reactions

[windwalker099]

So how do you use "feeling the fullness within it"?

"Many of the demos you often ask about are examples of this idea in use...

It's like touching something that seems to be there, falling into it because it feels empty, and then being thrown out by it before you can react to the emptiness as it becomes full.

The Change state is quite fast...."

After you have learned it, you have to use it.
If you can't use it, it's the same as you have not learned it.

This can be said about anything no?

To use it falls under strategy and tactics which are derived from training "skill sets" based on theories that are thought to give one the advantage.

If one does not have the skill sets, developed through training.
They are unable to use it.

 

[marvin8]

I agree with you 100% on this.

I still don't understand why people want to spend time to train "bounce people away" then to train "using hip throw to throw opponent". Hip throw is the mother of all throws.

Miyo Yoshida (who lost her boxing championship last month) shows how to integrate striking to avoid counters when entering throws.

Miyo mentions using a "weak punch" (e.g., pawing jab, hand fight) to enter rather than trade punches which I mentioned in my post #201. Per Cartmell, this aligns with tai chi's method of not using force to enter.

 

[Kung Fu Wang]

At 2.34, she uses my favor downward parry (or wrist grab, or hook punch) to set up under hook. I also like to use uppercut to set up over hook (or head lock).

IMO, those are the bridge between the striking art and the throwing art. This is the area that the striking art doesn't train. This is also the area that the throwing art doesn't train. People only start to pay attention in this area when MMA started. When SC evolved into combat SC, this area was emphasized by ACSCA 45 years ago.

 

[marvin8]

At 2.34, she uses my favor downward parry (or wrist grab, or hook punch) to set up under hook. I also like to use uppercut to set up over hook (or head lock).

IMO, those are the bridge between the striking art and the throwing art. This is the area that the striking art doesn't train. This is also the area that the throwing art doesn't train. People only start to pay attention in this area when MMA started. When SC evolved into combat SC, this area was emphasized by ACSCA 45 years ago.

I showed a successful wrist grab in a fight. It follows the same concepts. He does not use force to secure a wrist grab.

Here is a wrist grab in a fight. In Gamebred Bareknuckle 6, Sanford...

1. lures opponent to hand fight by extending and retracting his guard.
2. as opponent extends his guard, Sanford grabs the wrist lightly and attacks with rear hand.
3. as opponent defends by retracting his guard and shifting his weight to the back foot, Sanford sticks to the wrist, grabs head control, follows the opponent back and knees him.

 

[Kung Fu Wang]

I showed a successful wrist grab in a fight. It follows the same concepts. He does not use force to secure a wrist grab.

I also don't use force in my wrist grab. As long as my opponent's elbow joint is free, my wrist grab is useless. My goal is the arm wrap (control the elbow joint), under hook, over hook, head lock, .... The wrist grab is just a temporary path for me to reach to my goal.

People may say, "If you grab my wrist, your arm is dead." They may not know that the wrist grab is just a temporary step.