Analytic Martial Arts

Thursday, June 28, 2012

Studio X: Sparring Techniques: Rank 4 Revisited

Source: sparring_rank_4.xml


The final set of sparring techniques, required for promotion from Rank 4 to Rank 5.

Actions

  • BS: Back Sweep
  • DFB: Downward Forearm Block
  • FS: Front Sweep
  • HBS: High Bird Stance
  • HK: Hook Kick
  • KT: Knee Trap
  • OB: Outward Block
  • OSH: Outward Sidehand
  • RK: Roundhouse Kick
  • RP: Reverse Punch
  • SS: Sparring Stance
  • STK: Side Thrust Kick
  • ShS: Shuffule Step
  • TH: Twist Hit
  • TS: Twist Stance
  • VP: Vertical Punch

Regions

  • A: Abdomen
  • H: Head

16

This technique is a lot like number 15. Try to maintain momentum and flow from front sweep to hook kick to outward block.

RK
TH
OB
↻180
HK
SS
↻180
FS

17

VP
VP
VP
1
RK
KT
SS

1: These are rolling punches. Imagine hitting a speed bag.

18

This is like 16, except with a back sweep rather than a front sweep. Properly executing the transition from the back sweep to the hook kick will take some practice.

RK
TH
OB
SS
↻315
HK
SS
1
↻45
BS
ShS
SS

1: Transitory, held just long enough to transfer weight to the front foot in preparation for the hook kick.

19

OSH
HBS
1
ShS
DFB
SS
H
STK
SS
A
STK
SS

1: This ends in high bird stance like sparring technique 10.

20

RP
DFB
SS
RK
TH
OB
HK
TS
SS

Studio X: Sparring Techniques: Rank 3 Revisited

Source: sparring_rank_3.xml


Sparring techniques required for promotion from Rank 3 to Rank 4.

Actions

  • CS: Cat Stance
  • DBB: Downward Backfist Block
  • DFB: Downward Forearm Block
  • IS: Inward Smash
  • JRS: Jade Ring Stance
  • OB: Outward Block
  • RP: Reverse Punch
  • SK: Snap Kick
  • SS: Sparring Stance
  • STK: Side Thrust Kick
  • UB: Upward Block
  • VP: Vertical Punch

11

RP
DFB
SS

12

RP
UBJRS
RP
DFB
SS

13

SKDBB
VP
VP
VP
OB
SS

14

SS
VP
VP
VP
OB
SS
DBBSK
STK
CS
SS

15

Try to maintain smooth rotation throughout the technique. The momentum generated by the inward smash should be smoothly redirect into the side thrust kick and should then flow on to the outward block.

SKDBB
VP
VP
VP
OB
SS
↺180
STK
SS
↺180
IS
SS

Studio X: Sparring Techniques: Rank 2 Revisited

Source: sparring_rank_2.xml.


Sparring techniques required for promotion from Rank 2 to Rank 3.

Actions

  • BS: Back Sweep
  • DFB: Downward Forearm Block
  • FS: Front Sweep
  • HBS: High Bird Stance
  • HK: Hook Kick
  • IB: Inward Block
  • MG: Monkey Grab
  • OB: Outward Block
  • OSH: Outward Sidehand
  • RP: Reverse Punch
  • SK: Snap Kick
  • SS: Sparring Stance
  • STK: Side Thrust Kick
  • ShS: Shuffle Step
  • TS: Twist Stance

Regions

  • LIW: Left Inner Wrist

6

RP
SK
BS
ShS
SS

7

HK
TS
SS

8

RP
2
FS
1
LIW
MG
IB
OB
SS

1: This is a short sweep; pull the attacker's lead foot forward just enough to get em to commit eir weight.

2: Maintain the monkey grab through this point. Pull the attacker into the reverse punch by pulling on eir wrist.

9

DFB
DFB
STK
SS

10

OSH
HBS
1
ShS
DFB
SS

1: Stay in high bird stance.

Studio X: Sparring Techniques: Rank 1 Revisited

Now typeset using mah new software.

Source: sparring_rank_1.xml.


Sparring techniques are simple training exercises designed to get the practitioner used to punching/kicking combos in a combat situation. This group is required for promotion from Rank 1 to Rank 2.

Actions

  • CS: Cat Stance
  • DBB: Downward Backfist Block
  • DE: Downward Elbow
  • FS: Forward Sweep
  • KT: Knee Trap
  • OB:
  • RP: Reverse Punch
  • SK: Snap Kick
  • SS: Sparring Stance
  • STK: Side Thrust Kick
  • ShS: Shuffle Step

Regions

  • H: Head

1

Sparring Technique 1 is just a reverse punch.

RP
SS

2

RPSK
RP
CS
DE
DE
1
SS

1: As written this is double downward elbows. In real life this could also be a double downward forearm blocks or double downward backfists.

3

RP
SK
KT
ShS
SS

4

RP
STK
FS
ShS
SS

5

H
DBB
SK
1
RP
RP
OB
SS

1: This is a step-stool kick; left knee comes up first and then serves as leverage for getting additional height with the right.

Monday, June 11, 2012

The Difficulties of Self-Assessment

It seems that the longer I practice martial arts the harder it becomes to figure out how I'm doing. There are days when I leave the studio feeling great and there are days when I think that I should just stop because I'm not getting any better. That I vacillate back and forth between the two strongly suggests that I'm an unreliable judge of my own performance.

I find that conclusion troubling because I've long viewed MA practice as an internal dialogue with myself. I shouldn't compare my performance against the people around me, but rather against my own assessment of how I should be doing. Which seems to be a reasonable approach if you believe, as I do, that MA practice is a long-term project in self-improvement. But it requires that you be able to accurately judge your own performance which, as I've said, seems like a tall order these days.

For example, I often have a hard time making it through warmups; they are, to borrow a phrase from Wallace Stegner, my personal Gethsemane. I think that I'm progressing appropriately and that workouts are gradually getting easier, but at the same time the following facts seems to be true:

  • I'm in visibly better shape than some of my peers.
  • These peers don't seem to have the same problems making it through the workout that I do.

These two points seem to be generally incompatible, which tells me that at least one of my observations is inaccurate1. Clearly I'm not my own best critic in this case.

Further meditation on this leads to the conclusion that one important, but perhaps overlooked, function of an MA studio is to provide an external reality check for students. I think that part of my problem may be that Studio X is weak in this regard; the senior staff doesn't provide a lot of feedback in this regard and I don't know that I'd trust their opinion if I did. Which sucks, I suppose, but there doesn't seem to be much that I can do about it at this point.


1 Further observation makes me believe that most participants, including the chief instructor, are cutting corners. But then again that's exactly the kind of thing I'd say to salve my ego, isn't it? You see the problem here...

Wednesday, June 6, 2012

Weapons Notation Revisited

I've come to a portion of the curriculum at Studio X which is heavily focused on weapons work. The desire to transcribe these weapons forms has led me to revisit and reconsider some of my previous musings about how weapons work might be captured on paper. In particular, I think I was too quick to write off the idiosyncracies of individual weapons in the hope that some weapon-agnostic notation could be developed.

Right now I'm learning how to use the cane, which is what Studio X calls a rattan staff that reaches to the general vicinity of the performer's lower lip when placed butt-end on the ground. From a purely mechanical standpoint its about the simplest weapon there is; there aren't any joints and its radially and linearly symmetric. So, if the reasoning in my last post was anywhere close to correct it should be pretty easy to write down a cane form, yes?

That turns out not to be the case. The cane can be wielded with one or two hands, and there are a couple of grips to choose from in either case. That, by itself, throws a monkey-wrench into things because we don't really have any way to indicate how a weapon is held. And then there are other complications: weapon strikes aren't well-named, a strike can return via multiple paths, etc. All of which leads me to conclude that any weapons notation we may develop is going to be more complicated that I originally thought. So let's look at this cane form that I'm working on and see if we can come up with some insights which might simplify the problem.

First things first, how do I indicate the grip I'm using? I think that depends on the weapon in question. In some cases the grip is implicit; a broadsword or straight sword is only has one grip1. Ditto with the sai; it has two basic grips with well-defined transitions from one to the other. These problem of which grip is being used is simple because there's only one place to put your hand. Compare that with the cane which you can grab in the middle, on the end, or one-third in. It would seem that it we can solve the problem of identifying the grip being used in the case of the cane then we can do it for anything else.

Which brings me back to a thought which first surfaced in the context of grappling, the idea that grappling can be characterized as the bringing-together of two surfaces. If I need to say "left hand grabs the end of the cane" why can't I just do it with existing grappling notation? Assuming "CE" is "cane end" and "G" is "grab" this would be

CE
G

If it does work this would also allow us to indicate a mixed grip:

SG RG

where "SG"/"RG" indicate "standard grip"/"reverse grip" and "⅓" indicates one-third of the way in from the end of the cane. Is that an abuse? Is that too confusing? Does it screw things up in the long term to allow both weapon regions and attacker regions to be the target of a grapple?

On further reflection I think that the general idea is sound, but overloading the grapple notation is confusing. I nominate "↔" (Unicode character 0x2194) as the "grip" operator since it has a reflexive, bringing things together feel. And, conveniently, there's "↮" (Unicode character 0x21AE) that we can use to say "let go". So the mixed-grip example above would be

SG↔⅓ RG↔⅓

I like that; it's compact, evocative, and memorable. Let's set the grip problem aside as "provisionally solved" and move on to the other complications.

As I noted above, weapon strikes are generally not well-named. We've mostly solved this problem for blocks by noting that all blocks have certain elements in common which can be used to generate descriptive names; is the same true for weapons? Yes, I think so, at least on a weapon-by-weapon basis. Recall that this notation system is ultimately intended to be a mnemonic device for students; it will never be a stand-alone language capable of conveying all the nuances of a particular technique. So we need only come up with reasonably-concise identifiers which are sufficient to prompt the student, a task which seems well within the capabilities of the existing notation system. I do not find the lack of well-named-ness to be a particular stumbling block.

What's giving me more concern are some of the complexities in the actual wielding of weapons. All strikes have a return path, but when you're performing empty-handed techniques the return path is almost always direct; the striking limb returns to it's resting/set/default position via (the most viable approximation of) a straight line. This is not the case with most weapons; the return may be direct or it may be circular with several equally-viable options. In the past I've toyed with the idea of adding a "return" component to the basic "attack" action, but at this point that seems like an ugly hack to me. Returning a weapon is a separate action which happens after the attack, which strongly suggests that it should be treated as a separate action for the purposes of notation.

I think that this approach is best because it accurately reflects how students learn. Students (correctly) think of the choice of return path as a separate decision that is made after the strike itself. I recently spent some time with a lower belt working on a beggar's cane form, part of which involved helping em remember which side the return was on for each of a series of overhead strike. This tells me that writing the return down as a separate step within the notation is the right way to do things.

So how do we designate a return? If we've decided to separate the return from the strike then the return is simply another action that can be written down using existing notation. The sequence "right overhead strike, left return, right overhead strike, right return" is simply

R
OS
R
OS

I like that... it's emminently readable, and certainly meets pedagogical purposes. I'm going to play around with this new notation and see how it goes.


1 Not strictly true, but true enough.

Sunday, April 15, 2012

An Embarassment of Blocks

As I've started to progress at Studio X and learn more material I'm finding it difficult to come up with good, distinctive names for the blocks used in various forms. This is a function of several factors:

  • Studio X doesn't name blocks like it names strikes. Every strike (more or less) has a unique, descriptive name, whereas the same is not true for blocks.
  • There are a lot of important variations on basic blocks which are hard to describe concisely in English.

So I'd like to take a moment to think about blocking terminology in the context of the notation system and see if I can't come up with some systematic conventions that will help simplify the blocking bestiary.

The ultimate purpose of a block is to prevent a strike from hitting the defender. Should we describe blocks in terms of the strike? I think not, because there's more than one way to block a strike and one block may be effective against multiple strikes. but, instead of describing blocks in terms of the anticipated strike what if we describe the block in terms of the region being protected? That seems like a better mapping since each block is designed to protect a particular region of the body against a particular class of strikes.

What do I need to know to execute a block?

  • The region to be protected. We've already come up with a system for designating regions in our discussion of targeting and grappling.
  • The region that serves as the blocking surface.
  • The direction of the strike. We can obtain sufficient granularity using the 6 cardinal directions (front/back, left/right, up/down).
  • How the energy will be dissipated. This item merits further thought because it's not something that we've tackled before.

What you do with the energy of an incoming strike is one of the fundamental (if not THE fundamental) dichotomies in the martial arts: "hard" vs. "soft", "internal" vs. "external", "yin" vs. "yang". At one extreme the defender can halt the strike, dissipating the energy using eir musculo-skeletal system. Or, at the opposite end of the spectrum, they dodge/deflect the strike, allowing the energy to dissipate harmlessly once it misses the target.

So, for example, a block could be described as a "rightward deflection of a front/rising strike to the stomach using the right hand" except for the tiny problem that, while the description is technically accurate, it's totally useless for most purposes. Students, especially beginning ones, will have no idea at all what block is being called for. The challenge in front of us is to translate this technical description into something approaching plain English.

Slicing the problem another way, let's switch the focus from the incoming strike to the performance of the block. Using region designators for the blocking surface and area being protected still seems like a good idea to me; "block your stomach with the palm of your right hand" should be sufficiently clear to even a beginning student. What's left is figuring out a good way to describe the motion of the blocking surface relative to the protected region.

After chewing on the problem for awhile I've managed to convince myself that it is sufficient for mnemonic and didactic purposes if we describe:

  • The nature of the motion: Is it linear or circular?
  • The direction of motion in terms of upward vs. downward and inward (towards the center line) vs. outward (away from the center line)1.

The template for describing a block would then be something like "<linear|circular> <inward|outward> <upward|downward> of the <region> using the <region>". Which, while clear, is not particularly concise.

When I was writing the original draft of this post this was the point where I went off into the details off what blocking notation might look like. But since then I've come to the realization that there's a fairly deep symmetry between blocks and strikes. In the case of a strike you're projecting a striking surface along a defined trajectory towards a target region. In the case of blocking you're moving a blocking surface in a defined trajectory in relation to the target region that's being protected. It's been easier to describe strikes than blocks because strikes have a better nomenclature, thus allowing us to sidestep the specification of striking surface and trajectory. So really, what it comes down to is finding a decent naming system for blocks. Let's turn our attention to that for the moment, shall we?

Blocks have, as mentioned above, the following characteristics:

  • A blocking surface
  • A trajectory that can (usually) be described in terms of circular/linear/static and inwards/outwards/upwards/downwards
  • A region being protected

How do we turn the above into comprehensible names? As strikes tend to end with "punch" or "kick" blocks should end with "block". Preceeding the "punch" or "kick" is usually a descriptive name that implies trajectory and striking surface; it's these descriptive names that we're lacking when it comes to blocks. It seems to me that the blocking surface should, in general, preceede the "block", giving use name like "palm block", "elbow block", "forearm block", and so on. The remaining trajectory items can be described by prepending the appropriate identifiers in the order which makes the most sense in English: "inward linear palm block", "outward circular forearm block", "static palm block", and so on. In the cases where descriptive names do exist, such as "intercepting block", we can use those instead. Changes in trajectory, such as blocking to the side rather than to the front, can be handled using the usual direction notation. The only item that remains to be described is the region being protected; that can be done using the same notation we currently use for describing the target of strikes. The only difference is that, in the case of blocks, the region specifier is interpreted as a region on the defender's body rather than a region on the attacker's body. One final simplification that this symmetry brings is that I can get rid of the use of "double" in block descriptions since a "double" block can be written as paired left and right blocks of the same type.

Ok boys and girls, I'm off to experiment with the above and see if it works in practice.


1 Technically there's a third dichotomy, towards vs. away from, but it's a subtlety which doesn't seem all that important in this context.