Thursday, December 17, 2009
Chi Sao DVD Now Available!
Tuesday, December 15, 2009
Knife Information
Saturday, December 12, 2009
What If It Doesn't Work?
Thursday, October 29, 2009
Daily Weapons
New DVD
Just letting you know my "Training Progressions Overview" show, previously available only on VHS is now in DVD with nifty new navigation buttons. Woo and Hoo! You can get it through my e-store. "Modified Chi Sao" will also be available in the near future, again with the very nifty navigation menu, so I will let you know when that is dropping.
Monday, October 12, 2009
Bruce Lee's Favorite Color
Monday, September 21, 2009
JKD Trapping
The following is from my book in progress on "Jeet Kune Do Trapping Hands."
Before talking about jeet kune do, we need to acknowledge that all martial arts derive their viewpoint from, and represent a model of combat. This model includes beliefs about: 1) what we are likely to encounter, combatively, 2) what would constitute efficient responses, and 3) theories of training methods. A model is something that is either arrived at through experience and thought, or passed down through tradition. Since most of us are not self-taught from scratch (and are unlikely to have experienced all of the possibilities presented in any given tradition under actual fighting conditions), it is usually a combination of both, to varying degrees. Bruce Lee was aware that all models have limitations, which is why he never believed in a "final understanding". Clearly, much of the evolution of martial arts is the result of people's personal conscious or unconscious re-interpretation of tradition. Most commonly, a given model is based on many specifics of what ideally should be an expression of that system, but to a much lesser degree on a clear presentation of what we are likely to encounter, other than actions that support that system's assumptions. That is, rarely is there an examination, except in the sketchiest terms, of just what comprises the most deeply ingrained human combative instincts (1). Instead, the natural human tendency is to project the concepts of one's system onto the outside world without empirically examining whether or not there may be a gap between a particular system's point of view (represented by its training) and how untrained people might react.
For example, some of those involved in mixed martial arts (essentially kickboxing combined with grappling, the "No Holds Barred" view) assume that because mixed martial arts are popular, that the average person is now a skilled mixed martial arts fighter. This is a faulty model however, because to this day, the odds are that the great majority of people we are likely to be confronted by are untrained in martial arts (unless we are challenging other martial artists). The odds are that those that have trained at all have generally trained in garden variety strip-mall black belt factories and not for very long. The most common offensive and defensive performance instincts now in one-to-one fights are the same instincts as ages ago: wild telegraphed punches (usually hooking), hands dropping after and between strikes, relatively few kicks, grabbing and pushing (in offense and defense), inefficient defense when any, no sense of distance or footwork, and an inability to keep defense and offense in the same mental frame (2). Here, the mixed martial artist's perspective has legitimacy; fights easily get messy, close, and go to the ground. But this perspective is also geared towards people with similar skill levels (none, to very good) wherein people tend to neutralize each other or don't have any efficiency at kicking, punching and close ranges. However, in general street context where it's instinctive for adversaries (trained or untrained) to try to obstruct strikes, "stand-up" tactics, including trapping, can indeed be very workable for those that put in the development time. To say, as some have critiqued, that something is intrinsically wrong with trapping because it may not work every time in all situations is like saying a screwdriver isn't useful because you can't saw wood with it. It is a very good idea to be prepared for a skilled fighter, but if one only works within a martial arts class context (even contact sparring oriented), and doesn't examine the most common human combative instincts then they will be training to overlook many workable possibilities. The same idea applies regarding our defense: some think that if we can deal with a training partner's clean, quick movement, then we will easily be able to deal with an opponent's sloppy "improper" movement, but the principle of specificity holds that the way we train and what we train for will dominate our reactions. One of the oft repeated stories from Bruce Lee's Los Angeles Chinatown school involves a sloppy beginner giving a much more experienced fighter a hard time because of the beginner's unpredictable form.
This raises the issue of models of training methods. Various schools of thought regarding training methods run the gamut from emphasizing solo forms (kata, kune), to pre-set technique, to response drills, to sparring with narrow or broad limits. Extremes at either end of the spectrum are problematic; a curriculum with all pre-set technique will not develop our ability to make choices with timing and distance spontaneously, and a curriculum that only emphasizes all-out sparring will develop a lack in important areas outside of combat-sport-oriented kickboxing and grappling skills. That is, in circles that feel most training must be as non-cooperative and aggressive as possible, the problem is, besides the fact that training partners familiarity with each other greatly changes the range of reactions, that while important and useful, it is still not entirely realistic; realistic would mean actually attacking the eyes and throat, breaking limbs, and doing as much damage as necessary to stop an attack. Since this is an obviously absurd way to practice, there clearly has to be a balance between the degree of cooperation and non-cooperation in training (3). This easily leads to the conclusion that it is important that a significant part of training is spent with one of the partners semi-cooperatively playing the "slob," someone with committed aggression but poor technique (4).
Two additional issues arise when considering what approach to martial art to take: 1) how labor intensive different skills are to develop, and 2) how that relates to a continuum of probability regarding the likely severity of combat. The first issue simply put, is that some skills require much more effort to make functional than others. We have to ask ourselves if the effort required is worth the payoff, or if there may be easier ways to get the desired result. Methods such as trapping, joint locking and grappling require much more work to functionalize than basic kickboxing tools. Developing a decent non-telegraphic finger jab is more important than developing a complex wrestling hold or trapping skill. This is why JKD trapping is considered to be a skill learned after the development of kicking and striking foundation skills. Not everyone is interested in martial arts being a major part of their lifestyle, and yet they may want to have an idea as to how to deal with confrontation realistically. A desire to have some essential understanding of fighting with limited time expended is neither naïve nor uncommon, although devoted martial artists often insist that "if you are not constantly preparing for life-or-death conflict, then you are not preparing realistically". The truth is that many civilian confrontations are stopped simply with the proper attitude, and situations that require contact can often be stopped with a simple jab to let an opponent know that we are willing to engage him, and with authority (5). There are indeed people that may try to seriously harm or kill you for any variety of reasons, but that is not the average case. The average burglar is not looking for a difficult house to break into, and the average mugger or jerk looking to victimize someone is not looking for a difficult subject. In any event, in all-out confrontations, the will to survive often matters more than technique.
As to the odds within trapping itself, given average human reactions, a scenario where a simple trap could be successfully executed is common. A second trap, whether immediately or after several strikes, could happen just as easily as needing to go to a defense or some other tactic. As should be emphasized, the skill of trapping lies in how to set it up and flow with what comes. Within the trapping curriculum, there is trapping to deal with unskilled brawlers and there is trapping to deal with martial artists. At each step of the way there has to be a drilling process to get a reflexive feel for the time and place for any given technique, otherwise it is dead memorization. And while some of the trapping material may at first glance seem complex, it should be a central part of understanding that any complexity arises out of the needs of the moment and not out of an attempt to execute a predetermined sequence in the hopes that an opponent will give us all the "right" responses. For example, often when sparring or drilling, we may respond in some appropriate way that involved a complex set of responses, but if we taught what we just did as a pre-set technique, it could be difficult to execute because it would be out of context, out of the flow which includes not just physical position, but momentum, pressure and where the attention is, among other elements. However, we would not have been able to respond as we did had we not practiced the various possibilities and then worked towards the free but precise use of those possibilities. To put it another way, if we were to go to art school and start to study color theory as part of the curriculum, we would be presented with the color spectrum (red, orange, yellow, green, blue, indigo, violet), and someone in the class might ask the instructor why he's showing all these bright colors when he wants to paint "realistic" scenes and he doesn't see any of those bright colors out in the dingy city, not realizing that he needs to understand all of those colors before being able to artfully express the full range of possibilities from the bright to the bleak. Any curriculum starts with a formal arrangement. It is up to the instructor to guide the students towards an intuitive functional understanding of that material beyond the curriculum. And as well, ultimately the student has to "own" the material and be responsible for what he or she can make work. We could own a Ferrari, but that doesn't mean we know how to drive like a pro.
1) Hoplology, the study of human combative behavior is greatly recommended in regard to investigating what comprises instinctive human fighting. Visit the hoplology.com web site.
2) Although culture influences combative behavior (e.g. kicking in a one-to-one fight back in the 1960's would have been considered cowardly or cheating), human emotion, bio-mechanics and cognition are the dominant factors in how fighting plays out. Even world class athletes don't generally translate their skill into fighting ability; when basketball player Kobe Bryant reacted to getting jabbed during a confrontation at a game, he put his hands up and then telegraphed his strike so obviously that his cooler opponent jabbed him again! Sports brawls among professional athletes look like any other kind of brawl. It is a challenge to keep form under pressure, whatever system we study.
3) For that matter, if we are to train "realistically", then since according to a number of sources the majority of street attacks involve weapons (knives, clubs etc.), then the primary emphasis in training would rightly be weapons training, and against more than one opponent.
4) There is a tendency to train only against one's own system rather than be able to fit in with a broad variety of possible fighting styles.
5) I have had a number of students stop potential fights by putting their hand out to stop the aggressor from chest bumping. This simple act of generalship, who controls the basic nature of the fight, interrupted the expectations of the aggressors enough to make them think twice and back off.
Copyright 2009 Steve Grody
Tuesday, August 11, 2009
Downtown Site
Friday, July 3, 2009
What Works For You?
Desert Island Repertory
The concept of "Desert Island Books" or "Desert Island Records" is interesting: If you were to be stranded on a desert island, but could take ten books, and to be generous, also ten records, which would you choose? It's a good idea to do the same thing with our martial arts training, as it's much easier to talk about many things than to narrow it down. So that's always what I suggest to students at a certain point of training; what offensive and defensive maneuvers and tactics do you feel most important to cultivate and maintain? Jab variations are essential, but a spinning back-fist is not (to me), for example. A car will function just fine without cladding, but not without all four wheels. If you are an experienced martial artist, see what you would choose to put on a single sheet of paper that would be your Desert Island Repertory.
Superior Laziness
Progressive Flow
Self-Defense or Self-Development?
Wednesday, June 24, 2009
My Students
Wednesday, June 3, 2009
Even Simple Is Complex
Sunday, May 10, 2009
Balancing Awareness and Paranoia
Wednesday, May 6, 2009
"What's The Best Technique?"
Sunday, May 3, 2009
The Basis Of Martial Systems
- No sense of distance or range; rather you see the hands-down chest bumping I'm-not-ascared-of-you distance, or two guys trash-talking from a mile away because they clearly do not really want to fight.
- Wide looping strikes; because our arms are on the outside of an axis, natural punches are curved swings.
- Stems (reaching out) in offense (grabbing) and defense (straight-arming and blocking).
- Separation of offensive and defensive actions.
- Telegraphing; huge obvious preparation of strikes.
So really, what we want to do first is ask "What are common human combative instincts?," followed by the question "What are the least labor-intensive potentially effective offensive and defensive actions we would want to functionalize?"
More about this in the next post...
Monday, April 27, 2009
Some Youtube Clips
Sunday, April 26, 2009
Ideal In A Nutshell
To be continued...
Tuesday, April 14, 2009
Awareness and Fear Of Looking Afraid
In the second case, if some knucklehead on the street is acting like an ass towards you, rather than responding in kind, responding to it in the most neutral way possible can often lead to nothing more than being annoyed. As one of my instructors said, "Someone can call me anything they want, as long as they aren't trying to get physical with me." The problem is that guys don't want to appear cowardly and that can lead to unnecessary trouble.
Thursday, March 26, 2009
Links
Wednesday, March 25, 2009
Three Elements of Self Defense
Tuesday, March 24, 2009
Welcome!
Contact
Email: sgrody@earthlink.net
Phone: 213-625-0516
Now located in Lincoln Heights at The Brewery Arts Complex, 1984 N. Main St. 90031
Monday, March 23, 2009
Training Overview
Training is based on response drilling, very physical but somewhat game-like, rather than memorization of patterns. Sessions at my studio are for individual and private groups only. Specialized programs available include: women's self-defense; improvised weapons training; Taoist Qi Gong (breathing exercises).
Sessions may be arranged Tuesday through Saturday, from 10 a.m to early evening.
Located at The Brewery Arts Complex, 1984 N. Main St. 90031.
Testimonals
The training is of equal utility for men, women, older and younger persons. The material is organized in a more clear-sighted and useable way than I've ever seen. Intensity of training is based solely on the abilities of the student. Training is always comfortable but challenging, and always fun.
A rarity in the millennium- I can wholly recommend Steve's instruction.
-Petar S.
Steve Grody is one of the best instructors I've ever trained with. His knowledge of JKD is both encyclopedic and functional! His eskrima/stick material is truly unique. No one is teaching material this pragmatic, this relevant and this useful.
The time I spent with Steve ranks as some of the best training I've ever done. Recommended without reservation at twice the price.
- Jay H.
Steve teaches practical, effective self defense. He discards complex, unrealistic dogma and replaces it with effective real world technique.
As a police officer, my training with Steve gives me confidence in my ability to protect myself in a real world encounter. Steve trains realistically and with one singular goal - win the fight."
- Matt K.
I wish I had studied with Steve 15 years ago. I am a very new student of his, but even after 15 years of martial arts training, I walk away from every class with a ton of new ideas and material. I consider his instruction to be truly top-shelf stuff. He's very down-to-earth, and really wants to make sure that you're learning the material.
Although LA is an incredible place to study a wide variety of arts, good martial arts teachers are very few and far-between. Steve's a great one. That's pretty rare."
- John S.
Saturday, March 21, 2009
Bio
· My training began in 1973 with Dao Dan Pai, a traditional southern Chinese Daoist system which I learned under Share K. Lew from China. The training included not just the traditional Gung-Fu, but a very potent series of "internal exercises" for health, which also served as the basis for the healing system Master Lew taught.
· Jun Fan - Jeet Kune Do. I studied under Dan Inosanto for thirteen non-stop years (1979 to 1992) and became the primary substitute at his academy from '85 to '90 when he had to be away. To say it is fascinating to study Jeet Kune Do and other systems under Sifu Inosanto would be an understatement; he constantly experiments with various curriculums, bringing in new material, editing out material, showing constant curiosity and openness. He is truly inspirational in the way he always pushes his knowledge forward. During the time I was helping with the Academy teaching, he would train with as many as seven different teachers a week to expand his knowledge, but always with an eye towards "absorbing what is useful and rejecting what is useless".
· Inosanto Kali, a combination of twenty five Filipino systems including the highly effective LaCoste-Inosanto empty hand methods which was taught at Guro Inosanto's academies. I assisted and was substitute instructor for these classes as well.
· Lameco Eskrima. I was extremely fortunate to study privately with the founder of the system, Punong Guro Edgar Sulite from 1990 until his untimely death in 1997. Although I had enjoyed taking his seminars when at the Inosanto Academy, I didn't start training one-to-one until Guro Inosanto treated me to a private lesson from Punong Guro Sulite at Dan's house, and at that point realized what fine personal teaching technique he had. I was flattered that he felt I eventually understood his system well enough to have me direct a number of his videos. Master Sulite and I developed a friendship over those years and besides his extreme skills, his warm open-heartedness and humor are greatly missed.
In September 2000, I was honored to have been inducted as a Master Instructor of the Year for the International Martial Arts Hall of Fame, sponsored by the World Head of Family Sokeship Council.
Notes on Training
People are interested in the sequencing and relationship of the many areas of technique and training method in Jun Fan - Jeet Kune Do, FMA (Filipino martial arts) and various adjunct areas such as Muay Thai and Silat. In response to questions in this regard, I'm presenting a general progression overview.
EMPTY HAND TRAINING
There are various options for sequencing progressions of material. While an approach that integrates jeet kune do and kali curriculum is recommended because they complement each other so efficiently, skills may be separated according to needs and interests (studying straight jeet kune do trapping for example). The following is a general progression that is very beneficial for a development from foundation to more advanced skills.
Each body of material includes technical principles, training methods to functionalize the material, integration with the other skill areas, and working on gaining a sense of strategy and priority as to what's most effective at a given moment. That is, in addition to obvious physical work, we do progressive cognitive drills so that we can smoothly handle more and more choice reactions as we learn. This applies whether talking about Jeet Kune Do, or Filipino martial arts.
Each technical area should be sequenced so we're not putting the cart in front of the horse. For example, it would be a bad idea to teach jeet kune do trapping or kali joint locking before working with the kickboxing skills that allow us to set up trapping and joint locking
Here is a general curriculum progression.
1) Footwork drills to develop distance sensitivity and timing when to go in or not, when to angle or circle right or left. These skills are the first step to developing "generalship", or being the one that controls the nature of the confrontation. These drills are drawn from jeet kune do, and personal research.
The next three areas could be in any order;
2) Hand attack, with an emphasis on non-sportive tools and targeting, including finger jabs and elbowing, drawn primarily from jeet kune do.
3) Kick attack, with an emphasis on low-maintenance kicks from the groin down, but working some mid and high-line kicks for the sake of being well rounded and being able to help our training partners work on defenses for those kicks. This material is initially drawn primarily from jeet kune do.
4) Hand defense including parries, covers, gate blocks, bob and weave and drills for choice reaction. That is, against a left hook, for example, we might evade, cover, simultaneous block/hit, bob and weave or stop hit, and some choices are more efficient at a given moment than others; how do we learn to spontaneously choose? This material is primarily an integration of Jun Fan and jeet kune do western boxing and Wing Chun methods.
5) Kick defense, including footwork (of course), parries, shields and covers and the stop-kick. This material is drawn mostly from jeet kune do, with Kali as an adjunct.
6) Close quarter stop-gap tactics (AKA "foul tactics," AKA "my favorite things"). It's a given that any method can fail; all it takes is a fraction of a second of distraction or brain-freeze and whammo!, things get messy. But even though it would be relevant to talk about grappling at this point, there are things that are very effective and take less skill. Again, the less skill something takes, the less likely it is to screw up. Things like thumbing the eye, finger grabs, head-butting, shouldering, pinching, biting, and a few selective nerve tweaks. It always amuses me when an instructor says in response to this " well anybody could do that!…" as though it's lack of needed technical sophistication is a negative. When I grapple with my students (standing or on the ground), we always go for these targets first if available. Jeet kune do and kali share these methods.
7) Jeet Kune Do - Jun Fan trapping. When we get to the point where we function at least fairly well with the relationships of the above material, then we can take a step up in skill level either offensively or defensively. Jeet kune do trapping can be done defensively, but the progression makes the most sense starting in offensive mode. At every step of the way, it's important to relate back to the previous material so it's not an isolated skill. It is part of the base understanding that we don't trap because it's cool, but because the context presents itself.
7) Sectoring. Up to this point in the progression, we have done some simultaneous defense and counter-attack, primarily against hooking lines or as a stop-hit. But doing this against straight line strikes requires a better eye and timing, so we don't do it at an earlier stage. These variations and relationships (actually termed "time-hits" in jeet kune do via fencing terminology) can be efficient entries, or used as back-up counter-attack for other tactics like trapping or locking. This material also serves as a beginning to specific kali empty-hand skills. This is also numbered "7" because it would make just as much sense to work with sectoring at this point as it would to work with trapping.
8) At this stage, we have broader options. Going into grappling and groundfighting, joint locking, or sensitivity training would add important pieces to the puzzle.
9) Kali empty hand. The Inosanto-LaCoste system, emphasizing the limb counter-attacks and it's follow-ups with percussion, joint locks and take-downs. This material blends beautifully with jeet kune do, but can be learned as a separate area.
10) Anything that takes extreme precision, such as silat, or other specialized jeet kune do training.
As always, the challenge in jeet kune do is to integrate the skills so that at any appropriate point, we can flow to one efficient response or another, otherwise we might as well be learning card tricks to show at the family picnic.
As with the empty-hand training, there are many possible Kali/Eskrima progressions that would make sense. Here is one general progression that I use.
I think it's beneficial to be exposed to Dan Inosanto's system and Edgar Sulite's Lameco system at the same time, but it's certainly legitimate to focus on one or the other for the sake of interest even if both men's systems shared important material and both men were always changing their drills and training structures as a reflection of their continuing research and growth.
1) Single stick with emphasis on using the motions at long range and follow-ups at middle range as our "home" to use Edgar Sulite's term. Developing an eye for "before, during, and after" variations of timing is central.
2) Double stick with emphasis on developing the motions with offsetting combat syncopation and in relationship to other patterns. For example, once we've learned a "heaven 6" pattern (Inosanto system) in matched coordination, then we not only learn variations, but variations randomly fed and matched. Then syncopated applications, and then how six-count might interact with a four-count pattern. In other words, some of my friends think that the more counts there are (e.g. Villabrille 24 count), the more "advanced" the essence of the drill is. More complex is not the same as more advanced; advanced has to do with how something is used. As Dan Inosanto would tell you, the crudest pattern in the Inosanto system, "caveman" Kobb Kobb is more advanced, if used in syncopated form, than the so-and-so 84 count, and the simplest free-lance drill will generally be more beneficial than the most complicated set pattern.
3) Single stick at intermediate range. There are many interesting drills at this range, including the use of checking, counter-checking and the principles of disarms. Shortly after gaining some understanding of the checking hand with these drills, we would move in to close range, and then work on flow between the three primary ranges.
4) Available weapons. If someone wants to carry a knife, it would be a good idea to start the whole weapons progression with that. But for the majority of people that don't carry a knife, understanding available weapons is important. The reason that I'm mentioning this in relations to knives is because the most common available/improvised weapons are short; pens, forks, hairbrushes, car keys.
5) Knife, starting at long range and working timing, distance and rhythm in attack and counter-attack variations, and eventually working in closer. I recommend drills that work at real time with broken rhythm rather than traditional flow drills.
6) Staff. Staff-like implements are not unusual in our surroundings, so learning staff is not just an "art" part of the FMA, but very practical.
7) Stick and dagger. While it is true that it's unlikely that any of us carry a stick and dagger or sword and dagger around with us, and even more unlikely that someone carrying stick and dagger would have to spontaneously fight someone else carrying stick and dagger, it's a fascinating discipline because of all of the intricacies involved and attention that must be paid. It's like four people doing counter-for-counter drills all at the same time, two with daggers and two with sticks.