JusticeZero

Well.. Do you train many high kicks in your art? Because if you dont then your art's founders seem to be dubious too. i cant give the case, my art focuses on mid kicks, not high.

That's why if you are training to do high kicks, one would hope that you are learning how to do them right, not just how to stick your leg high up in the air.

You spend money to learn a skill. While continuing learning the skill that you spent money to learn and are continuing to spend money to learn, you tell someone that the skill is useless - because in the situation the skill is directly relevant for, you believe it would be more effective to use an untrained and unskilled response. This seems foolish on multiple levels. The whole point of training is to build skill with techniques for later use. If you feel the techniques aren't useful full stop - either the teacher doesn't understand the application, or the techniques are not effective for you because of a difference in your threat profile - then why on earth are you taking the class??? If they can't teach you anything you want to learn, you need to find someone who can. And if you know so much more about how combat works than the person teaching the class then why aren't you the one teaching the class? Clearly you must have a background in combat and the like to be qualified to make an assertion like that. Particularly since this starting question implies that you will have time to stop and make tactical decisions about how to handicap your techniques list in the middle of a violent situation. Most likely your brain is going to freeze up like a computer that was just commanded to do a huge download and run a huge file on dialup and not enough memory. Combat is a very chaotic, fast-moving situation that will bury your brain in information overload. Unless you deal with combat situations regularly, you will not have developed any filters to manage and interpret what's going on. You should be thankful if you have enough processor time to remember to put your guard up when attacked and use any techniques that turn things in your favor at all, and those techniques are most likely going to come from 'things you've practiced', not 'things i'm chatting and armchair quarterbacking about'.

Yeah. This whole question strikes me as being silly. Imagine that you have dropped $200 on taking a class on advanced techniques for surviving a plane crash from an airline. You get to do things like jump down air slides and stuff, but most of it has to do with huddling, being calm, and the like. The guy next to you, who also paid $200 to be here, turns to you and says, "Yeah, all this stuff is fun and all, but this stuff doesn't really work. In a real plane crash, what you really need to do is scream, stand up and start pushing your way to an emergency exit."

"instinct" has nothing to do with it. Instinct will get you killed. Instinct is probably why you're in a fight in the first place. Use your best and most practiced techniques, the ones you are the most comfortable with. Otherwise there is no point in even taking the classes to begin with, since if you go in thinking "that's great but in a REAL fight, i'd.." you're just going to throw the whole curriculum out the window and start flailing instinctively as soon as there is trouble.

We always train in shoes, because we're traditionalists and training in shoes is traditional. Training in bare feet was the adaptation for the purpose of make it sporty and impractical for use outside of a training hall. That said, the structure of the feet on the floor in what we do isn't that of walking, it is that of running.

Right; i've done two arts at once. I would have a two hour class in each both on the same day; in the first class, we would spend an hour trying to undo my habit of keeping my feet parallel, and then in the second class, we would spend the first hour trying to make sure my feet were always habitually parallel. It was wasting a lot of everyone's time. I have a student right now who has a background in gongfu; much of the time we have had together in class has consisted of me trying to extinguish the asian heel-driving body mechanics from his wushu kicks and replace it with the african core-wringing body mechanics from capoeira; the heel wringing changes the structure and breaks the interchangability and flow between techniques that is of core importance to us. As a result, he is now a bit behind the woman who started on the same day without any martial arts background. She has had no confusion on body mechanics, so i've had the time to offer a few more advanced topics. He hasn't been able to do those because his body mechanics didn't facilitate them while the form issues existed.

The cords are made as ropes; different colors are strands that are wound or braided together as part of the final rope. For a yellow/green cord, one would make an even number of thinner cords of yellow and green, then coil or braid those together to make the cord itself. The colors originate from the colors of the Brazilian flag, which is a green field with a gold diamond inside of it, which contains in its center a blue globe, which is decorated with white stars and a white belt around the globe. Hence, the general progression of green>yellow>blue>white in many schools, particularly as Capoeira was legalized as part of a nationalist project.

I'd think that the people who are in wheelchairs think it's pretty awesome. They tend to like handcycle races and the like, too, for a similar reason - "Part of my body doesn't work, bah.. but hey, here's a sport I can do and train/compete with the other people I know who are dealing with the same issue!"

You can earn an academic degree online, but they are not very good. The sticky point is the basics of how to operate the body - those are subtle framework issues that are hard to communicate. People think "Oh as long as I can move like these forms and such I know the material". This is not true. knowing forms and techniques does not make you a skilled martial artist any more than memorizing a lot of mathematics tables makes you a mathematician. the key is the body mechanics and proprioception and internalized anatomical application, and those are very hard to gauge or correct without the ability to walk around the people doing the movement, push on their elbow or shoulder, or whatever.

Well yes. Everyone has so far said that someone who has training in martial arts structure, methodology, and principles can supplement their training effectively with such materials. It is the problems inherent in trying to study remotely before that basic skill building has been developed that is the problem. I suspect that an accomplished yogi, feldenkrais, or trained dancer could start learning a martial art from a tape from zero, for instance. The tape cannot get you over that hurdle of needing to learn the "body hacks" of advanced proprioception and internalization of anatomical principles where the dangerous traps lie.

I know the 70something woman who used to practice in the class opposite side of town from me had to be careful about technique, focus on moving slower but more technically correct, and avoid the small number of movements they couldnt do safely. Kicking with the ball of the foot is likely going to be one of those for you; telk your teacher you just cannot do anything to break it again and start using the shin instead.

That's traditional, yeah. I'm just keeping the normal cord sequence for the most part here.

All of the students I have taught, eventually I have to try to correct the posture of. Commonly, and particularly with the ladies that i've helped out so far, this includes some notice that the upper chest and ribs are being projected either straight backward or straight forward beyond the equilibrium point by the back, shoulders, and neck and causing muscle tension, often presumably for aesthetic purposes that have become habitual. However, the center of mass and such is presumably going to be a bit different on a female who is carrying a bit of mass on that part of the body. Is there any specific differences in posture (presumably relatively subtle) between a relaxed and structure-based standing position for people with and without substantial amounts of female-specific body mass near the ribs?

If he confronts her while you are present then you should definitely warn him to leave. Don't push it any more into escalado though. Just communicate that not only does she not want him around, but that you are backing her up on it. If he tries to turn it into a fight, drop the police on his head and walk away with your ladyfriend. Take your cues from the missus, but talk it over with her beforehand. If he tries to infer that this makes you any less of a man just remember - you've got an awesome girlfriend that you've been spending time with for two years, and he? can't even get a hug without committing assault.

Right now is the hard part - now that there's no storm, we can't get a breeze through the house to cut the heat. Sleep has been problematic at best as a result. bah! I'm at a pizza place in the CBD now, paying premium prices for lunch in return for a chance to recharge some batteries and connect. The CBD, French quarter, and all of the areas near police stations and hospitals were lit up with power quickly, but when they lit up the precinct down the street, the light stopped two blocks from my house.

Doing fine.. still no electricity though, and AC is pretty much mandatory here if I want to get any sleep.mostly was just boring.

Thbbt. You're a Karate guy, you can love bruises all you want. I'm a floorcrawler. Tub full of water, bottled water ready, about to go down and get stuff stashed upstairs to eat and prep the cat kennels.

Do technique sequences that transition through low guard (ie - "on the ground, as if having fallen"), then point out at the end of class that they had just finished doing over a hundred breakfalls. If they don't feel comfortable with controlled transitions from middle to low guard for some unknown reason, they won't stay any longer in class than someone in a boxing class who can't bring themself to use their hands to punch.

I'd think that is more about dictating that you are going to be moved by the returning energy than it is about moving your hand away before the arrows in the science class animation finish drawing. Action/reaction are instantaneous. For one, a "chambered" leg up position does not strike me as a "stable and balanced" position. If you want stable and balanced, put something else on the ground. Arguably, it is a "ready" position, just like your other stances. In that case the advice is just "make sure to return to a stance after you kick". In that case, i'm not completely clear why there is such a dispute about which stance to transition to after a technique. Second - are you saying that a hook kick should include a moment where after making contact, you suddenly extend your leg straight away from and past the target? The recoil you were discussing before was not "retract" but "rebound", and the two are very different ideas.

I've seen that type of kick and it makes sense to me; in what we do, you kick then put your foot down into but not "according to" your stance. You abandoned that position as soon as your foot came up and there is no particular value in your previous position compared to any other solid position. Front stomp for instance gets tied a lot between 'return by stepping out to the side', 'return by putting the foot down directly under the contact point', and 'return by collapsing the base leg and falling to the ground directly under the target point', among a couple of others.

I'm a bit alarmed by the weather reports, being that I live downrange of it. It's scheduled to land *somewhere* nearby on Tuesday night. Currently we are in a state of emergency officially and the plan is to shelter in place. We have water, foods that can be prepared without heat, and so on.

I don't go back to a chamber. I'd rather park it on the ground.

Most of the more involved jogos I have, I can't remember the details of. I know I was present and busily working through it, so i'm not worried; I chalk it up to not wanting to spare the bandwidth to encode the information while i'm busy dodging kicks. It really does feel like an encoding issue more than a lack of memory; I remember being in the match, but the information of what happenned during the match is not stored in a way that is able to be decoded and examined.

The issue there is that the kicking leg is being used as more of an anatomical flexible weapon than anything else; the hip joint is more analogous to the chain of a nunchaku than anything else. "Without the chain, your nunchaku technique would..." ...just involve two sticks? Maybe a magical force that keeps one end of one handle from travelling far from the other... but that is just a different kind of chain! There is no sensical way to decompose that structure. At the same time, chain is chain. The nunchaku does not swing you. As such, the focus has to move to parts that are not frameworks of bone: the spine and legs. This also means that it is very obvious when people say "move the hips" that they tend not to be giving enough detail about "with what?" Perhaps because it has become such a contrarian position to note that the pelvis is just a structural element that has to be manipulated that it is necessary for these threads?