TCMA combat strategies

[YouKnowWho]

I would like to start a thread that we can discuss general TCMA combat strategies and not just restrict to any particular style. Let me start the 1st 12 combat strategies that's commonly used in the Chinese throwing art.

1. Attack one direction and then attack the opposite direction.
2. Attack left/right and ten attack right/left.
3. Continue to attack the same direction.
4. Give first and take afterward.
5. Attack both legs if you can, attck one leg, then attack the other leg otherwise.
6. Wrap your opponent like an octopus wraps it's prey.
7. 1 is better than 1,2 and 1,2 is better tha 1,2,3.
8. Run your opponent down.
9. Lead your opponent into the emptiness.
10. Build bridge, past over, and destroy that bridge.
11. Safe entry and effective finish.
12. Hide your preparation in your previous move.
13. ...

Please feel free to add your favor combat strategies here. All styles are welcome. Let's see what will be the final number of "combat strategies" that we can come up with.

[IronWeasel]

I would like to start a thread that we can discuss general TCMA combat strategies and not just restrict to any particular style. Let me start the 1st 12 combat strategies that's commonly used in the Chinese throwing art.

1. Attack one direction and then attack the opposite direction.
2. Attack left/right and ten attack right/left.
3. Continue to attack the same direction.
4. Give first and take afterward.
5. Attack both legs if you can, attck one leg, then attack the other leg otherwise.
6. Wrap your opponent like an octopus wraps it's prey.
7. 1 is better than 1,2 and 1,2 is better tha 1,2,3.
8. Run your opponent down.
9. Lead your opponent into the emptiness.
10. Build bridge, past over, and destroy that bridge.
11. Safe entry and effective finish.
12. Hide your preparation in your previous move.
13. ...

Please feel free to add your favor combat strategies here. All styles are welcome. Let's see what will be the final number of "combat strategies" that we can come up with.

What does number nine mean?

[YouKnowWho]

What does number nine mean?

The simplest example is the counter for your opponent's single leg shooting. You pull back your front leg (create an empty space), put both hand behind his head, press his head 45 degree downward (lead him), and let him to kiss the ground. It's called "dog eat sh!t" in Chinese.

http://www.youtube.com/watch?v=dgItvRgWiPs

This strategy can also be seen in this clip. You lead your opponent to pass beside you. The moment that he feels you are not there and tries to re-adjusted himself, you borrow his force and attack him.

http://www.youtube.com/watch?v=jV_Y-9T1-FM

[SPJ]

I will mention one for ba ji and tong bei.

Ba Ji fist:

1. to close in on the distance. fist or kick for arm distance. elbow for elbow distance, shoulder/chest/back kao or throw for near distance.

entanglement or chan around wrist for arm distance. chan around the elbow for elbow distance, chan around the shoulder for near distance

---

tong bei

1. to push or hurry, your first move is pushed by the second move, which in turn is pushed by the third move. left right left or right left right or right right right, or left left left etc--

onslaught or flooding of one move after another, till the opponent is defeated.

not one move and wait, but several moves in a series

in contrast, ba ji is to deliver a single/final blow and end the fight.

me loves both style.

[lkfmdc]

Lion's Roar / Lama Pai / Tibetan Pak Hok

1. Chan, Chow Gwat, Baai Heih

Chan (ruthlessness)
Chan represents the mental state that must be achieved. When attacked there is no room for ambivalence and hesitation. The student must commit themselves to being totally ruthless. All strikes must be executed full force and all blocking motions must destroy the opponent's limbs.

Chow Gwat (bone breaking)
Baai Heih (strangulation)
If necessary, bone breaking and/or strangulation will be used to defeat an attacker.

2. Sim, Lihn Bouh, Tahng Nah, Jung Dit

Sim (dodge, evade, avoid)
Sim represents the preferred defensive method. It is considered superior to evade all attacks and simultaneously strike exposed vital points. This is achieved through footwork, body positioning, and jumping.

Lihn Bouh (continuous stepping)
The fighter is constantly moving. His footwork both confuses his attacker and provides openings.

Tahng Nah (jumping)
The use of jumping and leaping to avoid and counterattack.

Jung Dit (going to the ground)
Either being throw or purposely falling to the ground to prevent from being controlled or to gain advantage.

3. Chyuhn (to pierce, penetrate)
Chyuhn represents the primary offensive goal, for all strikes to pierce and destroy vital points. It also refers to vital point striking.

4. Jit (to stop, intercept)
Jit represents the second line of defense. Attacks that cannot be evaded must be intercepted and the limb destroyed.

5. Bin (flog, slash, whip)
Bin describes the whipping motions by which power is generated. Bin also represents all horizontal motions. The entire body must be relaxed to generate power.

6. Paau (fling, cast off, throw)
Paau represents all offensive and defensive motions that move upward, as in uppercuts.

7. Kahp (to stamp)
Kahp represents all offensive and defensive motions that move downward, as in overhand strikes. It is the opposite motion of Paau.

8. Gwan, Jaau, Fun Gun

Gwan (cover, close, stop passage)
These motions prevent counter attacks (covering or closing) and prevent the opponent from grabbing (stopping passage).

Jaau (the use of the claw to seize)
Seizing an arm in order to control an attacker and stop their attack.

Fun Gun (joint manipulation)
Applying a joint lock in order to control and attacker and stop their attack.

9. Jong, Seut, Ying Lo

Jong (rise high, shoot up)
Jong represents striking motions that contact the body and uproot it. It also applies to the throwing techniques. Jong contains the idea of water, beating relentlessly to tear down what opposes it.

Seut (to throw to the ground)
Upsetting the attacker's base and throwing them to the ground.

Ying Lo (pushing and pulling)
The use of pushes and pulls to unbalance and control an attacker.

10. Faan (return, go back)
Faan represents all offensive and defensive motions that return in the direction from which they came, continue to another circle, or unexpectedly reverse their motion. Faan also applies to the reversal of techniques and escapes.

[EarthDragon]

THE EIGHT CARDINAL POINT THEORY FOR FIGHTING
1. Continuous movement with each technique giving birth to the next.
2. Close the enemy using the long hand then destroy the enemy at close range with
the short hand.
3. Attack high to open the low area and attack low to open the high area.
4. When attacking left defend the right, when attacking right defend the left.
5. Attack and defend simultaneously since all actions are neither exclusively offensive
nor defensive.
6. Actions must be natural and reflexive, don’t think act.
7. Stay relaxed and change the stepping pattern.
8. In action there is stillness, in stillness there is action.

[ginosifu]

Most all of these combat strategeies are common among all styles:

1. Attack one direction and then attack the opposite direction.
2. Attack left/right and ten attack right/left.
3. Continue to attack the same direction.
4. Give first and take afterward.
5. Attack both legs if you can, attck one leg, then attack the other leg otherwise.
6. Wrap your opponent like an octopus wraps it's prey.
7. 1 is better than 1,2 and 1,2 is better tha 1,2,3.
8. Run your opponent down.
9. Lead your opponent into the emptiness.
10. Build bridge, past over, and destroy that bridge.
11. Safe entry and effective finish.
12. Hide your preparation in your previous move.

Feign left then attack right.
Lead your oppinent into emptiness.
Attack left then quickly attack right.
Being kind to your opponent is being cruel to yourself.

These all come form the Art of War and or Tao Te Ching or any other Chinese philosophical strategy book.
These things can be put into any style.

1. Chan, Chow Gwat, Baai Heih

Chan (ruthlessness)
Chan represents the mental state that must be achieved. When attacked there is no room for ambivalence and hesitation. The student must commit themselves to being totally ruthless. All strikes must be executed full force and all blocking motions must destroy the opponent's limbs.

Chow Gwat (bone breaking)
Baai Heih (strangulation)
If necessary, bone breaking and/or strangulation will be used to defeat an attacker.

2. Sim, Lihn Bouh, Tahng Nah, Jung Dit

Sim (dodge, evade, avoid)
Sim represents the preferred defensive method. It is considered superior to evade all attacks and simultaneously strike exposed vital points. This is achieved through footwork, body positioning, and jumping.

Lihn Bouh (continuous stepping)
The fighter is constantly moving. His footwork both confuses his attacker and provides openings.

Tahng Nah (jumping)
The use of jumping and leaping to avoid and counterattack.

Jung Dit (going to the ground)
Either being throw or purposely falling to the ground to prevent from being controlled or to gain advantage.

3. Chyuhn (to pierce, penetrate)
Chyuhn represents the primary offensive goal, for all strikes to pierce and destroy vital points. It also refers to vital point striking.

4. Jit (to stop, intercept)
Jit represents the second line of defense. Attacks that cannot be evaded must be intercepted and the limb destroyed.

5. Bin (flog, slash, whip)
Bin describes the whipping motions by which power is generated. Bin also represents all horizontal motions. The entire body must be relaxed to generate power.

6. Paau (fling, cast off, throw)
Paau represents all offensive and defensive motions that move upward, as in uppercuts.

7. Kahp (to stamp)
Kahp represents all offensive and defensive motions that move downward, as in overhand strikes. It is the opposite motion of Paau.

8. Gwan, Jaau, Fun Gun

Gwan (cover, close, stop passage)
These motions prevent counter attacks (covering or closing) and prevent the opponent from grabbing (stopping passage).

Jaau (the use of the claw to seize)
Seizing an arm in order to control an attacker and stop their attack.

Fun Gun (joint manipulation)
Applying a joint lock in order to control and attacker and stop their attack.

9. Jong, Seut, Ying Lo

Jong (rise high, shoot up)
Jong represents striking motions that contact the body and uproot it. It also applies to the throwing techniques. Jong contains the idea of water, beating relentlessly to tear down what opposes it.

Seut (to throw to the ground)
Upsetting the attacker's base and throwing them to the ground.

Ying Lo (pushing and pulling)
The use of pushes and pulls to unbalance and control an attacker.

10. Faan (return, go back)
Faan represents all offensive and defensive motions that return in the direction from which they came, continue to another circle, or unexpectedly reverse their motion. Faan also applies to the reversal of techniques and escapes.

Also most of these are common and can be a part of any style.

What makes your styles combat strategies unique?

In the Angry Monkey Fist we have somecombat strategies they may be considered unique.

Poke - Using fingers / knuckles to poke or jab at soft tissue areas.

Pinch - Use your fingers or toes to pinch sensative areas or pinch to close off blood vessel or wind pipe.

Slap - Slapping wit an open palm is natural for animals. We use IP training to slap with increased power.

Scratch - Scratch eyes / skin or any other sensative area for distraction.

We also have our style motto:

Attack Suddenly.
Attack Violently.
Attack without end until the opponent is subdued or flees.
what makes your style unique?

ginosifu

[David Jamieson]

One of the more important things a person can do in my opinion is this.

Immediately and heavily deal with a perceived threat through decisive and clear action.

[KC Elbows]

Number 9 is one of my favorites, when it's well used it sets up some slick throws.

I tend to seem to give a heavy bridge(not speaking of bridge arms, I prefer seeing bridging as done where connection occurs) when I'm actually playing a fluid game, so that the opponent prepares to dig in at the moment I'm circumventing their momentarily static defense.

Picking a few techniques is weaker than familiarity with how the larger body of techniques work together. If I focus solely on the opponent's upper body, and don't do ankle picks and leg takedowns, my skill at those may be good, but the opportunity to do them will be less, as a lot of opportunities for a move come from the opponent being aware of and anticipating that you can and will do its opposite.

Throws as strikes, strikes as throws.

Striking at the extreme end of your range is still striking in your range, so the goal of training is training it all, not just the moment of bridging.

Footwork as a result of waistwork, so that the foot moves because it is weightless and the waist is moving it, otherwise, given the likelihood of contact during some motions, the opponent's added weight will stall the foot trying to move, or slow it,

If one foot rises off the ground, the rooted leg sinks, digging in for the kick or deflection.

In shifting weight forward in bow stance, the waist should sink and then rise while the spine arches and then rounds, dropping must be relaxed and seeking to catch the pull of gravity and then scoop it into the forward press, the force should whip up the spine and round the shoulders(in relation to the technique)

In shifting weight backwards, the waist should rise(pressing off of the lead foot) and then sink while the spine rounds and then arches(rooting into the rear foot), the arms, presuming a pressing motion from the opponent, must disrupt their upper body by various means at the moment before sinking, so that they continue forward and upward while you descend and root.

Striking can occur when the footwork is centered over the feet, is backweighted, and when forward weighted, being able to do this can disrupt the opponent's ability to target you in that relation.

The techniques are not guard positions, the postures are not guard positions, when simply moving around an opponent, don't assume a posture, move simply and in relation to the opponent's actions, do not pose, do not twist, these things presume control that has not been established yet.

[YouKnowWho]

Throws as strikes, strikes as throws.

IMO, to combine striking and throwing in one move is the true integration of the strking art and throwing art. When you apply a heal lock leg blocking throw, you can use your forarm to hit on the back of your opponent's head before you get him a head lock. This way when you use leg blocking to throw him dow, he is already half way knocked out.

[bawang]

no stance no technique, just one sucker punch.