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CHAPTER 2
UNARMED COMBAT – POSTURES
As there are many a multitude of different martial art schools in existence today, each have their own unique form. Each martial art adapting some foundation of form with which a defender could stand his ground, whether it is a basic human up-right form, or adapted crouching form, some are linked to animal or even bird form.
What ever form there is, they all have something in common and that is, being able to keep your body in a balanced stable manner in which to defend yourself.
Mostly, certain postures and stances have been adapted hence their environmental situations. To mention only a few, in China, hard surface, smaller steps were adopted for very quick foot movements, In Japan, coastal areas, soft sand, the usage of longer and lower footing was applied, for solid foot holdings, other forestry areas adopted very low to crouching postures almost mimicking animal movements.
It is of opinion, that postures are more advantages to quick and flowing leg movements, whereas stances are more harsh and fixed, and takes longer to maneuver from one position to the next.
All postures are to be calculated in combination of body balance, timing and distance. A centre line must be maintained at all times to ensure a solid structure of fluent body movement, which also caters for precision target striking methods.
As our topic is about ninjutsu, we won’t collaborate on other styles. A few basic postures (stances in movement) are used and illustrated. We have the posture called “ichi monji no kamae” (low backwards moving posture), this is a retaliation movement, which could very quickly become an attacking movement.
This posture can be described as, like the waves of the sea, moving out and then crushing in with massive force. This movement is classed as a water element of nature, hence the flowing backwards, zig-zag motion, and the powerful follow up sequences.
The reason for the arms being more or less chest to face height is so that immediate follow up blocking or deflecting can take place, on continuous attacks from the assailant.
“ICHI MONJI NO KAMAE” (fig.12-14)
(Fig. 12 – Ichi monji no kamae) (Fig. 13 – ichi monji no kamae, used with
deflection)
(Fig. 14 – ichi monji no kamae, following deflection up with a “nukite”,
spearhandstrike)
The next posture to be described is the, “doko no kamae” posture, this posture is executed in similar fashion to the previous “ichi monji no kamae”, also representing the water element of nature with same movement structure, this time the rear hand is lifted up and situated just beyond the ear, yet upper arm to be invisible to assailant, and leading arm facing to opponents face. Reason of rear hand up, is to be of hidden structure in order to utilize an “atemi” of choice, without the attacker realizing what’s coming, or you can draw a hidden weapon from your back etc.
“DOKO NO KAMAE” (fig. 15-17)
(Fig. 15 – doko no kamae) (Fig. 16 – doko no kamae with
deflection)
(Fig. 17 – doko no kamae with deflection, followed through with a “tetsui uichi”,
hammer-fist strike)
Following posture is the “hira ichimonji no kamae”, this posture is a receiving posture, by means of, a attacker will move towards you, by stepping forward then sideways with arms open, arms spreading up like an eagles wings, you will be able to by-pass the attack.
As you side-stepped the opponent, a turning motion continues the technique to enable you to go behind him which enables you to counter-attack.
This is a wind element form of movement, described as a whirlwind, hence the strong energetic forward turning motion. While in motion of movement it allows you to, a continuation of attacks, without the opponent seeing anything, he just feels.
As it is described, you can’t see it, you can’t smell it, it is just there to feel at the strike of impact.
“HIRA ICHI MONJI NO KAMAE” (Fig.18 - 22)
(Fig. 18 – hira ichi monji no kamae) (Fig. 19 – hira ichi monji no kamae used to
side-step opponent)
(Fig. 20 – hira ichi monji no kamae, followed up (Fig. 21 – Pivoting through, clockwise,
“empi uichi”, elbow strike) after the strike.)
(Fig. 22 – completion of hira ichimonji no kamae, ending up behind opponent)
Another wind posture is the “hoko no kamae”, this posture is executed as the above mentioned “hira ichi monji no kamae”, only this time the hands are held above head level, the hands forming an almost tri-angular form. This posture is also a receiving fighting posture, which can be used to entrap an opponent as you side-step him.
“HOKO NO KAMAE” (Fig. 23-26)
(Fig. 23 hoko no kamae) (Fig. 24 – side-stepping using hoko no
kamae)
(Fig. 25 – after side-stepping, latch on with (Fig. 26 – once into a chicken-wing hold,
elbow, move clock-wise downwards follow move up with a strike.)
into a chicken-wing hold
The following posture is the “hicho no kamae”, this is classed as an earth element form, when executing this posture, you won’t be moving in any direction, only body proportion will change. For in this element you need to use gravity in order to have a firm posture. Although standing on one leg, by dropping weight on the rear leg, enhances a heavy solid feeling. This posture can be used to execute a heavy block or quick deflection, followed by a kick.
“HICHO NO KAMAE” (Fig.27-29)
(Fig. 27 – hicho no kamae) (Fig. 28 – hicho no kamae, combined
with lower “ura ken” back-
fist strike)
(Fig. 29 – after “ura-ken”, follow up with, a “mae geri kekomi”, front stomp kick)
Next posture is a seated posture, “seiza no kamae”, this is a kneeling posture, mostly used for sitting “zen” but, must not be taken lightly, for although seated, it still is a posture from where out of, you can defend yourself, whether it be a strike by hand or by foot.
Seated at ground level, the attacker’s lower body would be the great target for your self-defense structure. It is also possible to execute rolling techniques from this position in order to escape an attack.
“SEIZA NO KAMAE” (Fig. 30)
(Fig. 30 – seiza no kamae)
The next seated posture is the “fudoza no kamae”, this is a cross-legged sitting posture, which can also be used for meditation purposes.
As the above, “seiza no kamae” this is also an earth element posture, and can be applied for either casual sit and listening to the tuition or also used as a sit-fighting posture, where the same techniques of combat or rolling can be applied.
“FUDOZA NO KAMAE” (Fig.31-33)
(Fig. 31 – fudoza no kamae) (Fig. 32 – from fudoza no kamae,
utilizing a fountain
deflection)
(Fig. 33 – after the fountain deflection, latch on to jacket collars, by pulling opponent it will be possible to throw opponent over, by using a spring action of the leg structure. Note the cross-legged form, this enhance body protection.)
The next posture is “bobi no kamae”, a very diverse and changeable posture, 3it could be used in other elemental structures as well, for the sake of a basic demonstration, I’ll describe it using it as a earth element posture of movement.
When opponent confronts you, step almost a half step backwards, do not move the front foot. Leading hand is to be lifted in order to obstruct the view of opponent, your rear hand is hidden at the inner folds of hip and leg, This puts you in the position to counter-attack without opponent seeing what’s coming.
“BOBI NO KAMAE” (Fig.34 – 38)
(Fig.34 – bobi no kamae) (Fig.35 – Bobi no kamae used (Fig.36 – bobi no kamae,
with deflection) followed up with
a “teishi uich”,
palm strike)
(Fig. 37 – bobi no kamae – front view) (Fig. 38 – bobi no kamae – side view)
The following is “kosei no kamae”, this represent the fire element of nature, depicting a energetic and aggressive movement by which you can actually attack the opponent as he attacks you. Motion of movement is forward. Using this element it requires that you don’t hesitate, you must have full intent to attack your opponent.
“KOSEI NO KAMAE” (Fig.39 – 41)
(Fig.39 – kosei no kamae) (Fig.40) – kosei no kamae, (Fig.41) – immediate
executed as a followed up
block with ippon
nukite”, two
finger spear-
hand
Another of the fire elements is the “jumonji no kamae”, same as above it is executed with aggression, and the intention of counter attack must be there. Also moving forward, you can execute this movement as an attacking block method and is immediately followed up with an aggressive strike.
“JUMONJI NO KAMAE (Fig.42 – 44)
(Fig.42) – jumonji no kamae (Fig.43) – jumonji no kamae
block-striking
(Fig.44) – jumonji no kamae, followed up
with a fudo ken
CHAPTER 2
UNARMED COMBAT – BALANCE
With knowledge of the basic posture, it still does not say that you will now be able to stand ground. The big factor is to keep balance and posture synchronized and in- tacked, for you can’t do one without the other. The entire balance structure is based on the hip and abdomen area. For moving any limb or upper body or lower body and it is not synchronized with the hip, abdomen and waist area the balance will be disrupted.
To take the first posture as an example, “ichi monji no kamae” (Fig. 12), as you have read, the movement has a zig-zag effect, retaliating backwards, basically at a 45 degree angle. In this posture we have a weight distribution of 70% on the back leg and 30% on the front leg. There is an imaginary centre line between the leg structure, keep in mind to always have a basic foot length, (your own foot length), spacing between the two feet (width wise). The front foot facing forward and rear foot turned outwards at an approximately 90 degrees. Your top body is kept erect, not leaning backwards or forwards. See that rear knee is bent and situated directly above and inline with big toe. Front leg straight but not locked.
In order to test the balance status, Start by turning front foot to different angles, and note the change in balance, then change angle of rear foot, note changes in body balance. When leaning top body backwards, you should feel much more tension on rear leg, top body to much forward, note weight distribution disrupted to the leading leg.
When ever using a posture, care must be taken to ensure that you can always keep sure balance and footing no matter what posture you’ll be adopting for your self-defense. Common mistakes is to either give a, to long a step backwards and forward or a, to short a step backwards or forwards.
We must keep in mind that, our bodies are based on turning and moving on an axis. Leaning over to much this way and that way disrupts body balance.
By experimenting, use a willing partner, ask him to stand naturally in front of you, (use Fig. 3 on page 16 as an example). Tilt his head backwards, see how easy his balance is disrupted. Let him stand with arms wide-spread, gently push his one arm backwards and watch the cork-screw effect disrupt his balance. Also when lifting your leg higher than waist level, you stability is also lost. By executing kicks people tend to let their hands hang loose and fly all over. By practicing kicks learn how body balance stays in tact by, keeping both the hands centered in front of the chest.
All of the postures named in previous paragraphs work on the above mentioned basis.
It could be of benefit when in combat, to understand the movement of body motion, for you will be able to manipulate the opponent’s movement, when he is moving, this way or that way.
When maintaining balance, it is also essential to use the alignment correctly. As I have explained how to get your center line you must now learn how to use it.
In most common combat situations, you would most probably start punching, striking or kicking the “object” in front of you.
Now remember to have the balance kept in tact, by means of keeping your center line, the next step is to follow the guideline and matching your center line up with the silhouette in front of you and not just the point of the middle of the shoulder to shoulder.
ILLISTRATION 1
A
B
C
If you would be apposing you opponent as per illustration 1, above, your left foot in front opposing side “A”, and right foot “your strong-side leg” to the rear opposing side “B”, your center line would be matched up with line “C”.
All your targets will be between A and B. however if you choose you target to be the solar plexus, and your target changes to 45 degree angle you will have to change position or choose another spot to strike, within center line.
Illustration 2
A
B
C
As you can see, your target area has minimized due to the smaller target in site, always remember there are other targets that also could be attacked. If you wanted to strike the lung area, you would then be attacking from this line of attack for the lung striking area is now exposed.
It is to be understood that movement, makes way for a new line of attack. Therefore you must see that when moving you constantly keep your balance by upholding your center line. For if center line is not maintained you certainly will lose balance.
Once you have lost balance, your postures will be weak and counter-strike power won’t be so effective.
Due to the well incorporated postures and elemental movements, of all the possible direction in which your opponent can attack you, you should always up-hold an advantage position over him by keeping your centre-line in tack.
CHAPTER 2
UNARMED COMBAT – TIMING
Timing of movement in combat is very crucial, for you can either, strike block or deflect to fast or to slow.
When in basic sparring, it can be noted that when postures aren’t correct it affects the balance and thereafter the application of the strike or block or deflection.
Care must be taken in considering the distance between the two combatants, for it is here where the timing comes into play. To synchronize movement in battle is most certainly not easy, for it takes a lot of time effort and hard practice.
At the end of the day, after all the hard practicing sessions, you will have come to note that, you have learnt to read the movements of the opponent’s body motion. And by learning not to block or strike or deflect at the mere twitch of his body or any attacking limb, but to wait until the attack is committed, then only to use quick decisive blocking; deflections or counter strikes.
At training in traditional styles of combat, it is noted that opponents usually stand at least 2 meters away from each other, at this distance it is possible to counter, for the eyes pick up the movement very quickly and there is enough time to counter.
Today in modern society, it is usually a different view, for assailants are now a days very sure of themselves and would pick on some person they think they could dominate very easily. To this affect they get very close and personal, which is very convenient for the type of training “ninjutsu” offers, for the style I teach caters for close-range combat.
By utilizing correct postures or stances, it is possible to merely use a twist of the body to c