Low Tech Combat is a great site focused on applicable, scientific means of self defense proven through study and case scenarios. I've always enjoyed Adam's work there and was pleased to represent some of the traditional side. Although I hardly speak for everyone, I felt like it was a good chance to discuss the differences between classical and traditional training, and how valuable each can be to real self defense.

Less discussed is the role parents play in the development of young martial artists. The decision making of parents can drastically alter the length, quality, and value of a student's training.

Over the years I've gotten to interact with parents of all variety; their priorities in the dojo have been just as varied. Some parents consider martial art training a convenient alternative to day care. After all, in martial arts the child gets physical activity and regimented social interaction. These parents will generally use the dojo as a drop off point while they attend to matters elsewhere.

On the opposite end of the spectrum are parents who watch attentively every class. In fact, some find it difficult not to interact with their child if they see any misbehavior or waning focus. These parents essentially have one foot on the training floor.

Mixed in between those two stereotypes is every gradation you can think of.

For this article, let's focus on parents who play an active role in the martial development of their children and explore some of the heftiest hurdles they'll encounter while participating in their youngster's unique journey.

The Motivation Rollercoaster

It's astounding watching students as they fluctuate between utter infatuation with martial arts and abject horror at the prospect of training.

This is true of artists of all ages and experience levels, but never is it more palpable than with children.

A parent's job is easy when the child is enthusiastic. It doesn't take much work to get them packed into the car and off to the dojo. However, when that enthusiasm drifts, training day can turn into an epic slew of whining, pouting, and negotiations.

The trouble doesn't end at the dojo door either. Once the child is out on the floor their techniques and stances tend to have the precision of a wet noodle. Every drill becomes a chore and making faces in the mirror becomes a much more attractive alternative to paying attention.

The parent, seeing this, is left to wonder if the Sensei is noticing the behavior or losing patience. They then have to decide if it's right to chime in and try to whip their child back into place.

The parent also has to wonder if they are driving their child too hard. What if school, activities, and training are just too much?

Managing the motivation rollercoaster can be daunting. As a Sensei the mission is clear - continue teaching the student for as long as the parent brings him/her, or until they are old enough to decide for themselves. For the parent, knowing when to push through resistance and when to give in is a psychological puzzle, the solution of which requires further discussion.

The Setback Conundrum

What is one of the biggest complaints about traditional training in the modern world?

The proliferation of rank.

Nowadays a black belt is something easily attained by any neighborhood 12 year old. If you pay enough and show up enough, you're good to go.

The modern day psychology of reward-at-all-costs has created an interesting paradigm in the world of martial arts. Many schools have integrated inflated rank systems, filled with a myriad of stripes, belt colors, trophies, and patches. The purpose of which is to provide a steady stream of external rewards in order to keep students satisfied.

Of course, the fees associated with such programs also helps the profitability of the school, but that's not our concern here.

Let's assume for a moment that the majority of the general populace accepts the idea of steady-stream-rewards.

In contrast, let's analyze one of the most powerful tools of an old school dojo: failure.

In many old martial circles you'll hear the phrase "Nana korobi, ya oki", which means "Seven falls, eight getting up". The phrase is used to indicate a broad sense of resilience throughout life, but is acutely demonstrated in martial arts training. Not only are you literally thrown down in martial arts, but you also experience roadblock after roadblock as you attempt to improve your body, mind, and spirit.

One of the most top secret aspects of being a Sensei is intentionally setting up challenges for students to overcome. A good Sensei doesn't want to spoon feed everything to students; instead they want to encourage effort in the right direction.

This is one of the fundamental crossroads where Eastern and Western cultures tend to clash. Eastern aloofness and Western directness can react in a destructive way, ultimately causing a student to grow agitated and quit, or they can result in a powerful combination of external knowledge with internal inquiry.

So...how do parents fit into all this? They need to be able to watch their children fail and encourage them to get back up and try again.

Certain pressures will tempt a parent not to engage in this practice. The first pressure is from the child him/herself. Failure never tastes good, and the child will want to quit repeatedly. It can be a tough slog to get them to push through. The second kind of pressure is societal and ego based. Some parents refuse to see any fault in what their child is doing, even if a Sensei does. Furthermore, if an egotistical parent sees other children progressing faster than their own they will have the tendency to accuse the Sensei of favoritism, poor teaching, or other kinds of incompetence. At that point, they can allow their child to quit without any sense of guilt or fault.

 Navigating these subtle psychological factors can be challenging.

Recognizing Bad Teaching

Let's make things more complicated. As mentioned above, a parent needs to be careful not to fall prey to their own ego and the emotional swings of their child. This includes not projecting fault onto a Sensei if success isn't immediate.

But what happens when a Sensei actually IS at fault? Believe it or not (but believe it), there are a ton of shoddy Sensei out there.

Sometimes instructors have to be tough on students. As stated earlier, putting up intentional roadblocks can help students overcome their own perceived limitations and teach them qualities of resilience, determination, and self confidence (that all too buzzed word in martial arts circles).

But a lot of Sensei aren't so altruistic in their motivations. Many are guided by how much money a parent has given, how many sponsored events they've attended, and other even more nefarious factors.

Sometimes it's easy for perceptive parents to pick up on the difference between a tough teacher and a bad one. Let's take a look at some common red flags bad teachers may exhibit:

• Militaristic dominance over students, including insults, injury, and abusive regimentation.
• Touching and feeling of an uncomfortable variety or in a manner that clearly isn't related to technique.
• Explicit favoritism, providing perks to students that are above and beyond the norm of their rank.
• Probing comments about a student or parents relationship life, physical appearance, or dating life outside the dojo.
• Excessive grouping of students into pay tiers, sometimes through the addition of many special "clubs".

Unfortunately, bad behavior often manifests itself in more sublte ways. Teachers with unscrupulous motives tend to be good at hiding it, and only after months or years of analysis will a parent catch on to the true motives of the teacher.

There's no easy solution to this problem. Parents simply need to keep involved and keep their eyes and ears open. Most of all, they need to be honest with themselves where the problem might lie.

Letting Go

Most instructors hate to admit it, but some students simply aren't cut out for long-term training. Martial arts can be arduous, thankless, and boring. Not everyone was born to fall in love with them.

As mentioned above, one of the core responsibilities of a parent is to help their child push through those times of low motivation and setback. Sometimes this can equate to literally/figuratively dragging the child to the dojo.

How then is a parent to know when it's time to let go?

As you might have guessed, there is no easy answer. Sensei, of course, will recommend you push through any and all obstacles because they know the lofty value of long-term training. They want your child to have a life enhanced by the arts (or they want your money - remember, there are bad teachers too).

Parents, on the other hand, need to help balance all aspects of the child's life. Kids are samplers by nature; they tend to enjoy an activity for awhile, get bored, and move on. Of course, pushing through that sampling tendency is what turns a good young student into a great mature student. But what if it isn't sampling, and the child would be much better off elsewhere?

Of course, you can split time between martial arts and other endeavors, but then you run the risk of overwhelming an already tight schedule.

The best overarching advice I can give in this regard involves "the spark". Development in the arts is unique for every single person that engages in practice. If a parent is observant, they might see certain shifts or sparks in a child's development. Unexpected moments of intensity, focus, self defense skill, good behavior, courtesy, etc etc. If a parent sees these things and believes that the arts are turning their child into a better person, pushing through resistance might be appropriate. If they are not seeing any positive gains, or even negative tendencies of bullying, disobedience, disrespect, etc., it may be time to move on.

Grazing the Surface

Being a dojo parent can involve complex psychology (I've seen it). It can be just as complicated for the young student (I've lived that).

Sometimes parents can be creative with solutions, such as joining the class themselves. If they are on the floor, it's easier for them to 'lead by example', and of course the child recognizes that since a parent is nearby behavior is a requisite of class. But ultimately, nothing external will be a permanent solution. The parent and Sensei can guide and inspire, but they can't decide what's in the heart of the student.

The problems and solutions I've offered here are just a hint at the broader picture. If you are a Sensei, parent, or student, the more you learn about long term success in the martial arts the better equipped you'll be to deal with twists, turns, and roadblocks along "the way".

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3 Reasons to Learn Boxing:

1. Functionality

Boxing at its purest forms is functional and brutal. By partaking in boxing, you very quickly learn what works and what doesn't work. Fighting goes so far beyond throwing and defending attacks. It's about learning how to fight without getting tired, how to minimize damage of landed punches, how to follow up after a missed punch, how to counter a counter, how to apply offensive pressure without striking, how to use defense as offense. Beyond on all that is how to let a fight unfold as it should.

While form and technique are important, destroying your opponent is even more so. This distinction is often lost when fighting arts take the route of being "less brutal". All fight training by nature will become brutal if they dare to be functional.  There are few things as brutal as learning how to trade blows at high speed with an opponent only an arm's reach away. The use of boxing gloves prolongs the beatings making it possible to exchange more blows without fight stoppage due to cuts.

2. Athleticism

While every fighting technique should emphasize the use of technique over physicality, athleticism is still of utter importance. Being athletic is what allows you to train at higher intensity, train for longer periods, and develop higher level efficiency. In reality, athleticism and skill go hand in hand. As you become more athletic, your skill and ability will rise, furthering the upward spiraling cycle of athleticism and skills.

Boxers are in incredible shape, there is no denying that. Boxers are however made of a different kind of athleticism. They are stronger, faster, have more endurance, and can take far more punishment. YET, they can do all this without really trying. They remain strong throughout an entire fight yet rarely fight above the 50-70% pace. This is a result of boxers learning how to fight while relaxing. In fact, it's the only way to fight.

At some level, there is no excuse for not having superior athleticism. There is no excuse for being slower or weaker than your opponent. If you are athletically superior to other fighters, boxing will allow you to exercise that advantage. Moreso, boxing will help you develop that advantage to new levels. An extra inch of arm reach can help you win unscathed. A split second difference in speed will help you knock out opponents before they can respond.

3. Rhythm of Attack

I dare say that boxing is fought at the highest speed of attack. Why? Because the combatants are almost always in range of each other, in a style that is fought in combinations. When you have an art like kicking, it's common to see distance used as defense. (Using distance as defense in boxing is unpractical because you spend more energy running than you do blocking.) With an art like grappling, smothering can be used as a defense. (Using smothering as a defense in boxing can be dangerous because you run into more punches.) The main difference is that grappling & kicking attacks are more easily thwarted with a single evasion.

With boxing, evading one strike still allows the attacker to threaten with many more. Not only will you learn how to fight at a higher pace, you learn how to defend at a higher pace.

For the best examples of boxing's functionality, athleticism, and rhythm of attack, I suggest watching videos of:

- Pernell Whitaker

- James Toney

- Floyd Mayweather

- Prince Naseem Hamed

- Roy Jones Jr

- Mike Tyson

- Manny Pacquiao

- Sugar Ray Leonard

- Roberto Duran

I would suggest for you to watch their training videos and sparring videos. There are few other arts where you can see regular demonstrations of theory and principle being applied successfully on a regular basis.

Most people don't know how to watch a boxing fight. Most people watching a pro see an even chess match. I would beg some to try watching a video of a pro fighting an amateur...two come to mind:

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The actual execution of the kata announcement varies wildly, from calm utterances to screams that cause nearby glass to shatter. Interestingly, the act of yelling a kata name is extremely old and almost universally practiced among traditionalists.

Lately I've been doing it less and less. I'd like to share some thoughts on when I think it's appropriate, and when you might be able to forego it.

When To Shout It Out

There are a few realities in modern training that make kata announcement necessary. The first, and most obvious, is tournament play.

Judges can't possibly know what form competitors will be attempting, so it's prudent to give them a heads up. Of course, judges of different styles many never have heard of the form anyway, and even if they have their style might perform it differently. Nevertheless, it seems like fair courtesy to inform them.

But if you walk up to the judges and tell them the name of the kata, do you need to yell it again right before you start? By informing them of your name/style/kata, didn't you negate the need for the big name-scream-dramatics?

I've always found the polite, informative introduction to be more prudent.

Another time kata yelling seems appropriate is in a big group setting. A teacher has to keep all pupils on the same page. When a student is first learning a kata, it is quite helpful to repeat the name in context over and over again. This repetition helps learn proper pronunciation as well as mental association of the name with the movements.

When I'm teaching, I'll generally announce the kata and wait a moment for the students to repeat. We'll all then begin together.

Declaring the kata name puts everyone's focus on the kata. I can use the tone of my voice to indicate what level of intensity students should be expending. If I say the kata softly and calmly, they can infer that our intent is to go slowly and discuss things. If I say the kata forcefully, they will know that a high level of power is expected.

By saying the name of the kata, I can also transition from one form to the next without an extended explanation. In a dojo environment where there are multiple students, this seems like a reasonable practice.

Foregoing the Shout

When I train alone or via the older Okinawan methods of 'independent togetherness' I rarely announce kata because the intent and focus is much different.

When training a kata for depth, a severe amount of visualization must occur. The mind becomes like a taut string. Intensity has to be carefully balanced with control and purpose. This mixture of emotional content and physical expression is directed at the imaginary yet vivid opponent in front of you.

Shouting the name of kata in that environment is awkward and rips you from the moment, reminding you that you are practicing a form. If there were an opponent in front of you, you certainly would not begin your life protection by yelling kata at him/her.

You might argue that yelling the kata gets you amped up or puts you in the right frame of mind for combat, but I don't think that is a good habit to rely upon. "Flipping the switch" into a mental state of readiness should occur quickly and silently; a subtle shift that causes the hair on the back of your opponent's neck to stand on end.

There is also a bit of ego and showmanship that can slip in with kata yelling. It's a moment that can be used to draw attention to oneself, even in a group setting. Therefore a student may become obsessed with yelling louder than anyone else. During individual performance, they could be worried about how tough and intimidating they want their shout to sound.

It's all distracting, peripheral stuff that doesn't relate to good performance of kata.

How to Shout

To me, the best kata announcement is serious but not obnoxious. Whenever I have someone screaming kata at me it makes me doubt their focus. Screaming is a result of uncontrolled anger and intensity. These aren't the makings of a skilled martial artist.

On the other hand, meekness or lackadaisical tone gives me a clue that the practitioner is not yet in the right state of mind. What are they waiting for? I feel like the focus should be activated well before the kata name is spoken.

Final Thoughts

You won't catch me lecturing people away from saying kata names before performance if they want to do it. In fact, I do it myself in certain situations. But at times it feels like it goes against the true nature and culture of Okinawan karate (my personal background). As such, I'll be voicing my kata less and less....

This one is a doozy: "How does one learn to become a good teacher? Can lower ranking students teach?"

When considering this question I quickly realized that I couldn't create a prescription for what makes a good teacher. There are far too many varied approaches that can work given the right personality and skillset. Nevertheless, I think I distilled some ideas that can help in recognizing the path of a "sensei" in the classical sense (that is to say, what a sensei was meant to be and what they can be in the modern world). Please enjoy:

I know this video is pretty extensive, so here is a breakdown of some of the main bullet points I touched upon for your notes and reference:

What a Good Teacher Isn't

A Coach

• A coach is responsible for the physical performance and readiness of his athletes.

• Some modern instructors do fit that description, especially in the realm of MMA athletes and tournament competitors (like tkd olympics).

• The classical sensei's subject matter is far more pressing. They are concerned with their students taking other human life in their hands. They have to impart the mental and character skillset to recognize the repercussions of damaging a life, not just on the targeted person, but on their family, on the student, on the student's family, and in a broader sense, deciding what kind of societal impact the decision process will have (will this individual go on to hurt others?).

• There is also inherent right and wrong matters that a sensei must address. Whenever we see a martial artist doing something disgraceful, we suggest that his/her sensei should have helped him/her in controlling their abilities. In old times, every action of a student reflected upon the sensei significantly, so there was a deeper connection than mere coaching.

A Life Guru

• Being a sensei does not grant someone automatic license to give advice on all life matters.

• Most sensei are not professional trained psychologists, therapists, financial experts, etc. Therefore they are not qualified to give relationship advice, financial advice, etc etc.

• In classical times, the sensei or sifu was a much more integrated part of village life. Their training often made them not just the most deadly individual, but also the best trained in medicine, herbs, physiology, and more general education like literacy, government policy, etc etc. These sensei were highly integrated into a town's ecosystem. Sometimes farmers would ask advice for when to plant crops and parents would seek out help for naming their children (so as to avoid bad luck).

• That is no longer the case for modern sensei. In our connected society we have real professionals that do all these other things, and modern sensei are not trained to be village counselors.

A Good Teacher...

• finds the proper balance between coach and guru.

• will focus on passing on the curriculum as it was handed down to them, preserving it as best as possible for the students to explore. They'll resist the ego stroke of flavoring everything with their own flair.

• will understand how to minimize the politics of rank and ego.

• will find the balance between physical technique, mental tuning, and character development. Too much of one will begin to sacrifice the others.

• will understand when to guide students strictly and when to allow them space to explore on their own.

• will do their best to help their students surpass them, giving them tools when they are ready and without ego-based restrictions.

• will recognize the difference between a student who is ready for higher learning, and one who has yet to develop the right character.

To learn how to become a good teacher, you need to pinpoint those unique aspects of instructors you've met and absorb them. You need to find ways to embody those things that a teacher should be and avoid those things a teacher shouldn't be. That's why lower rank students can help teach. They can assist higher ranks or even take classes once in awhile. But it takes many years of analyzing their instructor and understanding what makes him/her so special in order to integrate that into themselves, and be able to use it to benefit students.

This time I'm upping the ante and listing not just the best kick, but the best martial arts training montages of all time. That's no mean feat as there are some epic sequences to consider.

As I began my research this time around I decided to create a series of criteria upon which to grade each montage. This helped me in ranking them and deciding which ones would make the cut and which wouldn't. Here is a quick description of each criteria I used (this works on a 5 star system, * as the poorest grade and ***** as the best):

• Training Intensity: How hard is the trainee working? 1 star means things aren't too intense, 5 stars means I broke out in a sweat just watching.
• Campiness: Does the scene hit all the heartstrings that make montages a classic piece of cinema corniness? 1 star is not at all campy, 5 stars is deliciously so.
• Music Awesomeness: Part of a successful montage is epic music that makes you want to run out your door and do situps. 1 star is not too inspiring, 5 stars is chest poundingly awesome.
• Montage Purity: How closely does the scene follow montage format? A good montage will show many cutscenes of the protagonist first struggling, then growing, and finally demonstrating super skills. 1 star means it's a montage (but not that pure), 5 stars is perfect montage gold.

 Ready? Here we gooooo:

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11. Ninja Assassin - Raizo's Routine

• Training Intensity:      ***
• Campiness:                *
• Music Awesomeness:  ***
• Montage Purity:          **

This montage is decidly low on camp, and doesn't follow the strictest guidelines of montage purity. Nevertheless, the action is undeniably cool and has a unique style that makes it a pleasure to watch. Directly after the clip shown below, the movie takes us into Raizo's past and shows us more of his development. That is why this movie makes the montage list in place of others like The Matrix, which have singular training scenes.

Take-away exercise to try: inverted pushups on nails.

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10. Kill Bill 2 - The Cruel Tutelage of Pai Mei

• Training Intensity:      ***
• Campiness:                ***
• Music Awesomeness:  **
• Montage Purity:          ***

This scene features one of the best characters in all of martial arts cinema: Pai Mei. Pai Mei is a "white browed" taskmaster that has appeared in some classic kung fu cinema, and indeed this whole training sequence honors the campiness of those old movies. It also features the talent progression in our hero that explains her highly refined skillset.

Take-away exercise to try: One inch punch. Or the five point palm exploding heart technique.

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9. Mulan - Let's Hear it For the Ladies

• Training Intensity:      **
• Campiness:                **
• Music Awesomeness:  ****
• Montage Purity:          ****

You didn't think I was too tough and hardcore to ignore this montage did you? I don't remember many scenes out of Disney movies, but this one really sticks out. It hits all the great montage notes of a helpless hero, a band of doubters who are eventually won over, and a tough but honorable teacher. Throw into the mix a message about gender equality, and forget about it! It was a tough call between this and Kung Fu Panda, but the inspiring music put Mulan over the top.

 Take-away exercise to try: Breaking concrete with your face.

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8. Ninja: The Final Duel - Water Spider Madness

• Training Intensity:      ***
• Campiness:                *****
• Music Awesomeness:  **
• Montage Purity:          **

I almost wanted to break my own rating scale and put 6 stars for campiness here. The ninja techniques demonstrated are exactly the kind of weird nonsense that makes old kung fu movies so fantastic. Sure, it perpetuates some bad stereotypes...but...you know. It's fun. This clip would have ranked higher if it followed the montage format a bit more closely and had more mind blowing music.

 Take-away exercise to try: Water spider assault.

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 7. Batman Begins - The Will to Act

• Training Intensity:      ***
• Campiness:                *
• Music Awesomeness:  ***
• Montage Purity:          ***

Modern films don't feature montages quite as much as they used to, and when they do it is often for comedic effect. Batman Begins is a serious affair and displays a well polished training scene. In a lot of ways, this clip rates lower than some of the previous entries. However, when you take into account the quality of the film and acting I believe this is the appropriate place for it.

 Take-away exercise to try: Dealing with emotions and stuff.

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 6. Snake in the Eagle's Shadow - Jackie's Ring Work

• Training Intensity:      **
• Campiness:                *****
• Music Awesomeness:  **
• Montage Purity:          ****

This movie is one of the Grandaddies of Kung Fu Cinema, and the training sequences are just as influential. Movies like Kill Bill and The Matrix would not have been the same if it wasn't for efforts like Snake in the Eagle's Shadow. Maxed out on campiness, this montage deserves it's high placement.

  Take-away exercise to try: Egg based workouts.

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5. 36th Chamber of the Shaolin - We Get It, You Train A Lot

• Training Intensity:      ****
• Campiness:                *****
• Music Awesomeness:  **
• Montage Purity:          ****

You wanna talk about training? How about a movie that's filled with it. 36th Chamber revolves around the protagonist progressing through his Shaolin training. Every skill a monk needs is presented via a separate chamber. Has any premise been better setup for a progressive montage?

 Take-away exercise to try: Bo circling with pointy, injurious consequences.

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4. KickBoxer - A Tree's Worst Enemy

• Training Intensity:      ****
• Campiness:                ****
• Music Awesomeness:  ****
• Montage Purity:          *****

If you didn't know Jean-Claude was going to make this list then shame on you. JCVD has an almost supernatural talent for creating training montages, and Kickboxer is one of his finest masterpieces. Who knew coconuts and palm trees could be so nightmarish?

Kickboxer training (full video) by bRu7-eXeC

 Take-away exercise to try: Just don't kick trees.

 3. The Karate Kid - Daniel's Private Training

• Training Intensity:      ***
• Campiness:                ***
• Music Awesomeness:  *****
• Montage Purity:          *****

Here's the thing - this isn't even the best montage in this movie. That's how insane the original Karate Kid is. As we all know, the tournament sequence at the end of the movie is one of the best montages of all time. However, that's not really for training, and thus doesn't make the cut here. But that doesn't mean Daniel's private training isn't a fantastic moment. It gets such a ranking due to the scope and emotional charge of the movie. A real classic.

 Take-away exercise to try: I'd say the crane kick, but I'm not sure you can handle that yet.

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 2. Rocky IV - U.S.A., U.S.A., U.S.A.

• Training Intensity:      *****
• Campiness:                ***
• Music Awesomeness:  *****
• Montage Purity:          *****

Say the words "training montage", and "Rocky" will be the first word uttered in response. I probably could have picked any of the Rocky movies for this, but I feel like IV is the most monumental. You might argue that boxing isn't a pure martial art, and therefore Rocky should be disqualified from this list. That's a tricky call, and since it's so close (and Rocky is such a dominant montage force), I decided it was right to include it.

  Take-away exercise to try: Draaagooooooooooooooooooo.

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1. Bloodsport - To Keep an Open Miiiind

• Training Intensity:      ****
• Campiness:                ****
• Music Awesomeness:  *****
• Montage Purity:          *****

In the purest sense, Rocky is a better montage. But since we are listing the best martial arts montages, Bloodsport rules as King. This sequence is the perfect collection of campy 80s music, training development of the protagonist, hardships endured, winning respect from the hard nosed teacher, and techniques just real enough that we want to try them. Surely Bloodsport holds a special place in the montage hall of fame.

   Take-away exercise to try: Unnecessary splits. Blindfolded tea. Everything.

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That's it! I hope you enjoyed this journey. I won't keep you any longer because you probably want to go running through the woods, carrying giant rocks on your back while hitting yourself with sticks. I understand, I'm pumped up too.

Don't forget to add your two cents in the comment section below. Do you think there are any other movies that should have broken the top 11? Do you think some of these movies should be swapped around in rank? Let me know!

If you're a street fighter, you could see it on any given day.

There's something about the hook punch that is naturally ingrained in the human combative complex. When tensions raise and the body experiences a dump of adrenaline, some instinct in the primordial part of our brain knows how to throw a hook punch.

Of course, a lot of the panicked and sloppy "bombs" we see are hardly efficient, but that doesn't mean they're ineffective. Sure, a drunk street punk may sprain his wrist while swinging his fists wildly, but all that body weight and tension can hurt or kill if it connects.

What is a Hook Punch?

Let's step back for a moment and define what a hook punch is. I think this video featuring Anderson Silva lays it out nicely in just over 1 minute:

You'll notice the crucial element is that the strike engages the target from a side angle rather than straight on. The punching arc can range dramatically from ultra wide, to just slightly bent.

The modern day understanding of a good hook punch derives mostly from American Boxing. The footwork (pivoting the front foot, settling on the rear, creating a snapping action) is a hallmark of good boxers and fighters like Silva.

The major difference between good boxers and street attacks is the execution of the technique. Boxers keep the hands tight in and use the hook punch when in mid-close range. The punch snaps out and back in order to maintain proper coverage of the body. Street attacks are often deep, committed swings with lots of body weight behind them.

Why Are We Assuming Hooks Are So Prevalent?

As any good geometry student will tell you, the shortest distance between any two points is a straight line. Wouldn't it stand to reason then that most attacks occur in a linear path, like a lot of TMA striking?

The reality is...no. The arc of the hook punch feels strong to novices and therefore comes out more naturally. Furthermore, American Boxing is still a very deep part of western culture and most youths grow up with a dad/uncle/friend who is willing to show them a few moves. Therefore, in times of stress, people go back to the experience they have.

Don't take my word for it though, just observe a handful of untrained attacks (sucker punch and street fight). I think you'll notice a distinct trend (warning: real violence in the following videos. Nothing deadly, but caution advised).

I didn't have to dig deep into Youtube to find these videos. If you type in "street fight" or "sucker punch fight" you're going to see plenty of examples.

Why Is The Hook So Neglected In TMA Training?

The reality of the hook punch in real engagements, especially when sucker punching, is evident. Just as evident is the lack of proportional focus in traditional martial arts.

In a lot of TMA, we are taught the efficiency of linear striking. It stands to reason that when we work partner drills, we use those same linear strikes as a means to continue our training and development. The attacker strikes linear so as to practice his/her punch, and we defend in one manner or another.

Even TMA that are much more circular can fall victim to this because they maintain good technique when attacking. A powerful circular ridge hand or quick mawashi geri is not the same as a huge haymaker from a tense and lunging opponent.

The study of bunkai for demonstration has increased the problem as well. In order for bunkai to look orderly and organized, the attacks must be laser accurate and in time with the defender. Slapping and windmill punching from the attacker would be troublesome for the demonstrator, and disrespectful to boot.

Traditional training can be beautiful, but it can also distract from reality at times.

How Can We Avoid the Neglect?

If we conclude that the hook punch is an oft used weapon in real violence, then we should make an effort to improve our ability to handle it. Doing so is fairly easy if we take the time. To integrate more hook punch practice into your martial arts life, follow these steps:

1. Assess the amount of time you spend dealing with the hook and determine if you could benefit from more practice.

2. Learn how to throw a hook punch well...and poorly. Use the videos above and elsewhere online if you don't have an expert in your dojo.

3. Communicate your desire to focus on the hook punch with your partner, show them the proper& improper ways to throw it, and have them attack you with it.

4. Attack slow at first so you can begin to analyze which of your techniques work and which are dangerously ineffective against the new arcs of attack.

5. Increase the speed and impact of the attack so as to feel the body weight and momentum.

6. Receive the attack from unspecified hands and at unspecified times. Remember, a sucker punch is tough to see coming so you want to practice natural response defense, not just thoughtful defense.

Of course, wellness may be the least glamorous part of training. After all, eating vegetables and legumes doesn't make for an exciting youtube clip.

Luckily I get to hang around a bunch of experienced practitioners who tell stories from time to time of their tough training. Personally, I've been an uke since age 11 and am becoming more acutely aware of how repeated impact affects the body.

It's because of these realizations that I recently read The Okinawa Program, a book describing the Okinawan way of life and how the Ryukyuans became the longest lived people on the planet. And fortunately, thanks to the good people at YMAA, I was able to follow up that research with Western Herbs: For Martial Artists and Contact Athletes.

Western Herbs is a unique addition to my library.

The Okinawa Program deftly lays out the lifestyle and diet of the Okinawans. Most other books regarding traditional Chinese medicine, including The Bubishi, discuss herbal concoctions that you will most likely never encounter. Western Herbs, on the other hand, takes that same pharmacological approach and applies it to vegetation and growth readily available in western countries.

Have you ever wondered how Aloe Vera works, and how to utilize it's full effects? Did you know the capsaicin in peppers (when prepared properly) can help relieve back pain and arthritis?

This is stuff that doesn't require a shady trip down back alleys in Chinatown. The best part is that this book grades each herbal claim via a 5 leaf system. Zero leaves means the claim of effect is completely unsubstantiated, while five leaves means you are good to go and can rely on the results.

The author, Susan Lynn Peterson, is a trained martial artist as well as researcher (she has a real P.H.D., not the weird "professorship" some martial artists prescribe themselves). Her approach is non-mystical with no heavy-handed desire to prove that eastern healing methods are the exclusive answer to all health problems. She mixes east and west in an approachable and fact-friendly way.

The book is broken up into digestible pieces that teach you...

• how to utilize herbs from a novice perspective.
• how to create various kinds of tinctures and concoctions.
• how to handle each of the most important herbs.
• how to assess your needs and safely begin herbal treatment.
• how to not make yourself dead by doing something stupid.

There's no question I won't be able absorb all this book has to offer in one sitting. That's why I intend to keep it nearby as a resource to access as I slowly increase my ability to understand and improve my own wellness.