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The top ten errors of martial artists defending against a blade.

McCurry, John; Grossman, Eliot Lee

There are ten deadly errors which make most empty-handed martial arts techniques against a knife ineffective. The principal error stems from the fact that few present-day martial systems teach the blade. The premise of this article is that to effectively defend against a knife, you need to know how to use one. The purpose of this article is to motivate martial arts instructors to analyze more critically their unarmed knife defense techniques based on a clear understanding of the use of the knife, and to reawaken interest in the blade arts in the martial arts community.

Introduction

Modern martial arts, and present-day versions of traditional martial systems, generally are designed for individual self-defense by a civilian against one or more unarmed adversaries. In some cases, techniques from these arts are also adapted for military or law enforcement use against single or multiple armed or unarmed adversaries. While advanced training in such arts often includes a limited number of techniques for an unarmed person to disarm a knife-wielding foe, it is the contention of the authors of this article that most of these techniques are unrealistic, and ineffective outside of the training hall. (1) While they might possibly work against a novice with a blade, they are unlikely to prove effective against a skilled and experienced knife-fighter. This is not to say that some of the techniques could not be redesigned to be effective, but rather, to caution that each of these techniques should be critically evaluated by martial arts instructors to ensure that students are not being given a false sense of security with regard to their ability to defend against a blade.

This article outlines ten basic errors which need to be considered when reevaluating most knife-defense techniques taught in contemporary martial arts training:

1. Not knowing how to fight with a blade

2. Improper mind-set and lack of blade awareness

3. Incorrect structure

4. Blocking

5. Kicking

6. Permitting gaps

7. Using techniques designed for unarmed adversaries

8. Ignoring the adversary's checking hand

9. Failing to follow-up

10. Unrealistic training

These errors can be considered as the "top ten errors" of martial artists defending against a blade. They can each result in potentially fatal consequences if not corrected. The objective of this article is to make the martial arts community aware of the vulnerability of many of the knife-defense techniques taught presently and to encourage martial arts instructors to critically evaluate and properly redesign them.

This article draws upon insights derived from the theory and practice of three modern blade-based arts developed by John McCurry: Balika Jujitsu, McCurry's Combative Blade System (MCBS), and McCurry's American Silat System (MASS). These three arts fit together to form one modern integrated martial system based on the use of the blade whose techniques may also be utilized with impact weapons and empty-handed. Based upon 30 different knife-fighting systems from around the world, and various striking, joint-locking and throwing techniques from diverse martial arts, this system consists of 50 progressive phases, or levels. Progressing from simple and basic to complex and advanced, each successive level exposes and exploits the limitations of the immediately preceding levels to defeat an adversary whose art is limited to the principles and techniques of those levels. The principal role played by the blade in this system derives from the recognition that the most formidable weapon you may face on the street, other than a gun, is a knife, and from the premise that the most effective means to defend against a knife (other than carrying a gun) is to carry a knife yourself and know how to use it. (2)

In this respect, although Balika, MASS, and MCBS are modern martial arts, they also represent a return to the traditions of classical jujitsu systems which were not exclusively empty-handed arts. Rather, they were armed battlefield arts that utilized a variety of weapons against armed and armored opponents, but also included in their repertoire empty-handed techniques to use if a warrior's weapons were lost or damaged in battle or he found himself in a situation where carrying or using a weapon was prohibited. (3)

Top Ten Errors

1. Not Knowing How to Fight with a Blade

Sun Zi's famous dictum, "know the enemy and know yourself," is well-known in the martial arts world and is as readily applicable to situations of individual combat as it is to battlefield engagements by large numbers of warriors. However, few if any of the martial arts which include knife defense in their curriculum also teach their students how to fight with a knife (LaFonda, 2001: xvii). The obvious question which should, but seldom does, arise for practitioners and instructors of these arts is: "How can one know how to defend against a knife without knowing how to fight with one?" (4) Not knowing how to use a knife can leave one unable to anticipate or properly react to what a knife-fighter can and will do on the street. Nor can knife-defense techniques be practiced in a realistic manner if a training partner can't provide a realistic attack because of lack of knowledge on how to fight with a blade.

While unarmed defense against a knife is not impossible, it is very difficult and very dangerous. The odds of being cut are extremely high. It requires a high level of skill, self-confidence, proper training, and luck. One mistake in defending against a knife attack can prove fatal. No one with a whit of common sense would ever get into a knife fight if it were possible to avoid it, and taking on a knife-wielding adversary when one is unarmed is something that no one should attempt, regardless of training or skill, unless there is no other reasonable alternative (Janich, 1993: 98-99; MacYoung, 1990: 111). (5)

Nevertheless, the majority of knife attacks do occur against unarmed persons (Pentecost, 1988: 9; LaFond, 2001: 21). And whether or not one carries a knife, or lives in a jurisdiction where it is possible to obtain a permit to carry a gun, a situation may arise where unarmed techniques may be needed for defense against a knife. The odds of surviving such an encounter may be improved by learning how to use a knife and by identifying and redesigning techniques marred by the "top ten errors" which are the subject of this article.

There are ten basic aspects of fighting with a knife which must be understood in order to be properly prepared to defend against an adversary armed with a blade:

1-a) There are many different ways to hold a knife.

1-b) Knife attacks are often unexpected.

1-c) Knife attacks can come from any angle.

1-d) Knife-fighters fight with both hands.

1-e) There are many different ways to use a knife.

1-f) Knife-fighters fight at different ranges.

1-g) Knife-fighters will not readily give up their blades.

1-h) There are no rules in a knife fight.

1-i) There are different kinds of knife-fighters.

1-j) One mistake in a knife fight can be fatal.

1-a. There are Many Different Ways to Hold a Knife

A knife-fighter can hold the weapon in the forward or rear hand. There are various adherents of each approach. Holding the blade in the rear hand enables a knife-fighter to block, strike or grab with his empty forward hand, shield his throat and vital organs, and protect the knife in the rear hand from disarming techniques. Some advocates of this posture …

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PANANTUKAN

• Posted by Anthony on April 28, 2009 at 2:04am
• View Blog

Panantukan ("Dirty Boxing") is the empty handed boxing component of Filipino Martial Arts. Many of the techniques and movements are derived from Eskrima/Kali (Filipino blade and stick fighting). The art primarily consists of upper-body striking techniques such as punches, elbows, head-butts, shoulder strikes, and groin punches, but it also includes low-line kicks and knee strikes to the legs, shins, and groin. Some camps choose to group this kicking aspect into the art of Pananjakman, which relies on kicking and only uses the arms defensively. Common striking targets include the biceps, triceps, the eyes, nose, jaws, temples, the back of the neck, the ribs, and spine, as well as the "soft tissue" areas in the body. Panantukan prefers parries and deflections over blocks, as it is not known whether or not the opponent has a bladed weapon. As such, emphasis is put on minimizing contact from the opponent (in other words, one does not "eat" punches or absorb them the way a Western boxer would). Panantukan is normally not taught alone; instead it is part of the curriculum of an Eskrima or Kali school. Some Eskrima schools neglect this aspect almost completely, while a few schools solely teach the boxing art, though this is quite rare.

Philosophically, it is very similar to other forms of street-oriented kickboxing in that it emphasizes practicality; Dan Inosanto, Bruce Lee's star pupil and partner, integrates aspects of panantukan into his interpretation of Lee's Jeet Kune Do, and many concepts from panantukan and the Filipino Martial Arts are found in several Jeet Kune Do Concepts systems today (such as Paul Vunak's PFS). Since it is not a sport but rather a street-oriented fighting system, the techniques have not been adapted for safety or conformance to a set of rules for competition, thus it has a reputation as "dirty street fighting".

Limb Destruction
Panantukan focuses on countering an opponent's strike with a technique that will nullify further attack by hitting certain nerve points, bones, and muscle tissue to cause immediate partial paralysis of the attacking limb. Common limb destructions include guiding incoming straight punches into the defending fighter's elbow to shatter the knuckles (secoh), or striking the incoming limb in the biceps to inhibit the opponent's ability to use that arm for the remainder of the fight (biceps destruction). Limb destructions in panantukan are also known as gunting techniques, named so for the scissors-like motions that describe how the practitioner isolates or stops the attacking limb from one side and executes the destruction from the other. Perhaps gunting more aptly refers to the bladed weapons aspect of Kali/Filipino Martial Arts in which these techniques were used to trap, cut, or sever the opponent's hands, forearms, and head. Whereas original Jeet Kune Do emphasizes intercepting incoming strikes, panantukan and Jeet Kune Do Concepts add destructions to the fighter's arsenal.

Body Manipulation
Panantukan uses arm wrenching, shoving, shoulder ramming, and other off-balancing techniques in conjunction with punches and kicks to push, twist and turn the opponent's body with the goal of exposing a more vulnerable area to strike, such as the neck, jaw and temples. An example technique could include trapping the attacker's arm and quickly yanking it down to bring the attacker's head down and forward, exposing him to a head butt or knee strike to the head. Panantukan borrows techniques from Dumog, the Filipino upright wrestling art, for most body manipulations.

Angles and Switching Leads
Practitioners of panantukan often use the angles outlined in Kali to evade and parry incoming strikes and to attack the opponent from an outside angle where he is less able to defend against strikes. Practitioners constantly switch fighting leads to exploit different angles of attack and to maintain flow. The fighter will often use a finishing strike or kick in a combination to step into the new lead. Footwork is of upmost importance for these techniques, and as such, fighters generally invest much time into practicing Kali stick fighting drills and combinations.

Speed, Flow, and Rhythm
Panantukan emphasizes speed in striking, with the intent of overwhelming the adversary with a flurry of attacks. Practitioners will rarely cease striking, opting to string together indefinite combinations of sometimes radically differing strikes and body manipulations to make successful defense a relative impossibility. Such a strategy is also employed in the Jeet Kune Do "straight blast" and the Muay Thai elbow "blitz."

Another central concept in panantukan is “flow”. Flow is achieved through using speed to quickly and continuously execute strikes and maneuvers, through switching leads and angling to expose new angles and lines of attack, and through the ability to perform a strike from multiple angles and positions. A practitioner may throw a punch or kick from any angle (high, low, overhead, underhand, back fist, hammer fist, etc) in order to maintain his offense; the fighter does not "reset" himself after each strike or combination and thus denies the opponent an easy opening for a counterattack.

As with the other combat arts of the Philippines, panantukan has a close connection to the tribal rhythm of the drum, and it often pays mind to beat and tempo. In panantukan, the rhythm can be broken or changed to the advantage of the commanding fighter. The goal is to "steal the beats” or interrupt the rhythm of the opponent, exploiting the opponent's chances for attack to initiate a counterattack. This concept differentiates panantukan from most of Western sport boxing, which relies on the steady exchange of blows, covers, evasions, and counter-punches to establish the fight's cadence.

Many strikes in panantukan are said to be performed on "half-beats," or in between the major strikes of a combination, so as to disorient and overwhelm an opponent, increasing the opportunity for more devastating strikes. An example of this could be performing a swift slap or eye strike after throwing a jab with the same hand in a standard jab-cross-hook combination; the eye strike both disrupts the defense against and masks the incoming cross. Additionally, low-line kicks often come in on the “half-beats” in between boxing combinations to further injure and disorient the opponent.

Close Association with Weaponry
While panantukan is designed to allow an unarmed practitioner to engage in both armed and unarmed confrontations, it easily integrates the use of small weapons such as daggers, wooden slivers, and palmsticks. These weapons give a potentially fatal edge to many of panantukan's already brutal techniques, but do not fundamentally change how the techniques are executed. Daggers used in panantukan tend to be small, easily concealed and unobtrusive, and alternative designs such as the claw-shaped kerambit are often preferred.

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