JusticeZero

There was a definite training benefit to the high volume in this case - they learned how to do the technique correctly, instead of using their muscles for a technique that contraindicates them. This will keep them from getting tired in later training and unlocked a much improved technique that bled through into other movements. No "marathon running" was involved - if they were marathon runner types it would have been even harder to teach the technique correctly.

That depends on why you are doing the large numbers. I had my students recently do a couple hundred mea lua de compasso without stopping; I wanted to exhaust them on the specific motions of the kick so that the exhaustion would correct their form. There are a lot of corrections and adjustments and driving movements and the like that people do that are all wrong. The technique, when done by numbly falling and limply flopping the leg through the movement on gravity and inertia alone, balancing carefully just to avoid collapsing on strengthless shaking arms when barely able to stand up, is mechanically and structurally correct. This is the way the whole technique should work for maximum power, balance, and effectiveness. My current issue is with nightshades like tomatoes, eggplant, peppers, and potatoes. Too many and I get joint inflammation, like many people. But it's just so hard to imagine cooking without using tomatoes..

Never what? The engine of the technique is important, but sometimes you need to think about the tires, too.

Well, body alignment doesn't matter if the structure of the striking limb can't withstand the force being applied to it anyways. Furthermore, the debate is on a specific piece of structure that is on the line. Everything else is along that line too, and is a separate issue.

For a fight about REPUTATION you're talking about a dominance thing. Rams locking horns and the winner goes off with the girl. Women do this too, but not with physical violence as a rule. However, the general principle is still about "making it boring". A criminal doesn't want a fair fight, they want someone they can absolutely dominate without effort. They want easy victims. So if someone wants a hit of reputation, they want a target who looks like a tough fight, but isn't. Someone with a gi is inflating their appearance of toughness, and if there are mcdojos about, the appearance is likely to be hollow. So bonus, the guy gets the girl for beating the scary Kerotty guy for knocking down the resident up and coming forms champ.

Not necessarily, it depends where the glitch is. I'm not talking about glitches in the structure from the strike to the ground but in the structure when resisting itself. Furthermore, if you don't have alignment when fatigued, you don't have alignment at all. The fact that you were having to use exertion to pin your structure into optimal means that your neutral isn't where it needs to be. Anyways, for a lot of things, you usually need to learn the motion under a load of heavy fatigue just to get the structure right to begin with. Relaxing isn't easy and neither is removing all the improper adjustment movements people do to try to enact the movement, which are wrong.

Probably the same reason I have for having held ginga for an hour a few times before, and for planning to inflict it on my own students. I can't mystically see into your body alignment, and some glitches will pass unnoticed until you have to hold it for a long time and their parasitic nature suddenly creates all sort of complaints that need addressing.

Greetings! The CMA section could use more traffic, and I don't ever hear a lot about the CMA take on things here. Isn't Hung Gar the art with that.. 1600 movement form isn't it.. for beginners?

And there you are not talking about a range, you are espousing a tactical doctrine, which speaks of controlling range but which by definition will include a lot of work outside of that range in order to enact the doctrine.

Every time I see someone walking around town in a gi and belt, I want to step out and challenge them to a poorly dubbed duel. ....what? Don't tell me you haven't thought the same thing?

Here's a question.. You say they are "redundant". Would some of the "fluff" become "core" for a student for whom one of the "fluff" techniques worked better than the "core" ones? In one of Miller's books - Meditations on Violence I think - he talks about how people tend to default to one of two flinch reactions. he has two offensive techniques designed to capitalize on the person learning the technique flinching in one of those two ways. he teaches both, even though one of them just doesn't work very well because it capitalizes on him doing something he never does like that. But the students who do move that way find it really useful. Is it possible that the redundancy is there for a similar reason that some students will take to different things than others?

Yes, but that change of range is an integral part of the application of the technique itself. One does not separate a punch into "the part where you extend your arm" and "the part where your fist connects". The movement and the technique are not separate. We do not, like some sort of tank, move, then stop in place and shoot our technique out. Our technique is an extension of movement, it is a form of movement, and it is used to conform with a set of openings and opportunities that have come available at that moment. If you throw, say, a hook punch, it will be reflected in your feet. It is not a matter of moving your feet, stopping, and then finishing the punch; your feet shift and turn as your punch launches as an integrated part of your system of delivering the strike. If the target was close, that movement will retreat slightly, if further it will advance slightly, and this was not done in isolation from the strike itself.

Eeeh. I've done it a couple times using cruz, it's not that big a deal. It's all in opportunity and available energy vectors. Both people should be able to adjust and negotiate ranges on the fly to use the tools they want using their tactics, movement, and the tactics of their opponent.

I'm not even certain that "trapping range" exists as a real distinctive thing. There are punches that range further than some kicks, and grapples that range further than some punches; there is not even a real, distinct "punching range" or "kicking range" given the flexibility of motion available, beyond the obvious "very long reaching kicks probably have you out of punching range". Even then, does anyone just stand with their feet glued to the floor and attack in place? Space is always being renegotiated. "Trapping range" doesn't really have any special claim to range that I can see. They may be great techniques, but they aren't possessed of a special space of their own.

"Mu!" It doesn't really matter in the end. You are really discussing how you experience it. A lot of skills can be described in a lot of not immediately intuitive way. Both jogging and ballet make great martial arts. Baseball is some awesome martial art training, combining weapon skills in two common basic weapons (both close in and ranged), physical exercise and running. But most don't perceive it that way, and it is a jarring leap to see something pried out of one linguistic hierarchy into a different one that was never seen as a match.

Simple: Rock or club. Complex (as in, some assembly required) was probably a spear. Complex ranged was probably an atlatl.

It's not 'the force'. It probably comes from people who believe that any ability to do something that they personally do not know how to do must obviously be because of supernatural powers. It's not helped by the fact that it is a lot easier to spend two minutes explaining a visualization exercise and get students performing a task well than it is to spend an hour trying to discuss body alignment and have them still not get it because it's one of those counterintuitive things. Much like the example by the way. If you are tensed up, that means you are applying muscle force in the opposite direction from where you want to go, by definition.

Bicycle U-locks, keys, jacket are likely to be on hand. You might also explore the possibilities of a plastic bag.

I dunno, if it was me i'd go with a striking art, since it sounds as though the goal is to improve his wrestling. Other grappling arts would improve his ability to grapple and give an awesome background, but a lot of those skills would involve doing things that violate the rules of Wrestling, and thus actually making things more difficult. Thinking a lot of "I have a perfect opening for this.. move that involves me laying on my back and losing a point.." is not going to help in wrestling competition.

It reads much like theory, which i've been dealing with a lot of lately. The thing about theory that's always frustrating is that before you read it, you don't know it, and while you're reading it, you think "Well duh, everybody knows that!" One looks at the "trees" awhile, and hears some theory, and suddenly in their mind something goes 'click' and suddenly they see the forest that was always there. "Well of course it's a forest, what else could it possibly be?"

Yet another of your wise and profound posts. I really appreciate reading these, thank you for posting.

If the people are no longer physically able to sign certificates, I do not feel it is honest to include their signatures. I can understand wanting to retain something on the certificate to indicate presumed approval and lineage, but that thing should not be a signature. A photograph perhaps, and some sort of memorial line of text or statement of deference would work however. I have always been uneasy about signatures made by someone who did not actually operate the pen or equivalent on that specific document.

Yeah, i've always had issues with techniques being linguistically classified. I try to deconstruct the classifications when i'm showing techniques and break down movements into the simplest forms to deal with it, but my ability to understand what to do when I hear compound movements named suffers.

Right.. If you want to learn how to not go to the ground, you need to train with people who are trying to take you to the ground with them. Otherwise, it's a bit like learning blocks by standing in front of a poster and doing the blocks in air, without ever having a hand and arm actually move toward you. You need to learn how to respond to a valid presentation of X in order to learn a counter to X, and if the style does not do X, they cannot give you that presentation.

I don't really see how it would be an issue, honestly. The weight limits on everything are set deliberately conservatively to compensate for multiple fudge factors, for one; for another, I can't imagine that what you described would add substantial strain over as short of a span as the bars you described.