Reviewers:

Dr.Sc.psych., Dr.psych., Mag.paed., Prof. Vitold Yasvin.

Dr. Sc.biol., Mag.biol. Aija Pupina.

# 3. 2004

The international Journal of Combat Martial Arts and Sciences ICMAUA

Current articles:

The Principles of The Advanced Commando Combat System: Deepak Rao (02.2004)

Modernization trends in physical training of the armed forces of the world: Seema Rao (03.2004)

D.K.K.C. special lecture series seminar: Yin Kenpo the Sun Lung Tang theory of chinese boxing: the "return to Yin state" in Street Combat Kenpo: Reginald Hoover (06.2004)

The Freudian Complex – pudendal inferiorities governing human behaviour: Deepak Rao (08.2004)

Tai Chi: Shing Wai Cheung (08.2004)

THE PRINCIPLES OF THE ADVANCED COMMANDO COMBAT SYSTEM

By Deepak Rao

Definition

Advanced Commando Combat derives its inspiration from Gen Sun Tzu’s ‘The Art Of War’, Sun Tzus military strategies being translated into combat maneuvers.

Hand to hand Combat with or without weapons is very important in building tremendous aggression, self confidence and survival instincts in soldiers. Tremendous research has evolved a unique combat art tailor-made for the Police and Defence Forces

ACCS refers to the principle based Hand to Hand Combat Art specially developed for Commando Close Quarter Battle situations.

This art is the result of our conclusions after extensive training experience over 30 years. We have trained over 10,000 soldiers, policemen and other personnel in full contact fighting. It is not a new art with new series of techniques, but an accumulation of useful principles of existing basic age old arts.

Features

1) Conventional Martial Arts like Karate, Taekwondo, Judo, Boxing and Wrestling are point-oriented sports, taught separately in a compartmentalized manner confuse the trainee about which technique can be used in an actual combat situation. There is a need to create insecurity, threat and aggression, to bring out the survival instincts in the trainees.

2) Here, combat is taught by clashing men together with taller, heavier, more aggressive opponents (at different ranges)

3) By our special drills, situations are created where one does not find time to think/use fixed technique but allows his animal survival instinct to find appropriate technique for the relevant situation thereby letting the mind go free, its own way.

4) The only goal is effectivity, to terminate / handicap /cripple to the opponent with the slightest effort.

We imbibe useful principles and foul tactics from all martial arts. We reject the limitations and complicated techniques which need years of skill training.

Specifics of the art, ( if any ! )

The aim of the art is simply to cripple, immobilize or eliminate, in the shortest possible time with the most minimum of effort. There is no place for techniques which don’t achieve this goal, as this is not about point fighting or sport combat.

The advantages from various Martial Arts are absorbed & the limitations/ disadvantages are rejected. There is a freedom from styles.

The stance is a narrow upright one, permitting quick springy movements, inspired by Western Boxing. It may be matched or unmatched. This is a street wise stance compared to the deep wide stance of karate.

Footwork is from Fencing, is quick & springy, with a One sided Lead Stance prevailing. Economy of movement, with only small minimum movement.

Balance developed is Dynamic, in motion, rather than in static stances.

Deflective Parrying is preferred to rigid blocking.

Fluidity & flowing with the opponents force is advocated. Resisting force is discouraged.

Interception is preferred over Parry & Counter.

Feinting & Strategies are a translation of Sun- Tzu’s Art Of War

Lead Hand/ Foot Attacks are preferred. All attacks are indirect with feints. Attacks are non focussed, going thru the target.

Non Telegraphic fast movements are preferred to Telegraphic ones.

Fighting is dynamic with Ranges changing from moment to moment.

Each exponent personalizes the art to suit his requirement, his size & his skills.

Rhythm is a broken one, and never regular attack – parry – counter type.

Strong In Fighting.

Range fighting is a characteristic feature .

One learns to fight in all Ranges, namely

Kicking Range

Punching Range

Elbow-Knee-Head Butt Range

Grappling Range

Groundwork Range

The foul Tactics are absorbed & the limitations/ rules are rejected.

Specifics of the Kicking Range-

Inspiration from Japanese Karate, Chinese Shaolin Kung Fu, & Korean Taekwondo. The Thrusting movement is replaced by a no locking extension of the knee. Kicking with the lead foot is preferred.as the lead foot is nearer to the opponent. Non telegraphic precision fast kicks preferred to the slow powerful telegraphic ones. A dynamic stance which is non static and always moving is used.

Low kicks to the groin and kicks which break the knee(only a 12 kg force can break the knee) are preferred to high kicks which require years of training.

Kicking the groin or the knees is more damaging than kicking the body.

Specifics of the Punching Range-

Inspiration from western Boxing

The Thrusting movement of Karate punches is replaced by a no locking extensions of the elbow. Straight line punches of Eastern arts are replaced by arcing punches of western arts. Punching with the lead hand is preferred. Again, a dynamic stance which is never static and ever moving is used.

Foul Movements of Back fisting, Groin Slamming & body spinning are combined with the boxing actions. Foul attacks to the kidney, back of the head, groin incorporated. A finger jab to the eyes is better than a punch to the face.

Specifics of the Trapping Range-

Inspiration from Wing Tsun Kung Fu and western Boxing

The punching movements of boxing are combined with the sense of feeling ( chi sao ) and Hand immobilizations and traps of Wing Tsun .

Trapping and immobilizing the opponents hand is adopted from Kung-Fu

One learns to feel the opponents energies (rather than see) and sense openings by the ancient Chinese exercise Chi-sao.

The fixed stance of Wing Tsun is replaced by the leading stance.

Wide range of kicks used as opposed to the few straight line kicks of Wing Tsun.

Specifics of the Knee- Elbow Range-

One learns to hit with practically every part of the body.For eg: head, elbow ,forearm ,knee and heel. Inspiration from Filipino Kali & Muoy Thai from Thailand. Attacks with Head butting, Elbow hooking , Kneeing and hitting with any & all parts of the body like the shoulder, hip, foot stomping, eye jabbing, etc used, along with the boxing rhythm. An ever preparedness to switch to the farther punching range or the nearer Grappling range is developed.

Specifics of the Grappling Range-

Inspiration from Japanese JudoKarate, Western Wrestling, Chinese Shaolin Chin-na & Filipino Wrestling .

Jacket Holds replaced by Body grips (since there may be no judo jacket on the opponent ! ) Throwing from Judo, Locking from Filipino wrestling & Leverage from western wrestling & the flowing from Aikido adapted. Head locks & cranks, Neck strangles & shoulder locks used as primary tactics. Impact blows like punching, kicking,etc are permitted. Joint locking and joint breaking from aikido and wrestling are taught. Basic body contact is taught with opponent of various sizes .Eg heavier and taller opponents and the exponent is made to understand the strong and weak forces generated by the opponent. He also loses his fear of close combat with a man double his size.

Specifics of the Groundwork Range-

Inspiration from Japanese Judo, Western Wrestling, & Filipino Wrestling. Jacket Holds replaced by Body grips, (since there may be no judo jacket on the opponent ! ) Pin downs from Judo, Locking from Filipino wrestling & Leverage from western wrestling adapted. Head locks & cranks, Neck strangles, spine breaks & shoulder locks used. Impact blows like punching, kicking, etc are permitted. Foul tactics like Eye gouging, nose pushing & ear grabbing, pinching & biting encouraged. The goals are not to pin the shoulders or hips to the ground, but to destroy the opponent.

Weaponry- ( excluding firearms )

Inspiration from Filipino Kali.

All weapons like sticks, staff, sword, Knife, Nunchaku & formless wpns. Along with attacking with the above, Empty handed defenses to all the above weapons are also taught. Defense to Weapon attacks by professional experts, as well as by wild aggressive street fighters developed.

Mob fighting

Mob Fighting and fighting in special situations is developed via special drills where various situations are created using various locations and varied weapons used with full contact where injury is encouraged. Men are clashed together (at different ranges) with taller, heavier, more aggressive opponents. By our special drills, situations are created where one does not find time to think/use fixed technique but allows his animal survival instinct to find appropriate technique for the relevant situation thereby letting the mind go free, its own way.

The Defense

The defense aims at deflecting (Parrying) the opponents forces rather than opposing it (blocking) as in Karate .In a strong cyclone, rigid trees get uprooted but the adapting flexible grass reeds always survive. Hence the exponent is taught to be soft yet not yielding ,firm yet not hard. Interception (or landing a counter attack before the opponents attack touches you) is preferred to parrying (or blocking) followed by counter-attack Basic footwork is taken from fencing and boxing. Basic stance is an upright street wise comfortable stance compared to deep wide stance of karate.

Special drills

These aim at teaching body contact and training the exponent in facing multiple opponents and mobs

He is taught to sense the resultant vector of the combined forces of the multiple opponents and to use it to his advantage Hence the force of the mob itself is used to overcome /dissociate the mob

Mental Growth

Along with tremendous physical fitness ,

Mental conditioning (for qualities of endurance, determination, willpower , etc)

Attitude is developed for mental growth where qualities like simplicity, directness, effectivity, openness of mind and fluidity are developed.

In conclusion

The art is based on the principles of simplicity, directness and effectivity. The opponent learns to find technique rather than apply fixed technique .

It teaches spontaneity (Muen Munshi - in Zen Buddism), One thought - one action and no mind (doubtless mind).

ACCS is simply a word to denote the reality in combat, that combat is savage and brutal and knows no style. When faced with a taller, stronger, heavier and more aggressive man you are in a mess and if you know that you will survive.

MODERNIZATION TRENDS IN PHYSICAL TRAINING

OF THE ARMED FORCES OF THE WORLD

By Seema Rao

Physical training for the armed forces in many parts of the world is still based on the conventional pattern followed for the last century. Many countries have now introduced the modern concepts of Physical training, Here I outline the major changes in training that have set in the physical training curriculum of most armed forces world over in the last decade.

Below is ennumerated the modernization that must set in , or that has already set in, in most developing countries of the world.

1. A proper warm up technique involving the spine and knees must be taught over conventional method (very important before running).

2. Abdominal , knee and spinal Exercise should always precede the Cardio Endurance (running) to prevent spondylosis & Arthritis.

3. The spine should be exercised as rigorously as the abdomen since both are contralateral muscles. Hence an imbalance can result in damage to the spine.

4. The conventional situp can harm the discs of the neck and the spine and does not cause sufficient work load on the abdominal muscles. This must be replaced by the modern crunch where the lower spine is resting always on the ground.

5. The conventional leg raises do not directly work out the abdominal muscles but the flexors of the hip and thigh. This be replaced by the bent knee leg and hip raise.

6. The oblique muscles of the abdomen are ignored thus increasing the chances of Hernia (i.e the prolapse of the intestines, in between the oblique muscles, into the scrotum). Never exercise to work out the obliques, be taught.

7. Cardiovascular Endurance (running) should always be preceded with a warm up jog of atleast half a km to prevent sudden rise of heart rate and Blood pressure and to ensure the contraction of all muscle fibres (with out warming up only a few muscle fibre groups would be actively recruited).

8. Correct technique of running be taught i.e. running on the balls of the feet rather then the heels which tends to jar all the joints (ankle, knee, hip, spine) encouraging joint degeneration.

9. One must be taught how to deal with first, second and third winds during running caused by (respectively) diaphragmatic fatigue, muscle and joint pains (due to lactic Acidosis of anaerobic training) and cardio Respiratory fatigue. Thus the trainees would be capable of better performance.

10. Strengthening exercise like Conventional Pushup and the Chinup may cause hyper extension of the spine and lead to slipped discs at a later age. The reverse grip behind the neck chinup and the simple Dip must replace the older versions.

11. Plenty of variations of the pushup (Dip) be taught to work out the muscles of the fingers, the forearms, the tricep, brachioradialis, Bicep and pectorals (the chest muscles) which are not well exercise by the conventional pushup.

12. The full squat places a tremendous strain on the anterior cruciate ligament of the knee joint and the discs of the spine. It must be replaced by the modern half squat.

13. The conventional squat does not place sufficient load on the inner thigh and Hamstring muscles. Hence wide squats and the lungs be introduced.

4. For liagmentous strengthening of hip, knee and ankle joints, age old Duck walks, Frog Jumps, Chicken walk, Donkey walk, Monkey walk be taught. It is to be noted that the entire stability of the joint comes only with a good ligament tone.

15. Flexibility and stretching is a grossly neglected part of training. Ideally equal amount of time should be devoted to stretching as to muscle contraction training to prevent muscle tightness and relative Hyper tonia (increase in tone). Tight muscles which are not stretched cause incoordinated and clumsy movement. They also cause Cerebral bombardment and increase anxiety thereby taking away the soldiers composure. One hour of various flexibility exercise be taught everyday after the strength training.

16. A soldier walks and runs all the time thus the lower limb muscles are maximally used. Hence special leg conditioning techniques be taught to bring about greater strength, endurance and coordination in the lower limbs.

17. Most soldiers or servicemen tend to lose muscle bulk and weight during training. Resistance training in the form of weight training be taught to develop isolatory muscle groups (particularly those muscles which are smaller in an individual because of his constitution or heredity need to be developed by training with weights). We must aim to make bulkier soldiers and fitter soldiers to match the size of the enemy counterparts.

18. Cross training, Circuit Training and various types of cardio Endurance Training be introduced.

19. Mental training by Yoga, Pranayama, Meditation from the East and Self Hypnosis, positive visualization from the west be taught over an hours session everyday during the COOL DOWN session for : -

(b) Imbibing courage, will power, and determination.

(d) Improving Self esteem, self confidence, Discipline and obedience.

These are the major changes that have set in physical training and this is what constitutes the modern day training in Physical fitness for armed forces of the world.

D.K.K.C. SPECIAL LECTURE SERIES SEMINAR: YIN KENPO
THE SUN LUNG TANG THEORY OF CHINESE BOXING: THE "RETURN TO YIN STATE" IN STREET COMBAT KENPO

By Reginald Hoover

Kenpo is rooted within the Temples Of Shaolin; yet it does seem to manifest a mystical presence in it’s “Return To Yin State”. You would ask; what is the Return To ‘Yin State’ within the Kenpo / Kempo analogy? As all martial arts systems have a typical trademark of their respective styles within their Yin & Yang physical expressive manifestations; so is the case with the devastating art of kenpo karate also! The “ Return To Yin State” is an expression with i personally have coined for this lecture seminar! It refers to the kenpo practitioner’s physical expressive street combat exertion of motion within his/her counter-attacking sequences. Thus providing a quick and formidable recover in establishing the fatal and not so fatal finishing strikes, etc, in escaping the violent attack.

I will now quote the legendary Great Grandmaster Sun Lu Tang concerning Yin & Yang Qi manifestation within the fist. “Opening and closing are natural. This is the same as Tai Ji Quan. The ancients were not able to demonstrate this to others or write it in books. This is the way it is. If the student is able to alternate opening and closing as well as stillness and movement, and comes to a deep understanding of their source, the common root of every posture will be clear and one will obtain their mysterious uses. The central feature of the postures is combination of an empty circle which has form and a formless circle which is full. These two circles represent the principle of the “empty” and “substantial”. Within the postures there apparent emptiness, but the posture is not really empty; it appears to be substantial, but there is reality in emptiness. This qi flows to all places without obstruction. It is rounded and lively without angles. It is without excesses or deficiencies. When manifest, the Six Harmonies are complete. When returning it is hidden as a treasure within. It’s changes are without limit. It’s uses are inexhaustible. Herein lie the real teachings. It is the sum of Tai Ji Quan”[a].

Thus, even though this analogy refers to the internal martial arts; specifically the style of Tai Ji Quan, it’s reference within the both the internal and external fist arts is not contrary. I will explain this first as an explanation of the internal art’s of combining Tai Ji; Xing Yi, and Bagua Quan . Then we will examine this analogy within the basically so called external style’s of Kenpo / Kempo arts. As a basic premise here, I must quote an old saying within the martial arts which states; “Train External to Internal; Train Internal to External”. I feel that this prior statement brings some clarity to the question of how the Kenpo / Kempo arts are related in physical expressive combat training. Therefore, this above statement can be verified within the Kenpo / Kempo Motion Science!

In relation to the Sung Lu Tang ("born Sun Fu Quan 1861-1933"),[b] analogy;

1. There exists the famous Chinese saying “The Taiji never departs from Yin and Yang; Taiji Quan never departs from opening and closing”[c].

2. “In Tai Ji Quan each part of the body has a balance of the “substantial” and “insubstantial”. In general, the leg that supports the most of the weight and parts of the body that applying relatively more force are substantial. The leg that bears less weight and the more passive parts of the body are insubstantial. Every move in Tai Ji Quan seeks to maintain the balance between the two states at all times and in equal proportion”[d].

3. “As described above the Six Harmonies are divided into the ‘Three Internal Harmonies’ (heart harmonizing with intent, intent harmonizing with qi, qi harmonizing with force) and the ‘Three External Harmonies’ (shoulders coordinate with hips, elbows coordinate with knees, and hands coordinate with feet)”[e].

Thus, within the above statements, it can very well be assumed that we have an analogous primer for not only just one martial art style of the internal school of martial thought, but any martial school of thought which incorporate the Yin / Yang method of combat defensive martial training as a standard philosophical conceptuality. Therefore, this context gives rise to both traditional and non-traditional martial training methodologies!

So, this lecture seminar will examine this “Return To Yin State” as a defensive, not offensive application premise!

Let us now observe the fact that the martial arts systems of Xing Yi, Bagua, and Taiji are (“Quan”) or Fist styles. Is it not true that the martial arts systems of Kenpo / Kempo, (“Quan”) or Fist styles also? Though Xing Yi, Bagua, and Taiji are considered internal / soft Quan arts; and the Kenpo / Kempo art’s are considered external / hard Quan arts!

Again in reference to defensive training, does not the soft eventually dissipate to hard and hard dissipate to soft? Is not this purpose of training to gain a system of balance within the martial practitioner’s physical expressive intent? Thus, to produce a highly disciplined, virtuously developed, and extremely skilled martial stylist! We again, can well assume that the above statements are the purpose of every martial art’s instructor, teacher, or master in their respective training concepts for each student, disciple, or stylist under their martial tutorial wing.

This brings us to the question of how do these same martial principles apply equally to both internal and external martial arts defensive training according to the continuous flowing qi within the martial artist’s physical expressive motion? This question will be addressed in the aspects of martial speed; combat martial technique applications; and degrees of martial combative skill respectively:

A. Martial Speed:

1. All martial arts practitioners started their respective training as lower ranking belts. No one just jumped into the Black Belt Ranks and started teaching without first learning the basics of their respective styles. As beginners we digested the training process slowly and with caution. Learning bits and pieces as a premise of eventually putting these pieces together in some type of martially logical order through physical expressive combative form, kata, or technique motion. Our breathing, fluidity, blocking, striking, elbowing, kneeing, and kicking had to be nurtured into effective combative motion in relation to balance, force, and physical application. Finally this effectiveness developed in such manner as to transform our combative motion into expressive style as a practitioner of our respective martial arts systems. Thus, becoming individual practitioner stylists of our martial art! There existed a trademark within our motion in sparring, kata, and weapon’s physical expressiveness which gave other’s which viewed our martial activities the opportunity to spell out what we were expressing. “ Hey, he/she is practicing Jeet Kune Do, Tae Kwan Do, Karate, Aikido, Jujitsu, Shaolin Kung Fu, etc, etc, etc”! Even others could tell what style we were physically expressing.

Although our Speed was not exactly great; we could be distinguished as practitioners of another martial style. Our instructors thought that there was some hope in our developing into instructors ourselves. This was when the one on one, training began with the next highest ranking belt, and continued to the high level brown belts, to even our instructor him/herself! This training involved fine tuning blocks, strikes, throws, body positioning, kata expression, combat tips and especially speed developing in the general sense of getting into proper positioning for executing the most effective kick, punch, strike, elbow, knee, block, and throw.

As one continued to grow within this basic general sense; he / she experienced growth within practice outside the dojo / kwoon etc, digesting knowledge acquired from other outside higher ranking established practitioners and teachers. As well as our own martial research and individual prowess; we began to physically express a speedily effective forceful and powerful punch, strike, knee, kick, throw, and position of the body; etc.

For the so-called hard stylist practitioner, this motion developed into extreme yang physical expression. For the soft stylist practitioner, this same motion developed into extreme yin expression within conceptuality of observation in examining specific parts and points of the body to express a physically harder yin and / or softer yang force impact. Still, the hard-soft & soft-hard stylist practitioners developed this same motion into a blending of the yin and yang physical exertive forceful expressionism in the quest for obtaining some type of balance within delivery, impact, and return to what may be considered a physical dormancy state of observation after failing the violent attacker’s extreme yang attempt of control and potentially fatal harm! Some styles will use just a glance, then return to finish; while some will go as far as ceasing all physical motion, standing over a downed and physically damaged attacker. Others, will glance, further observe, and escape by leaving the scene of combat. These impact motions of physical expressive developments, are as diversified as their respective martial arts systems philosophies, combative methodologies, and moral ideologies on issues of aggressively violent behavioral attempts at life and limb.

Thus, the end result in every case is potentially the same in defensive intention, yet different in conceptual methods of failing the aggressive violent attack. Therefore the development of Martial Speed in street combative training itself provides the answer of basic internal & external qi flow (whether the kyu ranking stylist is aware of it or not) within the practitioners basic expressive effective defensive motion skills.

Thus suggesting further examination into the stylist’s martial combat technique applications.

B. Martial Combat Technique Applications:

2. Let us now examine the Kenpo stylist’s street combat technique application. From the premise of Martial Speed the stylist executes a block, punch, and kick. Not necessarily in this respective order. Yet, in some order of adaptation to a violently aggressive advance by a gamed attacker! Thus, the attacker can very well be assumed (in his / her forceful attempt to fatally injure the practitioner) in a state of at least shao yang. If he / she is successful in attempt; this yang state will progress to extreme yang or tai yang. Therefore producing potentially fatally damaging injury to the stylist.

This brings us to another question of how does the above statement apply to martial street combat application. It rests upon the defensive execution of physical expression within each stylist’s counter-striking arsenal. This arsenal may include the basic sequence as stated above, or may include throwing, dislocating, breaking, etc, to fail the violent attack.

Now let us examine just how this technique application is executed and applied in it’s “Return To Yin State” of combat. The typical response for the kenpo stylist to this Yang attack would be to speedily block, adjust position and then advance to the physically expressive motion of striking vital points along the attacker’s body with elbows, claws, hand strike, and kick / kicks to finish the attacker’s attempt at further harm to self. Thus, his or her “Return To Yin State” can be described as the practitioner’s finishing strike, kick, punch, or throw which permanently fails the attacker’s assault. This understanding is not within context of what this “Return To Yin State” actually suggests in theory; yet it does explain how the practitioner can achieve success in defensive technique application!

This “Return To Yin State” can now be defined as the physically expressive defensive motion which the practitioner either develops through yielding, and adaptation, and / or finds as a weakness of the attacker’s aggressive attempt; in retreating into the counter-striking finishing strike’s, striking gouges, striking throws, striking throw dislocations, dislocations, throwing breaks, and breaks, etc, to fail the violent attack:

So, this definition raises the question of kicking, kneeing, and elbow striking being excluded in this “Return” conceptual m