Copyright © Geoff Thompson 2004
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In my opinion there are no better instruments to employ as attacking tools than the hands, whether punching, poking or grabbing. The hands are to physical self-protection what Nureyev is to ballet.

Elbows are also a valuable asset, though more of a rainy day technique than the irreplaceable hands, which are the most natural and accessible tools for defence on the human anatomy.

The knuckles are, when the fist is clenched, an extremely solid and durable element. When abetted by transferred body weight they become very destructive as an attacking tool. The fact that our hands are endowed with the sense of touch also aids the accuracy of an employed technique.

There are many ways in which one may practise and polish hand techniques, some of which I will explore in this chapter. Some of the techniques and methods of practice may seem a little basic for the advanced or practising martial artist who, unrealistically, sees complex as synonymous with effective. In real terms, complex is synonymous only with unpractical. To be effective the chosen self-defence technique must be economical – and what is economical if it is not basic? The beginner will find no problem in practising the prescribed techniques because of their fundamental qualities.

THE MAIN ARTILLERY

'The Fox and the Cat were standing on a hill, talking about how many ways they know of escaping from a pack of dogs. The Cat, feeling rather inadequate, said, "I only know one way. I run up the nearest tree." The Fox gave the Cat a sardonic smile and said, "Well, actually, I know fifty different ways of escaping a pack of dogs." Just then a pack of dogs appeared on the horizon and ran in the direction of the Fox and the Cat. The Cat, utilising his only escape technique, found sanctuary up a nearby tree. Whilst the Fox was busy deciding which of the fifty escape techniques he should employ, he got ate by the pack of dogs.'

Game plans

THE TRAINED FIGHTER

We have a paradox here. In the main, the trained fighter has a huge support system and yet no main artillery and no game plan. He has too many techniques to chose from. When a situation becomes live, like the Fox he is often defeated whilst he is in the process of choosing the right technique /game plan to employ.

On the other hand, the novice has no artillery, no game plan and absolutely no idea. When a situation becomes live for him he has nothing to chose from and very often comes out of the altercation badly.

Form a game plan. How will you react and what techniques will you employ when confronted by an attacker? Decide, and then mentally rehearse your game plan, over and again. This process is enlarged upon in the chapter on visualisation.

SPONTANEOUS RESPONSE

I am often told, by the uninitiated, that in an attack scenario the victim should be spontaneous, their response varying according to the attack. This would mean having to wait until the assailant actually attacks, spontaneously reacting thereafter. Too late. I have to say that no one with any real experience has ever said this to me.

Action is faster than reaction. If you allow the assailant to attack first, your chances of defence are minimal.

If you are blind-sided and the first you know of a situation is the attack itself, then yes, you will spontaneously respond. Unless you are highly trained and pressure tested that response will often be capitulation or collapse. If you wait to be attacked you have left it far too late.

If, however, you are coded up it will be pretty difficult for an assailant to utilise a blind-side attack. His attack is therefore likely to come from the front, and usually through deceptive dialogue. This allows you to take the initiative and determine the state of play.

My advice to the novice who has no formal fighting background is to choose his strongest side (right hand if you are right-handed, left if you are left-handed) and perfect one or two techniques. Make them, via conscientious practice, your own.
Practise until you develop power and accuracy, then, especially if you employ the technique as a pre-emptive attack, you will have a good chance of defending yourself successfully.

My advice to the advanced or practising martial artist is exactly the same: choose your strongest technique and make it stronger, work it until it is absolutely natural and comfortable. This will be your main artillery. Of course, you should still practice all your other techniques and perhaps add to your main artillery as they improve. These will be you support system.

Your game plan should be the aforementioned sequence of positive responses, from avoidance right through to physical confrontation, and, if and when necessary, responses five and six, as detailed in the chapter on attackers and attack rituals.

In your bid to attain good hands you will be looking to develop accuracy, speed and power; accuracy rising slightly above the other two necessaries, because an accurate attack can be effective with minimal power and speed. Later in the chapter I will go into depth about the development of the three foregoing elements. Firstly, I would like to look at the different attacks available via the hands.

Left jab/finger strike/claw

As a punch the jab is generally used as an opener, a lead punch that lacks real power. Very good for causing irritation in an opponent through the stinging pain inflicted. Presence of the former and latter also help to make openings for the bigger punches that you might wish to follow with.

The same attack used with open hand transforms a weakening technique into a stopping technique. This may be attained by either clawing the hand or by coupling/spearing the fingers together to form a point then directed at the eyes. One of the most basic, effective and accessible techniques on the curriculum.

Left hook/palm heel

Thrown (as a right-handed person) off the leading left leg and aimed, ultimately, at the opponent's jaw. Very powerful if abetted by the transferred body weight. All hooking punches are thrown in the same style as a slap attacking with knuckles as opposed to the flat of the hand.

For maximum power push your right hip forward and slightly to the left before the strike. As you throw the left fist toward the target, pull the hip back to its original position and push your left hip sharply across and to the right, following the path of your punch. This hip movement will ensure maximum weight transference into the punch.

With the palm heel the foregoing criteria is the same using the heel of the hand to attack as opposed to the fist.

Left uppercut/palm heel

Thrown from the leading left leg and aimed, ultimately, at the jaw. Very powerful if correctly employed. For maximum power, push your right hip forward and to the left before you strike, slightly bending at the knees so that you are just below the target (jaw). Throw your left fist upward, twisting the fist on impact with the jaw, so that the palm is facing inward (to your own body). Simultaneously retract the right hip sharply to its original position and push upward from your crouched position, thrusting the left hip forward and upward, following the path of the punch. On connection with the jaw, follow through with the punch and hip for maximum effect.

Right cross/finger strike/claw/palm heel

A most powerful technique utilising (if correctly executed) nearly all of the body weight. Thrown from the back, right leg whilst in a left-leading stance. Throw the right fist toward the target (jaw), simultaneously thrusting your right hip forward and in the same direction as the punch. Your hip should fully thrust in conjunction with the punch's connection with the jaw.

Use the finger strike, claw and palm heel to attack as opposed to the fist. With the finger strike and claw the target area would be the eyes as opposed to the jaw.

Right hook/palm heel

A powerful, accessible and natural punch. Applied with the facsimile of a ‘slap’ using the knuckles as opposed to the flat of the hand to attack. Thrown from the back, right leg whilst in a left
leading stance.

Throw from the outside-in, in a semi-circular motion toward the target (jaw). Throw the fist toward the target, simultaneously thrusting the right hip sharply forward, following the route of the punch. As it connects with the jaw follow through with the punch and the hip for maximum power. With the palm heel the foregoing criteria is the same using the heel of the hand to attack as opposed to the fist.

Right uppercut/palm heel

Thrown from the right leg whilst in a left-leading stance. Bend slightly at the knees so that you are just below the target (jaw). Throw your right fist upward, twisting the fist on impact with the jaw, so that the palm is facing inward (toward your own body). Simultaneously push upward from your crouched position and sharply thrust your right hip forward and upward following the path of the punch. On connection with the jaw follow through with the punch and hip for maximum effect. With the palm heel the aforementioned criteria is the same using the heel of the hand to attack as opposed to the fist.

Elbows

The elbows are almost as versatile as the hands, though usually employed from a shorter range. Because of their close proximity to the body they are, potentially, more powerful than the hands. However, they lack the 'feel', accuracy and cunning of the hands. They may be used off the front leg or rear to uppercut, thrust (sideways) reverse strikes or (whilst in grappling range) as a downward strike.

For hooking and uppercutting with the elbow, from front or rear, the foregoing criteria in the section on hook and uppercut punches is the same, using the point of the elbow as opposed to the fist to attack.

Downward strike (against a waist or leg grab)

Lift your right (or left) arm up high with the palm of your hand facing away from you. Pull it down in a rapid descent aiming the point of the elbow at and into the target (spine, neck, ribcage).

Side thrust (against an assailant attacking from the side)

Bring your right (or left) arm across the front of your chest, palm inwards, as far as it will go, then thrust back along the same route, aiming the point of the elbow into the oncoming or stationary attacker. Target the solar plexus, throat or face.

Reverse elbow strike (against an opponent at your rear)

Stretch your right arm out in front of you. Turn your head and look at the target behind. Sharply retract your arm back from its outstretched position until behind you, aiming the point of your elbow at and into the assailant. Simultaneously step back with your right leg to add weight to the attack. Target the solar plexus, throat or face.

Technically speaking, the elbows are just a shortened version of the 'hands', effecting tremendous power if sponsored by body weight transference.

Equipment

Focus pads (hooks and jab pads)

Potentate amongst training aids is the focus pad. Excellent for the development of accuracy, power, distancing and multi-angled punches.

Each pad is centred by a one and a half inch (in diameter) spot that acts as the target area. Anything but a direct hit on the spot looks, feels and sounds wrong. An accurate shot will feel solid and emit a definite thwack, letting you know that you are on target. They are excellent for anyone wishing to develop a knockout punch.

It is necessary to have a partner when practising the pads. He should fit one pad to each hand and then angle them to meet the demand of your desired punch. Spot facing inward for hook punches, downward for uppercuts and forward for straight punches. The person punching the pads should lead with his left leg (right if right-handed) and punch the pads with his left hand to his partner's left side, and his right hand to his partner's right side. The 'puncher' should employ a guard in normal practice and no guard in 'lineup' practice. The holder should vary the height and distance of the pads (from the puncher). As the puncher hits the pads he should exhale through his mouth or nose, this will regulate the breathing, feed the working muscles with oxygen and aid Kime (body focus), forcing ones muscles to tense on impact of the punch or strike.

Once the puncher becomes familiar with hitting the pads and the holder with holding them correctly, the holder may dictate and control the play by shouting out strikes for the puncher to execute, such as jab, cross, right hook, left hook, then change the angle of the pads to receive the designated strikes. The experienced puncher may attempt more advanced combinations: left jab, right uppercut, left hook. Again the holder moves the pads in time with the strikes. The holder should not stay in the same position all the time, but should move, forcing the puncher to employ footwork. Each time the puncher finishes his punch or combination the holder should move to a different position.

When practising the line-up, pre-emptive strike, it is important to precede each strike with a disarming or engaging statement (as covered in the fence). You must line-up, disarm/engage and then strike as though it were the real thing.

Some people may feel a little foolish talking to an inanimate object (the pads), but realism is of the essence in practice, so I feel it is important to get as close to reality as is humanly possible.

Top and bottom ball

Suspended in mid-air via a length of elastic from floor to ceiling, the top and bottom ball emerges as a wonderful piece of equipment that is excellent for the development of timing and distancing. Some argue that it is the closest one can get to a live opponent; I am not inclined to disagree. It is also a hugely enjoyable method of practice. May be used to practise jabs, crosses, hooks and, for the advanced player, uppercuts.

Line-ups may also be worked on this versatile training aid. The height (and thus the speed) of the ball can easily be altered by tightening the straps above and below the ball. In practice, if you stand close to the ball it will, if you are not vigilant, hit you on its return or bounce back, adding to the realism of the practice immeasurably.

The punch-bag

Probably the oldest method of practice known to the fighting man. Despite its ancient heritage, it is still the very best power-developing implement on the market. Also known to be excellent for developing good technique, stamina and combination punching. Also good for practising line-ups. Because of the punch-bag's mass, accuracy development is not aided here, though everything else is.

If you dress the bag in a sack or even drape some old clothes around it, it becomes a fine implement for practising grabs and combinations of grabbing and striking.

The greatest form of practice, without a doubt, is to be had with a live opponent/ partner with whom you can communicate, learn and progress. Tell each other when a technique feels right, wrong, realistic, unrealistic, powerful or weak. If you do not or cannot train with a partner, make your bag or pad work as realistic as possible using visualisation (see Chapter 20). Imagine the bag, ball or pads are real antagonists and that you are in a real situation. Try to charge every blow with aggression, imagining that your life depends on the success of the said strike.

This method of practice not only adds realism to the training session, it also makes the session therapeutic.