Ripping Out The Eyeballs

Completing the upward strike to the chin, rip downward on the enemy's face with your fingertips, using the fingernails to claw his eyes and lacerate his face, temporarily blinding him. This kind of ripping, tearing action will do much more damage than an individual poke or stabbing action, and is much easier to perform. Likewise, the "pulling down" motion is the logical follow-up to the Palm Heel Strike and once again brings the right hand and arm back between the combatants defensively.

As the Dragon Palm comes back down over the face in this slashing attack, the eyelids are cut open by the fingernail ripping action. This produces severe and uncontrollable watering of the eyes.

The index and little :fingers may be shoved back into the eye sockets after the downward motion brings the middle and ring fingers to the chin. From this position, it is virtually impossible to miss the target and a short stabbing action will dislodge the eyeballs by the simple expedient of inserting the fingers into an area too small to contain them and the eyes at the same time. From here, they may be grabbed by the curled middle and ring fingers and literally ripped out of the enemy's head. Killing him with shock, trauma, and blood loss.

This, of course, is completely unnecessary in most instances, and was probably seldom done even in ancient times. But it does point out the degree of ergonomic and anatomical study devoted to this most unholy of sciences.

Most often, even a light tap to the eyes or the surrounding area will cause watering, pain, and temporary blindness. Wrestlers sometimes "press" on the eyes of their opponents while restraining them to dull their vision and "wear them down psychologically" during a match.

Likewise, the eyes are the most sensitive and protected area of the body in term of autonomic reactions to stimulus. For this reason, many Ninja techniques involve "making the enemy blink" so that one can vanish or strike from behind. Thus, the Dragon Palm Fist, used as described in an up and down twin actions, qualifies as one of the Invisible or Vanishing Fists by Ninja definition because it also is too close to be seen or stopped. AND, renders the Ninja unseeable to the opponent which makes all subsequent actions invisible as well.

Tiger Claw Fist (Left)

As the right hand completes its attack to the enemy's eyes and is pulled strongly back to the right hip, the left hand slides down the inside of the enemy's arm and strikes the right side of his face with an Inverted Tiger Claw Fist. This hand-weapon formation is much like the Dragon Palm Fist except that all of the fingertips are curled slightly inward as is the thumb. Again, this exposes the heel of the hand for the initial strike and Positions the fingers for the clawing technique. Since all of the fingertips are employed, the symbolism of the Tiger is more appropriate than the Dragon to describe the action.

The heel of the hand drives against the back of the jawbone to dislocate and break the temporomandibular joint behind and below the ear. This strike also numbs the face and snaps the head to the left, which further injures the neck.

Immediately after the impact, the fingers curl upward and grip the flesh of the face. The thumb seizes the underside of the jaw, the middle finger hooks in the corner of the mouth and the little finger is in the corner of the eye. The first and third fingers augment and increase the pinching action of the fingers as the cheek and/or ear is firmly gripped.

The twisting action of the hips and shoulders as you pull the right hand back adds momentum to the strike, which whips dynamically from the shoulder in a circular action. In Wing Chun Kung Fu, this is known as the Inner Gate Punch, because the fist slides along the inside of the arm as the elbow deflects an attack to the upper quarter. It is a method of "pushing his arm out of the way with your elbow as you hit him."

Gripping the face firmly, use what Count Dante referred to as a "snap-tear" motion, twisting the flesh and ripping it away from the bone by sheer force of grip. This is not as difficult as it may sound, since the cheeks are thin and the ear barely "glued on." So, an excessive grip is not required. But the ancient masters in their infinite wisdom have provided a method of training the hand for this ferocious and terrifying grip nonetheless.

The practice involves carrying large open mouth jars, holding them at waist level with the fingertips, filled with sand or water to make them progressively heavier as the strength develops. For speed one must team to juggle. But, not mere balls, rather small sacks filled with lead shot. And, not in the customary manner with the palms beneath, although that must be learn first to develop hand and eye coordination. But rather use a "clawing" action, turning the palms to face forward.

Snatching each out of the air in turn and squeezing them with the crushing grip developed in the previous exercise makes virtually one invincible.

Black Dragon Fense

Tiger Claw Fist (Right)

As you tear away the enemy's check and ear with the left Tiger Claw, swing your hips counterclockwise without stepping to increase the strength needed to accomplish this purpose by adding the torque of your hips and shoulders to the pulling action. This also enables you to whip your right Tiger Claw Fist in a circular motion to strike the enemy on the left check, inflicting the same injury and mimicking the previous action exactly.

In military parlance, this is the Principle of Flanking Attacks, as symbolized by the double action of the twin Tiger Claw Fists. When the enemy's advance has been halted by the first technique of stamping on his foot, jamming his knee, striking his arm and driving his head back with a Chin Jab, his immediate reaction is to defend the centerline of the body.

Boxers will "cover up" by bringing their fists under their eyes, rounding their shoulders, tucking their chin, and bringing the elbows together to protect the "soft underbelly."

Even though Kata Dan'te virtually prevents this from taking place through speed and locking methods, which appear shortly, a kata, is more than a series of punches and kicks strung together in an interesting, effective, or unusual manner. It is a "book," a text from which many lessons may be learned. And this is true not only of the forms used by the Ninja, but also by every form that has been handed down in every martial art. Almost every martial artist as he studies, reaches a point where he thinks he can "invent" a kata. But, they are seldom very good because they are a random collection of techniques, even if they are little more than a "modification" to an existing form. That is because the "true" kata are those which teach many lessons on many levels. Such as the military extrapolation discussed here. Kata must teach strategy and tactics to be valid.

Likewise, in developing a "fighting spirit" this exercise and those like it, by visualizing the opponent and a successful outcome, psychologically build the confidence or "inner strength" of the student. If he believes he can do it, very often he can, and the adjustment of his body language or demeanor may be sufficient to dissuade an enemy from attacking.

Thus, this ancient form of exercise operates on many levels. That is why it was often said in olden times that "It may take half a lifetime to master one system." Because the wise student is always probing deeper, looking closer, and discovering the "hidden lessons" that are taught by these "secret dances."

Serpentine

Armlock

Scoop under the enemy's right arm with your left arm, encircling and trapping his elbow in the crook of your arm. This "entwining" action gives the technique its name, since it is much like the action of a snake wrapping its coils around its prey.

Reach over his am and dig your fingers into the soft flesh on the inside of his biceps muscle. Press against the brachial artery that lies between this muscle and the adjoining triceps to numb his arm and restrict the flow of blood to his hand. Or, reach deeper and press the tips of the index and middle fingers into the nerve and blood vessel plexus in his armpit to deaden the arm by pressing the median nerve that supplies it.

This then, is a crippling nerve pinch, which may be used as a "come-along" hold or simply to restrain an opponent. In this instance, it is used to prevent him from pulling or falling away while the next series of savage and terrifying deathblows are delivered.

This technique can be used to escape from a common side headlock, in which the opponent has his arm wrapped round your head and holds you on his hip. Or, as illustrated here, to "capture" him.

The Principle of Sucker Punching holds that one should keep a firm grip on the victim so that he can't get away and so that he can be "pulled into" the punches as they land to increase their impact. Usually, this takes the form of grabbing a handful of shirt and hanging on. But, hair, belts, or, in this case, the offending limb, may also be used to secure the enemy. Those who study Shotokan Karate know this method well. The left hand is used to strike the opponent on the chest with a block to stop him, then his ghi (uniform) is seized and he is pulled into the right fist as it is thrown from the hip to double the impact. Sonny Chiba in his biographical film about Mas Oyama, founder of the Kyoku-shinkai system demonstrated this practice method when depicting Oyama alternately blocking then striking a tree in this manner until it withered, died and fell over from the punishment. Took about two years, but then Oyama Sensei had a "hand weapon" of considerable repute. Which enabled him to kill a bull with his bare hands. A true story of a martial arts legend of our own era.

From this position it would be a simple matter to pivot on the ball of the right foot and slam the enemy to the ground for a devastating takedown. Therefore, as promised, each technique is quite capable of "standing alone" having its own effective combat application. But, then it wouldn't be an exercise, and there are many other principles to present.

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