Chin-Na and it's Relevance in the Martial Arts

Chin Na is a Chinese term describing joint locking techniques used in many Chinese martial arts to control or lock an opponents joints or muscles/tendons so they cannot move or are disabled, thus neutralising their fighting ability. Chin na su is literally translated as 'techniques of catching and locking' in Chinese and features both standing and ground based grappling techniques.

The use of chin na varies significantly across many martial arts. For example, the southern Chinese martial arts have much more developed chin na techniques than their northern counterparts, with a more prevalent reliance on hand techniques which bring the practitioner into closer range to an opponent. There are over 700 chin na techniques found in all martial arts. In the Non-Temple White Crane style there are 150-200 chin na techniques alone. Other styles such as Northern Eagle Claw and Tiger Claw have chin na as their martial focus.

Given the influence that Chinese martial arts have had across the world, it is no surprise to see that elements of chin na can be found in many other fighting styles including Akido, Ju Jitsu, Judo and Karate in Japan, and Tae Kwon Do and Hapkido in Korea. Some styles such as Brazilian Ju Jitsu place more emphasis on ground grappling, compared to say Hapkido with its focus on wrist and small joint locks.


Chin Na Techniques

Chin na techniques can generally be categorised into the following main areas:

• Fen Jin - techniques which tear or grab at an opponents muscles or tendons
• Cuo Gu - techniques which put bones in the wrong positions and usually applied specifically to joints
• Bi Qi - techniques to prevent an opponent from breathing/inhaling
• Dian Mai - techniques of sealing or striking the vein/artery
• Dian Xue- cavity or meridian press: techniques for striking chi/pressure points

So as can be seen, as well as trapping and locking, techniques such as choking and striking pressure points are also key applications within chin na. The final technique also requires an understanding of Chi circulation and acupuncture.

Additional principles for applying chin na include:

• When applying a lifting chin na, you must lift your opponents heels off the floor, otherwise he will still be rooted and be able to attack
• When using a downwards chin na, you must bring the opponent down so his face or elbow touches the ground and he is completely defenseless
• When using a circular chin na you must destroy your opponents balance and rooting. Without both of these it is then possible to control them either upwards or downwards
• When applying chin na to an opponent, always have a back-up technique such as a punch or a kick in case the chin na control fails
• The key principles of grabbing chin na are twist, bend and press

In general, there is no one chin na technique that is perfect for all situations - this must be adapted to what your opponent does and must follow the situation. It therefore needs to be skillful, fast and powerful. Ideally chin na techniques should also be done by surprise - if an opponent is aware of your intention it can then be extremely difficult for you to successfully apply the technique. In such cases it can be easier strike or kick an opponent first as a distraction, and this is especially effective if a pressure point is targeted.


Basic Locks

In Japanese martial arts there are a number of basic locks which can be applied in close quarter situations:

• Nikajo - wrist lock, applied with a small lowering of weight or a bow.
• Hijo Jime - arm bar, turning over of the arm and pressing into the elbow (this pressure point can make the legs give way)
• San Kajo - twisting vertical arm lock, the arm is pushed upwards to move opponent out of their feet
• Kote Gaeshi - circular wrist lock

These locks can be combined with pushing hands techniques very effectively as shown in the video below from Steve Rowe. This shows a short kata style form for using the above locks which use the opponents efforts to get out of to apply the next in the sequence. Steve also shows with the pushing hands exercises how an opponents momentum can be used to apply each of the locks.

Joint Locking and Pushing Hands

Escaping from Chin Na Control

It is also very important that chin na practitioners know how to escape from an opponents chin na control and be able to counterattack and reverse the situation. Key factors here are speed and skill and knowing how to sense the angle from which your opponent is grabbing, being able to change this so that his control of your muscles and joints is ineffective. There are three main techniques to escape an opponents chin na:

1. Rotation Escape - the main reason for rotation when you are grabbed is to change the angle of the grab. When an opponent grabs you, he will try to do it at the most effective angle and location, and in order to escape you must act immediately. The key principle is to be able to rotate either arm hand or body in the opposite direction to the angle of the grab

2. Pressure Release Escape - this is the natural reaction of your body to pain. When an opponent tries to control you with chin na, before he completes his control you simply use your other hand to grab the opponents finger or hand that is causing you the pain. Then right after releasing the pressure, immediately change your grab into a chin na technique to gain control.

3. Distraction Escape - this is probably the easiest and most effective technique to use. Before an opponent has completed his control, you simply distract his concentration, for example by kicking his shin or groin. Alternatively, you can use the other hand to punch in the face or poke his eyes.While his attention is unfocused, you immediately escape from the grab and if possible counterattack with a chin na of your own.


The Importance of Chin Na in Martial Arts

There are a number of specific advantages for chin na practitioners. Firstly, the techniques requires skill and practice but no great amount of strength. They also do not require years of training to obtain a basic knowledge of their applications, and also fit comfortably into many other martial arts, combat and defense systems. Finally, because these techniques can be used to achieve control without inflicting serious injury, they may be used confidently and safely for self defense. This latter point is also why chin na has been an important part of the training for the police in most countries, as it enables a criminal to be controlled without the risk of injuring or killing him.

A practitioner's skill in chin na can also be further developed beyond the fundamental techniques through the application of Chi (internal energy), however this can take years of practice before full mastery.

References:
Analysis of Shaolin Chin Na - Dr. Yang Jwing-Ming


Here are some great further examples of locking techniques and escapes courtesy of Tom Hills Goju Ryu Karate:

'Come Along Technique' wrist lock takedown

Wrist locks, defense against attacks

Wrist locks plus strikes

Wrist locks applications & releases

Wrist lock & arm bar

Types of Pushing Hands and their Applications

Pushing hands is a form of exercise used to develop skill and understanding internal 'soft' martial arts. Its main focus is on leverage, reflex, sensitivity, timing, coordination and positioning. Instead of the more natural instincts in some hard martial arts styles for practitioners to resist force with force, pushing hands teaches the body to yield to force and redirect it. It is performed with a partner and this enables a student to develop what is known as 'ting jing' (listening power), which is the sensitivity to feel the direction and strength of a partner's intention and where possible redirect and use that against them. It enable students to train in the defensive and offensive movement principles of their martial art; learning to generate, coordinate and deliver power to another and also to effectively neutralise incoming forces in a safe environment.

Pushing Hands is said by T'ai Chi's Chen family to have been created by Chen Wangting (1600-1680), the founder of the Chen-style T'ai Chi ch'uan, and was originally known as 'hitting hands' (da shou) or crossing hands (ke shou). Other Tai Chi schools attribute the invention of pushing hands to Zhang Sanfeng, a legendary Chinese Taoist priest who was said to have developed the core principles of T'ai Chi. The video below shows some traditional  T'ai Chi pushing hands:

Traditional T'ai Chi Pushing Hands

Pushing hands is a core part of many types of Chines martial arts, especially those devoted to internal arts and is even practiced at a competitive level (see video below)

Pushing Hands - Taiwan T'ai Chi World Championships

Types of Pushing Hands

Within Pushing Hands are what are known as the 'Eight Gates and Five Steps', essentially eight different leverage applications from the arms accompanied by footwork in a range of motions.

The Eight Gates

The Eight Gates are associated with the eight diagrams of the I Ching as previously described in the Pa Kua martial form:

• P'eng - "Ward Off": an upward circular movement, forward or backward, yielding or offsetting usually with the arms to disrupt the opponents centre of gravity.
• Lu - "Roll Back": a sideways, circular yielding movement
• Chi - "Press": pressing or squeezing offset in a direction away from the body, usually done with the back of the hand or outside edge of the forearm.
• An - "Push": to offset with the hand, usually a slight lift up with the fingers then a push down with the palm, which can appear as a strike if dine quickly.
• Tsai - "Pluck" or "Grasp": to pluck or pick downwards with the hand, especially with the fingertips or palm.
• Lieh - "Split": to separate, twist or offset with a spiral motion, often while making immobile another part of the body (such as hand or leg) to split an opponents body thereby destroying posture and balance.
• Chou - "Elbow Strike": to strike or push with the elbow.
• K'ao - "Shoulder Strike": to strike or push with the shoulder or upper back. Can also mean to lean.

The Five Steps

The Five Steps are associated with the Five Elements already described under Hsing I:

• Chin Pu - forward step/advance
• T'ui Pu - backward step/retreat
• Tsuo Ku - left step
• You P'an - right step
• Ching Ting - the central or equilibrium position. This is not just the physical center but the principle of the 'rooted stance' required in the first four steps as well.

Normally pushing hands exercises will begin with basic single hand exercises which then advance step by step to more difficult routines. Some examples include:

• Dan Tui Shou - single-hand push hands
• Ding Bu - stationary stance push hands
• Huo Bu - moving stance push hands
• Da Lu - big pull push hands
• Hua Jiao Bu - "Flower Pattern" stance push hands

Core Pushing Hands Principles

As well as the key types of moves and training drills described above, there are also a number of key principles that need to be employed when practicing pushing hands. These can be summarised as follows:

Rooting - firm rooting to the floor through the feet and the rest of the body is key because this enables the path for absorbing an opponents energy and transmitting ones own. This is used to maximum effect with a 'spiraling' technique with the flow of energy and muscles within the body from the path of impact/contact to the ground.

Contact - maintaining contact with an opponent throughout the pushing hands exercise is very important as this fully enables one to sense an opponents balance, posture and strength. With constant contact it is possible to sense precisely when an opponent becomes unbalanced or vulnerable so that a successful attack can be made.

Softness - maintaining 'softness' or 'lightness' in the hands, arms and shoulders is probably one of the most important principles here as this enables much more effective sensing of an opponents balance and the ability to absorb or deflect an opponents attacking energy. A core technique for example is to be able to roll the arms on blocking an opponents strike, so that the attack is not simply met by a sudden impact but deflected and any resulting loss of balance can be taken advantage of. Likewise, if when attacking excessive strength or stiffness is used it is much easier to lose balance and become exposed to a counter-attack. Also softness throughout the body is requirement in order to use rooting principles and spiraling technique, as again excessive strength or stiffness of the muscles can block the channels for transmitting energy.

Balance - maintain one's own balance and shifting weight is a core skill to develop, as loss will immediately open up an opportunity for the opponent to attack. If at any point balance is lost, through the principles described above in 'Five Steps' focus should be made on immediately regaining balance and to regain the upper hand. Use of the waist to turn when blocking is also important as it enables firm rooting to be maintained and attacks to be successfully evaded without having to move the upper body excessively and the resulting loss of balance. A combination therefore of use of the waist and stepping are key to both evasion and attack.

Breathing - controlled breathing throughout pushing hands enables the softness and relation required, plus helps to more effectively channel energy.

Probably one of the most important points is that all of the above principles are very closely interlinked and all need to be used in conjunction with each other to practice pushing hands successfully.

Applications of Pushing Hands in 'Hard Styles'

In traditional hard style karate we practice a number of defensive and attacking moves such as:

• Age-uke: rising forearm block
• Gedan-bari: downwards forearm block
• Soto-uke: outer forearm block
• Uchi-uke: inside forearm block

The above and many other moves in traditional karate can be 'translated' into the techniques described in the Eight Gates (e.g. P'eng = Age-Uke, Lu=Uchi-uke), in fact it is likely that many of these moves have their origins in these principles.

While it is important in karate to be able to be able to perform the traditional moves, through practicing pushing hands it is possible to make them much more effective in terms of speed, power and visibility (the traditional moved become much 'smaller'). They are especially useful in close quarter situations and quite often it is possible to add locks, strikes and grabs onto the end of a pushing hands move (more on this in my next post on Chin-Na).

Its also quite interesting to see how many different types of martial arts take the principles of pushing hands and implement into their own styles - a few examples of these are shown below and each have their own very subtle differences in terms of how hands, arms and stances are used.

Yiquan Pushing Hands

Baguazhang Pushing Hands

Chinese Soft Martial Arts and their Applications

Having had a broader look at the types of soft martial arts out there, I've decided to focus in a bit more on the Chinese soft style martial arts, because as can be seen there is a broad spectrum of different arts to look at but many have their roots in the Chinese disciplines. In this post I'll be looking at a number of different styles and how some of their principles can be applied.

There is a core family of 'soft' or 'internal' Chinese martial arts which has developed beyond the principles of combat skills - many are deeply philosophical, spiritual and can lead to enhanced levels of mental and physical awareness (some are almost a form of moving meditation). Comprising Chi Kung, T'ai Chi, Hsing I and Pa Kua, these arts can offer practitioners a unique avenue of personal development.

As previously described, soft arts focus on using evasions, throws, leverage and pushes, rather than force to overcome an attacker. They are generally defensive rather than offensive and use an aggressor's own force to subdue them with the minimum of effort.The soft arts are also know as internal arts because they train you to use intelligence to overcome an aggressor (this is not saying that use of hard style is unintelligent, as they still demand a high level of skill). The hard arts will tend to require an intuitive physical response to a threatening situation as oppose to soft arts aiming for the ascendancy of the mind over the body, teaching the student to react naturally and calmly in a stressful situation.

History of Chinese Soft Martial Arts

The period from 500 BC to the birth of Christ saw the birth of the great philosophies of the East: Taoism, Confucianism and Buddhism which are to this day still the pillars of Asian society and many martial arts. Taosim was formalised by the sage Lao Tzu and his successors between 600 and 300 BC, and at its heart lies the conviction that human beings are part of nature, and that key to understanding ourselves and the world we live in is increasing our understanding of nature. Tao ('the Way') is that single force which gives being, form, sense, and energy to all things. The best way to understand Tao is through study of the natural world and this principle is core to the soft arts (Five Elements and Twelve Animals to be discussed later).

Through the text of the Tao Te Ching (one of China's greatest literary masterpieces which captures the essence of Taoism), many physicians evolved a series of remedial exercises which entailed mimicking the movements of animals like the horse, tiger or dragon. It is though that these approaches were then eventually applied to fighting behavior of these animals thus forming the origins of the movements in the soft arts.

The Confucianist text the I Ching further extends the Taoist view of nature through time, arguing that reality is fundamentally fluid, a constant flow of events through which we pass in life. The philosophy of change therefore is deeply rooted in all arts and in particularly relevant to Pa Kua.

Bodhidharma, a Buddhist monk, is also revered by many martial artists following his introduction of Wu Te -the 'martial virtues' of discipline, restraint, humility and respect for human life. Having attained enlightenment, Bodhidharma founded the famous Ch'an or Zen school of Buddhism where he is said to have taught the monks self-defence and acted as their spiritual guide.

It is the fusion of these main strands of Eastern philosophy that provides the foundation for the soft martial arts as they are practiced today. Although many of the soft arts are very different, they have all evolved form common postures and are devoted to balancing your inner energy (called Chi or Qi)

Chi Kung (Qi Gong)

Chi Kung is probably one of the simplest of the soft martial arts and is focused on molding or channeling the body's energy (Chi Kung's literal meaning is 'energy work'). While each of the soft martial arts is a complete system in its own right, it is common for students to practice them jointly, or progress from one to the next. Most commonly students begin with Chi Kung as it aims to instill deep natural breathing and to focus the balance and mind. Many Chinese master of Chi Kung are able to perform extraordinary feats of strength and endurance by developing the use of Chi and concentrating it in specific part of their bodies. It can also be practiced as a course of therapy in order to alleviate many types of illness or pain, since the basic movements are very gentle and there is little risk of injury or strain.

Ba Duan Jin - the Eight Fine Exercises of Chi Kung

It is believed that Chi is the driving force of the cosmos and human life, the energy that spurs us on to grow and develop as we pass through life. The Chinese believe that Chi also exists in the body and the basic aim of soft martial arts is to teach the student how to feel and channel this energy. Chi flows through our bodies through its own channels called meridians and it is further believed that Chi has its centre or home in the lower abdomen from where its can be stored or absorbed into the rest of the body. One of the first principles of the soft arts is to ensure the free flow of Chi through the body (a blockage can cause mental or physical illness). The way this is achieved is through natural deep breathing, relaxed and controlled exercise and sustained concentration. Ba Duan Jin (shown in the video above) a sequence of eight exercises is core to Chi Kung.

Hsing I

Hising I is most deeply influenced by the philosophy of Taosim, with its profound reverence for nature. It has the appearance of an external art, with movements performed in straight line, forward and back with a variety of punches, blocks & kicks. The practice of Hsing I is divided into two areas. The first is related to The Five Elements - fundamental concepts that are translated into human movements. Each element is assigned a specific function and series of movements and also associated to a specific organ in the body (practicing associated exercises where you have problems can allegedly also improve your health)

• Fire - Pounding or Cannon (Heart)
• Earth - Crossing or Sweeping (Spleen)
• Metal - Splitting or Cutting (Lungs)
• Water - Drilling or Screwing (Kidneys)
• Wood - Crushing (Liver)

The second area is The Twelve Animals, where each movement is inspired by a certain animal and embodies it's spirit and perceived intention. The exercises are Dragon, Tiger, Monkey, Horse, Crocodile, Cock, Sparrowhawk, Swallow, Snake, Crane, Eagle and Bear and in general are much more complex than the than the Five Element forms.

The Twelve Animals

Pa Kua

Pa Kua means 'Eight Diagrams' and refers to the eight simple patterns of parallel lines in the I Ching (the Book of Changes). The performer normally moves at high speed, whirling around in circles, swooping up and down and suddenly changing direction.The central essence of the art is change (performing it is know as 'doing the changes') and in this way it is very much aligned to the philosophy of Taosim and the belief that all things in nature are in a state of eternal and constant change. It can appear without structure at first glance and can be hard to learn, however the underlying principle is one of loss of form and the ability to be completely unpredictable. In this way it is possible to confuse an opponent by reacting instinctively to events as they unfold.

Pa Kua Forms

T'ai Chi

T'ai Chi is probably one of the most recognised Chinese soft martial arts and is generally well know for its great powers in instilling and maintaining health and fitness in people of all ages. T'ai Chi can help to improve circulatory and respiratory systems, and because of the concentration required to perform can induce a deep sense of calm and well being.

T'ai Chi brings together many of the principles from Chi Kung, Hsing I and Pa Kua. One of the most important principles is the idea of harmonising opposites, or bringing together and controlling opposite forces, The term T'ai Chi refers to the opposite poles of the the Ying Yang symbol which itself is perfectly balanced or harmonised.

The essence of T'ai Chi then is that in softness there is firmness and in yielding there is strength. Practically this means that the art achieves its efficiency as a self-defense system by combining opposite tendencies. If you are attacked, the first action is to yield before the attacker turning one's movements into harmony with the attacker's force. Through instilling agility, balance and control with practice of T'ai Chi, the defender is able to take a rooted stance that enables them to remain firm and in control and to use the force of the opponent's attack to unbalance or repel them.

T'ai Chi also teaches a number of ways to expel the energy of an aggressor, for example by pushing, locking or throwing, using pressure against the joints or sensitive points on the body. The aim is to achieve expulsion with minimal use of force, and use is made of a variety of kicks, punches and other blows mostly designed to neutralize an attack without inflicting serious injury. Many of these techniques are built into the T'ai Chi Short Form, shown in the video below.

T'ai Chi 24-Step Short Form

Like the other soft arts, T'ai Chi is deeply concerned with Chi, the energy that flows through the body and in this aims to bring balance to body, mind and spirit through specific movements, natural deep breathing and a calm state of mind. Many Chinese practice these exercises in the early morning, when natural Chi is thought to be most potent and readily absorbed by the practitioner.


Summary

In summary it can be said that there are a number of key principles that can be taken form these core Chinese soft martial arts and applied in general martial arts practice:

• Using the principles of deep breathing and concentration to channel one's inner energy or 'Chi'.
• Using breathing as a key way to remain calm, relaxed and focused in a stressful situation.
• For those that can master the channelling of Chi, the ability to use it in opposing, absorbing or repelling an attacker's force through many of the fundamental kicking, blocking and punching techniques taught within The Five Elements and The Twelve Animals
• Minimising exertion and use of strength with optimum use of the moves above (this ensures one does not tire too quickly in a fighting situation). This is achieved through small movements that are performed in well rooted stances with use of Chi. 
• In addition, the smaller, softer and faster a move the harder it will be for an attacker to see and defend.
• Using the principles of change in Pa Kua to stay unpredictable in the face of an attack.
• General well-being and health benefits through practicing many of the techniques described and the added bonus of minimizing the risk of injury versus hard style (definitely important as you get older and take longer to recover from injuries!)

References: 
The Book of Soft Martial Arts by Howard Reid
The Essence of Tao by Lao Tzu
Tai Chi Classics by Waysun Liao
Tai Chi Touchstones by Douglas Wile

Types of Soft Martial Arts

Having had a go at defining hard vs soft karate styles, I thought it would be worth trying to identify some of the main martial arts that are normally defined as soft style (so not just karate), the various techniques used and key differences between them. So here's a quick overview of some of the main soft martial art styles out there (in no particular order)........

Chinese Martial Arts

There are too many different types and styles of Chinese martial arts to really mention in detail on soft vs hard scale, however many soft styles use the same principle of Neigong, in martial terms is about developing internal power and focus on breathing in co-ordination with the individual's body. This offers the benefits on increased relaxation and helps the body move faster and more freely. The concept of qi or ch'i in Chinese martial arts is also important as this relates to an individual's inner energy, muscular and skeletal alignment....also important for generating power, balance and speed (not an expert in this one yet so probably need to read up a bit more!)

Key Chinese martial arts to note here are Kung-Fu (though there are many styles, Wing- Chun in particular is a good example of soft style close range) and Tai Chi

Quite a good guide to Kung-Fu styles can be found here:
http://martialarts.about.com/od/styles/a/kungfu.htm


Japanese Martial Arts

Many Japanese martial arts have are derived from their Chinese counterparts, with techniques and styles being adapted over the years. Key soft style Japanese martial arts are as follows:

Akido
Akido is a form of martial art which uses the momentum of the attacker and various strikes,grabs, locks and throws to overcome an opponent. Emphasis is also placed on absorbing or redirecting an attack rather than blocking or parrying

Judo
Also meaning 'gentle way' judo is characterised by various throws, grappling techniques and groundwork, using an opponents strength and weight against them. Specialist pins, holds, arm locks and choking techniques are also utlised.

Jujitsu
Both Akido and Judo have their roots in Jujutsu. Jutjitsu places emphasis on throwing, immobilising and pinning, joint locks, choking and strangling techniques, together with using an opponents own force or strength against them.

Karate
I found quite a good summary of different Karate styles on Wikipedia: http://en.wikipedia.org/wiki/Karate_styles

Most styles use a combination of both hard and soft techniques, although a few including Goju-ryu place much more emphasis on the soft approach and the use of close quarter techniques, grabs and locks (more on this later when I cover Chin-na)

Hand Drawn Kata Guides

I found this very cool site with some amazingly detailed hand drawn guides for many Shotokan Karate kata's

http://www.ispra.net/karate/katas-shotokan/

Here's the Bassai Dai guide I borrowed my site picture from...........

Training Diary - Wednesday 11th & Friday 13th September

This week largely following up some of the grappling and throwing drills we were practicing last week.

Also started to learn a new kata, Annan. Here's a pretty awesome version of it I found on You Tube, slightly faster than our practice is currently going!

Annan is a Shito-ryu kata and is normally a requirement for 5th Dan. First impressions are this is a fairly 'strong' kata, with plenty of kicks and punches any varying tempo throughout, however there are also many more subtle movements; blocks, grabs and locks which look like they will be pretty challenging to learn. I'll post some more on the specific bunkai and applications as we start to learn them.

Seem that Annan is also a fairly recent kata in terms of arrival at competition karate, being performed for the first time in 1988. Here's quite a good summary of Annan's background and origins.

Also one more video I found with a slowed down version towards the end (although this looks a little different in some places to the version we are learning)

Training Diary - Friday 5th September

Tonight's class was focused around the use of circles, pushing hands and grappling techniques to off balance an opponent and finally throw or sweep them onto the floor.

This started with what looked liked a fairly simple exercise (!) using a circles/pushing hands type technique with a partner (basically wax on/wax off for karate kid fans) and ensuring that any rotation in the body comes from the waist, not hip or shoulders. By also remaining well rooted to the floor and spiraling, this ensures good power generation. The trick here though is to remain as soft as possible in order to be able to feel where your opponent is vulnerable.

We then moved on to introduce more movement in the feet and further seeking out where your opponent was off balance or open to attack.

The next exercise then involved combining the techniques learned into close quarter grappling then combined with a throw or a sweep once an opening had been identified. The first of these was a fairly basic judo hip throw (O Goshi), the next a pull to get your opponent off balance follows by a step in and backwards leg sweep. Further inside leg  sweeps were also practiced - key to making these most effective is to pull the opponent off balance in the opposite direction to the sweep from the grappling position. A further technique was also practiced, placing ones foot over the opponent then combining with a backwards step and trip/sweep to pull them down onto the floor.

Key to getting the sweeping techniques to work is to be able to quickly step in close to the opponent, especially if targeting the rear leg. Getting in the right position is challenging especially with a mobile opponent and speed is of the essence.

Finally all the above techniques were practiced but combined with an initial kicking or punching attack. Again the main challenge here is being able to maintain forward momentum to get in and execute the required move - I found this quite challenging in particular with a Mawashi Geri attack where I found myself off balance and stepping backwards initially.

At the end of the lesson the final technique practiced was an upwards shoulder barge to the opponent then quickly combined with grabbing and pulling both legs to throw the person backwards. Key here is a good initial barge to wind or off balance and the timing of grappling the legs. Ideally the shoulder barge should be aimed at the solar plexus area - lower leaves you vulnerable and higher less effective. It's also important not to start from a 'charging bull' position but to introduce the move after an initial punching or kicking attack - this way the move is more subtle and takes the opponent by surprise.

All in all a good lesson and a great way to get back into training after 3 weeks off over the summer!