Vital Targets – Why Printing Points Just Do not Really Work

Vital Targets – Why Printing Points Just Do not Really Work

A History of Experience

It was the early nineties; I was a young martial arts student who had come to the idea that there was something like a magic death attack & # 39; It was over the pages of martial arts magazines, there were books about it, it was the fair and Jean-Claude Van Damme even made a movie about it. I remember watching the movie "Blood sport" with Jean-Claude VanDamme. He painted Frank Dux's true life character in a non-worthy life story by Mr. Dux was made to make itself known. It was a story of a Westerner trained in the mystical art of "Death Touch" or "Dim Mak" and became the first champion of an old tournament where the death races were sanctioned. It was and is quite entertaining today. As a martial artist I knew that; That was what I wanted to be.

For years I studied the fighting and wrestling when I was introduced to late Master Stan Hart. My teacher and beloved friend, late master Royal Seymour, wanted me to attend a seminar with him where secret and prohibited strikes and points would be taught by the application of traditional karate shapes or Kata. When we arrived, I was told that I could not be in the room because I was too young and not a black belt. Master Seymour was on intimate level with Master Hart and convinced him to at least observe me. The sessions were days long and completely closed to the public. I felt honored and privileged to be able to watch alone. Master Hart was possibly the largest expert in the art of Hakuda and Hakushu in the world; And a very decorated master of Ryu-Kyu Kempo. He studied with world-renowned author and dazzling guru George Dillman. Both Dillman and Master Hart were direct students of Taeika Oyata, who was the family art of today's Shurite / Ryu-Kyu kempo. I looked closely at how Master Hart would teach and demonstrate the strikes by just touching or typing certain areas of the anatomy. I have taken the grips and links that Master Hart would like to apply, urged to put his demonstrators of students into painful pain. I knew that this was what I wanted to learn and apply to everyone. If he would only accept me as a student.

Almost a year went on and I could still do no more than look at this training. When Master Seymour and I would return from these lessons; I would immediately ask him to do the techniques for me. Often they did not work for me. There was, however, a limit to look at; I was learning. Class after class I would look and then become a punchdummy after class and yes, I would also practice at Master Seymour. Master Seymour undertook to teach me the training. Finally, Master Seymour came to Master Hart and declared that I was learning and that he actually taught me. He could convince Master Hart to let me participate in the classes. I became the class dummy. All that Master Hart would not do is knockout me on. I was too young. I was still not allowed to perform the techniques. I was known as a Uke. That is basically the one who is thrown and lost. Over the next two years, I learned the techniques of Master Seymour and Master Hart by storing.

After two years, I was told that I could finally participate completely; But he refused to classify or certify me in the art. When time passed, and master Seymour convinced him of my careful training; He finally accepted me as a full student and years after the first training I was ranked. Over the years I learned pain points, points off, points of excitement, recovery points, herbs and more. I saw the points put on time. I have performed these techniques often and have performed a lot of me. I have also seen many of these techniques fail. I saw a pattern. Certain techniques worked on some and not on others. I have also noted that we have never learned training. We have always trained these techniques under pre-determined and choreographed attacks. I also found a lot of the techniques difficult when it was impossible to apply for live fighting or funny scenarios.

Years passed and I joined the army. I began to learn military camping that did not focus on small pressure points and mystical goals. I noticed how efficient these techniques were and how easy they would learn. I became involved in No Holds Barred fighting; The real "Bloodsport" and I could not do any of these techniques. In fact, there were no champions who were highly trained in these mystical pressure points. All the pressure experts were lost. As the years passed and I researched why these methods did not work, I began to find my answers.

Why pressure points simply do not work in a fight

1. In a fight the heart rate can exceed 180 beats per minute

] If the heart rate meets or exceeds 180 BPM, we lose all the great motor skills and functions. Studies have been conducted that show that expert pianists can not play after a simple training career, with their heart rate reaching or exceeding 180 BPM. This is through the design; When heart rate meets certain levels, blood flow only goes to the areas required for the fight or flight response. This is how the body is capable of extreme physical performance. The blood goes only to the big muscles needed to run and fight. Only most motor functions exist in most. It becomes very difficult for the body to touch small points. Even the brains go into survival mode.

2. In a fight there is an adrenaline rush

In extreme situations our body changes in the "fight or flight" mode. Adrenaline spikes and many of our nervous receptors are not sensitive. Dopamine and cortisone products produced naturally in the body are released to help cushion our body from pain to get through the survival situation. Adrenaline acts as a kind of jump start in many situations. There are many registered incidents of people who are shot several times and continue to fight the situation. Adrenaline causes the body to numb and causes many other hormonal changes that can execute the ability and feel that this mystical pressure point is unlikely to occur, if not impossible.

3. Bodies Are Different

I can first of all experience that these strikes are largely dependent on body structure and type. The more lean and weaken the body, the easier it is to access the nerves and pressure points. Sometimes when someone is muscular or obese, the techniques can be performed differently or do not work at all. If someone is longer or shorter, decide to access the points. Then there's the genetic factor. Some people have thicker nerve sheath than others. Bottom line is that you have the risk of tackling one of the controversial techniques, but a backup plan.

Which goals work?

The bad sensei of the karate kid film says, "If a man can not see that he can not fight, if a man can not breathe he can not fight and as a man Can not stand he can not fight. " This evil fictional character was on something. Recently I had a debate with a parent of one of my Karate students. She was interested in why I took more of a progressive approach to martial arts, rather than the traditional ones they once trained. I was a little pumpkin and could not resist mocking and embodying those who believe in and practicing "Death Balls" and throwing "Chi balls" . She asked why I had this attitude against the mystical. I replied that it was "because these things are not scientific." She brought religious belief in the equation by saying that God was not scientific either. She had a point because many believe in an entity that can not prove. I assured her that God and Faith have nothing to do with our conversation. I began to explain that I only learned things that could be furnace and demonstrated to work. We talked about vital goals. She had no idea of ​​my expertise in this area. I simply explained that I have provided training in mystical striking theories for years, as well as anatomical and bio-mechanical striking science.

I explained that there are some things you can not deny. "If a man can not see that he can not fight, if a man can not breathe, he can not fight and if a man can not stand he can not fight." I will now cover some real vital goals that are guaranteed in every situation:

1 . The eyeballs and sockets

2 . Throat

3 . Ears

4 . Destroy the joints by moving them in the opposite way they were intended.

5 . arteries

6 . Any other soft tissue area. I.E. Eyes, ears, nose, throat, neck, groin and base of the skull.

These objectives were designed to create body function. By rejecting these goals, the body can not function.

Take the traditional and mystical perspective

Finally, I want to leave you with the reader with some relief. Everything is not lost. These ancient techniques for detecting and manipulating pressure points are a product of a primitive era when mysticism had a major influence on life. I personally witnessed and learned a lot of these techniques and looked at a controlled environment. There is something to it and I definitely believe that this art must be retained and passed on as art. I strongly believe that the principles behind this training are more of a healing value than a martial. When it comes to a life and death scenario, I do not want to roll the dice and trust them. I want to go with what I know will work. Master Stan Hart published an article about fighting arts.com. The title was "too much ado about pressure points". This was an article I never knew until after his transition in 2007. He talks about the practical or the lack of many pressure points. This is something he never spoke directly about when I trained with him. He also had a webpage for the maintenance of this kind of techniques.

Looking back on the many years I have trained and agreed with Master Hart; I now realize that he has never pushed these methods as street-fighting or for combatant use. He promoted many defense and defense tactics alone; Who at one point even admitted the reaction itself is not the way to go in a real fight. He has always promoted the art for what it was and had a great love and respect for conservation. Master Hart was very different from his rival George Dillman, who promotes mystical striking as effective and practical in street or combination situations. There is no doubt that his purpose is exclusively monetary.

Conclusion

I learn the art of Hakuda and Hakushu that I was lucky to have learned from Stan Hart myself. I have a lot of respect for many of the science behind many of the principles and for the art itself. However, by the amount of time and care needed to teach these goals and methods, I only train a limited number of students. I'm sure to explain that when I teach pressure points, it's only for preserving an ever lost old art. I concentrate more of my teachings on the popular people today about practical martial arts.

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