Concentrate on the overhead motion and vou will have your basic overhand strike
Concentrate on the descending backhand motion and you will have your bask: backhand strike.
Reverse your motion to practice your upward strokes.
The upward strokes will give you your number nine and ten angled strikes and slight variations on either the descending or ascend Ing strokes will give you your vertical strikes, up and down.
Now elongate the motion so that the arcs on either ode of you are smaller and the strokes In front of you are more horizontal. Your cross strokes should increase in speed and you will have a continuous side to side striking motion that does not pause after each stroke.
I'm gotng to use the four ends of the "X" to explain torque, which Is something you should try to add to your motion at any time in the circle or figure eight when your weapon is about to hit something The ends of the "X" represent the location of your hand In relation to your body as you prepare to throw a "number one strike, a '"number two' strike a "number nine" strike and a "number ten" strike.
We'll start with a exercise that Is part of the warm ups at Danny lnosanto's school
Hold the stick m your right hand about one inch from the bottom Some Escrimadors hold their stick close to or flush with the bottom. because anything pro>ecting, they say. can be used by the opponent to divirm or take the weapon away. Others leave several inches exposed a: the bottom so they can hit with the butt of the weapon You can take your pvck
Bring your weaponcd hand to the top rV|ht of the "X" In preparation for an overhand CM) stiikc Keep'your elbow bent Grip the sr<k mainly with your thumb and forefinger and let the weight of the snck lift the other three fingers. Without moving your arm. jerk your hand into a tight fist, then let the three fingers go loose again. The motion should pop the end of your stick upward, then let it drop back again. Repeat that many times and listen for the stick to make a whipping notse tn the air
Combine u«rl»t snap. *)\ou\d<r and i'J bow snap for power.
shoulder , efbote i MMN Mp om/ knee tortjue pJu* JtM>i p4vo4 for poise r,
Next, execute the first motion simultaneously with dropptny your arm in front of your right shoulder Repeat that entire motion many times
Execute the first two simultaneous motion*, bur as you do. twist your entire body fo the left, allowing your nght heel to ratse off the ground and shifting most of your weight to your left foot You may also drop the level of your body slightly during the motion to put weight into the blow
Remember, your right arm is sinking at an angtc now instead of dropping straight down. Repeat the motion, trying to synchronize all three movements into one snappy strike That extra body twist is the tvrc/m- You can emphasize it even more by dropping your lead (right) shoulder as you twist downward
In other words, using your entire body for more power rather than any isolated part.
At the end of your downward strike 1*1). you are in position to execute an upward back hand strike a backhand stroke that will travel up the same line of the "X" Turn the bottom of your at*ck toward the top right of the "X" and execute a simple upward backhand strike with a twist, leaving the fir t step of your original exercise? out. As you twist to the right in the swing, lift your left heel and your right shoulder, rocking most of your weight onto the ball of your left foot Repeat the "Q strike several times.
Now we're back to a three count exercise because you've got gravity to pull the end of your stick down and lift the three fingers up. Execute the snapping motion without moving your arm Next add the arm motion so the stick is following a path from the top left of the "X to the bottom riijht Finally, add the torque by twisting your whole br>dy to the right, raising your left heel and dropping most of your weight on your right foot Again, dropping your lead (left) shoulder vail add emphasis.
The last exercise begins at the end of your "number two" strike and la the beginning of a "number nine" strike Turn the butt of your ttfcck toward the top Urft of the "X " Here again, the (trst part ol the exercise H Wt out so your sync» on Ire only the upward swing and the tw^st As you twist to the Wt. your right heel raises and your weight rocks bock to the ball of your nght foot Your right shoulder leads the motion slightly
The torqulng motion described in this exercise Is an extreme that m>ght be used with a heavy weapon or as a final committed stzoke to fell an opponent with a lighter weapon Generally, a fighter wouldn't have enough time to dehver the kind of fuD strike used hi the exercise So. he would use the same ptln ciples of the torqutng exercise and abbreviate them to add power to the shorter, faster movements used In combat
Throughout the r%»*t of the book, watch for this principle of torque as it's applied to both defensive and offensive move? Any movement in Escrima may be emphasized by this hip and shoulder turn the torque
NOTE. The specifics in these technical chapters will necessarily narrow and expand to cover the overlapping principles of E*CrtflMI movement I can't separate them as I might separate simple techniques because no one principle, no one movement, happens separately without affecting and bring affected by others •
So far we've discussed the angiirs of attack (previous chapter*), the general motion% (cu dc or figure eight) used and the principle o/ torque that adds power to the stroke. Now. let's broaden it again and look at the kind« of strokes possible In any one angle. In any one attacking motion, and watch the specifics rsar row by the mwIves
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