28 “DEFENSE $7 + (Continned) COUNTER-ATTACK (co Stpp in quickly and grasp the tutt of the rifle-behind his right hand with your left, fingers on the Dotton, thumb on top. Jork the rifle toward you to'straighten his arms. Swing your left hand holding the butt upwards and your right hand hold~ ing tho mugele down so as to twist the rifle from ibis grasp: “Deliver a knee blow to hin testicles with the right. knee, Smash the gun butt into hie face and jump back out of reach, covering hia with the rifle. * An alternate counter-attack vould be to step vehind him with your left leg and trip him vackwards over it by pressing againat his upper vody as-you twist the rifle from his grésp. Use the rifle butt or bayonet on him ae appropriate when he is down.3bursts $6 8 UNDERWAND JAB OR SLASH WITH KNIFE 4 Sideetep and pivot to the left sd that you are outelde of your seponents arm and his jed pacses in front of you, At the aane time strike 4 hiv right yrist with either hand 60 ae to further divert the blow. Inetant.! dy grasp hia wrist. : COUNTER-ATTACK If you have caught his hand with your left use the ease counters i attacks as in Defense #1. "I If you wave caught his hand with your right use the same counter. attacks as in Defense #3. . Ty you have fully perfected Block ¥3 against kicks so that yon can} throw yourself down it will provide an excellent defense against: @ Hen uelng' a knife in @ cautious manner. 4DBFBYSE #9 BAYONE? THRUST Stdestep and pivot to the left #o that you are outaide of the jet end the thrust passes in front of you. At the saze tine strike the oot ene Darrel with elther hand ac as to further Avert the thrust. RS COUNTER-ATTACK Same ac Defonse #7. If the opponent 1s ranning at you it 1s well to try to push the end ‘gf tho Darrel down Bo that the bayonet digs into the ground. hia shonld tear fhe weapon fron hie grasp especially if you are thon able to grasp toward the Jott an¢ 11ft up on it. The eituation here is too variable to detail further Recorter-attacks. You should be in an advantageous position to gain possession (Ge the woapon or attack hin from the rear. sl 33Ag - MI "VITAL TOUCHE! 4& "Vital Zouch" fe.any blow or preseure that cnuses "pain, injury or death, Vital Touches are given with the little fingar edge of the hand, the open palm, the heel of the hand, the stiffened finger, the knuckles, the head, the shoulder, the eltox, the knoe, the heel of tha foot and the toss of the foot. Blown can also te given with a stick or club. Vital touches ‘are used for two purposes, Firsti tho disabling of an opponent and Second: as a means of releasing oneself fron © disadvan— tagecus hold. On the charte and-in this text the lettered spots are those that fall primarily tn the first group and the nunber- ed spots those that are used primarily in the second group.METHODS OF TELIVERING "VITAL TOUCHES" ‘Bago of Hand. Thiv is a cutting'or chopping blow. given with the little finger edge of the open hand. Strix- tng area is batween the wriet and the bese of the little finger. The edge of the hand, can be toughened ty pounding on hard objects. Heel of the Hand, Thin blow is given in the same manner as an uppercut Dlow in boxing or by driving straight from the shoulder. The hand is held bent back a hard as possible. The heol of the hand can te toughened by pound- ing on hard objects. : Piet. Fist blows are given with the upper finger joints, the hand being tightly ‘doubled up with the back of it ina line with the upper arn. Fist blows are more effect- tve if some small object is held in the hand.such as a onal) stick or a handkerchief with your loose change tied up in it. Je X je. Clench the hand letting the knuckle of the niddie finger protrude, Freas the thumb against the lower joint of this finger to reinforce it. This blow is ‘ueod for gouging 6 szall ares. Wedge Knuckle. Hold the hand with the upper finger Joints in @ line with the back of the hand, the lover Joints being clenched under. i Straight Finger Jab. Let the tvo adjoining fingers overlap the middle finger on the inside, Slightly bend al) three fingers until the finger tips are at the sane level, Use on the solar plexus, armpit and throat. Front Elbow. Tightly clench the fist and double the lower am against the upper orm. Hold the elbow up high at the eane level as the shoulder. Swing the oldow like @ fier, Back Ziboy. Striking area is the back of the el- bow. The foreara is held at a ninoty degree angle to the upper ara and the hand {6 held ogen and rigid. Front Kick. Deliver with the tee of the shoo. If wearing light canvas shooe or if barefoot kick with the ball of the foot. Back Xick. Deliver with the bottom of the heel. Stamping. Stamp with the back rim of the heol.SINGLE KNUCKLE FRONT ELBOW BACK ELBOW404tshe c. F. 42 Zemples. Hard blow with the muckles or point of a stick or. club. Bffoct: Pain, injury, death. Hara. Concussion blow given with the pains of the lightly. capped hands, delivered to both sara simul~ taneously. 5 Effects Unconsctovsneso ‘and death. Upper Lip. Bdge of hand blow directed-up and back Girectly under the nose close to and against the upper lip. Bffecti Pain, injury, death. Throat. ‘The vagvs nerve and carotid arteries run up Doth sides of the windpipe end are most vulnerable high up under the angle of the jaw bone. An edge of hand blow or pressure as from a choke 1s used. Bffect: Pain, unconsciousness, death. Adans Apple. Bdge of hand. blow or pressure directly over the proninence of the adanc apple. Bffects Pain, injury, death, Deforns the larnyx, raking speech and breathing difficult or imposaldie. Lower Throat. Thumb pressure or straight finger Jab directly back into the hollow of the throat just under the adams apple and just over the saddle of the breast bone. Bffects Pain, injury, desth. Foart. Heavy crushing blow just to the left. of center of ths chest with the fist, knee, foot, elbow or club. Bffects Pain, unconsciousness, death.a. Soler Plems, A deep penetrating blow as from the stiffened fingers or the point of a stick just under the center bottom of the chest. It is preferable out not essential to deliver the blow when the opponent exhales. Bffectt Pain, uncensotousn death. + and in rare cases, Touticles. Any Kind cf heavy emashing dlow or by - squeezing with the hand. Effect: Pain, unconsciousness, death. Knee Cap. A shattering blow with the toe or heel of the shoo or a clubs Bffect: Pain and complote disablement of the leg. Poot. Stamping with heel or a club on the top arch ‘of the foot. Fi R€fect: Pain ond complete disablenent of the foot. Back of Neck. A rabbit punch with the edge of hand %o the exact center of the back of the nack. This must be a slanting downward blow. Bffect: Unconsciousness, paralysis, death. Backbone. A heavy smashing blow or kick or 8 csub ‘anywhere on the spine especially just at hips level. Effect? Unconsciousness, paralysis, death. Kidneys. Any kind of blow or concentrated pressure @bout an inch and e half each side of the backbone and on about the level of the belly button. Effect: Pain, injury, unconsciousness.a4 10. nl. 22. 13. as. 16. lv. THB FOLLOWING POINTS ANZ ATTACKED ‘ PRIMARILY BY QUICK HARD GOUGES In and up undor the frontal vone over the eye. Prominence ‘of the cheek bone. Bridge of the nose. Knuckle or sdge of hand blow. Hinge of the Jaw bone. Gouge or edge of hand dlow. Under the ear in back of the Jaw bone. = On front bottom of chin in line with dog teeth. Breast Bono. Teats, Pinch and twist. Inside showlder muscle under collar bone gouging froz front egainst shoulder joint. Armpit, Gouge or straight finger jab. Ineide upper arm. Grazy bone. Knuckle blow or gouge: « Both sides prominence of forearm auscle. Gouge or edge of hand blow. Wriet where tho pulee is taken. Gouge outward (thumb side} against bone. Wrist, ona of bone on little finger side of wrist. Pinch muscle between thumb and first finger. igh up between thumb and first finger. Pressure againet upper bone of first finger.1. 19. 206 Bde 23 a 2. 2b. er 32. Back center of tho hand between the first and second fingera. Straight finger Jad or edge of hand blow directed in and up under the lower rib, at ofdes and cides of front. Along the fold of the groin above ths testicles. - Along the inner side of the upper leg ts a cord that can ‘be gouged fron crotch to knse. It i moat vulnerable up high on the leg and then again about tvo inches above the knee and towards tha-front of the leg. High up on the inside of the upper leg. Slap, pinch, and twist. 7 Arch of the foot, top and @ little to the outeide, Between the toe bones avout an inch above the ba: the to. (Half. way between the ankle bone and the heel on the in- side of the foot. 7 Just under the ankle bone on the outside of the foot- On the inside of the leg sbove the ankle bone press from back eide forward against the shin bone. Prominence of the calf musclo and again atout one third of the way up from the bottom of the calf muecle. Going around to the beck from the Kip bone about four inchas and about two inches lever down. pecially | Knuckle massage anyvhere along the backbone, lower down, Prominence of the suscle that runs between the’ shoulder and the neck. Half way detweon the shoulder and the neck just to the back of the top. Prossure or edge of hand blow. An edge of hand blow will cramp the head to one aide. ‘ Close against the side of the neck gouge down in back of the collar bone. This spot is used in resuscitation.WEAPONS OF OPPORTUNITY Short Stick. Find a stick about six inches long and about three-quarters of an inch in diameter. Grasp tho stick so that it projects about one-half inch beyond the hand on each side. Hit with the ends of the stick. A fist blow delivered while holding the etick will be much more solid than a Dlow without the stick. Your opponent will find it difficult to get the stick away from you as it is not long enough for him to gracp. If he graeps your wrist to stop a blow, twist your hand #0 as to drive the end of the stick into the back of his hand. Hold the stick with one end in the palm of tho hand and the otner end projecting out in the sane direction and beyond the fingere. Jab into the eolar plexus, armpit and throat. Magarine. Roll a small magazine up tightly ané use in the same manner at the short etick. Sock, Remove a sock and fill it with sand, earth, a sani rock oF your loose change. Spud. Seoop up a handful of sand or dry earth and tarow it in your opponents eyes. Gigaretter. Break open several cigarettes and gather the Loose tobacco in your hand. Throw this into your oppon ents eyes. . Beer Bottle. Grasp a beer bottld by the nock and break it over your opponents head. After bresking it Jab hin in the eyen end throat with the Jagged end. Chair. A light chair held by the back and seat ie an effective shield against a man with a knife. Hold it as a shield and jab him with its legs. Helnet. ‘Throw your stool helmet inte your opponents face. Belt. A heavy Delt such as is worn by Marines is help ful in clone in fighting. Deudle it up short and swing the Reavy buckle 7 Imagination. Use your imagination and you will be able other common objecte that can be used with deadly effect.ee ~ ANCIEN? VITAL ‘TOUCH CHARTS OF THE TEN-SHLN-RYU ayeR 7 BACK X1CE Your opponent tukos e.step forward to deliver a blow with his fist. Take a stop backward with your le¥é foot and turn your body uideways to your left. Lean etdevays to your left until your body ts horizontal or nearly oo, Lift your right leg and double it ap, balancing on your left leg. Deliver s forceful kick to your opponent's kneecap with the bottom of your right heel. This kick vill shatter his knescap. “6152 FRONT KICK 1 Stand with your right side toward yout ‘opponent and raise your right foot up Alongside your left knes. Kick at your opponent so that the toe of your shoe strikes up under his kn cap- Kick at your opponents testicl with the arch of your foot. ‘Theie aro whiplash kicks with your foot returning to it’s starting pos— ition as fast as it was kicked out,Ra BLOCK #1 LOW KICK Your opponent kicks at you. Tou have anticipated his kick and see 1t coming from the start. turn slightly to the left and ex- tend your right leg with the foot turned sideways. Allow your opponent to strike his ankle against the hard edge of your shoe as he kicks.BLOCK #2 HIOR KICK 7 Your opponent kicks at you. Side. atep or dodge hio kick and graep hia kick~ ing foot from underneath with either or both of your hands. z Lift hie leg until it ts hortzon- tal ang deliver o kick to his testicles with the toe of your foot. After kicking him pues hie foot up as high ap you can above your head, 80 that he falls onto the tack of his nead. 55Re BLOCK #3 KICKS WHEN OM BACK You are on your back and your opponent ap- proaches toward your feet to kick you, Twiet up onto your right bip and hook your right foot behind his right ankle from the outside. Prive the heel of your left foot against nis right knoscap. This will shatter his knaecep and knock bin down.From a standing position have your companion extend his tight ara, holding it rigid.’ Grasp his hand with your left, sup- port your weight on it ac you drop to your right aide and perform the above trick. Repeat the above taking'a short ron into it. : ‘ Repeat the trick without using your companions supporting arm. Run, throw youreelf down and trip. °BLOCK #4 KICKS WHEN ON SIDE OR FACE You are on your hands and knees. Your op- ponent approaches ‘from your head or side to kick you, “Grasp the back of his neel with your bends and drive your shoulder with force against hie knee. Try to-hit @ little to the side of front on hie knee- fais will knock your opponent down and will possibly badly strain his knee.Of your back or stomach when your opponent appronehes from your side or head, endeavor te grasp his kicking fost and roll your body up onto his leg to knock him downsCHOKES ‘Mme carotid arteries and the vague nerve run up. each side of the wind.pipe and are most exposed high up un-_— der the angle of the Jawbone. ‘Jin’ Siteu chokes exert pressure on the arteries and nerves. To a-tertain extent they choke-off,the air, but this ie secondary. Pressure on the arteries stops the flow of Blood to the brain. Pressure on the nerve slows the heart action. A properly applied Jin Jiteu choke will render « man unconscloas within tan seconds. Choking an opponent while standing in front of him le generally inadvisable as you are wide opan to counter- attack. One front choke is described that is considered practical because of ite extreme. severity. The opponent is fendered unconectous nearly instantaneously and hns but little tine for, counter-attacle. 6364 cHoxs #1 ‘ Akenona "Thuch in the Throat*. Graep the lepels jof your opponents coat collar with each hand, your right hand to the left of his neck, your left hand to the right of his neck, your thumbs pointed down end your fingers inside of hie collar. Tho holds should be taken well back, 1f possible, witn only sbout two inches betweon the hands at the, back of the neck. : Straighten your arme with a jerk as though to pull your hends apart at the back of bis neck. Allow your thumbs to be forced inte the hollov in the throat just above the breast bone by your effort in straightening your arna. As o prevention against 0 kick and to add to thie trick, spring off the ground and get a sciesore around your opponent's waist. ‘Give a sharp.equeeze at the bottom of his ribe as you straighten your arme and quickly reguin your feet before he collapses: conn weaned6sG6 CHOKE #2. a { Mikkosht Keage "Kicking up or tossing by Drawing Hip". Prom in front of your opponent reach arcund in beck of his neck in such a way that his head is back of your armpit and his body 4s in front of you. Ginsp the hand thet haw this head lock with the other hand to enforce the pressure or ~ reach down end grasp his belt in the tack. Place your foot on his abdouen or high on the inside of his leg, fall beckward,, kick upward throving hin on over you retaining yourheld on his neck. Follow, hin on over with your own ‘body close to his to cone down with your knees astraddle of hin. With the momentum you have gained from your double backward gomersault Jerk up strong- ly on hia head and twist it so ae to treak his neck. Thie trick is especially applicable when your opponent rushes you with ais head held low. ‘67cHoKs #5 Mavari-Iri "Rounding with Lapel". Fron in front of your opponent grasp his left lapel, well back, with your right hand, ‘thumb inside the collar. Place your left © hand on the back of his right shoulder or grasp high on his right arm, Push on your right hand end pull on your left hand so that you spin him around in front of you. Your right arm will curl around his throat end his back will be to you. Pass your left arn under his left arm and up to the pack of his head. Press with your left hand and pull with your right to choke him. After passing your left arm under his you can reach across his chest and grasp his right coat lapel instead of placing your hand on the back of his head. Pull down on his right coat lapel and back around on his left coat lapel to choke him,cHoxa #4 Ushiro-Zime “Down Behind". From behind your opponent, pase your right arm over bis right shoulder, in front of hie throat and under his chin until you can Feach your right hand with your left from over hie left shoulder. Grasp your right hand 20 that your left hand is undernoath and the palas together. Bring your left elbow well down into the middle of his back. Preae your head against hie head and exert the leverage that you have against hie throat. Kick hard against the back of -one of his-kneee and push so that he will eink to the ground. As your opponent goss down drop to your left knee and plece your right knee ip the middle of his back to.act as a counter leverage against your choke.7CHOKE #5. Hadaka Shine "Strangling Naked". From ‘tehind your opponent pass your left arm over his jeft shoulder, in front of his throat ’and under his chin. Make eure that his neck Ss up snug in the tend of your el- vow. Extend your right arm over his right shoulder. Grasp high up on your right arm with your left band. Bend your right arn and piace your right hand on the back of your opponent's head. Place your forehead against.your right hand. Push with your hand_ana forehead so as to force him against your: left arm for the choke. Kick the ‘back of his Kies so as ‘> to force him to the ground and place your knee in his back for a counter leverage. encesce)KATSU "VIVICATION*. Instructors of Jiu Jiteu are required by the traditions land ethice of the art to taach resusitation to their students at the time that the dangerous chokes and vital touches are taught. The accepted form of resusitation fn thie country is the Shasfer Frone.method of Artificial Respiration. A system of re~ susitation that has been used for centuries in conjungtion with the practice of Jin Jiteu is given here. Tho author has seen this succassfully used a number of times, Thie isnot, however, an accepted form of. resusitation by the sedical profession of thie country. Doctors with whow the author nes discussed this have expressed the opinion that they do not swe why lt ehowld work but thet 4t can do no harm to an uncon- scious person. RAIXO SLI¢TZNING" KENSEI "RESTORING "THE DEAD". Raize the victim to a sitting position and stand in back of hin. Give gentle taps with the knee over the seventh dorsal vertebrae (between the shoulder blades). Frecs the thumbs deoply into the pectorallarch. ‘This is the hollow space in back of the collartons which 48 very pronounced when the shoulders are hunched forward, Practice on yourself to find the spot which ts in back of the collarbone close up alongside the neck. When you hit the right spot you wil) feel sharp pain in your armpit. Pho thumb is forced in with a tendency to reach in unde: the collarbone and the fingers of ench hand extend over the chest in front. Put your mouth close to the victin's ears and shout into nie ear. ARTIFICIAL RESPIRATION COMBINED WITH KATSU. It 1a possible to combine the Jiu Jitsu system of mech- anical stimulation of nerve centers with the accepted form of re~ susitntion used. in this country, the Shaefer Prone method of Art- ificial Respiration. Proceed with artificial respiration in the normal aanner- When you release the pressure you have exerted to force his ox- nalation reach up and tap the seventh dorsal vertetras. Do this without, spoiling your timing instantly returning your hands to nor- mal position for the next presoure. After your next release use your time to locate tha pectoral arch. Next period gouge into the pectoral arch and shout in his ear. Next period tap the seventh @orsai again. Ifyou have holp your companion can apply the nerve etisulus whlle you Concentrate on the artificial respiration.BSCAPZ #1°- BACK CHOKE. Your opponent, standing behind you is choking you. He has you bent well backward off balance and has his right » bs eS Eo sme LOOP KHOF Pase the loop © partly around the stick %. Grasp the rope & and pave it throngh the loop C making Joop D, Furl on ond B vo eimech it. Orasp the rope B and page t through loop D making loop ¥. Pull on end Ato cinch tt. Place stick Yon top of stick Z ao that the ends A and B are on ono sido of it end the loop Eon the other. Grasp tho rope 4 end paso it through loop 3 to fore loop ?, Pull on B to cinen it. Paes the and 3 completely through loop F and pull oa end A to Lock St, The ebicke ¥ and Z are, of course, representative of anan's wrists. This knot cen be kate with groat spood with a little practice. \ a Ny p 2 125TaNQU' “GOBLINS GRIP". - With your opponent on hie stomach, etraddlo hin, facing hig head. Hold his arns in a double hamier-lock and force your knees up under his-eras. By raising your hips, you will bring pressure to bear on his arms with your mpper legs. You ean now let go with your hands, 9°. There are many ways of getting your opponent into this position and they are described in other parte of this book. The advantage of this position is in tying a prisoner. Both your hands are free to do the tying. Your prisoner's hands ‘are im position in front of you to be tied. Your opponent fe easily controlled by pressure from your legs against his arms he struggles hit him in the face with one of your free hands and pring additional pressure to bear on hic arns. It NAWA KAKS “ROPING". A strong light cord about two fathone long, fe suitable for this work. With your opponent held in the "Goblins Grip" tle nis - weiots together with the locp knot using the center portion of your cord. You will now have two long onds left. Pass“ one ond around the front of your prizoner’e throat, end back under his tied wrists. Drew up on it so that his arne are pulled up and his head back, adjusting the preseure so thet he ie not choked unte: he etraggies. Secure the end of it. You can now helv your prii oner to his feet and lead Him away with your second long end. If you wisn to Leave your prisoner, pull up one of hie legs and take @ round turn and half hitchse around hie enkle with your second long end. 12627HOLDING AS? LIGE? CLUB. * - > : tricks we wilt cali - One end of our ‘stick the Handle and the other end the point. Practice giving the stick'a short flip"trém”dne se?asp_and catching it in sa‘altornate. graep. Gras : : With your right hand, knuckle side up, grasp the stick so that the point aid about one fourth of the stick exténds out from the little finger side of your haha and ths handle ‘with the greater length extends out from the thumd wide of your hand. Grasp $2. Hold the stick in graep #1 with your right hana, kuuckle eide up. With your left hand palm side up grasp about one fourth of the way from the handle ond. Grasp #3. With your right hand knuckie eide up grasp the stick so that the handle and about one fourth of the stick extends out:from the thumb side of your hand and the point with the greater length extends out from the little finger side of your hand. (31Swing the handle end up over your left ehowlder. Spring in Lash’ down to strize your opponent's shine ahd, opring ‘out ogain. Swing the handle oad up over your left shoilder. Spring tn and BE strike at your opponent's neck and side of hia head with the handle end. Swing the handle end up over your left shoulder. Swing it as though you were going to strike his head with the handle end. Instead jay him with the point in the eyes, temple or throat. Ae you swing your opponent attompts to block your blow by grasp i ing your right wrist. Pass the point end of the atick over hie wrist. Pass your left hand under your right arm and grasp the point, the knucklew of Four hand being up. You nov have a powerful leverage on your opponent's 7 Yeist. Swing both hands down hard to break hie wrist and pull him forvard .; off balance. Reise the stick and strike him scroag the tack of the neck with the handle end. - B2i From behind your opponent pats the handle end of the stick from his E eide acroop in front of his throat. Hit him hard-on the right aide of ack with your thumb as you do so. Pass your left hand over hiv left fides, palx side up and grasp the handle end of the stick in Grasp #2. fg. the elbow of your left-arm down into the center of his back and press the of your head against the back of his head to choks him. 133STICK HELD IN GRASP. #2. Hold the stick -horizonte2 in front éf you and’ uso it as a block against the opponent's knife ‘or ‘club,.)” With the club held horizontal the center of » “at” can be thrust into:the opponent's throat or. smashed don on hie face. i 134Hola the stick with ‘the left hand above and forward of the right hand. Thrust up under the opponent's chin or solar plex-, us with the handle ena. Swing the hendle end up over your left shoulder and jab with the point into ae his face or throat. 135_ STIOK' HELD IN GRASP #3; Allow the point ond to rest along the right forearm. Hold the ata horigontel and use ase. -block. against the opponent's knife or club~ Thrust into-the oppoaont?s throat, face, .and solar plexue with ¢) handle- 136From behind your opponent pass the point end of the stick from hig rt aide across in front of his throet. Hit him hard on the left elde of = hroat with the 1&ttle finger eide of your right hand as you do so. Fass Left are under your right ars, over his right shoulder and grasp the «>> Bjint of the, etick with the left hand polm side up. Force the elbows apart choke nin. Holding your grasp on the stick turn to your right ao that your ok da to your opponent. Keep your vack straight and bend your kuees so that gar hips are low. Suddenly straighten your legs and bend forward to break nis neck. 137Sentry Stalking combines Scouting and Hand to Hand Combat- This cnapter W111 treat with the-Heand to Hand Combat phase. i i Review your lessons on.scouting. Abeclute stealth end thorough ‘preparation are eccential. Eliminate all noloy equipment. Camouflage yourself properly. Take cognizance of sun and shadows. Take advantage of cover. Study the sentriee every movement carefully before attacking. It is claimed that human beings instinctively feel thé close presence of another person. Take no chance on this. When close enough spring the remaining distance, 141APTACK Ply HATCHET | a When attacking with a hatchet, your aim 4e to cut the spinal column with one stroke. The neck 1s the primary target. If tho neck j is wll protectad’with the helnet or other equipment, attack the spine at avout kidney level, 42ATTACK #2. KNIFE knife in the right hand. Spring on the eentry, land- ng with a knee, in the small of his back." Slap ‘the left hand ‘over ‘his Gouth and pull his head back and to the left. Sever the juglar vein and ind-pipe with the xnife. 7 143gaiadz #3. crua _ Review the methods of choking with a club in the zhapter on ciub Fighting. 144145: Piano wire te held the hande crossed, Place over.the sentr, head, afound his throat, and j ce tight 14647ATTACK #5. BARS HANDED’ OWS MAN 3. sis _| Perform Choke #4 “Ushiro Zine" or | Choke $5 "Hedaka Shine, giving a-sharp. dlow against his ‘wind-pipe with the arm that ig: pasaed-in front of his throet and a hard knen batt egainst the tase of his opine.49150 ~ y kers ‘can work! ag try. with one ninting hin high'ahd the other hitting him low around the knees. . | The‘ man hitting high should hit “just a fraction of & second bafors hie partner and thrust his band in- stantly over the sentry’s mouth to prevent out-ery. Whe low man will maintain hie grip around the’ sentry's knees while the high nan chokes him or cute his throat.ALTHE USS OF THE KNIFE IN CLOSE Combat fhe knife is one of’ uan's oldest known weapoas of combat. Contimial improvement in the range’ of weapons from the spear to the pullet propelling gun, has placed the knife in the category of « S pecondary weapon of combat, to be used in emergencies only. There = are many advantages to this secondary weapon. Firat, a knife hes ? many uses other then combat, and is one cf the most valuable pieces of equipment. for @ man away from civilization. Second, the knife is a noiseless weanon, and as such, is extremely valuable in sentry stalking and silencing in@ividuel enemy outposts and isolated sen~ tries. Tho knife is light and easy to carry, aking it 2 valuable weapon to fall back upon in event of an emergency. It has a de- - edded moral factor in intimidating an enemy not trained in tts une. It must be borne in mind, however, that the knife is.a weapon that calls for close-in combat, and that aLong with developing e pro- Tictency in han@ling 1t, a Feallzation of tts limitations, since no . * person, however well trained he mey be with a knife, can hope tc - suecessfully attack en enany armed with a gun who is aware of the presence and location of the attacker.Just as al] weapons aust be chosen for their efficiency,-.so mast the combat knife. The type knife vest suited for clése combat is a well telanced, ‘doublo edged weapon. -In‘this'case, balance does not refer to the neceseary balance’ for throwing, but rathor for easy handling. Yory few people carry more than.one knife with them in combat, an@ to coneider ‘throwing that knife away ot sn opponant instead of hol@ing it for future use, might be considered foothardy by the majority. The plade, in. addition to being double-edged, should be from six to elght inches in length, es a blade shorter than six inches may not be able te reach certain vital areas, and-one longer than eight inches becomes cumbersome and awkward. It. ehould be not more than an inch in width at the widest part, and should taper to a eharp point. The haft of the weapon must be of sufficient length to be touched by ail the fingers and rest against the heel of tne palm of the hand, with e guard of sufficient size to sct as a possible deflector for an enemy blade and to prevent the owner's hand from slipping down onto the blade if a boné should be encountered in the thruet. Above ell, the blade should be of good material that will not bend permanently or snap if a bone is enceunter- ea.oe Reedloss to say, thie weapon must be cared for préperly at all ‘times, eince the difforence between & |. ieaen knife and a dull she nay ibe the difference betwee life aid death.to the owner. “A dull knife fa only & hindrance and.useless waight.-..Keep the ‘bladé Wall honed and sharpened. ‘If at all possible carry .a-stall none: with you, perhaps even-in a compartment of the knife scabbard, and use it whenover the need occurs. On many occasions tnare will be the temptation to thrust a knife into a fire, perhaps with a bit-of food for cooking, —° perhaps » for sterilization. Heat takes the temper from a Blade in short order. Do not use this knife as a cooking implenent or as a medical instrunent except in the most dire emergency. In combat the knife should be held with the blade flat and parallel to the ground, point toward your opponent's midsection. The hand ghould clasp the hilt, knuckles towards the ground, with a firm pressure exerted by the thumb and first two fingers. The little finger and ring finger should rest Lightiy against the upver part of the hilt, holding it against the heel of the palm and movemente of the blade should be effected by tightening and Loosening theee fingers.The proper stance for close combat with the knife 4 the opponent airectly with the feet aparteufficiently for. good balance waight equally distrituted but thrown forvard mostly on-the balla of the feat to alloy, quick movement jn any directions Knees should be slightly | dent and the upper part of the body txelined towards ‘the cpponent. arms should de clove £6. the sides of the body, ‘but not rigid, arme parallel to the ground hands extended toward the’ eneny, q one holding the knife, the other’ as a guard and an aid'to you-in combat.Iz ‘ther fficient warning to _yow ead your opponent fs alco armed with a - knife, it is advisable to wrap a coat or otHer material around ,the ‘forearm of the guard arm, as thie may be useful in warding off an opponent's thrust.#SQBNEBAL "COMBAT. SUGGES LoMS Jn combat agstnot an wnarned man or ono armed with a knife 6} club, hold your knife in'such a manner. that the point 16 alvayé toward your opponent. Your noveménts should te accomplished with a quick ° stepping motion suchas ‘used in boxing, remembering to maintain balance’ at all times and to avoid crossing your legs in such a way as to make novenent in any @frection Impossible. Keep the knife veaving slightly from side to side and discourage any attempts of the pereon opposing you to close with you by short slashes at his hand and arms as they ap-% proach yats Your guard hand nust be available at a21 times te block thrue or blows and to attempt to pull or push your opponent off balance, thie of course to be Sollowed by a knife attack on your part. If the opponent makes a thrust or aime 2 blow towerd you, avyolé it by elde-stepping, and, using your guard hand as e grasping hand, (eee illustration) follow through with your. knife.Whenever possible 4t is better to cut than stab, as a cut.” will sever a vein or artery and leave your knife free, while a stab may wigs any vital area and the knife nay atick momentarily. Ife stab ie indicated by the position into which you have drawn your opponent make your withdrawal a cub tovard the body surface. The following chert’ is on indication of areas of the body vulnerable to e cut. This is not to be accepted ae the only place to.use your imife, since a eut anyplace upon the body aids in dew moralizing your opponent. nae In this type cf close combat, bear in mind all of the de- fonces against a knife that have been brought forth in other chap- ters of this manual, and guard against this. It is possthie that your opponent hae had the same type instraction as yourself. Anan with a knife is perticulerly valnerable to sand, tobacco, pepper and other irritants thrown in the face or eyes. Guard against your opponents taking advantege of. thie; It is woll aleo to remember that a little foreign eubdetance in your opponent's eyée may tip the balance of the scales of victory toward you. 1t ie reconmended that ell personnel practice knife fighting against one another using dumy knives or taved Dlades un- til they have. become proficient in taking advantage of their op- ponent's errors of balance or guard. Knife fighting is nob einiler to fencing, in which there ars recognized engegements, perries and thrusts. It should be regarded as a combination of Jin Jitsu blocke followed by the knife to your opponent's vital areas.PREPARED BY: THE TRAINING AIDS OFFICE © ore | HIN! WEI AMPHIBIOUS SCOUTS OFFICIAL US NAVY PHOTOGRAPHS BY PHOTOGRAPHIC LABORATORY USNATB FT. PIERCE FLORIDA UOGRAPHED &¥ 4 AUGUST 1945 ea