That combination can exist in JMA, though we'd be far more likely to use one strike or the other. The same sort of position could occur, though, if someone uses a strike as part of the initiation of some throws (tomoe nage comes to mind).In CMA, to use
- 1 leg to reverse side kick on your opponent's leading leg,
- 1 hand grab on his leading arm,
- 1 hand punch on his face,
is a very common technique. This kind of coordination will be needed greatly in the wrestling art.
With a primarily grappling style, that's not likely unless we vanish the attacker and install a new one just before finishing each technique. Once you throw them, they aren't set up for any other throws. What I've done is linked them in a way that each would be a response to a second attacker after the previous technique, with minimal transition between them. I could put one together that links from a failure point of one technique to a natural recovery in another technique.
You can assume that your opponent will either escape out of your throw, or resist against your throw. For the grappling art, here is something that I can come up with.
That would be the sequence I mentioned (failure point to recovery). We do those exercises once they have enough techniques, but I'm not sure I want to have kata that don't finish the techniques. Part of the value to me as a teacher is seeing where they understand/miss the principles, and those won't show up if they stop at a failure point.
Each and every move can be a finish move. Each and every move can also be just a set up.
Not within a single grappling technique. Front Wrist Throw (kote gaeshi) isn't finished without finishing it. If the kata has them abandoning it to another technique, it removes the finish of that throw, and most of the principles that could be seen won't be.
I'm working on that. I want to put up a video for students to use. I don't want to put anything up just yet, though - I'm waiting to see if the first few students' progress shows me any changes I need to make in the kata. Every new training method has the chance of creating an unintended habit. Give me a few weeks to see how these folks do with the first Classical kata, and then I'll put something up and post a link here.
I'd like to see it too, they sound interesting.
The students find them more interesting than I do. Hopefully, you'll be as bamboozled by the forms as they are.
This was explained to me when I was a kenpo student. Perhaps this explanation is accurate, I don't know for sure, but it does seem reasonable and possible.
That's reasonable, on its face, but it seems it would be a low-percentage response. Some folks might freeze, while some would react to one or the other of the strikes (equally useful, just a different response), and others might actually flinch away at an angle, like you would if a door was swinging at you (a single "strike" coming at all levels), or any other of myriad possibilities. And then we get into the trained responses, which would potentially include some that actually deal effectively with both.
Agreed. The majority of counters to throws comes before the thrower executes the movement all the way through. If you are choreographing a sequence of techniques based on the idea that your opponent is countering your throws then either the movements need to be aborted and redirected at the moment the opponent counters each throw or else you have an unrealistic sequence where you go through the full motion as if you had completed the throw which means you are not in the correct position for the follow up move.
And with the primary version of the leg sweep we use, their weight has to be set to that foot. If they could lift that foot to escape the sweep, it would be obvious the weight wasn't set properly long before the sweep, so even that one gets aborted.
IMO, Besides "escape", there is "resist".
This is the MA paradox.
