Mirarada Escrima Academy©1992

Total Page:16

File Type:pdf, Size:1020Kb

Mirarada Escrima Academy©1992 Mirarada Escrima Academy ©1992 AGM 1163 East March Lane, Suite D363 Stockton, California 95210 Grand Master Art Miraflor [email protected] 209-405-3189 [email protected] INTRODUCTION Dear participant, The following handout represents years of work and time. The information contained in it is intended for this Practical Self Defense course only. NONE OF THE MATERIAL CONTAINED IN THIS BOOKLET CAN BE COPIED OR REPRODUCED. This course or information alone will not make you a master of any martial arts, nor does it guarantee you will be able to defend yourself in an emergency. The intent of this course is to help you become more aware of your surroundings and possible dangers that may be around any corner. An evasive move or two could be used to get out of an unpleasant situation. The hand-to-hand techniques used in this course are derived from several styles of Filipino Martial Art's, which use weapons such as knives, swords, and sticks. Like anything else, to be good at martial arts it takes years of practice. I started as a kid, and still don't know it all. I learn something new every time I practice. So the more you sweat in class, the less you bleed in the street. Practice can make you better, not perfect. If you are interested in learning more about the real beauty and history of this wonderful art, feel free to contact me anytime. I would like to give special thanks to the following persons for their dedication and trust in me as an instructor. Brandon Arthur Lee Miraflor, Christina Moore, Florence Low, and Lynne Farrar. If it weren't for these people this course would not be possible. Grand Master Art Miraflor A school of Practical Self Defense We teach students Spiritually Physically Mentally 2 Practical Self Defense Course Outline © 1992 AGM # Movement: Reference # 1. #1 PUNCH RIGHT HAND & #2 PUNCH LEFT HAND 1 & 2 2. #1 & #2 OUTSIDE BLOCK WITH ONE HAND 3 & 4 3. #1 & #2 OUTSIDE BLOCK & HIT WITH SAME HAND 5 & 6 4. #1 & #2 OUTSIDE BLOCK & HIT WITH OTHER HAND 7 & 8 5. #1 & #2 INSIDE BLOCK WITH ONE HAND 9, 10 6. #1 & #2 INSIDE BLOCK & HIT WITH SAME HAND 11,12 7. #1 & #2 INSIDE BLOCK & HIT WITH OTHER HAND 13,14 8. FRONT SNAP KICK - RIGHT LEG & RIGHT LEG 15, 16 9. FRONT SNAP KICK - POWER BLOCK - LEFT & RIGHT LEG 17,18 10. FRONT SNAP KICK - INSIDE BLOCK - USING FOREARM 11. WRIST BREAKAWAY-THUMBS UP, BEND ARM, GRAB HAND 19,20 12. WRIST BREAKAWAY - TWO HANDS 21 13. FRONT CHOKE - BREAKAWAY GRABBING THE HANDS 22 14. GRAB COAT - BREAKAWAY TWO HANDS LEVERAGE 23 15. FRONT CHOKE - SWING ELBOW TO FACE 24 16. GRAB AROUND NECK FROM BEHIND 25 17. GRAB WAIST FROM BEHIND - FORWARD BREAKAWAY 26 18. DEFENDING #1 & #2 PUNCH WITH A BOOK, BELT, SCARF, TIE, TOWEL, NEWSPAPER, COAT, HAT, ETC. 19. DEFENDING ATTACKER AGAINST A STICK OR BAT, USING BARE HANDS OR PRACTICAL WEAPONS. 20. #5 KNIFE TAKE-AWAY. 21. CHICKEN WING 22. HANDS UP / GUN BLOCK 23. #1 & #2 OUTSIDE ARM LOCK 24. #1 & #2 OVER HEAD KNIFE TAKE-AWAY 25. ONE FINGER TAKE DOWN 1992AGM For more information contact: Master Art Miraflor e-mail [email protected] [email protected] 3 Practical Self Defense Descriptions 1992 AGM Attackers position: 1. #1 Punch is with the right hand - Attacker stands flat-footed, left foot forward, left and right foot facing at a 45-degree angle to the right. Left arm is stretched out in front of the body; right hand is up against the waist with a clinched fist. The attacker steps in with the right foot and right fist twisting to the left, punches below the defenders chin. 2. #2 Punch is with the left hand - Attacker stands flat-footed, right foot forward, left and right foot facing at a 45-degree angle to the left. Right arm is stretched out in front of the body; left hand is up against the waist with a clinched fist. The attacker steps in with the left foot and left fist twisting to the right, punches below the defenders chin. Defenders starting defense position: Defenders starting stance is always at-ease or a casual relaxed position with both feet spread at shoulders with apart, and arms down at your side relaxed. Outside blocks: 3. Outside block with one hand against a #1 punch - Attacker strikes a #1 punch. Defenders left footsteps in at a 45-degree angle. Left hand deflects attackers punch with an open palm, twisting the hand inward with a slight swinging motion to the right. 4. Outside block with one hand against a #2 punch - Attacker strikes a #2 punch. Defenders right foot steps in at a 45-degree angle. Right hand deflects attackers punch with an open palm, twisting the hand inward with a slight swinging motion to the left. 5. Outside block with one hand against a #1 punch hit with the same hand - Attacker strikes a #1 punch. Defenders left footsteps in at a 45-degree angle. Left hand deflects attackers punch with an open palm, twisting the hand inward with a slight swinging motion to the right. Left hand than delivers a chop to the attackers throat. (Recommended for left- handed persons) 6. Outside block with one hand against a #2 punch hit with the same hand - Attacker strikes a #2 punch. Defenders right foot steps in at a 45-degree angle. Right hand deflects attackers punch with an open palm, twisting the hand inward with a slight swinging motion to the left. Right hand than delivers a chop to the attackers throat. 7. Outside block with one hand against a #1 punch hit with the other hand - Attacker strikes a #1 punch. Defenders left footsteps in at a 45-degree angle. Left hand deflects attackers punch with an open palm, twisting the hand inward with a slight swinging motion to the right. Left hand checks with attackers fist, than the right hand delivers a chop to the attackers throat. 8. Outside block with one hand against a #2 punch hit with the other hand - Attacker strikes a #2 punch. Defenders right foot steps in at a 45-degree angle. Right hand deflects attackers punch with an open palm, twisting the hand inward with a slight swinging motion to the left. Right hand checks with attackers fist, than the left hand delivers a chop to the attackers throat. 4 Inside blocks: 9. Inside block with one hand against a #1 punch - Attacker strikes a #1 punch. Defenders right foot steps in at a 45-degree angle. Right hand deflects attackers punch with an open palm, twisting the hand inward with a slight swinging motion to the left. 10. Inside block with one hand against a #2 punch - Attacker strikes a #2 punch. Defenders left footsteps in at a 45-degree angle. Left hand deflects attackers punch with an open palm, twisting the hand inward with a slight swinging motion to the right. 11. Inside block with one hand against a #1 punch hit with the same hand - Attacker strikes a #1 punch. Defenders right foot steps in at a 45-degree angle. Right hand deflects attackers punch with an open palm, twisting the hand inward with a slight swinging motion to the left. Right hand than delivers a chop to the attackers throat. 12. Inside block with one hand against a #2 punch hit with the same hand - Attacker strikes a #2 punch. Defenders left footsteps in at a 45-degree angle. Left hand deflects attackers punch with an open palm, twisting the hand inward with a slight swinging motion to the right. Left hand than delivers a chop to the attackers throat. (Recommended for left- handed persons) 13. Inside block with one hand against a #1 punch hit with the other hand - Attacker strikes a #1 punch. Defenders right foot steps in at a 45-degree angle. Right hand deflects attackers punch with an open palm, twisting the hand inward with a slight swinging motion to the left. Right hand checks with attackers fist, than the left hand delivers a, jab eyes, palm the chin, or chop to the attackers throat. 14. Inside block with one hand against a #2 punch hit with the other hand - Attacker strikes a #2 punch. Defenders left footsteps in at a 45-degree angle. Left hand deflects attackers punch with an open palm, twisting the hand inward with a slight swinging motion to the right. Left hand checks with attackers fist, than the right hand delivers a, jab eyes, palm the chin, or chop to the attackers throat. Kicks and blocks: 15. Attacker kicks a front snap kick / right leg: Attacker assumes the stance of a #1 punch than steps straight in with the right foot raising the knee to snap the foot to the defenders knee or shin. 16. Attacker kicks a front snap kick / left leg: Attacker assumes the stance of a #2 punch than steps straight in with the left foot raising the knee to snap the foot to the defenders knee or shin. 17. Defenders position outside block: Defender assumes the defenders position, right leg steps straight back, while left hand with an open palm, swings to the right, deflecting the kick to the left. 18. Defenders position outside block: Defender assumes the defenders position, left leg steps straight back, while right hand with an open palm, swings to the left, deflecting the kick to the right. Note: Inside blocks will be demonstrated only.
Recommended publications
  • Journal of Combat Sports Medicine
    Association of Ringside Physicians Journal of Combat Sports Medicine Volume 2, Issue 2 July 2020 Journal of Combat Sports Medicine | Editor-in-Chief, Editorial Board Nitin K. Sethi, MD, MBBS, FAAN, is a board certified neurologist with interests in Clinical Neurology, Epilepsy and Sleep Medicine. After completing his medical school from Maulana Azad Medical College (MAMC), University of Delhi, he did his residency in Internal Medicine (Diplomate of National Board, Internal Medicine) in India. He completed his neurology residency from Saint Vincent’s Medical Center, New York and fellowship in epilepsy and clinical neurophysiology from Weill Cornell Medical Center, New York. Dr. Sethi is a Diplomate of the American Board of Psychiatry and Neurology (ABPN), Diplomate of American Board of Clinical Neurophysiology (ABCN) with added competency in Central Clinical Neurophysiology, Epilepsy Monitor- ing and Intraoperative Monitoring, Diplomate of American Board of Psychiatry and Neurology (ABPN) with added competency in Epilepsy, Diplomate of American Board of Psychiatry and Neurology (ABPN) with added competency in Sleep Medicine and also a Diplomate American College of Sports Medicine (ACSM)/Association of Ringside Physicians (ARP) and a Certified Ringside Physician. He is a fellow of the American Academy of Neurology (FAAN) and serves on the Board of the Associa- tion of Ringside Physicians. He currently serves as Associate Professor of Neurology, New York-Presbyterian Hospital, Weill Cornell Medical Center and Chief Medical Officer of the New York State Athletic Commission. | Journal of Combat Sports Medicine Editorial Staff Susan Rees, Senior Managing Editor Email: [email protected] Susan Rees, The Rees Group President and CEO, has over 30 years of association experience.
    [Show full text]
  • 2016 /2017 NFHS Wrestling Rules
    2016 /2017 NFHS wrestling Rules The OHSAA and the OWOA wish to thank the National Federation of State High School Associations for the permission to use the photographs to illustrate and better visually explain situations shown in the back of the 2016/17 rule book. © Copyright 2016 by OHSAA and OWOA Falls And Nearfalls­­—Inbounds—Starting Positions— Technical Violations—Illegal Holds—Potentially Dangerous (5-11-2) A fall or nearfall is scored when (5-11-2) A near fall may be scored when the any part of both scapula are inbounds and the defensive wrestler is held in a high bridge shoulders are over or outside the boundary or on both elbows. line. Hand over nose and mouth that restricts breathing (5-11-2) A near fall may be scored when the (5-14-2) When the defensive wrestler in a wrestler is held in a high bridge or on both pinning situation, illegally puts pressure over elbows the opponents’s mouth, nose, or neck, it shall be penalized. Hand over nose and mouth Out-of-bounds that restricts Inbounds breathing Out-of-bounds Out-of-bounds Inbounds (5-15-1) Contestants are considered to be (5-14-2) Any hold/maneuver over the inbounds if the supporting points of either opponent’s mouth, nose throat or neck which wrestler are inside or on but not beyond the restricts breathing or circulation is illegal boundary 2 Starting Position Legal Neutral Starting Position (5-19-4) Both wrestlers must have one foot on the Legal green or red area of the starting lines and the other foot on line extended, or behind the foot on the line.
    [Show full text]
  • Hand to Hand Combat
    *FM 21-150 i FM 21-150 ii FM 21-150 iii FM 21-150 Preface This field manual contains information and guidance pertaining to rifle-bayonet fighting and hand-to-hand combat. The hand-to-hand combat portion of this manual is divided into basic and advanced training. The techniques are applied as intuitive patterns of natural movement but are initially studied according to range. Therefore, the basic principles for fighting in each range are discussed. However, for ease of learning they are studied in reverse order as they would be encountered in a combat engagement. This manual serves as a guide for instructors, trainers, and soldiers in the art of instinctive rifle-bayonet fighting. The proponent for this publication is the United States Army Infantry School. Comments and recommendations must be submitted on DA Form 2028 (Recommended Changes to Publications and Blank Forms) directly to Commandant, United States Army Infantry School, ATTN: ATSH-RB, Fort Benning, GA, 31905-5430. Unless this publication states otherwise, masculine nouns and pronouns do not refer exclusively to men. iv CHAPTER 1 INTRODUCTION Hand-to-hand combat is an engagement between two or more persons in an empty-handed struggle or with handheld weapons such as knives, sticks, and rifles with bayonets. These fighting arts are essential military skills. Projectile weapons may be lost or broken, or they may fail to fire. When friendly and enemy forces become so intermingled that firearms and grenades are not practical, hand-to-hand combat skills become vital assets. 1-1. PURPOSE OF COMBATIVES TRAINING Today’s battlefield scenarios may require silent elimination of the enemy.
    [Show full text]
  • How Can a Punch Knock You Out?
    PERSPECTIVE published: 26 October 2020 doi: 10.3389/fneur.2020.570566 How Can a Punch Knock You Out? Anders Hånell 1* and Elham Rostami 1,2 1 Section of Neurosurgery, Department of Neuroscience, Uppsala University, Uppsala, Sweden, 2 Department of Neuroscience, Karolinska Institutet (KI), Stockholm, Sweden Several hypotheses have been put forth over time to explain how consciousness can be so rapidly lost, and then spontaneously regained, following mechanical head trauma. The knockout punch in boxing is a relatively homogenous form of traumatic brain injury and can thus be used to test the predictions of these hypotheses. While none of the hypotheses put forth can be considered fully verified, pore formation following stretching of the axonal cell membrane, mechanoporation, is a strong contender. We here argue that the theoretical foundation of mechanoporation can be strengthened by a comparison with the experimental method electroporation. Keywords: traumatic brain injury, concussion, boxing, mechanoporation, mechanosensitive (MS) ion channel A HISTORY OF KNOCKOUTS The proportions of the human hand differ from other primates, which tend to have longer fingers. The most likely cause for this is evolutionary pressure aimed at improved manual dexterity to allow better tool use. However, the shape of the human hand also allows it to form a fist which can be used to deliver forceful punches. This was likely very common in prehistoric times, and it has been suggested that the ability to forcefully dominate others also contributed to the evolution of the Edited by: human hand (1). András Büki, University of Pécs, Hungary Even though the earliest use of punching was likely violent conflict solving, there are mentions of organized competitions in early historical records, such as the Iliad by Homer.
    [Show full text]
  • Mixed Martial Arts Rules for Amateur Competition Table of Contents 1
    MIXED MARTIAL ARTS RULES FOR AMATEUR COMPETITION TABLE OF CONTENTS 1. SCOPE Page 2 2. VISION Page 2 3. WHAT IS THE IMMAF Page 2 4. What is the UMMAF Page 3 5. AUTHORITY Page 3 6. DEFINITIONS Page 3 7. AMATEUR STATUS Page 5 8. PROMOTERS & REQUIREMENTS Page 5 9. PROMOTERS INSURANCE Page 7 10. PHYSICIANS AND EMT’S Page 7 11. WEIGN-INS & WEIGHT DIVISIONS Page 8 12. COMPETITORS APPEARANCE& REQUIREMENTS Page 9 13. COMPETITOR’s MEDICAL TESTING Page 10 14. MATCHMAKING APPROVAL Page 11 15. BOUTS, CONTESTS & ROUNDS Page 11 16. SUSPENSIONS AND REST PERIODS Page 12 17. ADMINISTRATION & USE OF DRUGS Page 13 18. JURISDICTION,ROUNDS, STOPPING THE CONTEST Page 13 19. COMPETITOR’s REGISTRATION & EQUIPMENT Page 14 20. COMPETITON AREA Page 16 21. FOULS Page 17 22. FORBIDDEN TECHNIQUES Page 18 23. OFFICIALS Page 18 24. REFEREES Page 19 25. FOUL PROCEDURES Page 21 26. WARNINGS Page 21 27. STOPPING THE CONTEST Page 22 28. JUDGING TYPES OF CONTEST RESULTS Page 22 29. SCORING TECHNIQUES Page 23 30. CHANGE OF DECISION Page 24 31. ANNOUNCING THE RESULTS Page 24 32. PROTESTS Page 25 33. ADDENDUMS Page 26 PROTOCOL FOR COMPETITOR CORNERS ROLE OF THE INSPECTORS MEDICAL HISTORY ANNUAL PHYSICAL OPTHTHALMOLOGIC EXAM PROTOCOL FOR RINGSIDE EMERGENCY PERSONNEL PRE & POST –BOUT MEDICAL EXAM 1 SCOPE: Amateur Mixed Martial Arts [MMA] competition shall provide participants new to the sport of MMA the needed experience required in order to progress through to a possible career within the sport. The sole purpose of Amateur MMA is to provide the safest possible environment for amateur competitors to train and gain the required experience and knowledge under directed pathways allowing them to compete under the confines of the rules set out within this document.
    [Show full text]
  • Bowie Mixed Martial Arts LLC 2146 PRIEST BRIDGE CT #7, CROFTON, MD 21114, UNITED STATES│ (240) 286-5219│
    Free uniform included with new membership. Bowie Mixed Martial Arts LLC 2146 PRIEST BRIDGE CT #7, CROFTON, MD 21114, UNITED STATES│ (240) 286-5219│ WWW.MMAOFBOWIE.COM BOWIE MIXED MARTIAL ARTS Member Handbook BRAZILIAN JIU-JITSU │ JUDO │ WRESTLING │ KICKBOXING Copyright © 2019 Bowie Mixed Martial Arts LLC. All Rights Reserved. Bowie Mixed Martial Arts LLC 2146 PRIEST BRIDGE CT #7, CROFTON, MD 21114, UNITED STATES│ (240) 286-5219│ WWW.MMAOFBOWIE.COM Free uniform included with new membership. Member Handbook Welcome to the world of Brazilian Jiu-Jitsu. The Brazilian Jiu-Jitsu program consists of a belt ranking system that begins at white belt and progresses to black belt. Each belt level consists of specific techniques in 7 major categories; takedowns, sweeps, guard passes, submissions, defenses, escapes, and combinations. Techniques begin with fundamentals and become more difficult as each level is reached. In addition, each belt level has a corresponding number of techniques for each category. The goal for each of us should be to become a Master, the epitome of the professional warrior. WARNING: Jiu-Jitsu, like any sport, involves a potential risk for serious injury. The techniques used in these classes are being demonstrated by highly trained professionals and are being shown solely for training purposes and competition. Doing techniques on your own without professional instruction and supervision is not a substitute for training. No one should attempt any of these techniques without proper personal instruction from trained instructors. Anyone who attempts any of these techniques without supervision assumes all risks. Bowie Mixed Martial Arts LLC., shall not be liable to anyone for the use of any of these techniques.
    [Show full text]
  • Trends in Capoeira Pedagogy a Thesis Submitted in Partial
    CALL AND RESPONSE: TRENDS IN CAPOEIRA PEDAGOGY A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF SCIENCE IN THE GRADUATE SCHOOL OF THE TEXAS WOMAN’S UNIVERSITY DEPARTMENT OF KINESIOLOGY COLLEGE OF HEALTH SCIENCES BY JACKIE BETH SHILCUTT, B.S., B.F.A DENTON, TEXAS AUGUST 2014 ACKNOWLEDGMENTS For completion of this project, I would like to acknowledge my sincere thanks to those who have helped make this research process run smoothly and fruitfully. I have tremendously enjoyed this adventure and owe a great deal of gratitude to many people. To all of the participants, thank you for sharing your art, your practices, and your thoughts with me. I immensely enjoyed hearing your stories, sharing in your laughter, and anticipating the future of capoeira. To Dr. David Nichols, thank you for your guidance through the program and the logistics of the research, and thanks to supervising committee members Dr. Lisa Silliman-French and Dr. Leslie Graham for your insights and advice. To Dawn Peterson in the TWU Center for Qualitative Inquiry, thank you for helping me navigate the qualitative research process (and for revealing the Portuguese language function in the software to save countless hours of work time). For linguistic consultation, thank you to Phyllis Gonçalves and Leonardo Marins, whom I must also thank for his transcription services. For medical and cultural insight, thank you to Dra. Karina Brunetti and Dr. Davi de Marco for your interest in this study. Special thanks to Stephanie Talley, Dr. Tracy Shilcutt, and Dr. Kerri Hart for consultation of pedagogical theories and principles.
    [Show full text]
  • Jun Fan Jeet Kune Do Terminology
    THE SCIENCE OF FOOTWORK The JKD key to defeating any attack By: Ted Wong "The essence of fighting is the art of moving."- Bruce Lee Bruce Lee E-Paper - II Published by - The Wrong Brothers Click Here to Visit our Home page Email - [email protected] Jun Fan Jeet Kune Do Terminology Chinese Name English Translation 1) Lee Jun Fan Bruce Lee’s Chinese Name 2) Jeet Kune Do Way of the Intercepting Fist 3) Yu-Bay! Ready! 4) Gin Lai Salute 5) Bai Jong Ready Position 6) Kwoon School or Academy 7) Si-jo Founder of System (Bruce Lee) 8) Si-gung Your Instructor’s Instructor 9) Si-fu Your Instructor 10) Si-hing Your senior, older brother 11) Si-dai Your junior or younger brother 12) Si-bak Instructor’s senior 13) Si-sook Instructor’s junior 14) To-dai Student 15) Toe-suen Student’s Student 16) Phon-Sao Trapping Hands 17) Pak sao Slapping Hand 18) Lop sao Pulling Hand 19) Jut sao Jerking Hand 20) Jao sao Running Hand 21) Huen sao Circling Hand 22) Boang sao Deflecting Hand (elbow up) 23) Fook sao Horizontal Deflecting Arm 24) Maun sao Inquisitive Hand (Gum Sao) 25) Gum sao Covering, Pressing Hand, Forearm 26) Tan sao Palm Up Deflecting Hand 27) Ha pak Low Slap 28) Ouy ha pak Outside Low Slap Cover 29) Loy ha pak Inside Low Slap Cover 30) Ha o’ou sao Low Outside Hooking Hand 31) Woang pak High Cross Slap 32) Goang sao Low Outer Wrist Block 33) Ha da Low Hit 34) Jung da Middle Hit 35) Go da High Hit 36) Bil-Jee Thrusting fingers (finger jab) 37) Jik chung choi Straight Blast (Battle Punch) 38) Chung choi Vertical Fist 39) Gua choi Back Fist 40)
    [Show full text]
  • The Social and Cultural Effects of Capoeira's Transnational Circulation in Salvador Da Bahia and Barcelona
    The Social and Cultural Effects of Capoeira’s Transnational Circulation in Salvador da Bahia and Barcelona Theodora Lefkaditou Aquesta tesi doctoral està subjecta a la llicència Reconeixement 3.0. Espanya de Creative Commons. Esta tesis doctoral está sujeta a la licencia Reconocimiento 3.0. España de Creative Commons. This doctoral thesis is licensed under the Creative Commons Attribution 3.0. Spain License. Departamento de Antropología Cultural e Historia de América y de África Facultad de Geografía e Historia Universidad de Barcelona Programa de Doctorado en Antropología Social y Cultural Bienio 2005-2007 The Social and Cultural Effects of Capoeira’s Transnational Circulation in Salvador da Bahia and Barcelona Tesis de Doctorado Theodora Lefkaditou Director: Joan Bestard Camps Marzo 2014 To Antonio and Alaide ACKNOWLEDGMENTS It is the beginning and the end of a journey; of an ongoing project I eventually have to abandon and let go. I would like to thank all the people who contributed along the way. Most immediately, I am grateful to my supervisor, Professor Joan Bestard Camps, for his patience, guidance and expertise and for encouraging me to discover anthropology according to my own interests. I must also acknowledge the encouragement I received from Professor Manuel Ruiz Delgado. My thanks extend to all members of the Doctorate Program in Social and Cultural Anthropology (2007- 2009) of the Department of Cultural Anthropology and History of America and Africa at the University of Barcelona for their useful feedback in numerous occasions. They all have considerably enriched my anthropological knowledge. I am also grateful to Professor Livio Sansone and Professor James Carrier for their comments and suggestions; Professor João de Pina Cabral for his recommendations and Dr.
    [Show full text]
  • Rule Book (PDF)
    TABLE OF CONTENTS - No Gi Rules (Point descriptions, Legal vs. Illegal techniques, match time limits, penalty processes and determining ties for all competitor divisions) PG. – 5 - No Gi Adult, Masters, Directors & Executives (Legal vs. Illegal techniques) PG. – 24 - No Gi Teens (Legal vs. Illegal techniques) PG. – 31 - No Gi Kids (Legal vs. Illegal techniques) PG. – 41 - (Point descriptions, Legal vs. Illegal techniques, match time limits, penalty processes and determining ties for all competitor divisions) PG. – 54 - (Legal vs. Illegal techniques) PG. – 78 - (Legal vs. Illegal techniques) PG. – 89 - (Legal vs. Illegal techniques) PG. – 101 2 NAGA Referee Responsibilities The NAGA Referee is the highest authority on the mat. Failure to adhere to his/her commands will result in penalties assessed, disqualification, event ejection with potential probation from future NAGA events. • NAGA Referees are among the very best trained submission grappling / Brazilian Jiu-Jitsu officials worldwide. • NAGA Referees will perform to the highest standards possible to keep ALL competitors as safe as possible during a NAGA event. • NAGA Referees reserve the right to stop a match at absolutely any given time he/she feels injury is imminent regardless of skill or belt rank. • NAGA Referee decisions are final and may not be contested by competitors, coaches or spectators during a NAGA event. • NAGA Referees will officiate each match according to the rules outlined by this rules manual with unbiased intentions towards any competitor, coach, team or spectator attending any NAGA competition. Please note: The NAGA Event Coordinator can overturn any referee decision due to a referee error. If a mistake has been made that affects the outcome of a match then the event coordinator may overturn the decision and update the bracket accordingly.
    [Show full text]
  • Get Into Knockout Shape
    FAQs HOW OFTEN SHOULD I DO BODYCOMBAT®? We recommend you to do BODYCOMBAT® two to three times a week, with at least one day of rest between sessions. DO I HAVE TO BE EXPERIENCED IN MARTIAL ARTS? BODYCOMBAT® is for everyone regardless of background. The movements are simplified and the instructor demonstrates various options so you can adapt the workout based on your fitness level. WHAT DO I NEED TO BRING WITH ME? Bring a towel, water bottle and shoes. DO WE PRACTICE SELF DEFENSE? BODYCOMBAT® is not a self-defense class. It is a cardio based group fitness class inspired by moves and techniques from various martial arts performed without body contact. For more information, ask your instructor or visit lesmills.com/bodycombat. DURATION TRAINING TYPE INTENSITY CALORIES EQUIPMENT MUSIC RESULTS MARTIAL ART HIGH UP TO NONE ENERGETIC DEVELOPS 55 INSPIRED INTENSITY AND YOUR MINUTES WORKOUT TO 740 MOTIVATING COORDINATION, MUSIC. CALORIES MUSIC IMPROVES YOUR STAMINA AND ENDURANCE. GET INTO KNOCKOUT SHAPE In cooperation with lesmills.com lesmills.com ENG_Folder-BODYCOMBAT_NY_2015_TUI.indd 1 2016-12-02 12:58:05 HOOK A circular punch where you target your imaginary opponents jaw. UPPERCUT A vertical punch where you target your imaginary opponents chin. FRONTKICK A straight kick directed that targets your opponent’s thigh or stomach. ROUNDHOUSEKICK A sweeping kick where you target your opponent’s thigh or ribs with your shine. SIDEKICK A powerful kick directed to the side of your oppenent where the outside of the foot targets the thigh or ribs. 2. COMBAT 1 Visualize your opponent and step into the first fight in which you combine punch and kicking techniques.
    [Show full text]
  • Efficacy and Entertainment in Martial Arts Studies D.S. Farrer
    Dr. Douglas Farrer is Head of Anthropology at the University CONTRIBUTOR of Guam. He has conducted ethnographic fieldwork in Malaysia, Singapore, Thailand, Hong Kong, and Guam. D. S. Farrer’s research interests include martial arts, the anthropology of performance, visual anthropology, the anthropology of the ocean, digital anthropology, and the sociology of religion. He authored Shadows of the Prophet: Martial Arts and Sufi Mysticism, and co-edited Martial Arts as Embodied Knowledge: Asian Traditions in a Transnational World. Recently Dr. Farrer compiled ‘War Magic and Warrior Religion: Cross-Cultural Investigations’ for Social Analysis. On Guam he is researching Brazilian jiu-jitsu, scuba diving, and Micronesian anthropology. EFFICACY AND ENTERTAINMENT IN MARTIAL ARTS STUDIES anthropological perspectives D.S. FARRER DOI ABSTRACT 10.18573/j.2015.10017 Martial anthropology offers a nomadological approach to Martial Arts Studies featuring Southern Praying Mantis, Hung Sing Choy Li Fut, Yapese stick dance, Chin Woo, Brazilian jiu-jitsu, and seni silat to address the infinity loop model in the anthropology of performance/performance studies which binds KEYWORDs together efficacy and entertainment, ritual and theatre, social and aesthetic drama, concealment and revelation. The infinity Efficacy, entertainment, loop model assumes a positive feedback loop where efficacy nomadology, Brazilian jiu-jitsu, flows into entertainment and vice versa. The problem addressed seni silat, Chinese martial arts, here is what occurs when efficacy and entertainment collide? performance Misframing, captivation, occulturation, and false connections are related as they emerged in anthropological fieldwork settings CITATION from research into martial arts conducted since 2001, where confounded variables may result in new beliefs in the restoration Farrer, D.S.
    [Show full text]