This place discusses uses of the Wing Chun Wooden dummy; its non/classical uses, debate, share tips and everything dummy related.
(I have diversified however, when I see other things that are of value).
All 3 of the named pilots, in the title I give here, were elite pilots or 'aces'. They were all, therefore, highly skilled and survived as they knew and adhered to principles that kept them going in stressful circumstances.
BUT that is not what I am focusing on, for their common ground. Rather, they all died as they broke basic rules. Target fixation & flying in a straight-line too low to the ground:
"...Richthofen's behaviour after his injury was noted as consistent with brain-injured patients, and such an injury could account for his perceived lack of judgment on his final flight: flying too low over enemy territory and suffering target fixation.[48] There is also the possibility that Richthofen was suffering from cumulative combat stress, which made him fail to observe some of his usual precautions. It is noteworthy that one of the leading British air aces, Major Edward "Mick" Mannock, was killed by ground fire on 26 July 1918 while crossing the lines at low level, an action he had always cautioned his younger pilots against. One of the most popular of the French air aces, Georges Guynemer, went missing on 11 September 1917, probably while attacking a two-seater without realizing several Fokkers were escorting it.[49][50]"
(Source: Wikipedia http://en.wikipedia.org/wiki/Manfred_von_Richthofen : accessed Jan 2011).
My point is ... if even these elite pilots get into trouble and break laws of 'the basics' then we will. It must be a question of probability that is the question here. Basic rules and skills, therefore, will probably be forgotten on some occasions no matter how expert you are.
(The Barons article is interesting. I accessed the Lancet to read the paper they mention. He had taken a bullet to the head the year before but still carried on. The sense of duty even when brain damaged increased his chances of being killed. He should not have been up in that plane at all. All of them should have been retired and passed on their skills not burned out like this).
I chose pilots as an example, as I know the 'OODA loop' is being used from fighter pilot tactics as a way to think in self-defence. That is an ideal method to employ - but does not mean it can be implemented every time. The knowledge of that would increase your chances, and chances involve probability. In other words luck can be involved in foiling that scheme or just bad judgement in it's deployment.
This is a very short review of an academic paper published in Journal of Sport Behavior; Mar'98, Vol. 21 Issue 1.
It is called 'Phenomenological meanings of martial arts participation.' by Rice and Columbus.
This means the focus of the paper is to understand what martial arts participation and practice means to the participants themselves. The researchers asked participants :
"Please describe in writing your experience of an everyday life situation in which you realized that training in a martial art is, or would be, a worthwhile activity." Also "Participants were further asked to make their descriptions as detailed as possible so that someone else could understand exactly what was experienced before, during, and after the event".
The study was small scale but had 10 male and 7 female martial art practitioners from a variety of arts including Tai Chi and Karate.The results were analyzed for patterns and 4 themes emerged:
Criminal Victimization, Growth and Discovery, Task Performance, and Life Transition.
[Criminal Victimization]
The first category involves the issue of protection. Participants either
experienced threats or 'near misses' and a 'what if' scenario emerged.
This prompted motivation to practice martial arts as it gives a plan of
action of participants. The fear experienced had created a sense of 'vulnerability and powerlessness". Victimization was described in scenarios where people felt' always' scared' for example - even if it was just a perception, such as fear of dark streets.
[Growth and Discovery]
This dimension differs from that above. The category above on victimization is about others who seek to cause harm with confrontations with them. Here this category is about confronting themselves and self-improvement through private challenges. The above category is physical, where this category on growth and discovery is mental, arguably, becuase of the improved 'awareness' mentally. There is however a body dimension where people became more linked to their own physical presence. The teacher and the class are important 'others' in meeting this need of learners. The class are seen as like-minded participants who share the same goal and the sense of co-operation between them was beneficial.
[Life Transition ]
This category I found interested personally. I can see the above 2 fitting in with peoples needs and wants list from a martial art practice and it is what is actively sought after. Here, in this category turmoil in life events causes an change on us: divorce, moving college, financial debts. Life beats us up ! Here martial arts are a way of seeking control and purpose in the overall life-course we are going though. A way of managing crisis.
[Task Performance ]
While reading this paper, I can see Karate Kid I's story fitting these dimensions (above) - (for what that is worth): New school / crisis in life / victimization and growth via Mr. Miyagi. Bruce Lee's scenario is not much different, if we believe the biography that is presented about him and his journey to Jeet Kune Do.
I don't know if this category, here, meets this 'popular culture' type of insight, I note. Maybe it does and I am not thinking enough - tell me in the comments! Here the motivation is intrinsic. It is solving goals - this could be grading, badges or belts. To achieve these needs mastering skills and overcoming uncertainties and worries associated with this from anxiety.
[Overall]
The big pattern throughout these categories is a 'compensatory' or
'emancipatory' theme. Martial arts practice makes up for something missing or deficient, in the former. Or, it allows a new freedom from self or environmental constraints. Therefore it is a lack vs a gain scenario. This, I find very succinct and insightful way of looking for the 'big idea' in these peoples accounts. So a compensatory use of martial arts is to obtain skills to defend oneself and counterbalance weakness such as being in debt via a lack of discipline even. The emancipation can be seen in overcoming mental obstacles in learning a new skill or finding a new way of looking at the world. On this latter point, and this is something you do not see covered in a psychology journal maybe, is that emancipation is sought in many arts where colonial rule is experienced. If you look at Capoera or Silat, these histories support stories of what the art mean to a collective of disadvantaged ethnic groups.
A few years ago when returning from the West Country I was on the train from Reading and started to read a biography on Bruce Lee. It was written by Bruce Thomas, a bass guitarist for Elvis Costello and The Attractions.
Thomas writes in the book favorably of this teacher, Derek Jones, who taught him Wing Chun. What I find ironic is Thomas does not credit Elivs Costello himself for his stance ! I must confess, if you google images of Costello, you will see him in this stance quite often. THIS IS NOT DUE TO CHANCE.
Below is a dialogue from a comedy called Blackadder (1983), it is set in the Middle-Ages.
[In meeting room, Harry is holding a council with various lords].
Harry: My Lords of the Council, we face today the gravest crisis this country
has known since the Roman invasion.
All: Hear hear!
(an officer enters, carrying a helmet)
Harry: Therefore, I propose--
Officer: Your Highness, the King has stirred and calls for you.
Harry: Ah. (swallows nervously) Very well. (removes his hat; stands) Gentlemen,
I must leave you. (takes the helmet from Officer and draws his sword,
preparing to meet the deranged King) Prince Edmund is in charge!
(Percy begins to bang on the table in approval, but all the lords
mutter "Oh shame..." so he stops. Harry and Officer leave. Baldrick
brings Harry's notes to Edmund.)
Edmund: Er, yes, right. Gentlemen, right... (reads from Harry's notes) As you
know, today we face the gravest crisis this country has known since
the Roman invasion.
(They all make sounds of protest: "Nonsense!"; "Rubbish!"; etc.)
Lord 1: What about the Viking invasion?
Lord 2: ...and the Norman invasion?
Angus: ...and the Swiss invasion?
Edmund: Er, well, the greatest crisis for some time.
Lord 2: And we all know why!
Edmund: Why?
Angus: Because the King is possessed!
Edmund: What?!
Lord 2: True! True! The land is full of omens of bewitchment. Only last week
in Cornwall, a man with four heads was seen taking tea on the beach;
and two women in Windsor claimed to have been raped by a fish!
Lord 1: I, too, have heard such tales. In (Harrigate?),
it rained phlegm; and
they do say that, in Edinburgh, the graves did open and the ghosts of
our ancestors rose up and competed in athletic sports!
Percy: ...and a friend of mine had this awful pimple on the inside of his
nose!!!
Edmund: Percy, shut up, for God's sake.
(There are mutters of "Witchcraft!")
Angus: ...and a farmer in (Rye?) heard a cow reciting Geoffrey Chaucer; and
a young woman in Shropshire saw Geoffrey Chaucer in a field, mooing
and suckling a young heifer!
Edmund: Gentlemen, gentlemen, surely we aren't the sort of people who believe
in this sort of thing. I mean, next you'll be telling me is
that washing your hair in bat's droppings stops you going bald.
Lord 2: But it's true! I couldn't find enough bats, and look what happened!
(removes his hat to show his baldness)
Iput this script in here (which can be seen on youtube, if you search about), as it shows the issue of authority really well.
Authority is where you can get people to behave in a certain way – even if they like it or not – and you don’t have to resort to force to get them to do that, as your right to do so is recognized and not contested.
In this example Edmund Blackadder has no authority – or rather it is not recognised, but his elder Brother's authority was. See how the group of Lords start to question the very same statement made, once Edmund takes over.
In martial art teaching the search for authoritative knowledge is a big battle. Who can we belive, what knowledge counts as ‘true’ or not is a big source of anguish for many. Some use tradition and brand names of teachers to derive the legitimacy of knowledge claims.
I remember when I did JKD. The teacher put me in charge of a newcomer to do hook-kicks. Theythe kicking shield and started the demonstration. When it was their turn to go, I started to ‘correct’ them, in the style of what our school did. The newcomer said ‘oh, no – this way is much better’ – and proceeded to do what they wanted to do.
I wondered what to do. They weren’t really listening to what I had said – or been shown myself as 'correct'. So I called over a trainee instructor, and thought if the newcomer does not believe me, then they will believe him. But then what happens is yet another way to ‘hook-kick’ is shown. And the newcomer adopts that way, as they recognised the authority of that insight over mine. THEN, the teacher comes over and says ‘ why are you not doing this kick the way I showed it, and was I [me] not doing as we were told’.
I was really annoyed at this, as this was in fornt of everyone. I tried to explain, but the teacher said I am in charge and it is down to me. I looked a the newcomer and wanted to slap him ! And I wanted to slap the trainee instructor for just hiding away there – as we had reverted to his method.
My point is, authority as a basis for learning and basing belief upon needs questioning all the time. Sometimes the boundaries of authority are like a parental figure an they need to be there to like a walled garden to stop people believing what they want to believe and do what they like. Sometimes authority does have to be questioned, (bats dropping for baldness ?). The grappling movement has been good at this, for provoking a rethink to approaches in traditional martial arts that do not question their premises and training methods.
My example was from a more micro-social example. If ‘I’ said I had seen a cow reciting Geoffrey Chaucer, no one would believe me. If the Bruce Lee had said that – I bet some would believe, due to his authority !
Of books that are on the wooden dummy, this is 'up there', with Randy Williams' work. That means if you are interested in the 4th form of Wing Chun, you should own this book.
This book talks about the authors acquisition of knowledge about the dummy, his source of knowledge and examples of sketches and notes he made from his interaction with Ip Chun, (Yip Man's son). Insights gleaned for instance relate to the meaning of some moves, such as the upward slapping hands - tok sau - movement that separates the sections. The book reveals this could have been just a re-calibration move to make sure the arms are in place, before the next section.
What is more important, however, is the books delivery of the form. It achieves this well by it's attention to detail in the written comments. The sections are broken down and verbally explained well. I am focusing on the words - not the pictures alone - which are detailed and in colour, as well. The written description tells you where your force should be going and which direction. This is really vital and pictures alone could not deliver this information. No YouTube video can deliver that, either.
The book uses bullet points well to zero-in on core ideas and mistakes and this draws the readers attention well to the essentials. 2 novel aspects in this book, (which Rawcliffe also uses in his other book on Wing Chun), is to have 2 sections written by a physician, offering physiological insights into what the moves mean for the body, and how the body adapts itself. And, there is a section on learning and how drilling works - using the types of learning styles, (kinesthetic, visual, auditory etc.). This is novel - relative to other books - but again Rawcliffe does this too, in his other book, as he gets a teacher involved to write that section - good.
Problems with a book are the constraints of publishing - space. The pictures and the descriptions are not always on the same page and you will have to flip over, to co-ordinate them. Also the Chinese terms may not be the same terms you know / use for the shapes you have at your club / school, (remember to translate is interpretive). Yo umay have to put your own mental translation in. Finally, if there was space for foot-patterns then this book would be the best book ! Because Wing Chun is a positional art, in that you need optimal angles to maximize forces and achieve the claims this art makes for it's effectiveness. To do this, then, you need to know you are stood in the right space, the right angle etc.etc. Foot patterns would help here.
Finally, now in an internet age, the 116 moves are no longer a secret. You can use this book in conjunction with online video too, to see moving interpretations of this form. Some practitioners are hard, some are softer in their use of energy on the dummy - even within the same lineage. In fact, that is one area that needs to be noted. Interpretation. The dummy form has been interpreted and modified in Wing Chun_s < Plural intended. A comparison of these interpretations would be very useful.
One extra aspect worth mentioning about the 'arts' in the Martial Arts, is the issue of performance. This does have an aesthetic aspect, that means, what you look like will be judged by an 'appreciative community'. That is there is a value or 'beauty' that is given to your moves, that others assess. This could be a brutal effective aesthetic, it does not have to be flowery and pretty and dainty - that is no the point. My point is that there is a social basis to judgment.
If you look at youtube posts, watch how comments ... and stars are given to judge the performances of people doing their moves. The formal arts have this too. There is a culture of critique and judgment of fine art or performance based art - such as ballet. Sports have this aspect of performance in too, this is where demarcation of sports / arts blurs. Look at ice-skating for this. But even talk about football games are judged for their quality of performance and 'entertainment' values enter into this, as well.
Modern 'combatives' is a genre of martial arts that is not exempt from this if we focus on performance and its social basis. It is by default judged on criteria by 'experts' and this is no different from other 'arts' (both broad an narrow meanings given to that).
So what ~?
This is useful in knowing why we do what we do, when 'doing martial arts'. Where is motivation and what powers it. There is a performance aspect to this that feeds into our behavior, if you like it or not. We use it to judge ourselves and our identity - how we see ourselves. But is also a resource, involved in how others see us. And this affects our status, too. We are motivated to improve our performances in training.
I am arguing that in conjunction to functionality there is also performance, too in here, that some may want to deny but it is in here. Don't confuse aesthetic and performance with kata and finesse. See performance as valued activity that is judged subjectively by others. The boundaries of the performance is policed by a community too. Go watch on forums how opinion forms to verify if this or that move is effective / valued ; or if this or that performer is doing it right. This social activity could easily be confused to these 'X' Factor type programs. Ok - one is entertainment driven and the other is self-defence but the root is performance. It is social in its basis. You meet the criteria of positive feedback from these appreciative communities and that buzz and self-worth increases just the same whatever domain you are in.
Ah ha ! I was training today in the spring-like weather and realised what this is all about !
Have many tulips in the garden now and the colours are really vivid. All I need is a cherry blossom tree next to me and doing the 108 movments etc. etc. [OK.. I will stop this as it is getting a bit sickly].
This is my favorite illusion as the 2 images are so opposite. You love one image, and hate the other. BUT they are the same thing.
This is the same effect looking and seeing forms & jurus have on me. When you look at the strange shapes in a form they look
silly
exotic
mystical ...
Take your pick. (I showed my mother once, the stance from Wing Chun's first form and she started laughing. Picture that stance and the fuk sau and you get the idea). Then you make a breakthrough and you 'see' what you have been looking at. This is one way the illusion metaphore works. But this isn't the point of this blog entry.
The other aspect is interpretation of the martial arts by practitioners. One aspect of the 'arts' and I am thinking about high art - picasso and such like. See how that needs interpretation for some works. This is the 'art' side I am thinking of for the martial. I am thinking that half the work involved is not in following physical patterns and mimicking them but interpreting them. In this next picture by Duchamp a work of art is created out of a urinal. He calls it 'the fountaine'. He is being cheeky but the point is interpretation gives this meaning.
"The creative act is not performed by the artist alone; the spectator brings the work in contact with the external world by deciphering and interpreting its inner qualifications and thus adds his contribution to the creative act."
My point is watching experts do their moves is not enough. You have to be active in its interpretation to give and extract meanings out of the martial art shapes. I watched and re-watched forms DVDs and struggled with their interpretation ... and like the pictures above, sometimes you get a snap and you seeeeeeeeeeeeee the idea hidden away in there. Sometimes you don't and you aren't taken in by 'la fountaine' like avant-guarde luvvies.
Sometimes the forms need a leap of faith to interpret and you need much effort like this picture .... 'Nude descending a staircase'. This picture and its type (as above), only makes meaning in relation to a theory. Once you have base ideas in place the picture has value and meaning. Otherwise it's
silly
exotic
mystical
This is why the same thing looks different to 2 different martial art practitioners. Culture also serves to affect what we see. it may not be possible for some practitioners from other traditions to see what you see. They don't share the theory that lets you see.
Here is Duchamps self-portrat. He gave up art for chess. The art side of that is in the interpretation of shapes on squares. He was on the same track if you ask me.
This is a great demonstration of 'wooden' apparatus. This way of using the pole means he gets balance into his feedback from the pole. The way he does his push hands is like chi sau (a bit) and there is value there, as there is some resistance from gravity. The way he recovers the pole once it has hit the floor is very good. Well worth looking at how he does that / inverts the pole / throws the pole and mimics headlock [?] / partial sweeps or leg trap. Foot work is intricate as he turns his back in a judo throw like way. His arm shapes are like tan to bong transitions.
You 'could' do this on the main pole of the wooden dummy for wing chun, if your design is a plug into base type. Take out the arms, but that would be one heavy pole. If your structure is correct your tan to bongs would work, but the throws on that, plus recovery from the ground would be like a sandbag drill. I wonder ....
I went on the dummy for the first time for ages maybe since November last year. The snow had kept me off, as the ground was too mushy. The picture is proof. (I went to pak sau the dummy and palm the body of the dummy expecting the snow to fly off. Errr ... no ... nothing happened. What an anti-climax).
So it's March and I get going on the dummy and what do I do ? Punch a bit, then put the arms on and see what I can remember of the 108 moves. I can do the 1st part seamlessly, then the second part has this funny kick in it, while your arms are also blocking too, (Peng Nam, now not Yip man). My head thinks 'I have modified this and don't need to do it, like this', but also my heart says 'no' this is the real and authentic move. You must stay true'. I compromise and do the kick separate from the arm moves.
This got me thinking that to keep the whole form going in my memory and replay it and maintain it over time, is quite a tax. Is it worth it? I think Bruce Lee's idea of splitting up the form into segments and using the parts you want from it in various orders is better. It is a 'drill/form' then. Also put in elbows for punches in that form, knees for kicks, punches for palms and palms for punches is more likely to arouse the brain than just recall alone, as you are being creative. Doing the whole form in the first place does introduce you to the variety of moves that are out there, however and an honest attempt at them, is beneficial.
The ideas I was using on there intending for sparring went out of my head the next day too. Something I would like to do is to use the dummy in a social context. I.e. have more than one practitioner around. This could be to act as another set of eyes, to see my footing. It could be to offer up new ideas to drill with, it could even be to represent a 2 on 1 situation !? All I have been doing is solo dummy training, with the rare video seen by someone else for feedback. I have never compared notes with someone on the dummy, who is also a practitioner too, and argued through merits of using it this or that way. Have yet to use a wall mounted dummy either - but have used on mounted in a trellis that is supported. It can be chased left and right.
Can't think of direct dummy applications for ground work in guard or mount that are sensible. Maybe you could lye the dummy on the ground and aim for token arm bars ?! You could not have that dummy on you in guard ! (could you ? NO - stop it. Way too heavy).
If you go against the 'done way', 'tradition' or the 'orthodox' then expect to be confronted by someone like this man in this picture:Return of the Body Snatchers remade around 1978 is one of my favorite films. The idea that others are not as they seem, or just not 'aware', or others cannot see what you see is quite provocative. The film is almost an allegory. I had a conversation the other day, with learned colleague who recalled a situation where he advised someone to punch with gloves to avoid a pain in their arm. Person with pain-in-arm related advice to Sensei. Sensei didn't agree. So no change in the scenario and .... pain got worse. This is a martial arts application. It could apply to differences in 'the Yip-Man' 108 which is a sacred form for some people. It could apply to your company or society, whatever. It can actually benefit you to be not part of a crowd and to step out or change company to get a new perspective. A new set of analogies. A new set of phrases to think with - whatever. This poor chap, above, in the film did at least try but he succumbed. (Actually this picture was animated and had the man shaking his finger at you, like in the film, but its 'been lost in translation').
Wow, watch this practitioner doing the 108. Doesn't matter if you approve of Wing Chun or not. You can't fail to see this practitioners short range 'fa ging' power being snapped out. This is the 'snake style' ,I feel, coming out in her expression of Wing Chun. Those side-kicks she does come out of no where and are really angled nicely. Lovely dummy too - can't fail to want to own that piano black object. When she does combination of strikes she doesn't pause between them to admire her handy work. she blasts them out, as If they were musical notes they would be triplets, (one beat sliced into 3). You can learn from her, whatever discipline your into, as she has good form. Someone one the youtube web site said watching her is like a view of what Beautiful Springtime must have looked like ! IN the comments she replies she has been doing this 40 years ! OMG - she looks 20.
Here are some vids on the dummy. They have the pegs taken out of the base to make the dummy move about and absorb energy. They are a drill on the dummy, involving backfist and a trap; boxing slips, and short and long range palms. I corrected one palm set, and tried it a new way. The videos had to be fixed from portrait angle, from phone, using software. Otherwise you would have to turn your head 90 degrees. I chose that angle as it allows for capture of body and dummy length. I am fond of portrait angles, but know of someone who is vehemently opposed to this camera angle and prefers landscape. This is an aesthetic rift that has emerged.
Here is an extract of parts of a Prayer / Poem by Michael Quoist. I read this today in memory of my Mother.
People were following: The family - some crying, Some pretending to cry ; Friends - some grieving, Some bored or chatting.
Leaving the cemetery, some of the family were sobbing: "All is finished". Others were sniffling : "Come, come, my dear, courage, it's finished !" Some friends murmured: "Poor man, that's how we'll all finish." And others sighed in relief: "Well, it's over".
And I was thinking that everything was just beginning.
Yes, he had finished the last rehearsal, but the eternal show was just beginning. The years of training were over, but the eternal work was about to commence. He had just been born to life, The real life, Life that's going to last, Life eternal.
I have never seen this design before. It looks like a modified Choy Le Fut dummy. Watch this man clank his arms on this metal object. I would not try this at home children. I wonder if he helps himself out by angling in his muscle to buffer his bone as it clashes. If you 'sheer' in your movements you could get some use out of metal as a medium on the dummy. I have stuck a metal pole in the bottom arm of my dummy as an experiment and it is functional but it makes a clashing noise at it buffers the main body of the dummy. Also without a whole and metal pin there are no lap sau, (pulling hand), type moves, for what that is worth.
Watch him go behind the dummy - that is interesting. You can get a choke on that maybe. The base of the dummy is not raised that high either. Also those arms are sprung loaded at the front. That could be used for Thai clinch type moves. The hand conditioning looks 'very dedicated' - his knuckles are testimony to this. I read somewhere if you train your finger tips like this, it will impair any fine skills you may need your fingers for - piano, threading needles etc. I guess your nerve endings become less sensitive.
Do you see this image. It represents a character of a short cartoon on the web and is also on Youtube. Its the evil strawberry.
After much thought and consideration I believe this character represents any learning activity that creates grief an displaces the learning goal in a distant place - a forbidden fruit if you like. Its a parable.
In any learning activity that does not come easily, it is hard not to feel frustrated and angry and act like this child - sour grapes !
The key to all this in acquiring a hard skill - and I am thinking of sweeps and throws in martial arts for me at the moment - is resilience. Its a characteristic of the learner that needs to kick in when a barrier to the learning goal emerges. Not dealing with set backs can make you give up and in adult learners who have unrealistic goals, this can happen. I teach adult learners social sciences. Some are very grade aware and have high goals and expectations for obtaining these high grades that makes the subject matter irrelevant almost. Learners in this category are high risk suspects when it comes to managing setbacks and wanting to give up their study.
Developing a different attitude to learning - seeing it as a long haul issue and seeing the intrinsic pleasures are a way to overcome set backs. Josh Waitskin talks about this in his disciplines of chess and Tai Chi. Of how the apprenticeship of learning *IS* the goal. Leave the learning train - lose the attachment to the discipline almost is what comes across. It is a psychological condition coping with set back.
Why am I talking about this ? Yesterday I was going sweeps and I am re-learning and re-learning and not really making head way in this set of moves. I have been here before with Vale Tudo and some of the moves there, which I could not really adapt to. I know what to expect and what is happening to me when I am learning however. I have realistic expectations to a degree with this aspect of martial arts. This realistic view aids me. I could get red faced like this child here, but I just have to accept the moves are hard. I did this while learning parallel park. I can remember the sweat under my arms and the pressure n my face when learning this manouvre for my driving test. I decided to take all pressure of myself and say I will get it when I am ready. Not rushing this. Love the learning and relish the innocence.
This is similar to my feelings of chess. Those innocent days in 1987 when I was learning from books and reading how the Sicilian defence creates asymmetry and nodding at the principles but not really getting them are to be cherished. The mystery of it all does add something. Chiseling away at the mystery is good too, however.
The big difference academia, chess and martial arts and driving here is the sensory motor side. Its very binary in terms of having a skill on the latter 2. You have the technique or you don't. You park in line and can see it for yourself. You can apply a sweep or not. No in between.
You work to get that strawberry in time or you don't.!
This is a training video with 2 others. I saw what I looked like 'doing boxing' type moves. For a few years now I have been told 'chin down'. I thought I had this idea down by 2005, but it crept back up. Here in this video it creeps up when I try and deliver upper-cuts. OK I am aiming to deliver uppercuts for my friends defences, but if he counters, my chin is on a plate. You can hear Granmaster K telling me chin down. I have heard this a hundred times. BUT now I see it.
Yuk. I look a poor sight. I disgrace myself.
So what ? This shows the value of video and the idea of seeing is believing. Think of how people put bias on 'eye witnesses'; 'Doubting Thomas' came to believe only when he saw; and the statement 'I will believe it when I see it'. Well this video is massive and got me thinking about video too in general.
Its not totally true that seeing is believing is it. We see lots of adverts on TV and don't believe them ...because we have critical skills. Watching and seeing are interpretive acts. We are matching things up in our heads to what we see.
The issue is these skills can be sharpened. When it comes to watching martial arts instructionals, we can arrest these skills - excessive reverence can be a cause. Master X or so and so's student does this - it MUST be true. It’s a trap.
Worth thinking about too is how old is this material ? Has the practitioner moved on and changed or modified their techniques ? Maybe they have had a Pauline conversion and renounced their style all together since that video was made as there were flaws in their approach !?
Do you have another instructional that has this same type of material - if so then contrast the techniques. Get a friend in to watch with you to help contrast the moves. Take time to tooth pick their differences. Maybe the practitioner isn't verbalising something that they need to that your friend sees ?
Remember to look at the feet - even in hand techniques. The feet show weight distribution for example or how to move the upper body. They are tied often to the hands. If the camera cuts-off the feet then maybe you have to search down the tape or DVD for an example or find another example elsewhere.
Keep a log of what videos you have seen or own. This will act as an index to look up this or that move. It shows you too how far you have moved in your 'journey'.
Search for reviews on your instructions before or even after you buy them. These can be useful in verifying the value of what you have . The BJJ community is very vibrant in reviewing instructionals that come out in its domain. There is something very different about BJJ / Vale Tudo knowledge and its socially shared nature. I wonder if its something to do with the physical proximity of training mano-a-mano that creates this ?!
Write notes to accompany your DVDs. These could be stick-men that break down a move. The pause function and A-B repeat is excellent for this [If you have never used the latter - THAT is your homework ok!]. Give your notes to your friends - it could be questions like I don’t get move @ 22 mins in - can you work out what this means ? Or do you trust that arm-lock @ 52 mins ? It could be an index of moves in writing. After a few viewings the details will melt away or go 'fuzzy'.
Watch the video once and let it gloss over you - this is 'looking'. Then once you have a 'mental map' of what is there focus on a portion to train on that day. And a new portion another day. This creates 'seeing'.
Write reviews. This verbalises your thoughts and forces you to evaluate what you have seen. Evaluation is a high level cognitive skill. Practice it. It goes beyond mimicry or description.
Treat your DVDs with care. Avoid scratching them and implore your ruffian friends not to scratch them when you lend them. If they do get scratched, then there are some remedies like tooth paste being wiped into the scratch.
I have a migraine now. My vision has gone all spangly and I cannot see that well. It is not good. I can be sick too with numb arm and messed up speech - like a mini stroke in this situation but this isn't as bad as when I was a teenager. What if I was out and about and some delightful youth wants to cause a confrontation ? Goodness what nightmare.
What isn't addressed by self-defence literature is what to do if you cannot see properly and need to defend yourself. I wear glasses and if these get knocked off, then with my minus 9 vision I am looking at burrs. With migraine vision I am have blind sports.
Crazy moneky guard would be a good fail-safe here, as you don't have to be that active in your defense - no searching for bridges or interacting on a high reflex demanding defence like a pak sau.. To be honest you may not see it coming with a migraine. You would have to feel the attacker if you could not see them. Here grappling chi sau (for want of a better word), would be of value in searching for that bridge if you want to make contact.
I have tried sparring with no contact lenses in. I did get hit more but it wasn't that bad. If the light was failing that would be worse. At night I could not run as yo wont see where your feet are being placed too easily. With no glasses imagine loosing your keys to your car ! I have a spare pair of glasses in the car thankfully - its required by law in some states.
