Self Defence Workshop Links and Graphics

LINKS

OODA Loop

Dr Andres Bisaz Article

UK Crime Statistics

Crimestoppers

NACRO

Property Marking

GRAPHICS

Please drop me an e-mail if you would like to see the other graphics and I will send you the files

Self Defence Workshop clip

Here's some footage from last week's self defence workshop. Rather than give a lot of techniques for dealing with attacks (see our Street Defence DVD for that!) we took the approach of working on the decision making process (via the OODA Loop).  Using the Loop as a blueprint we ran through various scenarios based on real life events and also discussed tactics used by criminals and preventative measures. 

LIKE A CIRCLE IN A SPIRAL

Recently in class we have been working on the concept of "flow" in movement (shortly to be released as a DVD "Flow Motion"). Part of the training involved students giving one strike, then two, then three, then five. I asked if anyone knew what the next number in the sequence was - 1,2,3,5.........?
Well the answer is eight - and the sequence should more properly be written 0,1,1, 2, 3, 5, 8, 13, 21, 34 etc It is know as the Fibonacci Sequence (FS) and is formed by adding the previous numbers together.

Fibonaccio (Leonardo of Pisa) was born in 1175 and, among other things, introduced the sequence to Western thought . As we have seen each succeeding number equals the sum of the two preceding it and in doing so we find some interesting relationships. For example when divided the numbers give us the "golden ratio" of 1.618...or PHI. This can then be developed into a logarithmic spiral which could be described as on of the fundamental shapes or building blocks in nature. It can be seen in everything from the structure of the cornea,  to the formation of seashells,  to the approach of a hawk to its prey,  to the spirals of the Milky Way.

In other words it is a fundamental aspect of ourselves and the world around us. It finds expression in art, mysticism, architecture, industrial design, even finance. My old pal Anthony Walmsley began researching this concept in relation to Chinese martial arts some 10-15 years ago and has produced a book covering this topic in detail.  Check out the links for further information as my space and mathematical ability are both restricted! 
So what does all this have to do with training? In terms of flow and movement - well all will be revealed on the DVD! But in brief, if we look at the FS in bio-mechanical terms then this model (and remember it is just a model!) is a step on from two dimensional representations of the body. Of course we exist in four (known!) dimensions and our work has to take all of those four into account - so an understanding of three-dimensional spirals in both form and movement is vital. We could say with some measure of truth that the body is not capable of a straight line movement as everything involves spirals of some description.

Our striking work shows how a short twist or spiral can increase the penetration of a punch. We know from basic grappling work that twising a person in three directions dramatically increases the effect of a throw , lock or takedown. We understand from our health and fitness work the effects of twisting and spiralling the body in terms of improved flexiblity and overall tone.

These are all quite basic things that should quickly become apparent with a little thought. But does the FS have wider applications in our work? I believe it does - and again this will be covered in the DVD. But in brief I think this sequence resonates with my previous descripton of fractal Systema - each part can be separated off but remains a reflection of the whole. If that sounds a bit vague or too philosophical simply consider it this way - everything that you are is reflected in everything that you do. There is something of you in all your actions, however impersonal or unemotional you think you are being.Everything that you do will have some effect on who you are. This is an important thing to bear in mind when you are training - because how you train can and will affect what you do. It is easy to understand this on a superficial level. Train hyper-aggresively - how do you think that will affect you? Train with no intention, drive or pressure - what will the result be? The problem is that while it is easy to see these things at the extremes, they are more difficult to notice when we work at deeper levels. Often we do not notice these things ourselves, but those around us do. Funnily enough we usually then blame the people around us for those problems. No-one is immune, there are very few people capable of totally honest self -analysis and insight -  but if one of the effects of your training is to diminish that capability I'd seriously call it into question.

Understanding this notion of spirals and structures in our own bodies I think leads to a greater appreciation of those structures in the world around - and perhaps give us insight into the natural world. It can change how you approach situations - from a principle point of view rather than a purely technical one. If you know the principles of how a bike works you don't need a different set of techniques for every new bike you sit on. Similarly if you grasp the underlying principles of movement, manipulation and body structure you can quickly get a handle on how to harm or help a person. Going further out still (or deeper in) still, understanding the dynamics and principles of social interaction will help develop your emotional intelligence and hopefully make you a more understanding and rounded person.

Outside of living history and re-enactment, does it make sense to try and slavishly emulate the way people trained in another culture 200 years ago? Does training solely for one type of situation or operational activity makes sense for people not in that line of work? Perhaps both approaches are a control / coping mechanism to ease the feeling that maybe the "real world" is just too chaotic to deal with?

However I believe that if you understand something of the Fibonacci Sequence and the related areas of sacred geometry, quantum physics and some of the latest medical research, not to forget the great spiritual teachings of course, you begin to see patterns beneath the chaos. That might lead to the conclusion that we are all inescapably linked together in ways we can sometimes barely imagine. Something to think about in these troubled times.......

Class Work 2011

Footage of some recent general classwork, plus the RSF London Groundwork Seminar

One Step Beyond.....

Western music has, for the last 1000 years or so, been founded on a very simple principle - the octave and the standard music stave. This system has been used by everyone from Bach to Lady Gaga. It is at once clear in it's simplicity - it can be read and understood in an instant by any musician. Yet also profound in it's depth. It can convey a simple one line melody or the full glory of a Beethoven symphony for full orchestra and choir.

At it's heart, however, it remains simply an octave. From those single tones are developed chords and their inversions, different types of scale, harmonies, discords and melodies. They have the power to stir emotions, lift spirits or give us a nice tune to whistle.

Anyone who learns how to play music in the "traditional" sense begins with the octaves. Running up and down those 8 notes in their various keys and scales. Correct positioning to play the notes fluidly, correct technique for the particular instrument you are working with are the first steps. Then you start to learn something of the relationships between these tones, how thirds and fifths work, how chords are created.

Of course music is written to be performed, so at some point every musician will play in front of someone, even if it's just family. Now you begin to learn to cope with the pressures of actual performance as opposed to practice. Nerves, expression, ability, not to mention the fun and enjoyment performance brings.

This is within reach of anyone who takes up an instrument within 6 months or so. With  good tuition and a little practice it should be easy to reach this level. But what lies beyond?  Why do some stay at one point and others go much further? There are several factors of course, but for the sake of argument let's make it a level playing field and say all things - time, money, opportunity and desire -are equal. The variables then must be in the people themselves and how they view the playing of music.

We could say that music is a mathematical exercise. After all it was Pythagoras who "discovered" the laws of music. So if a person understood completely the mathematical relationships between all the notes in a piece of music, they would be an amazing composer, right? You could create a score based on tonal relationships and intervals that would be neat, tidy and rational

We could also say that music is an exercise in technique. The faster I can move my fingers, the better. The more notes I can cram in to a phrase, the better I am. People will be amazed at the speed and dexterity of my playing, the flashiness of my performance.

Then again, music is an exercise in theory. See how cleverly the chord in the first section is inverted in the second and a diminished fifth added, which relates to the the harmony of the string part in the fourth movement. The more elaborate and complex the piece the more people will appreciate my intellect and cleverness -  I can discuss it endlessly on internet forums, I don't even have to play anything for people to appreciate my genius.

Perhaps music is all about learning things. If you go to a teacher who just gives you the eight basic notes and asks you to work with them, what use is that? Isn't it far better to have a teacher who has strict rules for everything and can take you step-by step through it all? That way I will never have to think for myself, everything is neatly laid out for me. My work will be exactly the same as my my teacher and can be replicated over and over again.

Music is a language. Through someone else's work or your own,  music is a form of expressing a feeling, an emotion, a sharing of joy, pain, love, anger or just the desire to get up and dance. It touches something deep within us and connects us to something outside of ourselves.  There are aspects of all those previous things I mentioned before in there of course. Understanding theory, technical ability and so on are all valuable - but not at the expense of the necessity of honest self expression.

This is what takes the student "one step beyond" playing simple scales and into the realm of understanding, performance and creativity. But only if  the student  is willing to take that step and has faith in the process. It's easy to look outside and blame others for not showing you things when in fact they are in plain sight.  Of course if you want to keep someone as a student this is how you teach them - step-by-step, keep everything  obvious and mechanical, drip feed  "information".... But if you want someone to become a real musician, you encourage them to imitate... then innovate. A little guidance is necessary here and there but the information is all contained in those eight notes - you just have to open your eyes, ears and heart to see it.

Tactical Training Day

The day was put together by Danny Lines of the Britannia Gym and K9 Security Services. The idea was to give some security professionals training in different aspects of their work.

The day started off with me showing some  Systema close protection drills, including movement of people, movement around people and responding to low level threat. This was later expanded into some basic teamwork for takedown and restraint

Danny Lines showed some pressure point work from Aiki-jitsu and how it fits into pre-emptive striking as well as takedowns. Some verbal /psychological work was also covered

Simon Batty then took the group through Muay Thai striking techniques. Starting with the jab, Simon then moved on to kicks, finishing up with knees and elbows. The group covered pad work and some basic sparring methods

Sujay Bholak then introduced the group to the basics of working with dogs. Very few had experience in this field, so it was very interesting to see how the dogs responded so readily to the commands of the handler and how effective they were in bringing the bad guy to the floor! a few of the lads volunteered to put on the jacket and have a go  and everyone also got the chance to work with the dogs on a hostage scenario

All in all a great day of training and it was good to work alongside some great instructors (especially a fellow Manor Park / Avenue boy lol). All the participants got stuck in with good attitude and spirit and all the different areas complemented each other nicely. 

Fractal Systema

I mentioned in a previous blog the idea of concious / subconcious learning. It's an important aspect of the way we train and perhaps needs a little explanation, especially for anyone new to the System

At his recent London workshop Martin Wheeler was recounting a recent sparring session with Vladimir. They were groundfighting and Martin, despite being no slouch when it comes to groundwork, said he found himself being effortlessly outclassed by Vladimir. When he asked how this could be - after all, Martin has considerable experience in BJJ and other grappling styles, Vladimir replied "you have good knowledge, but my body has more knowledge".

What does this mean? To my mind it means this - through his training Vladimir has arrived at a state where his body "knows" how to react to any stimulus applied to it. At this level technique becomes irrelevant, the work is pure instinct - not only that but the instinct itself is highly tuned to a state of survival. How to arrive at this state? I think by making your work geared to training your instinct to react in the appropriate way - and the main way to do that is through sub-concious training to aquire "body knowledge".

But can't we just rely on our natural instinct? After all, you touch something hot, you move faster than you will ever move in your life. Well yes...and no... the problem is that "natural instinct" can lead us to different reactions. In essence there are only three possible reactions to a stimulus - and this applies on a cellular level upward. Test carried out on cells have shown that they will move towards a source of nutrients and away from a source of poison. Something indeterminate - there is no movement.

So those are our three options when faced with a stimulus - we move towards it, away from it, or stay still. This happens on a subconcious level. We know from studying body language that a person talking to someone they don't really like will manifest that feeling in some way - their feet may point away, they may lean back or frequently glance away. We can be "repulsed" by something - think of something horrible, picture a big pile of dog crap on your desk - how does your body react? You moved back I'm guessing!

The other option is to move forwards. The stronger the bond the more demonstrative the movement. We hug family, shake hands with colleagues, nod and smile at acquaintances. But it is all "positive" forward movement. If we are not sure - we falter. We teeter, back and forward or side to side - indecision (which incidentally is the state in which we are most susceptible to suggestion)

To put this into a conflict / self defence terms we have the option of flight, fight or freeze. The first two are obvious - we try and escape the danger or we tackle it. The freeze option can come about through fear or indecision leading to tension. It might also come about through "if I don't move he won't see me"

These options work at a sub-concious level within us, but can be modified and tuned. For example someone experience in handling firearms is not likely to flinch when one is shot, whereas someone who has never fired a gun will. But how do we access this sub-concious level in order to work with it?

Breathing is the first step and the major link between what goes on outside and what goes on inside. As we know, regulating our breath plays a major role in controlling the psyche. This in itself is a concious act at first - or at least it is in adults, most of us lose the natural abilities of the child in this respect. Over time it becomes the natural reaction to adjust the psyche through the breath - something makes you jump and you are in burst breathing before you know it.

This also has to be translated into physical movement and the first level of this is simply moving away from the source of pain. It may be a stick, knife, chain or fist, but just the "simple" act of avoiding it is informing the body on a sub-concsious level when and were to move. What I mean by sub-concious level is this - when running the swinging the stick drill, for example, we don't sit down beforehand and discuss in detail the bio-mechanics involved in taking a step. Nor do we have people do the movements without a stick present, just pretending it is there. In both cases the body is not learning - in the first because the information is intellectual, in the second because the threat to the body is imaginary.

Now I am not suggesting there is anything wrong with intellectual learning in martial arts. There are many areas of training where studying the how's, why's or mechanics can be interesting and useful. But it should be should be used to back up the physical training, not replace it.

As for the types of practice that rely on imagination such as forms / kata - in my view they are far less useful. You can imagine all you like, at some level the body knows that there is no opponent in front of you. In fact I think they can be counter-productive, in that how you imagine something is rarely how it actually is - and your body will react to what actually is rather than what you imagine.

So we extend this idea out through all of our training. Whatever the drill is, just do it. Don't worry too much about getting it right or looking a certain way,. Iif the drill is to avoid the stick and you avoid it - job done. If you can avoid one stick well, great - then let's try two. Once you have this basic movement idea down and your body can move comfortably, we can add in other factors to the training.

Tactical factors for example - how do you avoid the stick, but move in and take the person down? Or technical factors - what is the best way to apply a lock to the arm? Even here though, the work can be largely "sub-concious" - you learn to do it by doing it, not by reading about it. In this respect the class should be seen as a laboratory where you are free to experiment and find what works best for you. Funnily enough - or not, given we are all basically the same - you will soon find that natural efficiency which characterises the best kind of Systema work. Through training and testing you begin to tune your instinct to the situation. This is where the faith is developed that your body can take care of itself when under threat.

 

I will admit that to people used to a more apparently "structured" approach this method can seem messy and "unscientific". Some people prefer the comfort of syllabus and grades, and that's fine. But once you look under the surface you find there is a whole lot of structure to Systema, not only that but it is very deep. Some talk about "steps" in training, you go up one level at a time. Some talk about "spirals", you go round in a circle but each time you go up a bit. I think of Systema as fractal - each aspect contains the whole. You can zoom in and see individual shapes, or zoom out and see the bigger picture. You can also zoom in and keep going and going and going......

And that is exactly what this approach allows you to do. I've trained in styles where you do basics, then at a certain level you don't do those things anymore. I find with Systema the basics are advanced and vice versa. This is because you are always working on yourself, not on replicating someone else's movement. Your work is always dynamic and in and of the moment - once it's happened, it's gone. It's a truly creative experience (even in a destructive situation) and this, I think is a one of the factors in the "cleansing" aspect of Systema - as one of our guys mentioned last class "I feel so much better after training"

So when training try and let your body learn - don't over-analyse during (post-drill reviewing is good), just breathe, move, enjoy the experience. Learn to take whatever is thrown at you with a breath and a smile, do whatever is neccesary in the situation then move on to the next challenge!