Focus Mitt Training for the Multi-Disciplined Fighter

[tallgeese]

This post was originally published as an article in a dedicated KarateForums.com Articles section, which is no longer online. After the section was closed, this article was most to the most appropriate forum in our community.

Focus mitt training has, rightfully so, become an essential part of martial arts regimens across stylistic boundaries. It allows users to develop speed, power, and accuracy all while working movement under simulated fight conditions. The question then presents itself, how does one best utilize this tool? This becomes even more critical when we look at those artists who are multi-disciplined in their approach to training.

In this article, we'll look at the use of focus mitts as they apply to combative martial arts training. When properly utilized, they can be a tool taken beyond boxing drills and used to train a practitioner to react fluidly to a multitude of situations where integration of different skill sets into the overall defensive plan is critical.

What will not be discussed in this article are specific combinations that can be utilized by mitt training. Most readers will undoubtedly be versed in some sort of striking art and should already have a solid grasp of striking in combination. Additionally, it is the author's desire to show practitioners of different arts how realistic focus mitt training can make their defensive preparations more effective using movements from their system, not have them merely mimic movements done by other fighters from a different art.

Before beginning, it is important to stress the use of combination striking while using the focus mitts and indeed at all times. In fact, by repetitively training yourself to strike multiple times in a given string of attacks with the mitts, you increase the likelihood that you will respond this way during an actual conflict. It is yet another reason to partake in this kind of training. As always, begin with a defined set of strikes, then progress to free form work.

With mitts, this would function around the holder calling a specific set of strikes just before a string of attacks is thrown. The student would then respond in kind as the mitts were presented. The caller can then vary the striking combinations, giving the trainee the simulated feel for finding an opening in a defense. It is helpful here to either adopt one of several, or establish your own numbering system for punches. This makes it easier for the caller to get his goals for the student across during high intensity training sessions. The key here, beyond all else, is internal constancy within your training group.

First, however, some basics. Go by many martial arts schools during class time and you may well see a line of students standing in place working impressive combinations into focus mitts. This, in and of itself, is not a bad thing.

However, the martial arts community needs to embrace what boxing has been aware of for decades - fights do not happen in a static configuration. They move around, they circle, they advance and retreat. So the first mistake to avoid is to work excessively from a stationary position.

This is often difficult because as instructors, we want a student to have the movement we are showing them down perfectly. Instead, we need to make certain that they can approximate the combination in an acceptable fashion while static - then make them start moving. This is accomplished by the mitt holder instigating movement as if the two were sparring. The mitts are then brought to a prescribed position for an assigned combination. The striker will then plant and fire his punches at the mitts. Make certain that the trainee is punching though the target, not just at its surface. This will ensure penetration of energy when the strike is actually applied to a real threat.

Now that we are having students move, make certain that they are not losing sight of the initial combination. Whatever combination the instructor assigns should contain at least two strikes, preferably three, that flow into one another naturally.

Once we reach this point, it is time to address defense as well. Taking the same drill, we now have the mitt holder launch a controlled attack prior to, or immediately after, the combination is thrown.

For instance, the student could be assigned a basic jab, cross, lead hook combination on the mitts. He would perform this statically for a minimal amount of time, then begin doing the process from a sparring mindset. After becoming comfortable with this, the trainer could then throw a reverse hook of his own with the focus mitt to the student's head after the combination. This would force the student to block or parry the attack. Remember, use a movement here that would complement the strengths of your system. Now we have a striking drill that is much more realistic and movement based in nature.

It is also very possible to integrate kicking tactics into mitt drills as well. You can of course add kicks from the mitt holder to force the trainee to defend them. Additionally, one might begin movement in the drill by having the striker open with a kick of his own. This gives a realism and randomness to the drills that will make the students become more accustomed to the fluid nature of conflict.

So far, this should all be fairly intuitive for those involved heavily with striking arts. Now, how do we integrate focus mitt training into art forms that are primarily involved with joint manipulation?

First, we accept that most effective joint manipulation is facilitated by first striking the offender. This is primarily to stun the individual and take his mind off of a counter to your movement. Depending on where the strike is placed, it may also serve to create a motor dysfunction to the limb, making it easier to apply the movement. Once we accept this, we can see how merging these two skills becomes important.

To start this process, we begin once more with an assigned combination strike series to the mitts. After completion of the strikes, the student will move into position and apply a joint lock along one of the arms holding the mitts.

For example, and for this we will stay with the same foundation we built earlier; the jab, cross hook. The student will first attack the mitts using this combination. Then, closing his distance gap by way of the strikes, he will move to the outside of the mitt holders arm. He will then grab the wrist of the mitt holder and pull it to his center. Then he will finish with the application of either a straight or bent arm bar. This can be done to either position while standing or all the way to takedown depending on the skill and training needs of the participants.

For further realism, you merge the defensive work done earlier with this type of locking combination. Have the student work his combination attack into the mitts. Then, the mitt holder will throw a reverse punch at the students head with the mitt. The student will then parry the punch (remember, there is a mitt on this hand) and gain control of the offending arm. He will then apply the same arm bar as before.

With practice at orchestrating these kinds of drills, one can even utilize them to work entries into small joint movements. But, what if one is involved with an art such as Aikido, where an enemy’s force is utilized against him? Can we still integrate focus mitt training into our primary art?

Let's look at what we've built so far. A student, versed now in moving and striking in combination who can also account for sudden attacks thrown at him. Is it too much to ask now for him to redirect force during his defense and then utilize the joint position work we've just discussed? Probably not.

The key to this is again to build it into the mitt work. Have the student defend from some easy, short shots given by the mitt holder. Following this, present the mitts to him and elicit a combination you wish him to work on. After his completion of this, have the mitt holder attack in a fashion that would normally be used to make the student redirect and lock or throw. The principle will be the same. At the very least, the trainee will be able to see the redirection in action, against an opponent who is moving fairly realistically. Due to the limitations of having the uke wearing focus mitts, one may not be able to complete the throw in totality; however, the practice on preparation will be invaluable.

This limitation to integrating mitt work into other arts to make them more comprehensive brings us to our next area of drills. Sometimes, it is imperative to train on certain movements that simply cannot be done while a partner is wearing focus mitts. Such instances include several Aiki throws, as well having the puncher defend against realistic body contact throws and wrestling shots.

To overcome this problem, we simply have a third person join the training team. It will be this individual’s job to suffer through what the mitt holder can't. For this, we'll use an example of having a trainee defend against a wrestling style shot. For the drill you would need one person to hold the mitts and a second, without mitts, standing nearby.

We'll make this example a little more complex to cover many of the concepts that we've covered here. First, we begin moving as if in a sparring scenario, not only does this give us the benefits that we've discussed but it also allows the trainer to check his students’ actual movement skills. During the movement, the mitt holder will stop and present a good opening for a quad-level shin kick. The trainee will then apply this kick.

After this kick impacts, the trainer will then challenge the student with a mid-level jab-cross set of punches. The student will then block these strikes with the application of elbow coverage at the mid-section.

The trainer will then move the mitts to a prescribed position to receive a combination. Again, for simplicity's sake, we'll use the jab-cross-hook we talked about earlier.

At the conclusion of this combination, the student will face a takedown attempt by the trainer without focus mitts on. He will then utilize a movement from your system to defend this. For our purposes here, we will have the student sprawl to counter the attack and set up a counter-takedown of his own.

Thus concludes the example. Again, remember that it is only an example. Your art will dictate the movements that you want to utilize in the above scenario. Imagination and realistic simulations are the key to making this kind of training work for you.

Obviously, depending on your style, you will have to adapt the concepts slightly. For instance, an Aiki practitioner may utilize the first striking portion of the drill only to have the second trainer attack via an overhead sweep common to the basics of that system. In this case, the student would then redirect, gain control of a wrist and apply a full Aiki throw.

One last application that focus mitts can make to general self defense training as it applies to cross-discipline practitioners is utilizing them to integrate striking at speed into what have normally been consider self defense “one-steps”.

For instance, have a trainer use a single focus mitt on one hand. This trainer can then be free to grab a student’s wrist or arm with force. The student can then utilize the focus mitt to work stunning attacks into while attempting a wrist escape or small joint manipulation.

In an example, the trainer could grab the student’s wrist and present the focus mitt at head height with the other. The student could then attempt a circular release only to be held by a trainer who is stronger and not allowing the escape. The student can then throw a full-power back or hammer-fist into the mitt. On contact, the trainer can loosen his grip to simulate the effect the strike would have had on his concentration. The student will then again attempt the release and succeed.

When utilized in this manner, drills teach the student to use both his striking skills as well as his joint manipulation knowledge. By varying the tactics used, a trainer can account for several different threat levels and appropriate responses. One can always substitute eye gouges for other strikes and utilize joint damage tuite manipulations rather than releases. This can be a useful intermediate drill between technical competency development and a fully armored attacker for the student.

As one can see, when building focus mitt training around the concepts of striking in combination, solid movement, incorporating defense, and finishing with system practical control methods, you can truly capitalize on the use of your equipment. This method of training moves beyond mere technical requirements and moves into the realm of integrating all aspects of defense based skills as well as developing a combative mindset for the student.

[Patrick]

Thank you for the submission, Alex.

[bushido_man96]

Thanks for sharing this article, tallgeese. I enjoy mitt work, and have been trying to implement some into my Combat Hapkido curriculum. I definitely think our TKD practice could use some more of it, too.