Wednesday 12 February 2014

If I had a dollar for every time ….


For the last couple of years people have had great delight in trolling Krav Maga supporters. They are good candidates for it as some of their practitioners are heavy on the dogma.

Generally its MMA exponents that seem to be enjoying themselves at the Krav Maga supporter’s expense. The challenge issued by MMA is to join them in the ring to test some of Krav Maga’s supposed effectiveness. The response is ‘we cannot use our elimination techniques because the rules of the ring won’t let us, and anyway it is only for use in real life and death situations’. MMA then say it’s unproven and you are likely creating fantasies by only training within your school. Krav Maga respond by quoting their lineage back to Israeli Commandos and that MMA is just a sport so what would it really know about self-defence.

Keeping Krav Maga exponents out of the ring is a good thing for their marketing as they probably aren’t going to thrive in that environment even if you allow what some people regard as 'dirty fighting'. Their counter claim that MMA is a sport could be considered to be a petulant rebuttal but Krav Maga does have a point, namely that a martial art should be trying to account for everything in a situation, including weapons. They are focusing on a holistic vision of the arts, which is a good thing, but it’s their claims of it being a supreme battle proven system that makes everyone else roll their eyes. If only the rebuttals wouldn’t start with – I know this guy in the defence forces from Israel who ….

It doesn’t help them that people's vision of the arts in general is somewhat skewed. Students tend to see it as mainly unarmed defence, but a lot of martial arts incorporated the use of weapons as a significant part of their art.

Ignoring weapons for the moment, there is no doubt that Krav Maga practitioners can be good at unarmed combat. However, is their system going to create that ability in every student – I doubt it. The ones who get the practical experience they need to adapt their skills to suit the requirements of battle will do well. Krav Maga started as a collection of boxing, Judo and wrestling plus a few self-defense moves and it evolved over time. You would expect it to keep evolving and incorporating other ideas. Purity of system is an idea at odds with battle.

Anyway, it's not the system that matters in the end. Good fighters generally master a couple of things and tend to apply them with a high percentage of success. Plebs generally learn a new technique or a variation thereof for every situation, and have a low percentage of success on all of them.

Fighting multiple attackers is much the same. You need a couple of concepts that you can apply with a high percentage of success.

Thursday 6 February 2014

Be your own teacher


Fighting against multiple attackers is not something that most students of the arts are good at. Their instructors usually don't have solutions that work under battle conditions and there is a lack of good training programs in general.

Traditional training regimes tend to break everything down into well-defined, technical pieces. While this can create workable skills for a single opponent battle, it is generally a delusional process for a group attack. The pressure when you face a group of attackers has a tendency to wreck technique and technical approaches. Training regimes for a group attack end up having little resemblance in battle to reality.

Your instructor can actually set you on the wrong path to developing the skills you need to handle multiple opponents. Their ego demands that they can work out what is happening and provide a set of movements that the student will copy and get to the required answer. They translate every exercise and movement to fighting; they cannot help themselves, even when they know better. It is garbage more often than not, and yet the martial arts world revolves around meeting this expectation from the student.

The real barrier to progress is created by the student and comes from religiously following their teaching and rarely questioning what they are given. When the technical answer doesn't translate to fighting, they accept the idea that they will (hopefully) master it in the future, and move on to the next technique. This might stop them from getting too bored or frustrated, but it teaches them a bad habit; it teaches them to not be responsible for developing their art.

The philosophy in the arts is ultimately about doing something for yourself, but this is in conflict with the business model of the school which is about creating followers and possibly franchising the whole show. Schools then need to rigorously maintain the style and have the right lineage, etc.

So how do you get to a worthwhile training program for multiple attackers and avoid being led astray? I can guarantee that the program won't resemble what you are doing for single opponents. One of the hints I can give you is to think hard about how you can affect multiple opponents. There is a catch however in that the more time you take to affect the opponent, the more time you give the rest of the group to take you down.

Ultimately shielding and similar strategies will not work against the members of a functioning group, neither will you be able to knock them out with a single strike. Generally either the individual runs and dodges through the group without really affecting them, or the individual comes up to the first attacker and gets stopped, a bit like a wave hitting a sea wall.

What you rarely see is someone who accelerates into the group and can move through attackers. The first step in the process is to train your body so that it can hold together appropriately under resistance forces. Once you have this then you can begin to develop the skills your need for battle. The type of training that enables this skill is rarely done to the degree it needs to be done, particularly in training regimes that focus mainly on single opponent battles.

It takes very little time to successfully train a group that can take down most martial artists. So make sure you test your skills and use the experience to improve your training program.