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The Filipino Martial Arts - Kali/Escrima/Kuntao/Silat
The highly sophisticated and comprehensive martial art from the Phillipines is weapon based, but ultimately an empty hand system.
The Filipino Martial Arts taught at Elite Jeet Kune Do are drawn from 26 primary sources, the instructors who Magulang Na Guro Dan Inosanto has spent his life training under. With influences such as the late Grandmaster John La Coste, Magulang Na Guro Dan Inosanto has developed a program that introduces students to 12 main areas, including, but not limited to single stick, double stick, stick & dagger, double dagger, panantukan (Filipino Boxing), Sikaran (Filipino kicking methods), Kuntao & Silat.
In the US as long ago as the 1500's, the Filipino Martial Arts have something to benefit everyone. Developed for "mass attack" as well as single opponent confrontations, the training heightens the student's awareness of their surroundings and teaches them to use their environment as tools of combat. Everyday objects, such as umbrellas, books, bandanas, etc. become effective means of self-defense in the hands of a properly trained individual. Use of the left and right hand techniques develop coordination. Drills and techniques taught in a fluid, non-restrictive manner allow students to enhance their natural attributes and improve their sense of timing, speed, awareness, balance, agility and confidence.
Empty handed training includes:
-Boxing skills - fist/open hand/elbows
-Kicking skills: feet/knees
-Nerve destruction techniques/Pressure point strikes
Standing grappling techniques: Throws/Trips/Sweeps/Locks/Chokes
-Ground Grappling Techniques: Pins/Locks/Chokes
-Self-defense techniques: against impact weapons
-Self-Defense techniques: against edged weapons
-Multiple Opponent strategies
Weapons Training Includes:
-Single Stick (largo mano/long range)
-Single Stick (medio/medium range)
-Single Stick (corto/short range)
-Double Stick (Sinawali)
-Stick & Dagger/Sword & Dagger (Olisi y Daga - Espada y Daga)
-Staff (bangkaw) SPear (sibat) Palm Stick (tabak-malitt)
-Flexible Weapons: olisi toyok/lubid/latigo
Bladed Weapons: knife/sword (single & paired)
Projectile Weapons: sumpit/songil/yo-yo
Sparring (full protective equipment)
Sparring (limited protective equipment)
Panantukan Filipino Boxing 1. Panantukan Curriculum Free Form Panantukan The Panantukan Jabbing Drills Kali Gunting Concepts Panantukan Fighting Tactics Panantukan Jab-Cross Series #1 Panantukan Jab-Cross Series #2 Panantukan Curriculum A. Boxing 1. Boxing strikes 1-8 1. jab- 2.cross- 3.L-H hook-4. R-L hook-5.L-L hook- 6.R overhead 7.L uppercut 8. R uppercut B. Evasion Concepts 1. bobbing 2. weaving 3. ducking 4. slipping 5. distance C. Footwork 1. step slide 2. slide step 3. step through 4. side stepping 5. circuling 6. stationary to stationary 7. step to stationary 8. stationary to step 9. step to step 10. zoning 11. pivot to Rt.-Lt. 12. Triangle stepping male/female D. Defensive concepts 1. catch 2. cover 3. chuffing 4. hooking 5. patting 6. elbow-in 7. wedge 8. cutting 9. intercepting 10. destructions 11. sweeps 12. throws E. Four Door Defensive Concepts You and your partner throwing punches back and forth, using 1-2/4-5 combinations 1. catch the jab and follow with a cross 2. Parry the cross and follow with a jab 3. Elbow-in block follow with a uppercut 4. Elbow-in block follow with a uppercut F. Distance Defense 1. Parry hit 2. Position blocking hit 3. evasiveness hit 4. intercepting hit 5. R hand over hit 6. L hand under hit G. Attacking Angles 1. direct 2. angular 3. immobilization 4. combination 5. drawing 6. indirect H. Range 1. Kicking 2. punching 3. trapping 4. grappling 5. weapons Filipino ranges: 1. Largo mano 2. Fraille 3. Tabon 4. Punyo Footwork 1. Developing fighting measure; or distance with opponent, follow oponents footwork. And stay within your range you fell comfortable. 2. Mirror Drill; as soon as your partner steps forward , you enter to attack samwthing for kicking distance. This is a higher level of fighting strategy. Sensitivity 3. Sensitivity Drills; from the bridge or asking hand partner slaps inside forearm, apply circle backfist counter, partner slaps outside of forearm counter with a hinge backfist. with pulling hand trap.
4. Cue Drills; The development of Cue drills should give you a different way to react to a reposite or attack, each time. So you’re not just moving through the drill not thinking. Example; De cadena, or first stage Huego y Retirada (hit and run) second stage Abecedario (blocking first then hitting) the third stage Alto y Baho (hight and low hitting) with or without blocking. 5. Higot-Hubad-Lubad; Inside stop, outside passing, circling hand, the wave inside to outside, adding all the strikes with parries at different angles- place checks for punches for outside and inside with checking of the rear hand as well! 6. Four count Kali hands or (Tapi-Tapi); Outside and inside arm, adding finger jabs on each count. Adding distructions (guntings) Controling (dumog) Immobilizations (Kuni or Trancada) Knees and elbows (Siko-Tuhod) Kicking (paa) or anything you want to free lance. Free Form Panantukan Lead hand concepts: 1. Lead hand Drill #1; Stance: both in a (right foot lead throughout all drills), Partner delivers straight Vertical punch, you counter with a lead hand back of the hand parry, and follow with a return vertical punch back. your partner does the same flow back. This is the basic flow for both partners. You can practice striking to the back of the hand as it comes out at you. From what I hear this is one of Guro Dan's first drills that he teaches. To attack the weapon. 2. Lead hand Drill #2; Same vertical punch drill adding a left hand check of the forearm or elbow then return punch back b. adding a punch and bend elbow return to the head or ribs c. adding a punch, and knee to thigh d. adding a punch, elbow and knee 3. Lead hand Drill #3; Same vertical punch drill, and change body angles using the triangle footwork. 4. Lead hand Drill #4; Same vertical punch drill and follow with a defensive side kick to the knee 5. Lead hand Drill #5; moving into the inside of the arm, working the same concepts on the inside of the arm 6. Lead hand Drill #6; Same vertical punch drill, but you counter the punch and grab the wrist, deliver left elbow distruction to tricep on the inside deliver an elbow strike to the bicep. 7. Lead hand Drill# 7; Same vertical punch drill, with push inward to elbow and move to double hand waist grab, attempt to lead leg sweep. Partners counters rear belt grab and sprawl backward to position. 8. Lead hand Drill #8; Put all the drills together and work on counter for counters The Panantukan Jabbing Drills Drill #1 (basic drill) You and your partner are facing each other the a left lead fighting stance. You will begin the drill be taking turns throwing jabs it each other. Begin by using a rear hand palm catch of the jab. Using a three count beat (1-2-3) Drill #2 (footwork) Begin moving around in a circle with this same (1-3) movement, then reverse the direction and go the other way with it. Begin to using a cross pattern step forward, step backward, step to right side, step to left side, Then begin on your triangle footwork, changing leads from left jab, to right jab. This is a very good way to get warmed-up for training. Drill #3 (uppercut/hook) With the same drill we will be adding an uppercut to the arm or deliver a hooking type blow to the bicep, Example: so you jab, your partner jabs, you jab and your partner hooks or uppercuts your arm. Then you begin the drill over your partner jabs, you jab, your patner jabs, and you hook or uppercut the arm. Drill #4 (cross) Next add a high right cross, Example: your partner jabs, you jab, your partner jabs, you follow the jab with a right cross. Drill #5 (split block) Next apply a split block, and jab to the body a (split block) is a outside parry the jab and jab inside of the attacking hand. Drill #6 (low cross) Next add a low cross to the body, then back the the drill Drill #7 (combination) Next add a rear hand uppercut, Hook, cross This are just some of the drills within the Filipino art the Panantukan
Kali Gunting Concepts Distructions (guntings) to the arms: 1. Inside Gunting 2. Outside Gunting 3. Horizontal Gunting 4. Vertical Gunting 5. Fist to elbow gunting The Inside gunting is delivered with either a backfist of hammerfist to the bicep area, or any strike with the hand to the inside of the arm as it is thrown at you. The Outside gunting is delivered with the outer forearm bone or elbow, and using the same techniques as the inside gunting. The Horizontal gunting is delivered at the arm as it is thrown at you, you use a scissors type of movement and strike the hand with the door knuckers, hammerfist, first two knuckles. The Vertical gunting is delivered with an upward motion to the tricep with the first two knuckles of the fist. The fist to elbow gunting is delivered by you guiding the punch into the bent elbow of your arm, it can be vertically or horizontally delivered The follow ups for the guntingd are many but I will list a few; 1. Eye jabs with the left or right hand 2. Backfist 3. Elbows 4. Knees 5. Low line kicking 6. Sweeping 7. Throwing Panantukan Fighting Tactics 1. Cutting and jamming; used against an opponents attack you will use hands, elbows, forearms, to jam at the root of the punch or kick. Being the dhoulders and hips or kness. Useful as set ups for takedowns for entries to leverage throws and sweeps. 2. Wedge traps; used against roundhouse blows, uppercuts or type kicks. 3. Scooping traps; snake move to circle block, and trap the limb. Snake meaning to circle around the limb, be it a punch or kick. 4. Elbow and knee traps; primarly used for roundhouse blows, and many times used with wedge traps. 5. Forearm and body traps; across chest, across midsection to hold or trap the limb like a vise or scissors. 6. Throwing; use angle, leverage, base, grab appendages hands, arms, head etc. 7. Angles; using horizontal, vertical, diagonal, angles will determine direction of throw, steps-using four stepping drill for your base. Step to outside of foot, on foot, inside foot, in front of foot. Use natural sweeping motions. 8. After limb is grabbed; use dropping, trapping, tripping, sweeping, flipping, lifting, scooping, throwing, stretching, striking, or any combination. 9. Size and style; a larger opponent is easier to control a smaller opponent. A smaller exponent needs to evade their larger opponent, using flowing skills to evade, to takedown. Takedowns must have a sense of clamness and awareness. If you can flinch you can block and react to an attack. Perception of your opponent’s moves will give you the timing and training will give you the counters. Filipino Arts requires this. 10. Perception; see opponent's actions extrapolate or evaluate your plan your attack by the angle of attack. 11. Follow ups; Strikes, throws or controlling techniques with footwork, hand placement, contact points. New knowledge perceived of angles, using base and leverage to counter your opponent. 12. Analyze opponent’s force and make a choice: a. Control his momentum b. Grab his arm or leg c. Jam and counter strike
All of these concepts and principles are working for you if you train in them, it's not the techniques but how you apply the principles and concepts that make them work. You should develop a free flowing non-thinking mind. When you see the attack you just move like a shadow and counter. Drilling is the key to developing any reaction, The more a skill is repeated the more firmly established it becomes. Proficiency is dependent upon repetition. There are many Panantukan drills here to learn and develop, use these principles and concepts and develop yourself. Panantukan Jab-Cross Series #1 Feeder jabs, you parry with your right hand, feeder crosses you: 1. Parry inside gunting left elbow to sternum, eye wipe, throat jab, shove cross, hook, cross 2. Parry inside gunting right elbow to sterum, hack neck, cross, uppercut, cross 3. Parry inside with left hand shove, cross, hook, cross 4. Parry inside gunting to hack neck with right hand, cross, uppercut, cross 5. Parry outside gunting swing arm to shove, cross, hook, cross 6. Parry outside gunting to swing arm to hack neck with right hand, uppercut, cross, hook 7. Parry outside gunting to left elbow to shove, cross, hook, cross 8. Parry outside gunting to right elbow to hack neck, uppercut, cross, uppercut Panantukan Jab-Cross Series #2 1. Parry-Scissors gunting , to backfist, they block, You Lop sao and backfist to the arm uppercut to chin follow with cross-hook-cross 2. Parry-Scissor gunting, they block you lop sao backfist to the arm move hand under chin to raise and push back to cross. 3. Parry-Scissor gunting, they block, you lop sao, and uppercut, grab inside of arm and hook with the other hand 4. Parry-Scissors gunting they block you lop sao and uppercut to arm tuck behind nack, to double hand hold to knee to face. a. one hand hold b. close leg c. far leg with silo sitting positon 5. Parry Scissors gunting, they block, you lop sao, uppercut, to tuck behind head, spin to standing branch up position. a. take them to the ground 6. Parry to Split entry to backwards trip 7. Parry-Split entry to pull arm in to back entry pull down to knee on face 8. Waslik to backfist 9. Vertical gunting upward.horizontal 10. Vertical gunting to uppercut 11. Scissors gunting to hammerfist 12. Hoblibut to backfist to bicep, waslik to hook bicep, uppercut to tricep, elbow 13. Chop/trap to wrist to elbow to bicep 14. Low punch to body parry to backfist to bicep 15. Vertical elbow Rt.-Lt. hands to fist 16. Vertical elbow with eye jab 17. Horizontal elbow to fist 18. Horizontal elbow to fist with eye jab 19. Knuckle to Knuckle 20. Knee to fist, a. knee to fist with kick 21. Taguyo- Sway back 22. Spit entry- raise punch straight upward to chin, a. Raking punch 23. Spit entry- shoulder in arm pit 24. Spit entry- uppercut, grab arm and hook deltoid, upward elbow inside 25. Spit entry, Cut the chicken, a, hook inside b. hook outside 26. Inside gunting, backfist, uppercut, hook, hammer
27. Split entry with under hook arm pull and hit 28. Split entry with over hook arm, pull and hit Jeet Kune Do Speed Bag Drills: 2. Drill 1 Right Jab Right Jab Left Cross Drill 2 Right Jab Left Cross Right Backfist Drill 3 Right Backfist Left Backfist Right Backfist Left Backfist Drill 4 Right Jab Right Backfist Left Cross Left Backfist
Drill 5 Right Jab Left Cross Right Jab Left Cross Drill 6 Right Jab Right Jab Right Jab Left Cross Left Cross Left Cross Drill 7 Left Hook Left Hook Left Hook Right Hook Right Hook Right Hook Drill 8 Right Jab
Right Backhand Left Cross Drill 9 Right Hook Left Hook Right Hook Left Hook Drill 10 Left Cross Right Hook Right Hook Drill 11 Right Backhand Right Backhand Right Backhand Left Backhand Left Backhand Left Backhand Drill 12 Right Backhand Left Backhand
Right Backhand Left Backhand Drill 13 Right Jab Left Cross Right Hook Right Hook Right Backhand Drill 14 Right Uppercut Left Uppercut Right Uppercut Left Uppercut is
There are different varieties of sticks – but you use them all the same way -have your hand choke up a fist length so you can hit with the butt (punyo) of the stick (some people like 2 fist lengths – that is a personal preference) - you have the same kind of motions as with the knife (but stick motions are a little wider – brings out a different body mechanic) Single Stick: -stances, footwork, and angulation – athletic movements – stick and move like in boxing -when you break in get lower and use your checking hand -there are 6 ranges in the Filipino Martial Arts, but we are using 3 to make it easier to learn Ranges: Largo Mano – his stick can’t hit your head, but your stick can hit his hand Sumbrada – his stick can hit your head – employ your checking hand, but you can’t reach with the punyo Hubud – can employ H.K.E. – the punyo may be used – close quarter weapons/like trapping range Footwork: -is predicated on triangles -when you have a stick whipping around at 120 mph you need to get to zero pressure, triangles get you to zero pressure zero pressure- at the beginning of his attack (shoulder) and at the end of his attack (shoulder) – where there is no power -get away from the force of his attack -practice without the weapon first picture of 8 segment triangle footwork helper Numbering System: Diagonal/Thrusting down – Angle 1 step forward angle out with the right foot Backhand Diagonal/Thrust – Angle 2 step forward angle out with the left foot Horizontal Slice/Thrust – Angle 3 step forward angle out with the right foot Horizontal Backhand Slice/Thrust – Angle 4 step forward angle out with the left foot Straight Thrust – Angle 5 step forward angle out with either foot Watick – a strike that follows through Laptick – a strike that comes back Angle 1 - strike goes to the temple/jaw/shoulder/hand Angle 2 - strike goes to the temple/jaw/shoulder/hand Angle 3 – strike goes to the hip/elbow/ribs Angle 4 - strike goes to the hip/elbow/ribs Angle 5 – strike anywhere -hit with the last few inches of the stick -any target is applicable with the weapon Coordination Drills: Largo Mano Range: Angle 1 – high backhand > low backhand > high backhand (watick/laptick/watick) or (laptick/watick/laptick) Angle 1 – high backhand > low backhand > high backhand (all waticks/lapticks) Angle 1 – high backhand (high inward -laptick) > low backhand (watick) > high backhand (follow through) -Crank the music when you train to help bring out rhythm & broken rhythm -always have your hand on your chest/opposite arm to protect it Sumbrada Range: -if you miss the hand smash you can check to secure (your live hand is the more important of the two) Angle 1 > roof block – zone out to the right with the hand smash (aka umbrella) while checking if your hand is on the right you can’t roof block because you lose economy of motion: Angle 1 > inside sweep – stick hits his hand, hand check immediately follows the smash and stick chambers under your arm Angle 2 > outside deflection - hit hand, check, and hit hand – step out to the right to zone to zero pressure – drop body weight on the last hit If your stick is pointed down: Angle 2 > shield block – raise stick up and check hand/forearm Angle 3 > low wing block – stick is pointed down move the stick across the body and check If the stick is pointed up: Angle 3 > pass – put your hand on theirs circle it and hit the arm/face Angle 4 > drop stick – left palm is facing up – both hands drop down bend down with your hands while angling away from their rear hand (left forward) If stick is pointed down: Angle 4 > outside wing block – stick is pointing straight down and left hand checks - the same mechanics as previous reaction Angle 5 > treated just like the Angle 3 > the pass hits the ulna/bicep/face -traditional blocks do not work – our “blocks” are hand smashes followed by a hand check -against basic blocks the wrist moves to hit another line/target – it is too fast for a block Disarms: -always smash the hand first and foremost – a disarm might present itself if you smash his hand and it is dangling Snake - Angle 1 > roof block to a snake – circle around the hand counter clockwise Strip – Angle 1 > roof block then grab the stick and strip it (hit punyo to forearm/ulna) Quick Release – Angle 1 > inside sweep then raise do an obaniquo to the temple on the other side of the stick, hook with the punyo while holding their wrist (under) to disarm Vine – Angle 1 > inside sweep and follow through then grab the stick insert yours on their ulna and pry it away Angle 2 > outside deflection – insert left hand and snake Angle 2 > shield block – grab thumb and strip it straight down Angle 3 > pass – grab their hand and quick release (push with the forearm) Angle 3 > wing block – grab the stick and strip it Angle > drop stick – -each disarm can be done on each “block” on each angle -practice obaniquos or hits after each disarm Counters: For each disarm there is a counter Angle 2 > vine > grab the sticks at the middle where they cross, backfist and take the sticks Angle 2 > outside deflection > drop sticks > quick release Angle 2 > outside deflection > as it comes around grab the stick > pinch the thumb Angle 2 > outside deflection > drop stick > snake his weapon -this teaches sensitivity -now flow with Sumbrada – start with the box pattern – it teaches counter for counter – the box pattern is meant to be broken – it teaches speed/timing/and reflexes for sparring -when you hit you block and when you block you hit Angle 1 > roof block > let the checking hand come back (only for this drill) then inside sweep to Angle 4 > drop stick then feed Angle 5 > wing block then Angle 2 > shield block to Angle 1 (it starts over) This teaches economy of motion, the proper responses to the different angles and body positioning -eventually you can throw in any strike you want (not the box pattern – just flow) – throw wide angles, etc. -practice disarms, counters to disarms, kicking, blocking, foot sweeps, etc. Hubud: Trapping range with the sticks Angle 1 > raise, slap & hit > repeat (hit with the punyo) -put in H.K.E., shoulder bump (like head butt), hip bump, etc. 2 Traps out of Hubud: Tapi – slapping hit Heline – pulling hit In Hubud after the raise do a tapi to an inside tapi and backhand with the punyo In Hubud after the raise do a tapi to a heline and obaniquo the temple -now add hits after the traps head, arm, waist, legs, etc. -the traps need to be strong/tight so he doesn’t hit you back Double Sticks: Siniwali -use the right and left hands equally – gives timing/coordination/reflexes/and sense of when to put in the half beat Drills: develop attributes -different chambering of sticks: chamber wide or under the arm Angle 1 Strike with simultaneous chamber on arm Angle 4 Strike with simultaneous chamber over the shoulder Angle 2 Strike with simultaneous chamber on the chest -there is no stance, first practice H-L-H (standard 6 count) -practice on both sides: 6 count or 3 on each side (different) 3 count -put in the half beats: Angle 1 with a half beat & retract for second hit – practice on each hit Functionalize- 6 count with hits going on the hands (person wears gloves) Practice variations with line Right: Left: H-H-H H-H-H (heaven – all high hits) H-H-L H-H-L H-L-L H-L-L H-L-H H-L-H 8 x 8 = 64 variations L-L-L L-L-L L-H-L L-H-L L-L-H L-L-H L-H-H L-H-H -can do H-H-H to H-H-H (all the same for 6 count), etc. -or can do H-H-H to L-L-L (both sides are different), etc. Single & Double Stick Sparring: -practice all ranges with kicking – use equipment so you can use full contact blows (head gear/chest gear/gloves/elbow pads/knee pads/shin pads/groin protection -you need form and footwork down before you can spar – work your way up Double Stick: -use each hand equally – if you lose 1 stick you still have another -uses lateral footwork -works the half beat/timing/rhythm -the principles you can apply to anything Long Range – uses continuous movement – can’t hit the head but you can hit the hand Sumbrada – use of the checking hand – can hit the head Hubud – trapping is utilized – can hit with the punyo – close quarter weapons Double Stick: Largo Mano/Sumbrada/Hubud: Single Stick/Double Stick/Single Knife/Double Knife/Stick & Knife Write down the differences you feel!!
Continuing with the progression with the double stick, so each step along the way gets more difficult. Double Sticks: Villabrille (16 count) or 8 count on each side Drill 1: (Wipe) with backhand strike (right) (Angle 2) > Left Forehand Strike (Angle 1) rest on shoulder > Right Forehand Strike - retracting (Angle 1) > Left Backhand strike - retracting (Angle 2) chamber under your arm > Right Forehand Strike - retracting (Angle 1) > Left Backhand strike - low-line - follow through - rest on left shoulder > Right Forehand - low-line - chamber under the arm > Left Forehand Strike > (Wipe) with backhand strike (left) (Angle 2) > Repeat. Drill 2: The 12 Count -Starts like the Villabrille 8 count, but you start with an inward instead of the wipe & backhand then go through till the 6th hit and do an odd 6 standard odd 6. Start in open position - Inward (right) rest on shoulder > Left Forehand - retract to shoulder > right backhand - chamber under left arm > Left Forehand - goes to left shoulder > Go to right knee with right backhand - low-line strike > Turn and go to your left knee with left forehand strike - low-line then rise and chamber under your right arm > right forearm strike - rest on your left shoulder > Left low backhand strike - rest on your left shoulder > right backhand strike - chamber under your left arm > left forehand strike (witik) > right low backhand - bring to right shoulder > Left pull-through forehand - chamber under your right arm > Whip it back so one stick is on each side and start again or you can hit and retract to end it. Drill 3: Abecedario 1st stage: When you block and come back with one counter Abecedario 2nd stage: When you block and come back with two hits Abecedario 3rd stage: When you block and come back with three or more hits 3rd Stage: Feeder feeds single stick, feeds all angles
You do open to close gunting and hit back one backhand and follow-up with 3 rodondo hits (vertical) or three horizontal ones using the umbrella, which is from the same family as the rodondo You do a close to open gunting and hit back one backhand and follow-up with 3 rodondo hits (vertical) or three horizontal ones using the umbrella, which is from the same family as the rodondo If feeder feeds double stick you could have all open to close or all close to open -Make sure that each hit has intention on it whether you are going fast or slow Drill 4: Double Stick Sumbrada Practice on the right side and on the left side Practice with all footwork too Single Stick Drill 1:
The core of the Filipino Martial Arts is knife fighting – it is very scientific There are no blocks against the knife, no x-blocks (many books and magazines use it, but they use it wrong) – the concept of an x-block is correct but you need to block with one hand and slice with the other Always try to cut the hand on the first motion “defang the snake” – if you defang the snake it is harmless A roof block is an x-block with a defang – cutting is more important than anything else! There is a Dunga/Bacall grip and false grip – how you grip the knife is not important – you can have the knife in either grip in either font/rear hand You do not need power with the knife so it is usually better to use you front hand (quicker) Any size/kind of knife is fine – but practice with a wooden or plastic knife How to Defend Against a Knife: Learning how to use the knife teaches you how to defend against it What not to do- Do not stab or block and stab – if there is movement you will not be able to use them – any single strike/thrust can turn immediately into a slice (multiple) – you need to cut on the first motion – slice & parry Many people think they can take a shot from the knife on their arm (protecting) and then feed back to harm the opponent, this does not work! When you get cut the body goes into shock (usually takes 2 or more seconds) – you will lose all your attributes and your heart will be racing uncontrollably (remember what the knife does to the side of beef) When Fighting – know what you are aiming for – if you aim for his hand it is 80% or more quicker When Fighting – know what they are going for – they usually go for your head or your body -Keep your knife tucked in and move around, cut the hand first -If your opponent is in front of you chambering the knife in front of him with a good grip while he is attacking cut his hand -If the opponent is in front of you and has the knife in his rear hand (false grip) and is swinging wildly do not wait until his hand is close to you to cut it, you have the rest of his body as the target area while he is cocking his knife hand Primary Targets: wrist (time table 20 seconds to 2 minutes) depending on weight/depth of cut anti cubital fossil – inner elbow arm pit bicep solar plexus hip behind the knee Achilles tendon If he throws a kick at you cut his leg -Any target is a good target, but the primary targets are the best ones Numbering System: Diagonal/Thrusting down – Angle 1 Backhand Diagonal/Thrust – Angle 2 Horizontal Slice/Thrust – Angle 3 Horizontal Backhand Slice/Thrust – Angle 4 Straight Thrust – Angle 5 Training methods develop attributes Techniques are things you might do in a fight Never look for disarms, if it happens fine, but cut the hand first and foremost! Knife Combinations: -He is using a standard grip & you are using a false grip Opponent throws and angle 5 – slice his arm & parry > hook the knife back to secure > he throws an angle 2 – parry and cut the wrist > disarm him (push his knife out of his hand with your knife) > cut his bicep > follow through and cut his neck (1 motion) > hook his neck with your knife with a simultaneous wrist lock > throw Opponent throws and angle 5 – slice his arm & parry > hook the knife back to secure > he throws an angle 2 – parry and cut the wrist > disarm (push his knife out of his hand with your knife) > cut the bicep > follow through and cut the throat (1 motion) > shoulder lock takedown > bargaining position (hooking his arm in another lock) Opponent throws and angle 5 – slice his arm & parry > hook the knife back to secure > he throws an angle 2 – parry and cut the wrist > use knife to raise his arm (elbow pointing upwards) > put left hand in for shoulder lock with arm cut > hook the neck > throw Opponent throws and angle 5 – slice his arm & parry > hook the knife back to secure > he throws an angle 2 – your body is in a different position so bring your front hand up > hook your knife around > grab his hand and return the favor > disarm him > hook your knife around his neck and take his knife and stab his solar plexus Simplicity means economy of motion, not the number of techniques – you need variety to be as simple as possible Practice combinations off of every angle The knife brings out body mechanics/sensitivity/the way you move Be able to read his energy (read his pressure) Things to Practice: You have empty hands: Opponent comes with an angle 1 thrust – use the shoulder stop > he throws an angle 2 – switch arms and use a left finger jab as you circle (left foot comes forward) Practice thrust > slash & slash > thrust Opponent throws an angle 1 – cut his wrist > cut across his waist > cut his throat > cut his arm and check with your left hand or go from the throat to the knee/shin/behind the leg, etc. Opponent throws an angle 2 – cut his arm and check > throw a left finger jab > cut his waist > cut his arm and check with the left hand Opponent throws an angle 3 – parry and slice the anti cubital fossil (from right to left) with a left hand check > slice across his upper arm with a left hand check/slice his throat > slice his knee/slice his kidney > throat -if he slices zone and slice his arm -just slice his arm aim for the ulna or the anti cubital fossil -parry and slice his arm Have your body move fluidly – continually move and cut with the knife 1 move turns into another there are no stops or pauses Knife Sparring: -wear gloves on both hands – you can punch with the rear hand and the other glove protects your knife hand -shin pads - so you can kick and be kicked -goggles – to protect your eyes -have your knife in your front hand to cut -bring out broken rhythm -move around and slice you are practicing your entries not disarms Double Knife Sparring: -promotes the use of the left hand -lateral footwork is employed -more squaring off -keep your feet a little closer together Empty Hands vs. Knife: -if you meet a knife then hide, if you can’t hide then run, if you can’t run then fly, if you can’t fly then back yourself against a wall keep you wrists in try to stop-hit with kicks and destroy the nerves on his arm if he over extends to get him to drop the knife -remember what the knife does to the side of beef! *Practice vs. a magic marker to have more respect for the blade Attributes are your best defense – use your attributes when your heart is pounding a mile a minute – imagination is your best tool practice until your heart isn’t pounding – train to have no fear, but remember to respect the blade!
Drills make the knife fighter, not the techniques Never has there been a subject taught by so many who know so little Never block the knife or practice disarms out of thin air Practice with an industrial magic marker and you will be released of your ignorance Myth #1 -trying to block a knife If you try to block a knife all the opponent has to do is pull away to cut Today people do not have armor, therefore we do not need to thrust; you need to flail with it and retract quick like a fast jab; you need the right attributes to deal with that footwork, line familiarization, and timing (only attained through the proper training methods) Range: 3 ranges Largo Mano- his knife cannot reach your face but your knife can reach his hand Defanging the Snake- (most important technique/concept)- if you try to use a passive hand and then thrust there is a slight structural flaw (you will be cut)- you need to defang the snake on the very next beat (passive hand is not needed so keep it on your chest) Sumbrada Range- when he can touch you- you need the checking hand or you will be cut (but if you use the checking hand in largo mano you will be cut) Hubud Range- closest range- the clinch range *you need to know all 3 ranges Myth #2 -how to hold a knife Only timing, line familiarization, footwork and heart count; how you hold the knife, size, etc. are the least of your worries (don’t focus on the wrong things!); if you pick the knife up from the ground and it is in a false grip then use it in a false grip, be able to be effective no matter what way you are holding the knife Largo Mano Drill: -have your partner feed angles 1 through 5 and slice his hand every time he feeds an angle (always back up every time you strike) throw an angle 1 for a 1, 2 for a 2, 3 for a 3, 4 for a 4, and 3 for a 5 Sumbrada Drill: -using the 5 angles- memorize them then flow- then just flow with the angles using no memory Angle 1- roof block with cut (while zoning on a 45 degree angle)- raise and stretch then cut and check Angle 1- inside sweep (cut forearm, check forearm and turn to the right) Angle 2- shield block (block with the left hand, raise the knife straight up (pointed towards the floor) Angle 4- drop stick/cross block (left hand is palm up cut their wrist, step out toward the left with the right leg out of the way while lowering your gravity) Angle 5- do a wing block (pass with the left hand step to the left and cut the wrist palm up) Hubud Drill: -high hubud with knives -low hubud with knives Pull combinations out of hubud Mixing it up: Practice flowing from largo mano range > Sumbada range > Hubud range and from Hubud range > Sumbrada range > largo mano range *keep the flow/repore You need to be able to sense what knife range you are in Practice each angle with kicks and punches flowing between all 3 ranges while adding in all your tools Largo Mano Range: The longest range- one side feeds and the other side slices and backs up (defanging the snake)- it develops line familiarization/ability to keep the checking hand out of the way (safe) Sumbrada Range: The middle range- The checking hand is employed (most important hand)- when both people can cut each others’ faces Hubud Range: The closest range- where Head Butts, Knees & Elbows can be employed Double Knife Fighting: Use Numerada- develops line familiarization/footwork (perpetual zoning)/coordination/& spatial relationships One person feeds all the angles- try to get three hits in on each angle that is given Switch between Numerada, Sumbrada, Hubud, Feeders Practice with 1 knife and 2 knives Practice with kicks Knife vs. Empty Hand: This is not a very practical situation- you need to bide your time till you can run Stay on your toes Keep your wrists in (to protect your arteries) Hopefully he will overextend to where you can catch him with a few nerve destructions to get him to drop the knife Use low line kicking to the groin/knee cap/siatic nerve and run! Learn to feel the energy of the knife (the “U” drill)(Dumog)- stick to him- use eye jabs/groin hits/arm wrenches/ & traps Knife Sparring: Use all the tools in all 3 ranges Have Largo Mano/Sumbrada/Hubud/Numerada down before you spar with them Use goggles/gloves and go at it! (it’s a point game) Make sure you respect the blade! –there should be less hitting and more respect given unless abilities are not even Remember what the knife does to a side of beef Use knife fighting to develop your cat-like reflexes!
Dumog is Filipino Wrestling- an art that moves a body from point A to point B- you are able to find the body’s choke points · If you are blasting and he straight arms you wrap around with your right arm (by his inner elbow) grab your own wrist and pull him in a little closer while this happens his temple is exposed for easy elbows and head butts – collapse his arm from forearm to bicep to head/neck – practice dumog off of the jab (for each reference point there is a dumog) – use it to keep the opponent off balance so he cannot hit you hard – take each reference point out of hubud – isolate it Dumog Techniques: 1. inside forearm pull right 2. outside forearm pull right (push down with one arm and pull with the other) 3. inside forearm pull left 4. outside forearm pull left (push down with one arm and pull with the other) 5. upper arm outside push 6. upper arm outside pull (grab with hands on the biceps/triceps) 7. upper arm inside push 8. upper arm inside pull (grab with hands on the biceps/triceps) 9. Head- pull him in (use your lats) – great if used with the head butt 10. Head- push (check his hand and straight arm his chin) 11. Head- twist to the left – walk with him – spin into a knee/take down/etc. 12. Head- twist right- walk with him – spin into a knee/take down/etc. 13. Hips/leg- push in with your hand to take him down · Work all of them out of hubud to work the left arm throw a backfist (wu sao- trap from the back hand line) · Backfist before a dumog to soften him up · Look for the head butt – dumog is great when used with the head butt · If their energy is forward pressure use pulling dumog · If their energy is pulling use pushing dumog · Never fight with their strength – use their strength to your advantage – be like water! · Dumog push Is great with kicks (ex. Savate) · If you have his hands tied up then use head dumog · Flow with the head pull/push/twist left/twist right/push/etc. · Now throw in the H.K.E – insertions between dumogs · Dumog will increase the power of your H.K.E by putting his body in position/in reach · Practice dumog against a boxer – use energy/sensitivity to pull your dumog off · Choke points- feel his energy to determine when and where to go · Use dumog with and against tai chi · Dumog/tai chi energy drill- one can beat the other – neither is better · From upperarm position practice stealing his balance while he can hook/punch o Practice getting foot sweeps out of this position when he can punch (inside/outside) · Practice switching his arms with dumog when he punches (roll around him/use hubud to get to his other arm or duck it) · From neck position practice pulling him in and out putting in H.K.E. · Once you have his neck tou have his eyes/throat · Dumog helps with injure to degree (when grabbing the neck) · Practice the eye rake to pull back out of neck hubud – can turn it into a take down · Use pulling the neck and use the inner bicep while hitting with elbows to grab/pull again Learn Dumog positions: · Out of hubud · From specific positions When he is trying to hit you · Flow from art to art with dumog · From all positions when he is trying to hit you 1. always loosen him up before you try to move him with dumog 2. when Dumog is done right he cannot hurt you – no solid blows land 3. Dumog adds power to your H.K.E. 4. Dumog is Essential in a street fight Combinations: 1. brachial nerve destruction – left finger jab – right backfist – right elbow to his left forearm/bicep – inside dumog 2. brachial nerve destruction – right finger jab – collapse dumog – arm wrench – H.K.E.
What is energy/pressure/sensitivity?- a lot of different arts have these – it teaches you the ability to read someone’s pressure if you are in trapping range you need to touch · Wing Chun uses Chi Sao – energy comes into play after the straight blast – their energy is two hands on – forward pressure · Kali uses hubud – zone to zero pressure – one hand on and one hand off · Energy is not about tension/fighting – it is about reading & rolling around pressure, etc. · The only way to gain energy/sensitivity (an attribute) is by practicing with someone who is proficient · Flow - be natural- have proper structure · Energy drills give you the attribute/ability to pull your techniques off in a fight · Practice all your techniques and combinations out of all energy drills · Energy drills teach you line familiarization so you attack/defend according to the line not what type of tool it is · Energy drills help you to adapt to the angle – like water! · “All the energy/sensitivity drills you do is for a split microsecond once the clinch occurs” –Dan Inosanto Lop Sao Drill: · Elbows are pinned together (upperarm parallel to the ground) – pull his arm down (he boang saos) and you backfist now he deoes the same to you, so it is continuous – you can do it straight on (Wing Chun way) or you can do it with a backfist (JKD modified way) · Lop sao teaches you how to get ahold of a handle · In energy do not be worried where your big toe is – as long as you have an athleticism in your step and the right energy you are fine To Switch from Lop Sao to lop sao: 1. Grab the hand that grabs you – pull and punch 2. throw a rear cross (if he parries with a fuk) grab and backfist the other side To Switch from Lop Sao to Hubud: · When you throw the backfist grab their hand when they grab you – then pull slightly – slap and hit To Switch from Lop Sao to Chi Sao: · When your partner parries your backfist fire your rear hand in when they fuk Sao to block it give forward pressure and begin to roll Hubud: · It came from stick fighting (close-quarters) · Touch and go – cohesion then a slap and strike · Zone – one hand to check · Comes from an angle 1 in seminars we use a widened angle to teach it faster so they can see what we are doing · A kali man gives centerline forcing the opponent to come straight – then he zones To Switch from Hubud to Lop Sao: 1. Out of hubud after the raise grab his right arm with your right hand – line up your elbows – pull and backfist 2. Out of Hubud after the raise – slap – and throw a backfist to work off of the left arm – lop sao and line the elbows up – pull and backfist To Switch from Hubud to Chi Sao: 1. out of hubud when you parry the angle 1 make it an outside parry and give pressure with both hands 2. Out of hubud when you raise pull back and throw a rear cross while keeping your hands on and giving forward pressure Chi Sao: · Has very intricate movements · In wing Chun it takes 4 years to move from Don Chi to Chi Sao · 4 positions (2 inside) – (2 outside) – (1 in & 1 out) – (1 out & 1 in) · chi sao is the ability to read energy off the clinch · Centerline- never cross your nose with either hand · a good wing chun man will not be taken to the ground because of the centerline principle · Always give constant forward pressure – in emptiness straight blast · Keep chi sao tight – have your hands almost touching or slightly touching to “Cheat” · A wing chun man occupies centerling forcing the opponent to hook – then he moves straight in Right Hand Chi Sao: · outside hand (left Hand) must have the elbow in to occupy centerline - can move from a tan sao to a fuk sao - or a fuk sao to a fuk sao · inside hand (right hand) moves from a boang sao to a tan sao (like pouring a drink) · elbows should be only a few inches off of the body keeping hands close but not crossing centerline · if the elbow is raised with the fuk then the punch goes right in Left Hand Chi Sao: · outside hand (left Hand) must have the elbow in to occupy centerline - can move from a tan sao to a fuk sao - or a fuk sao to a fuk sao · inside hand (right hand) moves from a boang sao to a tan sao (like pouring a drink) Double in Chi Sao: · Chi sao with both of your hands on the inside reference point · Both hands move from a boang sao to a tan sao (alternating) Double out Chi Sao: · Chi sao with both of your hands in the outside reference point · Both hands move from a fuk sao to a tan sao (alternating) – or a fuk sao to a fuk sao Switch from Chi Sao to Lop Sao: 1. During Chi Sao manipulate their fuk sao to over extend then Lop Sao their fuk sao 2. During Chi Sao when you have a simultaneous fuk sao and tan sao lop their tan sao Switch from Chi Sao to hubud: 1. During Chi Sao manipulate their Fuk Sao to overextend then lop sao their fuk sao – slap and hit – If you are in right handed Chi Sao it will put you in left handed hubud 2. During Chi Sao when you are at fuk sao and tan sao – slide your hand to raise – slap and hit Nerve Destructions: · Destroy nerves When punching him or when destructions arise · A means to an end · Nerves run on the back of the hand – nerves before the muscle of the forearm – nerve center the size of a quarter adjacent to the elbow – across the joint to the brachial nerve (funny bone) – from the elbow up the outside of the arm (middle) – up into the armpit – into the deltoid · When in hubud off of the raise put in a forearm nerve destruction – always finger jab but in a clinch destroy nerves or employ destructions when the finger jab is blocked Footsweeps: · We don’t look for or chase the footsweeps · They are incidental if not accidental · Out of hubud grab the shirt and hook with your foot/leg on the inside or outside of either leg · Pull sweeps out of Hubud Energy Drills: Elements: Chi sao Dumog Tai Chi Locking Hubud pananjakman Savate Thaiboxing Lop Sao Sweeps Nerve hits Panantukan Wing Chun Traps H.K.E. · Practicing these makes you functional · You need the wisdom to flow from one opponent to another no matter what their discipline/style/tastes · Bury your hips on a partner with pads/equipment when you master the technique to functionalize it · Then have both people have equipment on and spar!
Kino Mutai – is a lost art – it literally means the art of pinching and biting – it was taught to Dan by some old Filipino masters who have since passed away – it is only known by a handful of people who Dan has passed it to – it is a barbaric art because the Filipinos have always needed a way to circumvent the odds that have been against them, historically speaking, which is why they have always found ways to cheat – and pinching/eye gouging/and biting are all ways to cheat when ground fighting *With the concept of biting people say “Well anyone can bite”, well that is true, everyone has the ability to bite, but anyone cannot bite effectively – we have an entire art predicating biting, the Philipinos have found 144 ways/positions to bite people uninterrupted (90 years of practice/research) – Kino Mutai is the ability to know where/when/and how to bite *biting gives you space, the better Brazilian Jiu-Jitsu man he is the tighter his movements will be – when you bite a Brazilian Jiu-Jitsu black belt you turn him into a white belt because they give you the space that you need and you have taken them into the unknown *Always keep the action going – never give the opponent time to breathe – the best defense is a good offense – we move from one bite to the next – on the ground there are more bites than anything else – it takes every 5-10-15 seconds for a lock/choke/etc. but bites happen every second, you could be perpetually biting and keeping him off of his game in the self-preservation mode Our first few bites are from the bottom position (the very worst position to be in) – keep in mind that the very purpose for biting is to be able to get back up to your feet so you can escape or engage in stand up fashion Cross-Side Position – Defending - Nipple Bite The man in the cross side position has one arm under your neck and one arm over your arm (clasping his hands together) – his chest is on yours (a good base) – his leg is stretched out – keep your left arm/hand under his armpit (you do not want your left arm exposed unless you are doing a neck bite because he can lock you) – have your left hand on his back (pointing up) – your right elbow should be on his hip – do an “umpah” then grab around his back and bite his nipple then push him off with your legs to give you space Cross Side Position – Defending - Neck Bite This is a more dangerous bite – this time your hand is dangling out instead of under his armpit (left hand) (he can lock-figure 4) – grab around his back/head and figure 4 it and bite the neck -If he knows about digging his shoulder into your chin to prevent bites take your body and askew it 15 degrees to the right while pushing on his hip with your right elbow then figure 4 his back/head and bite – then push off – injure to degree means there are differences between biting the neck and biting the nipple and arm under or hanging Cross Side Position – Defending - Lat Bite
This time his elbow is over your neck instead of under – when people use the cross side position their position might vary slightly depending on what their “objective” is (a choke, lock, pin, etc.) – arm is on other side of your neck – his right arm is guarding you from putting him in the guard (if his arm isn’t there you can pivot/slide and get into the guard – your right elbow is on his hip and your left arm comes by his neck – figure 4 his back while raising your knee (the knee is to prevent him from mounting you) to sandwich him so he can’t move – squeeze him tight and bite his lat then push him off Cross Side Position – Defending - Groin Bite Now both arms are pinned against your body (he has tackled you to the ground, gone into the cross-side position with both your arms underneath him – at this point you could bite his lat, but it would not be uninterrupted – bend your right elbow out between his legs your left arm pushes his hip and push off your right foot all at the same time – spin your body (clockwise) – squeeze around him and bite his groin then push off Cross Side Position – Attacking – Neck Bite Now we are in the top position – in tournaments you have both arms over the opponent but for our needs we have our arm underneath his neck so we can pin his chin with our shoulder (preventing him from biting us) – most times if your right arm is on their hip it prevents him from getting into the guard – but we like to put our right knee on his hip to prevent it – take your left leg away from him incase he is strong (he can flip you over and be on top, you would still have the bite, but we want to stay on top) – your right arm is under him and grab hands while pushing your shoulder down – he can’t bite you, but you can bite him Mount Position – Attacking – Face Bite The most vicious biting you can do is done from the mount position – there are 2 types of mounts (1- up high – both arms are able to punch) (2- low mount – this is the mount we use in Kino Mutai because it gives a strong base) – put your hooks in – grab under his neck with your right arm grab your own bicep and eye gouge or bite his cheek – he may be strong and put you in the guard – but even if he umpahs you still have the bite Standing Up (Head Lock) Position – Defending – Lat Bite He has you in a headlock – he may try to punch you with his other hand so grab his bicep with your hand hit him in the groin grab around his waist bite his lat then jump up and head butt Sumbrada – Kali Fighting Method – flow pattern means you continue with a flow of techniques – it is working on attributes (flow) -This develops timing/attributes – helps both people at the same time -It isn’t a battle of attrition – learn it slowly – make it a sensitivity drill – later on you can speed it up -It flows to make a full circle and can be never ending Ground Fighting Sumbrada Pattern Partner is on top in cross side position – do the nipple bite – then slide your hips under and get into the guard and neck bite – he stands so grab his shirt (shoulders) put your legs on his hips and roll to the mount and do the face bite
You are mounted while doing the face bite – he “umpahs” and gets into the guard and does the nipple bite – he pins your arms to the ground and head butts you – he stands up and pounds your groin – he breaks and passes your guard – puts his knee on your chest and punches your face with one hand – cross side with the bite to the neck/cheek He is on top doing the neck/cheek bite bring your arm up pushing his head away – he passes your arm and does a lat bite – you push his head down and he does the groin bite – you pike/push (he puts his right hand on your hip to secure) he hops up puts his knee on your chest (right) and punches you in the face with one hand He is punching you in the face with one hand (it creates a visceral response to spin) you spin – he puts his arm in for the choke (after you spin) – roll over so he is on his back he is using his left hand to choke and his left hand is under your armpit securing your other hand – he is biting your neck and heel kicking your groin We are defending against the choke push your secured arm to 7 o’clock to unlock it (as you grab his right arm to bite do not open your mouth wide because if he pulls in it will be a lock against your jaw and you will be in great pain – once you get your mouth too open you cannot apply pressure) – pull so you have just enough room to bite, now you nibble and tear (but he can pull away then choke) so grab his right shoulder (shirt) with your right hand and spin to where he would be in the guard (and you make a technical error) – you left arm is under his leg and your right arm is on his stomach (vertically) so he can put you in the triangle choke and tries – immediately get your base/posture (bring your knees to his butt and stand up on your knees (straight) while pulling his left leg up) – turn and bite his inner thigh while securing his leg – pass the guard (when you pass the guard try to apply pressure enough to touch his knee to his chest to pass safely) and get to the cross side position – now we are back to the starting position Kino Mutai Sumbrada Flow: 1.) Nipple Bite (from bottom) 2.) Neck Bite (from guard) 3.) Face Bite (from mount) 4.) Nipple Bite (from guard) 5.) Neck Bite (from cross side) 6.) Lat Bite (from cross side) 7.) Groin Bite (from cross side) 8.) Neck Bite (from rear) 9.) Arm Bite (from choke) 10.) Leg Bite (from triangle) 11.) Face Bite (from cross side) 12.) Repeat Self-Perfection is doing a training drill (Hubud, Sumbrada, a jab drill, a flow pattern on the ground)
Self-Preservation is what we would do in a street fight – you would need to get out of the laboratory and into the street to bite people, if you don’t want to do that you need to strap a piece of meat on your partner to learn the technique of tearing flesh properly – this is not stuff you go around doing – this is what you do to protect your family (if you are out at a 7-11 at 3:00 a.m. and a 300 lb. man is holding you down and someone else is grabbing your wife or kids and you need to bite to get up, then you bite!) – that is what this is all about – when you think about gouging the eyes, stabbing someone with a knife, or bludgeoning someone with a stick – these are not pleasant things; but sometimes it is not a pleasant world out there where you have to learn to defend yourself -Biting is the equalizer for ground fighting – now you are armed with one of the most powerful tools to level the playing field *To practice tie the meat to any part of the body – put a t-shirt on over the meat, most of the time people would be wearing a t-shirt but you could practice it without -Damage to create space – if you take a chunk out of someone they are going to think twice before starting again with you or taking you to the ground -The ground fighters try to initiate a double leg takedown 90% of the time (S.D.A.) – as he tries this the man has a chance to hit – instead do an entry > straight blast > double leg takedown > bite (this is a way to circumvent and cheat – giving you a much better chance) – you are occupying centerline so you are cheating Entry > straight blast > takedown > bite > stand up/pound the groin > pass the guard and pound the face -Remember the bite against the arm lock on hamstring > go to the groin – if too long bite the calf!