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GUNTING DRONE
The Martial Artists tool of the Millennium

Martial Arts Application

Most current day martial arts schools have evolved over time into true empty hand fighting arts. Whatever the origins of the arts itself, with the advent of firearms and the downplay of the traditional warrior class, most martial arts systems have been forced by society’s changing to concentrate on the art of using the empty hand. Some of these arts concentrate on self defense, others on the opposite end of the spectrum, concentrate on the sporting application. What all of them has in common is the disdain or reluctance to utilize a tool or a weapon.
Yes, they can be stand up fighters, stand up and go to the floor or go right to the floor…the old issue of strikers versus grapplers. But the commonality is no tool usage. No weapons usage, for empty hands rules supreme.
WHY?
Most of the modern day instructors have no training in the use of tools. The style they mastered has no weapon or tool usage. Therefore the idea of using a tool for self defense or asking the students to carry a tool is out of the range of possibility or consideration. Some of these martial artists believe the myth that the good guy uses his hands. A true paradox in the martial arts that our western John Wayne complex has colored the eastern way of fighting. Real men slug it out. Bad guys use weapons.
The martial arts styles that do use tools, use such antiquated tools or weapons that they have no relationship or connection to today’s reality. The training in these weapons or tools is great for understanding motion but has no basis or usage in situations that arise in everyday living in today’s world. As a matter of fact, using some of these traditional tools and weapons is expressly forbidden by our current laws.

Others understand that using or teaching the modern type of weapons of self defense tools leave them and their students in a “Catch -22” position. Some of these tools and weapons need permits, some are forbidden except in certain instances or employment, and others evoke extreme psychological -emotional response.
Teaching the use of these tools also can be a liability for any misuse of the tool can come back to haunt the instructor or the institution that taught the student.

The Gunting and the Drone can change all that. Without threatening an arts effectiveness, without making any negative impact on an instructors effectiveness or on the way the art is taught, the Gunting DRONE allows for addition to the existing art. As with the Kubaton, a modern version of a common “Pocket Stick” which has permeated most current martial arts , the Gunting DRONE can be used as an everyday carry. A simple but effective impact tool that will enhance any standard martial art technique from striking to grappling. The Gunting DRONE goes from real time usage in self defense, to it’s a great key chain, in a moments notice without any fanfare or liability. This tool is a non threatening, non cutting, non lethal, limited liability usage tool. A great addition to the standard use of martial arts.

Any martial arts system can adopt its usage!

GUNTING: a Medium Impact Tool to Edged Tool
CRMIPT: Close Range Medium ImPact Tool
DRONE: Training tool or Impact tool

Force: n \ 1: strength or energy esp. of an exceptional degree: Active power 2: capacity to persuade or convince 3: military strength 4: violence, compulsion 5: an influence ( as a push or pull) that causes motion or a change in motion.
Force: vb \ 1: compel, coerce 2: to cause through necessity 3: to press or attain to, or effect against resistance or inertia 4: to raise or accelerate to the utmost 5: to produce with unnatural or unwilling effort

Impact: n \ 1: a forceful contact, collision or onset

Medium: adj: intermediate in amount, quality. position or degree

Combat: vb \ 1: fight, contend 2: to struggle against: oppose

Close Range: minimal distance between two points. Very close together, a short distance. In fighting terminology; to be close to one’s opponent, within arm’s reach.

The act of self defense is an event of many variables. It changes within each context and application. The hardest one to reconcile is the act of self-defense as done by the on site LEO- Law Enforcement Officer. Any regular citizen can without great scrutiny effect self defense against an opponent and within certain boundaries go home without any stigma or legal repercussions. An on-site LEO is held to a higher standard of physical and ethical response than the citizen, even though the attainment of that standard might be nigh impossible to achieve. WHY? We expect more from the uniform than we do from regular street clothes. The symbol of the man becomes the standard for the LEO. How can we expect an on site LEO to react within the constraints of being everything to all people, as well as survive the encounter? Keep it simple!

Combat must be simple. During a confrontation memory gives way to instinct which quickly de-evolves into the animal response of survival. Detail work and fine motor skills quickly vanish leaving only gross motor skills to remain. Colonel Rex Applegate the father of close quarter combat stressed these facts during his lifetime. After many years of personal experience in actual combat and the subsequent training of soldiers for that combat, Applegate came upon certain truths that are considered true principles of combat. He advocated simplicity, directness, attitude, targeting, and use of weapons on a sliding scale from possession of weapons to empty hand. (A situation he advised was to be avoided at all costs!)

Most Defensive Tactics Instructors take a personal perspective on combat or self-defense and everything is judged by way of that instructor’s ability to perform the techniques that are taught. This might have validity IF the instructor himself was involved in the attack but most of the time it is the recipient of the instructor’s knowledge that becomes involved with the altercation. The person involved in the attack cannot possibly respond as the instructor did, yet will try to imitate the instructors teachings even when faced with total loss of fine motor skills and memory of “how to” causing further deterioration of the person’s response in the face of attack. Most of the time the LEO-defensive tactics student “loses” and the art itself gets’ maligned as being ineffective. Actually it was how and what was taught that was ineffective not the art itself.

Current Defensive Tactics Instructors still cling to the old belief of “learn this in the order I teach it. WHY? I learned it that way, so will you.” There is a need to control the knowledge as well as an adherence to linear learning. Instead of looking at combat, especially street combat as a living opportunity, some instructors of today try to teach learned responses to spontaneous situations. “The attacker will do this, then you respond with this!” Well that doesn’t work, for while a student is doing the script from page three, the attacker hasn’t seen page three. More than likely the attacker has no idea that a script exists and while the student tries to mold the situation to fit page three as described by the instructor the attacker is adlibbing his way through. Spontaneity wins over a prerecorded response almost all of the time. Yes, there are a few exceptions to the rule and it’s these exceptions that are used to establish the pre-recorded response rule for the masses. Certain defensive instructors and specialists can actually pull off what seems to be prerecorded responses to actual attacks. What is really happening is that these highly trained people are actually responding a ½ beat to a full beat ahead in thought and action over the attacker. To the casual observer the DTI is reacting with the known answer to a supposedly random attack but in reality the DTI is acting to a stimulus not reacting. This is what Bruce Lee wanted people to do; to instinctively feel the attack starting and intercept the attack BEFORE it became an attack.

“When you get down to it, real combat is not fixed and is very much alive. The fancy mess solidifies and conditions what was once fluid and when you look at it realistically, it is nothing but a blind devotion to systematic uselessness of practicing routines or stunts that lead to nowhere!"
Bruce Lee

In learning a complex thing such as combative arts the simpler the equation the better. Lots of instructors try the mass approach, they teach thousands of possible responses to a given situation. These responses have no basis in reality, have no combative foundation but they are necessary functions of that teacher. Teaching something complex must be complex and therefore confusing. Why make it simple. Right? Wrong! Within the complex art of combat there is a given variable, highly mutable yet constant. The variable is the act of combat itself. Combat is different every time for every situation for everyone involved. This is a constant variable. This is a true unchanging principle of real combat. This principle has NEVER changed even though the concepts using this principle change all the time.

Mankind has fought thousands of wars, millions of personal conflicts and never have two instances been the same. Therefore that variable IS the constant and it is the first principle of combat: Combat itself is mutable and cannot be contained or structured.

With this first principle of combat established, the way one teaches or learns takes on new meaning. Since the principle is one of constant change then one cannot learn set responses to a combative situation. The response most likely will not match the situation, which in combat could lead to serious problems such as death. This gives rise to the second principle of combat: One cannot learn a pre-recorded response to a spontaneous situation.

Human combat involves actual human bodies. Direct confrontation between people on a physical level.
Human bodies are built that form follows function. A human body is a wonder of construction able to do many tasks as long as it conforms to our actual structure and form. Humans are bound by this structural restriction. For example we cannot look directly behind us, our arms cross over our bodies in front, not behind, our legs hinge and bend one way. The list of what we cannot do is long but what is amazing is what we are capable of. This gives us the third principle of combat: Human combative actions and reactions must be within the bounds of actual - natural physical response.

Combat is very stressful, as is any confrontation. The human mind and body prepare for this by shutting down unessential parts and honing in on self- preservation skills. These skills are at the instinct level. They are referred to as gross motor skills while the higher functions the body shuts down are called fine motor skills. This gives the fourth principle of combat: Combat must be simple

With these principles to guide one, learning combative arts takes on new meaning. To learn about combat yet to violate these principles gives rise to unnatural conflict. The conflict is that naturally we want to respond in one mode but are taught to or forced to respond in another, a pre-conceived mode. Humans have an inborn natural response that can be honed for combative response or can be shaped into an artificial copy of those that teach them. Learning must echo the natural response and ignore the ego of creating another in ones image. This is where by teaching, the teacher gains understanding of these principles, which then can be taught to the students. Awareness must come to first to those that are teaching. It is part of the learning curve. Again to state the obvious: learning must be simple. It must be based on simple principles. Easy to learn, easy to use, easy to teach.

“Any technique, however worthy and desirable, becomes a disease when the mind is obsessed with it…Learn the principle, abide by the principle, and dissolve the principle. In short, enter a mold without being changed in it, and obey the principle without being bound by it.”
Bruce Lee, 1967
Because combat is mutable pre-recorded or set techniques cannot work in real time. Responses must be established that allow a combatant to change with the variables of the combative “flow”. Since set techniques are useless and one needs some kind of defensive responses, the only way to accommodate both of these variables is to learn conceptual patterns of motion. Conceptual motions allow for instantaneous changes within the flow of combat for there is no set response, no right or wrong, but action - interaction. For example using principle #3, that humans can only respond with actual-natural physical responses, we have the concept of Open- Close. Open-Close is the conceptual guide for the use of human arms within principle #3. Humans can only have their arms OPEN (spread out wide from the body- in front) or CLOSED (crossed over the body -in front). Open-Close is “form following function”. Human beings are bounded by the parameters of anatomical function. This means no form or usage without functional reality. Using Open-Close as a template, secondary concepts of motion that become available. Right arm open, the left arm closed, and then alternating to the other side, left arm open, right arm closed. Done in sequential patterns we have weaving. Weaving itself has concepts of motion: meeting, passing, shearing, and alternating. This weaving itself works conceptually under the rules of the universal planes of motion: horizontal, diagonal, vertical or any combination of the three.

Human beings are tool users. That is given a choice of “tool - no tool” we will invariably choose to use a tool. Since tools exist to make work easier and to allow us to function at peak efficiency even if we ourselves are not at peak efficiency, we willingly seek out tools to accomplish even the simplest tasks.

It was with these factors in mind that the GUNTING-DRONE-CRMIPT TOOLS were designed. Tools designed to make use of one’s natural reactions and utilize these actions-reactions to enhance a person’s control of an uncontrollable, unpredictable spontaneous situation. How? The answer lies in the design and function of the tools.

Under duress, surprise or attack a natural response is to protect one’s head. To actually lift one’s hands and arms upward to protect one’s most vulnerable piece of anatomy: the head. Now this reaction has a benefit to it. It causes most people to move their head away from the perceived attack, one uses one’s arms to protect the head, and to pull one’s elbows inward. This response is a natural response. There are two other possibilities, the trained response and the correct response. Sometimes they are one and the same and other times they are very different.

The SPYDERCO GUNTING SERIES: color coded as in the normal firearms systems

GUNTING: black G10- live blade, sharp horns on handle- impact to edged response- no use as trainer
CRMIPT: Blue G10- training style blade, sharp horns on handle- impact response-no use as trainer
DRONE: Red G10- training style blade with rolled edges, no sharp horns- training tool to impact response

The SPYDERCO GUNTING is designed to take advantage of ones natural reaction and make the natural reaction the trained reaction as well as being the CORRECT, response. Let’s see this from a first person perspective:
NATURAL RESPONSE: An attack comes toward you. In reaction you lift up your arms and hands; palms inward checking your head..
TRAINED RESPONSE: An attack comes at you. In reaction you grab your GUNTING-DRONE or CRMIPT as you raise up your arms and hands. Yes, lifting the GUNTING-DRONE-or CRMIPT right up, straight into the panic -cover position.
CORRECT RESPONSE: The Correct response is the same as the trained response...

The GUNTING -DRONE-CRMIPT is in one’s hands. In a closed position it resembles a miniature hammer or tomahawk. The Ramp being the blade or head and the handle rests squarely in one’s hands. The user’s pinky rests across the Persian butt and the head and top of the tool extend out of your hand.

It is at this point and this time, that the GUNTING-DRONE - CRMIPT actually is used as an impact tool. Using the gross motor skill of “hammering or Tomahawking” one hits the opponent’s incoming weapon or appendage with the ramp of the tool.

The amount of force or impact is mitigated by the following:
1)the tool is only 5 7/16” or 131 mm closed overall length
2)The GUNTING- DRONE-CRMIPT weight is only 5.9 oz or 168 g.
3)the ramp extends outward 2 3/16” or 55mm
4)the head of the tool extending over one’s hand is 1 6/8” or 43mm
5)the length of the user’s arms
6)the flexibility of the user’s wrist
7)the actual speed of the user’s delivery
8)Target zone: the actual anatomical target will effect the impact & result of that impact
9)Impact zone is concentrated into a small blunt area: 1/8” x 3 /16” or 3mm x 4.5mm

There is neither the weight nor any length to add to the force of impact. The GUNTING -DRONE-CRMPIT can only make a small physical motion through space before impact. The tool needs to be within arm’s reach, preferably within the arc of unwinding - unbending one’s elbow to be used effectively. These parameters combined with the above listed mitigating factors limit the amount of impact and force that can be delivered by the GUNTING tool.

This GUNTING tool is unlike a Large utility Flashlight, Baton, Collapsing Baton, or PR-24. The other tools can transcribe a large arc through space before actual impact, generating a great deal of force by momentum. The greater weight of these tools allows for a greater transfer of kinetic force from the tool into the opponent.

The small striking surface concentrates the impact of a GUNTING tool but the small overall size of the tool in whole, lessens the overall piercing effect of the small area and insures the hit is an impact force.

TRAUMA from impact:

Trauma to the impact area can range from no bruising all the way to severe bruising. Hitting the ramp onto solid bone can cause a bone bruise or with enough impact force possibly fracture the bone. In this case the bones we are referring to be the finger joints and knuckles , very weak, small bones that come directly into the way of the GUNTING tool. If directed at collar bone, cheek or head, trauma can be mostly pain from bone impact or bruising. A hit to an opponent’s temple with or without a ramp can cause knockout and the bone at the temple might sustain a slight fracture. Hitting an opponent’s nose might crack or fracture the support bone or the impact might cause a “bloody nose” as with any impact to a nasal area. The Skull itself is too strong a bone to sustain any more serious impact than bone bruising under ordinary circumstances.

Hitting the ramp into an opponent’s mouth, might if hit directly to the opponent’s teeth, crack or break a tooth. Hitting the opponent’s jaw bone will cause pain impact to bone bruising. depending on the angle of the strike a fracture might occur.

The impact most useful is striking to the muscles themselves where surface bruising to deep bruising will and can occur. This bruising is the way to stop the form of the muscle which will in turn stop the function of that particular muscle. No form , no function, then one has eliminated temporarily the weapon or effectiveness of one’s opponent.

PPCT- Pressure Point Control Tactics can be done with the ramp. Striking a hard small area into the pressure point or sensitive area can enhance the use of pressure points. The Steel ramp is much harder than one’s fingers. Again bruising might occur from the impact of the pressure applied. Kyushu Jitsu can easily be done with the ramp as well as PPCT without any bruising or damage to the opponent. Temporary impairment of chi, nerve reaction, or muscle usage will not lead to any bruising or damage to the opponent.
This includes pinching, grabbing or raking using the ramp as well.
FORCE & IMPACT

Force: The force of the Gunting-Tool is about the same as and empty hand, for the tool itself is contained in the hand. It is a minimal extension of “reach” to apply more force than an empty hand.
Impact: The impact of the Gunting-tool is again only slightly over that of an empty hand. Due to the fact that it is made of steel and fiberglass the impact moves up one whole category from low impact as in empty hand to Medium impact. As stated before the Gunting Tool can concentrate the same force into a smaller area, making impact of greater amounts than empty hand.
GRABBING & RESTRAINT

Ramp Grabbing, Pinching, and Restraint: The GUNTING System tools can be utilized to grab an opponent. The grooves or teeth that are inside the Arc of the Upper and Lower Ramp, help lock onto an opponent. These grooves, although not sharp can lock onto an opponent and help maintain the tools grip on the opponents clothing or anatomy. The arc of the back of the knife handle can also be used to grab an opponent.
The Ramp itself can be used to pinch an opponent, catching the opponent between the ramp and the user’s thumb. Pinching can be accomplished by using the GUNTING’s Horns, both upper and lower.

Trauma from Pinching, Grabbing & Restraint:
Due to the fact that the GUNTING is harder than the human body minor injuries can occur when using the GUNTING.
The injury or trauma from Pinching, grabbing and restraint can leave slight indentations in a persons skin. These indentations disappear after a period of a few minutes to a couple of hours...A more forceful usage can bruise the skin and if the interaction is violent, with a non compliant person, the injury can become a deep be bruise.
Several instances have occurred where scratching and /or the tearing of the top layer of skin has occurred.
With non compliant persons, and the grabbing of digits, such as the finger, it may be assumed that in a violent struggle , the antagonist might suffer a sprain or injury to the digital joint due to locking of the joint.

Note: this is still no different in all these cases or instances than fingers grabbing fingers, Kubaton use on digits, or using a Kubaton or similar tool to effect pinching, grabbing or restraint.

The Gunting: Designed to be used closed- Designed to open Kinetically

The SPYDERCO GUNTING is the only knife designed to be used CLOSED. The shape of the knife itself, its physical attributes, are designed for maximum efficiency in closed usage applications. It is the only Kinetic-Opening knife made today.

UPPER & LOWER HORNS: There are two sets of Horns on the GUNTING. The Upper Horns, the upper guard of the knife are used to pinch, grab, rip or snag. These Horns are usually used in a forward grip position. The Lower Horns, the Persian style bulge/sharp peak on the inside of the knife handle at the butt end are used in the same manner as the upper Horns when the knife is in a reverse grip.
THUMB RAMP-upper & lower: The elongated, fully ribbed Thumb Ramp can pinch, trap, lock, rip or at best be used in a tomahawk motion to elicit response in an opponent. The Trademarked SPYDERCO hole is located inside the Thumb Ramp. The ramp has an upper section and a lower section. The upper section has smaller area but larger ribbed teeth to compensate. The lower ramp has a large arc to it and is the primary finger locking tool of the GUNTING. The arc is filled with small ribbed teeth that lock onto an opponent. The Ramp has another purpose as well. This RAMP when struck against an object, or “UPON CONTACT” opens the knife Kinetically. The energy transfer from an object to the knife is referred to as Kinetic Opening. Kinetic Opening is like a turnstile in that the faster one strikes, the faster the resulting opening. Kinetic Opening is an EXCLUSIVE feature, patent pending and trademarked for the GUNTING.
BACK CURVE: The back curve of the handle with its dual steel liners and angled G10 allow for classic reducing circles as used in joint locking, pain induction and trapping. The ergonomic handles are designed to allow for extension and retraction to grab an opponent.
PERSIAN BUTT: The butt of the knife has a Persian style Butt cap which gives a pinky hold to the handle and the rounded Persian end also allows for maximum transference of energy in a hammer fist strike. Percussive striking with the butt cap is enhanced with a round end rather than a flat or sharply pointed end cap.
HEAD: The Head of the knife has no projections, nor any piece of the blade exposed. The large fully curved surface is ideal for striking motions such as hooking, ridgehand, and upper hammerfist. The curve is reinforced G10 with dual steel liners.

To accomplish combative flow techniques or MBC flow one uses the GUNTING or its self-defense variant the CRMIPT tool to apply a variety of strategies which neutralize the body’s ability to protect it’s joints or muscular structure from injury. The MBC method of self-defense utilizes pressure point attack, muscle disruption and joint attacks done in succession but not in any particular order. The goal is to create vulnerability in a joint, and to take advantage of that vulnerability and attack the joint itself!

To quote pressure point expert Grandmaster George Dillman “ Strike a point to attack a joint; attack a joint to strike a point!”

There are many ways to accomplish pain compliance, joint disruption and bio-mechanical failure. No two people see or react the same. Combat is forever changing, for its’ only constant is change. Therefore no one utilizing the GUNTING is expected to look like the instructors nor do things in “the way”. Everyone should use the basic principles to find their own way. The common element is the GUNTING and the principles that guide its usage. Application is an expression of each individual utilizing these factors!
Listed are principles that guide Dillman Ryukyu Kempo Tuite, Jay Small Circle JuJitsu and Presas Modern Arnis:

Basic principles to utilize the GUNTING or CRMIPT Tool

1)Use pressure points: a joint can be made to involuntarily bend or straighten
2)Utilize Two way action: push and pull at the same time. Brains understand only one motion at a time, therefore an overload occurs.
3)Apply complex torque: move the joint in more than one direction “ bend & twist!”
4)Generate confusion: misdirection by sound, physical motion or direct touch
5)Create a base: bases eliminate movement away from pain
6)Create mechanical superiority: keep your form and function proper. Elbows in not out .Move on the diagonal.
7)Vary the pressure of the attack: humans adjust to pain. Phase variance eliminates this adjustment.
8)Adhesion: Stick to the opponent, once there don’t leave!
9)Redundancy: apply several principles at once.
10)Upon contact: enter and adhere
11)“Go with the Flow!”
12)Form follows function: destroy the form function fails!

The general idea of the GUNTING is the ability to escalate the force continuum as needed within the flow of combat itself. The GUNTING allows for progression through the force continuum from simple pain compliance to joint locking, to Pressure point knock outs, to limb destructions to matter separation. Using the Principles allows one to accomplish the MBC FLOW. This Flow is used in stand up confrontations as well as in grappling situations from standing position to actual ground work. The GUNTING is not limited by proximity to an opponent.

REMEMBER: Creativity is very important in the use of the GUNTING. Don’t be bound by self imposed limitations, feel the FLOW and the way will be there. The GUNTING allows one freedom of action while maintaining the bounds of legality and proper force response.

GUNTING: Curriculum of usage

Gunting as a system tries to take advantage of the bodies basic instinctive - gross motor skill response to stimuli. By using instinctive-gross motor skill or a survival reflex, an individual under stress or duress does not have to think of the proper-correct response, the reaction is built in. These responses are called bio-mechanical because the body will perform the actions without thought, without extra training for they fit within the parameters of what the human body was designed to do naturally.

Gunting is based on bio mechanical responses to situations as they arise. These Bio-mechanical responses are Instinctive, Natural, Correct or Trained depending on the individual and that individual’s actual training.
Instinctive: All persons have basic response to stimuli such as fear, pain, anger, panic, and of course survival
Natural: The bodies natural response to a situation based on that particular individuals response pattern and physical structure.
Correct: A taught response that might be different than an Instinctive , Natural or Trained response for a particular situation where protection of self rather than action towards the stimuli might actually be the wrong response due to “no second chances allowed”
Trained response: A response to stimuli based on past occurrences and thought to be the answer to any of the similar stimuli even if unfounded.

The actual design of the GUNTING and its components are based on the Bio-mechanical response. The primary response is to COVER then TO GET AWAY. These are two of the strongest instinctive responses any human has. A danger or threat suddenly appears and humans COVER ( protect themselves, ) and then seek TO GET AWAY from that perceived danger or threat.
To accommodate that response the GUNTING clip is placed to allow a large portion of the GUNTING to be exposed and readily grabbed with an upward motion that can be incorporated into the basic COVER response. This grabbing puts the GUNTING into the Tomahawk position. This is a new holding position not found on any other edged tool and is truly unique to the GUNTING. This applies to the GUNTING in all its holster positions as they are designed specifically for the GUNTING.

COVER: to protect one’s head and to “flinch” away from danger. Palms in, hands to head, forearms out, protecting the head our “computer center”.
TO GET AWAY: to push away or gain space from the perceived danger...allowing for escape to safety.

Drawing the GUNTING to COVER, follows the basic instinctive motion, then TO GET AWAY puts the GUNTING into tomahawk or hammering usage as one gains space between the threat and the feeling of safety.

GUNTING DRILLS:
The most important response therefore to be set into a users response is to engage the GUNTING upon the upward motion of COVER. Then to turn and try TO GET AWAY while striking out naturally using the GUNTING in tomahawk position.

DRAW: from pocket to COVER
DRAW: from holster to COVER
DRAW To get Away:
Tomahawking ( hammering or hitting as with a Tomahawk: hitting, slicing, or arcing)
Tomahawk to hand, to arm , to collar bone-chest area
cover intrusion of opposite hand. Ramp-Tomahawk into palm center.
Draw to Tomahawk to ramp scraping: inside of fore-arm, outside of fore-arm.
DEMO: from scrape: Pinch with ramp, pinch with horns
DEMO: hit with ramp, hit with handle-head, hit with butt, hit with face of ramp
DEMO: Touch point, hit point, Rub point: three ways of activation
Ramp scraping: Ramp head into arm, upon escape pull back, Ramp activates joint lock.
DEMO: upper Ramp for come along-( curl inward) Lower Ramp takedown-(curl inward to outward)

HORIZONTAL - VERTICAL: teaches using tools as they appear in no set order. Teaches distance, zoning and hit with clearing. Teaches response to common counters.
Conceptual motion: Open-Close: scissoring with GUNTING.

Basic motion: Horizontal to vertical,
·Horizontal to vertical, check-horizontal disengagement Pak-sao- (slap hand)- with hit
·Horizontal to vertical, check-Lop-sao-(grabbing hand )disengagement to outside hit & left arm arm-bar
·Horizontal to vertical, hard check-zoning to outside, and circling to arm bar vertical tendon strike
( right arm)
·Horizontal to vertical, check- lower butt grab on hand, upward arm bar, switch hands left arm arm-bar takedown
·Horizontal to vertical, check with downward pressure, Jao-sao - ( circling hand) strike to left side of
head.
·Horizontal to vertical, check- left hand grab checking hand. circling elbow center-lock takedown, butt strike to head.

Basic motion: horizontal to vertical with Kinetic opening on pass through.
·Horizontal to vertical, check-horizontal disengagement with hit
·Horizontal to vertical, check-lop-sao disengagement to outside hit & arm bar
·Horizontal to vertical, hard check-circling to arm bar vertical tendon strike
·Horizontal to vertical, check- lower butt grab on hand, upward arm bar, arm bar takedown

Abaniko Double Action: application with GUNTING. Logo on Blade.
·Cut or open
·inverse thrust (palm up) to trap-Abaniko - corto ( fanning cross-body)
·Abaniko corto ( palm down) to trap
·Cirkulo pick-up- clockwise ( circling) trap wrist to thumb down
·trap thumb
·Cirkulo pass through to arm bar - elbow break

Gunting strike: to Gunt: Hit to rake:
·hit inside Gunt to forearm and rake ramp to wrist
·hit outside Gunt to elbow and, roll over top of arm, rake ramp to wrist
·hit upward Gunt to elbow, hit downward to forearm, rake ramp to wrist
·hit downward Gunt to forearm, upward to elbow, rake ramp to wrist

Thumb & finger Grab: takedown; come-along
·Roll ramp to thumb. Lower ramp is for takedown. grab thumb in lower ramp , counterclockwise takedown motion
·Roll thumb to ramp. Upper ramp is come-along. grab thumb in upper ramp, counterclockwise roll fingers inward. Left hand ready to check elbow. Effect come-along.

SELF PERFECTION: understanding the tool and grips- range and tool usage are interrelated.
Dexterity Drill
Application of Spoon Clip and grip reversal
Applications of Dexterity drill concepts

Six count Dexterity Drill:

The ability to change grips while changing ranges must become natural. To develop that ability one needs to do the “Six-count dexterity drill” which focuses on grip changing within combative ranges. This is not a knife fighting, offensive or defensive technique. This is a DEXTERITY drill to allow one to learn how to change grips surely and safely while in combative flow.

D, our defensive partner gets to hold out for cutting, D’s right arm. D simulates a position and moment in space within the flow of combat. As the drill gets advanced D can move the arm around. A, our attacker will be the one learning the dexterity drill.

·D extends D’s right arm as if striking a #1 strike from D’s open side.
·A in a Forward Hammer Grip stays just out of range of D’s weapon’s full extension and cuts D’s inside forearm with a #1 cutting strike. A passes D’s right arm with A’s left in a close-trapping motion.
·A strikes through D’s arm and after passing to the outside of D’s arm, a spins the knife between A’s thumb and first finger, counterclockwise. A’s weapon’s hand is making a larger counterclockwise circle at the same time. A maintains passing trapping adhesion with A’s left hand on D’s right arm.
·A re-grabs the knife in Reverse Grip, edge outward, and as A finishes the counterclockwise large circle, A is in position to again cut D’s right inside forearm in a #1 cutting slice, this time using Reverse Grip. (close motion)
·A completes the close motion, then reverses the motion into a clockwise (open motion) hooking D’s right arm from the outside with A’s knife. A steps up with A’s left leg, closing the range.
·A traps D’s right arm with A’s left hand and Reverse Grip stabs D in the chest with a # 12 downward thrust.
·A pulls back and using A’s right thumb to rotate the knife clockwise within A’s hand, A then upward spins the knife into a forward Fencing Grip.
·A then slices D’s right biceps with a horizontal cutting strike #3 using the Fencing Grip.
·For A to get around D’s right arm barrier, A inserts the lower two fingers (ring and pinky) of A’s weapon’s hand onto the inside of the knife handle. Pushing outward with the two fingers, the knife twirls inward to a reverse position, where A re-grabs the knife in Reverse Hammer Grip. A then continues the flow of motion, striking an inward, downward forward circle, toward D’s lower regions, such as D’s groin and or upper thigh.
·A traps D’s right hand with A’s left hand and stepping back with A’s right leg turns and #11 cutting strike in Reverse Hammer Grip on D’s right arm.
·A pulls back and using A’s right thumb to rotate the knife clockwise within A’s hand, A then upward spins the knife into a Saber Grip. A then thrusts an inverted thrust # 6 from the open side at D’s left chest.
This completes the Six- count dexterity drill.

NUMERADO: One attacks the other defends with footwork & movement
·Flow Drill: understanding of principle of OPEN-CLOSE
·Use and application of Sectoring. Where are my hands? Where is incoming attack?
·Six count attack to understand attackers intent
·Six count defensive response: translation to hand, percussive or edged
·Six count response with counter attack
·Application of FLOW drill
·Understanding body Shifting and angling out of danger zone
·Understanding steel closest to opponent, passing hand closest to defender
·Understanding of response to changing attacks
·Standard: attack pattern: 1-2-3-4-5-12
variation: 1-4-3-2-5-12 variation: 1-4-5-2-3-12

Flow Drill: Standard
B stands in a ready stance: arms open
A strikes a Number # 1-downward diagonal strike towards B’s left collar bone
B strikes a Number #1 strike into the oncoming strike from A
B using B’s left hand passes A’s strike from the left side across B’s body to the right side.
B is now in a ready position arms closed.
A strikes a Number #2 strike- downward diagonal towards B’s right collar bone
B strikes a Number #2 strike into the oncoming strike from A
B using B’s left hand passes A’s strike from the right side across B’s body to the left.
B is palm down in the passing position. B is in a ready position arms open.
A strikes a Number #3 strike-horizontal towards B’s left ribs
B strikes a Number #3 strike into the oncoming strike from A
B passes A’s strike with B’s left hand, across B’s body from left to right.
B is in a ready position arms closed.
A strikes a Number #4 strike towards B’s right ribs
B strikes a Number #4 strike into the oncoming strike from A
B passes A’s strike with B’s left hand across B’s body from right to left.
B is in a ready position arms open
A strikes a Number #5 thrusting motion towards B’s center
B strikes a Number # 3 strike into the oncoming thrust from A
B passes the thrust with B’s left hand, across B’s body from left to right.
B is in ready position, arms closed
A strikes an over head strike, Number #12 towards the top of B’s head
B strikes a Number #8 strike into the oncoming strike from A
B passes the strike with B’s left hand across B’s body from right to left.
B is in original position.

SUMBRADA: Both partners FLOWING together
·Three Count: understanding of Counter for Counter
·Understanding intent of attack and immediate response.
·Teaches understanding on attack and defense zones.
·Understanding the use of Zoning and Body shifting
·Understanding use of checking hand and restraint

Three count Drill:

A attacks with a number #1 strike- a downward diagonal.
D blocks the attack with an inside deflection- force to force and checking motion.
D counter attacks with a number #4 strike- a horizontal closed strike
A checks the hand with the weapon while stepping back and using a cut block-go with the force.
A counters with a number #12 strike- a vertical downward.
D blocks the attack with an umbrella block-meet the force and checking motion.
D counters with a number #1 strike- a downward diagonal.

VARIATION on 3 Count Drill: 6 Count

A attacks with a number #1 strike- a downward diagonal.
D blocks the attack with an inside deflection- force to force and checking motion.
D counter attacks with a number #4 strike- a horizontal closed strike
A checks the hand with the weapon while stepping back and using a cut block-go with the force.
A counters with a number#5 thrust
D blocks the attack with a inward block-go with the force.
D counters with a number # 2 downward diagonal strike.
A blocks with a Slant block-meet the force
A counters with a number #12 strike- a vertical downward.
D blocks the attack with an umbrella block-meet the force and checking motion.
D counters with a number #1 strike- a downward diagonal.

SERRADO: One attacks, the other defends close range WITHOUT footwork or movement
·back to wall, inside small room: understanding of limited space
·understanding body rotation paramount since movement is limited
·understanding height variation important to alter attack lines effect
·understanding use of Sinawali as block, check, strike

ABECIDARIO: The actual cuts
The 12 strikings- cuttings
·Explain #1 is #1, no matter where the tool is held...
·right #1 is open position right upper to left lower
·left #1 is closed position right upper to left lower
Cut #1 is a downward diagonal that targets the temple region of the face but its primary target is the neck region from the head to where it joins the body. This is from the open side.
Cut #2is a mirror image of #1: a downward diagonal from the closed side
Cut #3 is a horizontal cut aimed at the arm (deltoid region) to the elbow (the elbow itself is NOT a target due to the bony structure but the biceps and triceps are.) If the arm is raised away from the body the region under the arm / armpit or the region from the bottom of the ribs to the hip are the target zones. (Hitting ribs with a horizontal cut will cause discomfort BUT will not do immediate de-animation) This is from the open side
Cut#4 is a mirror image of #3: a horizontal but from the closed side.
Thrust#5 is a center thrust within the vertical plane to the abdominal region, groin region, solar plexus, or even into the throat. All these targets are along the center vertical plane. The thrust is accompanied by an immediate pushing forward of the leading edge.
Thrust#6 is a slightly upward diagonal inverted thrust from the open side. Directionally outside to inside. The palm is down and the tip leads the edge. The thrust is designed at mid level to slide up inside between the ribs. At a high level, to come up into the eyes from the blind zone, or to slide up inside under the arm into the body cavity. Again at high level slide up inside the neck / base of skull region and at a low level it would allow for insertion into the femoral artery.
Thrust #7 is a mirror image of thrust #6: slightly upward thrust outside to in, but from the closed side palm up.
NOTE: Thrusting is very body specific in usage. The human arm only can supply power from a specific position: i.e. form follows function. An outside thrust such as #6, must come in an outside to inside motion with a decreasing radius from arms length to opposite shoulder. If the thrust originates from the right side closely held to the body, rather than away from the body, the wrist is bent into a weakened position that works only in non-kinetic application. An inside thrust such as #7 is not an arcing blow but a straight line motion that in conceptual motion travels at a 45 degree from the left shoulder towards the center and out to the right shoulder. If it is thrown in an arcing motion or directly forward from one’s left side to an opponent’s right side the wrist is in an unsupported position which could lead to loss of the weapon or breaking of the wrist upon kinetic application.

Cut#8 is a forward downwards vertical cut, allowing for circular motion or repeating. It is from the closed side. Target zones are horizontal limbs, body surface such as chest to abdominal, front of the head specifically the face.
Cut#9 is an upward diagonal cut from the open side. Target zones are the side of the leg from just above the knee to the top of the thigh. Used at middle level it would allow for cutting in the same direction as the rib openings or to open the thoracic cavity, or the abdomen. At a high level it would follow the natural contours of the neck.
Cut#10 is a mirror image of #9: upward diagonal but from the closed side.
Cut#11 is an inverted, palm out, thumb down, edge up, upward vertical cut. Closed position to open. If double edged, the weapon could possibly be used to pull straight up without inverting the fist, BUT this position could lead to the knife being dislodged from the hand.
Cut#12 is a vertical downwards motion from the closed side targeting the shoulder / trapeziums region. It could target the top of the head but there is a lot of bone to contend with so a downward slashing / cutting of the face is better.

The actual physical motions seem the same for blunt and edged weapons but they are conceptually different. The principal of the motion is intact. Both weapons utilize the same physical planes of motion and both are dictated by the restrictions of the principle of biomechanical motion of “open- close”. The conceptual usage of the principal changes with the tool used. (Blunt weapons being “percussive” and edged weapons being “stroked”.) How that concept is used in a specific point and time becomes technique. It is easy to confuse one with the other or if not understood correctly, to become one of those who firmly and anally retentively holds onto his or her strikings as the only way and of course to only certain specified targets. “Well my instructor said…”

The actual strikings and or cuts taught us zones of preference to attack.
The next level is that the strikings or cuts actually teach conceptual motion when done together. #1 and #2 when done in succession teaches downward figure eight pattern. #3 and #4 teach side to side horizontal motion with wrist turning or a figure eight done long on its side. Thrusting #6 and #7 gives us disjointed figure eight connected by forward and inverted “C” motions…or rotation in space around a central point.
Cut #8 teaches repeating forward downward vertical circles as done OUTSIDE the personal space i.e. outside the shoulders not inside. Striking #8 and #9 teach upward figure eight. Cut#9 and cut#10 teach the same figure eight. Cut#11 and #12 teach vertical figure eight. As one progresses, the angles can be mixed to have diagonal planes of motion or intercepting planes of motion. Strike#1 and #8 give diagonal figure eight and so on.

Any of these planes of motion can also be adjusted by height in a linear fashion. All planes of motion can be done high, middle or low depending on the needed circumstances. Target zones can become target specific or area specific i.e. a limb such as the arm can be substituted for the whole body with all planes of motion acted out upon it. One might want eyes, body, femoral artery, and abdominal aorta. This would be a plane of motion to specific targets rather than one target area utilizing all the planes of motion.

Abecidario: The strikes and Counterstriking
There are many different blocks that can be used and obviously different counterstriking. Combative range, (including footwork), the type of weapon, and the Flow of combat are mitigating factors in actual Block, check and counterattack. This is not an expose on all the variables but a basic idea of Attack- Block, check and counterstrike. One’s translation and creativity come in later! That’s what Abecidario training is all about! Endless variations that become part of one’s natural combative flow and response!

A is attacker or striker. D is defender or counterstriker.

Strike #1: A strikes #1 attack at D. D blocks the attack with a blocking strike #1. D checks A’s weapon’s hand and counterstrikes a #2 strike at A, over A’s attacking arm.
Strike #2: A strikes a #2 attack at D. D blocks the attack with a blocking strike #2. D checks A’s weapon’s hand and counterstrikes a #1 strike at A, over A’s attacking arm.
Strike #3: A strikes a #3 attack at D. D blocks the attack with a blocking strike #1. D checks A’s weapon’s hand and counterstrikes a #4 strike at A under A’s attacking arm.
Strike #4: A strikes #4 attack at D. D blocks the attack with blocking strike #2. D checks A’s weapon’s hand and counterstrikes a #3 strike under A’s attacking arm.
Thrust #5: A thrusts #5 attack at D. D blocks A’s attack with an inward tip-down vertical block. D checks A’s weapons hand and counterstrikes a #12 strike over A’s attacking arm.
Thrust #6: A thrusts a #6 attack at D. D blocks the attack with a #1 blocking strike. D checks A’s weapon’s hand and counterstrikes a #2 strike at A over A’s attacking arm.
Thrust #7: A thrusts a #7 attack at D. D blocks the attack with a #2 blocking strike. D checks A’s weapon’s hand and counterstrikes a #3 strike over A’s attacking arm.
Strike #8: A strikes a #8 attack at D. D blocks the attack with a #8 blocking strike. D checks A’s weapon’s hand. D rotates D’s weapon in a low slant motion, and in an open side- forward circular motion, counterstrikes with a #12 strike.
Strike #9: A strikes a #9 attack at D. D blocks the attack with a #9 blocking strike. D checks A’s weapon’s hand. D rotates D’s weapon using a low umbrella motion, and in a close side- forward circular motion, counterstrikes A with a #12 strike.
Thrust #10: A thrusts a #10 attack at D. D. blocks the attack with a blocking strike #1. D checks A’s weapon’s hand and counterstrikes with a #4 strike under A’s attacking arm.
Thrust #11: A thrusts #11 attack at D. D blocks the attack with a #2 blocking strike. D checks A’s weapon’s hand and counterstrikes with a #3 strike under A’s attacking arm.
Strike #12: A strikes a #12 attack at D. D blocks with an Umbrella blocking motion. D checks A’s weapon’s hand and counterstrikes with a #1 strike.

BIO-MECHANICAL Stoppage: De-animation of the opponent

Professor Remy Presas: Modern Arnis- Philippine Stickfighting Manila, Philippines 1974

In learning these techniques, the learner is taught HOW and WHERE to deliver a strike in order to achieve the maximum power and efficacy!…the learner should know the different parts of the body that are considered vulnerable and which are excellent target for strikes…some of these parts are so vulnerable that a strike or a blow to them may incapacitate, if not kill, a person.

Let’s get right to bio mechanical hitting!

In the Filipino arts is called De-fanging the snake, a disruption or attack to specific targets to eliminate the opponent’s weapon; be it empty hand or tool. Stoppage is not dependent on termination of one’s opponent. Humans are hydraulic pulley systems. Shut down hydraulics or cut or injure connecting tissue to the pulley, and a human shuts down. whether a human feels pain or not, is impaired by emotion, drugs or alcohol, a human has no function if the form is impaired. Impairment is easily attained compared to termination.
It almost works the same with hitting as with cutting but we actually have less target zones and less effectiveness to those strikes. The body is designed to absorb impact. As you have seen the body is not designed to deal with cutting! With that in mind let’s move into the act of percussive hitting and using those hits to stop our opponent! Yes, HITTING! Edged tools as well as blunt objects can be used for hitting or percussive hits. We need to see percussion because sometimes one might only have a stick or similar implement and the targeting is different from cutting!

Bio-mechanical Hitting: the Beat goes on!

Bio-mechanical hitting is the act of percussive blows to stop the functioning of one’s opponent. Due to the nature of percussive action there are several mitigating circumstances that enter into it’s usage.

·How strong is the striker: mass, weight, strength itself
·How strong is the defender: mass, weight, strength. And especially how tough are the defender’s musculature.
·How fast was the strike. Speed makes up for mass.
·How high a pain threshold does the defender have.
·How prominent is the defender’s bone structure
·Can one access the skeletal structure of the opponent.
·How strong is the actual skeletal structure of the opponent.

Percussion, the act of striking with a blunt object, must seek bone.

Striking with a stick or blunt object to bio-mechanically stop an opponent needs specific, fixed targets. In a classroom situation with no combative reality, striking fleshy areas and musculature can cause pain and cessation of action. In a combative situation where adrenaline is flowing and one’s sense of pain is dulled due to loss of fine motor skill interpretation, strikes must actually damage the supporting structure, the skeleton to be effective. This does not mean that striking a muscle or muscle groups with percussive blows will not work, BUT to bio-mechanically cease function one needs to break bones.

Head: The skull has several areas that one can strike to stop function, but the most common, the forehead is the least effective. Yes, it can cause pain but it’s also very strong. Striking the crown of the head within the seam works better. A blow to the base of the skull by the occipital lobe / atlas area works. Striking the temple region or the eye orbit area will break the skull and possibly knock out the function of the opponent.
The jaw points are useful and shattering the teeth might get a momentary pause for another strike. The same goes for breaking the nose, it’s a temporary stun while re-chambering for a temple strike. The side of the head is better than the front or the top! The problem with a head strike is that all function may cease. Death is a possibility. The outside possibility, with a medium probability is that the blow is a glancing one, the skull does what it’s designed to do, deflect the blow and the opponent rips one’s limbs off in retaliation!

Shoulders: The shoulders are good targets if one remembers to not target the muscle such as the deltoid and instead targets the Clavicle / collar bone. Breaking a collarbone is great bio-mechanically. If there is no functioning collarbone, then there isn’t any arm motion, especially in trying to raise one’s arms.

Note: I once ripped the end of my collarbone out of the breastbone while wrestling. I couldn’t understand WHY my arms wouldn’t work correctly. I couldn’t feel the pain, I was too excited about the match, but I could not make my arms work properly to hold my opponent. My opponent was able to twist out of my arms and I could not complete a pinning hold. I lost the match. Afterwards when I went to take my wrestling jersey off, I couldn’t move my arms and it hurt like hell. Bio-mechanical function has little correlation to amount of pain!
Elbows: Elbows are not joints, as everyone in the general population seems to think. People talk of breaking someone’s elbow as if there is a special unit known as an elbow joint. A human elbow is the meeting of three bones held in place by muscles. The upper arm-bone, the Humerus meets the two lower bones the Radius and the Ulna. The junction of these bones, with all its woven and interconnected muscles are what is known as the Elbow. What we all know as “The Elbow” and which protrudes when the arm is bent, is actually the end of these bones. This protrusion is the twin base of the Humerus and the top process of the Ulna. This protruding lip is a great target for hitting with a blunt weapon such as a stick or other percussive tool. The breaking of this bone allows for the joint to slip bio-mechanically stopping the arm from bending. Due to the nerves that run through the channel of these connecting bones, the percussive striking of the joint can impair the function of the elbow. The same damage to the nerves can impair or cease all function in the hands as well. Hitting the muscles that surround the joint may impair function but in all probability will only cause pain without cessation of function.

Ribs and Chest: The ribs and chest area seem to be a great target. This target however might be covered with muscles, breasts or protective clothing. Take a good look at any body builder, male or female and tell me how one is supposed to do bio-mechanical damage to anyone with all that natural armour made up of dense muscle tissue. The best rib target is the floating ribs because it is very difficult to build any protective musculature over these skeletal parts. Not only that, the floating ribs are just that, “Floating” non-connected ribs that terminates in end pieces rather than joins into the whole rib cage. This makes them much easier to break and when broken stop functionality including breathing! Thrusting into the ribs works almost as well as striking for one can concentrate the strike into a small area such as the ribs, the sternum, or even the soft solar plexus.

Legs and Hips: Striking the hips with a percussive blow sounds and looks better than its actual effect. The hips are too powerful, and too protected to land a blow within the actual flow of combat to stop an opponent. Hitting the connective tissue or the biggest muscle group a human has, our butts, with a percussive strike doesn’t do much as well. Can it? Yes, it is POSSIBLE but the probability of actually stopping someone is virtually nil. Hitting someone’s legs looks good but the legs are capable of taking numerous strikes before stoppage is achieved. Yes I know that one can demonstrate a stopping blow in a set or classroom situation but in combat with adrenaline flowing, it’s not going to happen. And we are looking for biomechanical impairment that actually causes STOPPAGE of function. So what do we aim for? The knees. The bony protrusion of the knees or a blow into the side of the knees where the tendons and ligaments are easily accessible! Stop the bending of the knees or the ability to use the leg as a fulcrum and mobility stops. The ligaments and tendons of the knees are not made for impact. Ask any football player…
Breaking the knee cap, the Patella or the joining site of the upper leg, the Femur with the lower legs two bones, the Fibula and the Tibia will stop an opponent.

The inside of the lower leg, where the anterior surface of the Tibia is an exposed edge, (your shin-bone!) is a great place to strike. The bone itself and the accompanying nerve are very accessible for striking! a hit here usually stops an opponent in their tracks. Sometimes a blow there, to the shin-bone, doubles an opponent up into a ball. All of these are good reactions for they bio-mechanically stop the incoming attack of one’s opponent.

Percussive striking to an opponents feet or toes is very dependant on what kind of foot wear or lack of foot wear an opponent has on. Because of this mitigating factor, and the distance of the foot from one’s defensive tools, I would leave this target, the foot, to a personal decision at any given attack.

I hope this has given you some actual thought as to how to stop an opponent! We must try to stop an opponent effectively and immediately to survive an attack. We study martial arts and self defense to do so. Now we have actual targeting zones to aid in these studies! Filipino martial arts especially Modern Arnis depend on the effective use of targeting zones!

Remember a knife or edged tool can be use as a percussive tool at certain times while a percussive tool can NEVER be use as a cutting tool. This makes an IMPACT TOOL a great implement to carry for it cannot cut and carries none of the liability nor irreversible actions as one has with the simple act of cutting.

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